🔥 | Latest

manor: Meanwhile at Wayne Manor…
manor: Meanwhile at Wayne Manor…

Meanwhile at Wayne Manor…

manor: theladyzephyr: Folks let me talk about Crowley and sunglasses, because I have a lot of emotions about when he wears them and when he doesn’t, and Hiding versus Being Seen. We’re introduced to the concept of Crowley wearing glasses even before we’re introduced to Crowley, by Hastur: “If you ask me he’s been up here too long. Gone native. Enjoying himself too much. Wearing sunglasses even when he doesn’t need them.” Honestly Crowley’s whole introduction is a fantastic; we learn so much about his character in a tiny amount of time. The fact that he’s late, the Queen playing as the Bentley approaches, the “Hi, guys” in response to Hastur and Ligur’s “Hail Satan”. I like this intro much better than the one originally scripted with the rats at the phone company, but I digress. Crowley wears sunglasses when he doesn’t need them. Specifically, he still wears them around the demons, and when he’s in hell. You know where Crowley doesn’t wear glasses? At home. We never once see him wearing glasses in his flat, except for when he knows Hastur and Ligur are coming. That’s an emotional kick to the gut for me. Here’s one of the only places Crowley’s comfortable enough to be sans glasses, and when he knows it’s going to be invaded he prepares not just physically with the holy water, but by putting up that emotional barrier in a place where he wasn’t supposed to need it. An argument could be made that Crowley actually never needs glasses. We’re shown that it’s well within the angels’ and demons’ powers to pass unnoticed by humans. Crowley and Aziraphale waltz out of the manor in the middle of a police raid, and going unnoticed by the police takes so little effort that they can keep up a conversation while they stroll through. Even an unimaginative demon like Hastur apparently doesn’t have trouble with the humans losing it over his demonic eyes. The humans in the scene at Megiddo are acting like “this guy is a little weird” and not “holy shit his entire eyeballs are black jelly” That means that Crowley’s glasses are a choice, just like Aziraphale’s softness. Sure, he could arrange matters so that nobody ever noticed his eyes, but he doesn’t want to. Crowley wants acceptance, and he wants to belong, and he’s never, ever had that. He didn’t fit in before the Fall in Heaven, he doesn’t fit in with the demons in Hell. With the glasses, and with the Bentley and his plants and with the barely-bad-enough-to-be-evil nuisance temptations, he’s choosing Earth. This is where he wants to fit in, perhaps not with the humans, but amongst them. Even after Crowley is at his absolute lowest, when he thinks Aziraphale’s dead and he’s on his way to drink until the world ends, he takes the time to put a new pair on when the old ones are damaged. He needs that emotional crutch right now, even with everything about to turn into a pile of puddling goo he’s not ready for the world to see his eyes. Which is why I swore out loud when Hastur forcibly takes them off. It’s about the worst thing that Hastur could have done. Rather than leading with a physical threat, his first act is to strip away Crowley’s emotional defences. It’s a great writing choice because god it made me hate Hastur, even more than all the physical violence we see him do. It’s also the moment that Crowley really truly gets his shit together, and focuses all of his considerable imagination on getting to Tadfield and Aziraphale to help save the world. He’s wielding the terrifyingly unimaginable power of someone who’s hit rock bottom and realised it literally could not get any worse than this. He doesn’t put another pair of glasses on after discorporating Hastur, and he spends the majority of the airbase sequence without them. He puts them back on again, I think, at the moment that he really lets himself hope. When he thinks ‘shit, there may be a real chance that we get through this to a future that I don’t want to lose’. The vulnerability is back, and he needs Adam to trust him. In Crowley’s mind being accepted by a human means he needs to have his eyes hidden. Someone give the demon a hug, please. Interestingly, there’s only one time in the whole series that we see Crowley willingly choose to take his glasses off around another person. Only one person he’ll take down that barrier for, and even then he’s drunk before he does it. Dear God/Satan/Someone that makes my heart ache. Crowley’s chosen Earth, but he’s also chosen Aziraphale. He’s been looking for somewhere to belong his entire existence, and it’s with the angel that he finally feels it. When the dust settles and the world is saved and they finally have space to be themselves unguarded, I like to imagine Crowley takes off the glasses when it’s just the two of them; the idea of being known doesn’t scare him quite so much anymore.  
manor: theladyzephyr:

Folks let me talk about Crowley and sunglasses, because I have a lot of emotions about when he wears them and when he doesn’t, and Hiding versus Being Seen.
We’re introduced to the concept of Crowley wearing glasses even before we’re introduced to Crowley, by Hastur: “If you ask me he’s been up here too long. Gone native. Enjoying himself too much. Wearing sunglasses even when he doesn’t need them.”
Honestly Crowley’s whole introduction is a fantastic; we learn so much about his character in a tiny amount of time. The fact that he’s late, the Queen playing as the Bentley approaches, the “Hi, guys” in response to Hastur and Ligur’s “Hail Satan”. I like this intro much better than the one originally scripted with the rats at the phone company, but I digress.
Crowley wears sunglasses when he doesn’t need them. Specifically, he still wears them around the demons, and when he’s in hell.
You know where Crowley doesn’t wear glasses? At home.
We never once see him wearing glasses in his flat, except for when he knows Hastur and Ligur are coming. That’s an emotional kick to the gut for me. Here’s one of the only places Crowley’s comfortable enough to be sans glasses, and when he knows it’s going to be invaded he prepares not just physically with the holy water, but by putting up that emotional barrier in a place where he wasn’t supposed to need it.
An argument could be made that Crowley actually never needs glasses. We’re shown that it’s well within the angels’ and demons’ powers to pass unnoticed by humans. Crowley and Aziraphale waltz out of the manor in the middle of a police raid, and going unnoticed by the police takes so little effort that they can keep up a conversation while they stroll through. Even an unimaginative demon like Hastur apparently doesn’t have trouble with the humans losing it over his demonic eyes. The humans in the scene at Megiddo are acting like “this guy is a little weird” and not “holy shit his entire eyeballs are black jelly”
That means that Crowley’s glasses are a choice, just like Aziraphale’s softness. Sure, he could arrange matters so that nobody ever noticed his eyes, but he doesn’t want to. Crowley wants acceptance, and he wants to belong, and he’s never, ever had that. He didn’t fit in before the Fall in Heaven, he doesn’t fit in with the demons in Hell. With the glasses, and with the Bentley and his plants and with the barely-bad-enough-to-be-evil nuisance temptations, he’s choosing Earth. This is where he wants to fit in, perhaps not with the humans, but amongst them.
Even after Crowley is at his absolute lowest, when he thinks Aziraphale’s dead and he’s on his way to drink until the world ends, he takes the time to put a new pair on when the old ones are damaged. He needs that emotional crutch right now, even with everything about to turn into a pile of puddling goo he’s not ready for the world to see his eyes.
Which is why I swore out loud when Hastur forcibly takes them off.
It’s about the worst thing that Hastur could have done. Rather than leading with a physical threat, his first act is to strip away Crowley’s emotional defences. It’s a great writing choice because god it made me hate Hastur, even more than all the physical violence we see him do.
It’s also the moment that Crowley really truly gets his shit together, and focuses all of his considerable imagination on getting to Tadfield and Aziraphale to help save the world. He’s wielding the terrifyingly unimaginable power of someone who’s hit rock bottom and realised it literally could not get any worse than this. He doesn’t put another pair of glasses on after discorporating Hastur, and he spends the majority of the airbase sequence without them.
He puts them back on again, I think, at the moment that he really lets himself hope. When he thinks ‘shit, there may be a real chance that we get through this to a future that I don’t want to lose’.
The vulnerability is back, and he needs Adam to trust him. In Crowley’s mind being accepted by a human means he needs to have his eyes hidden. Someone give the demon a hug, please.
Interestingly, there’s only one time in the whole series that we see Crowley willingly choose to take his glasses off around another person. Only one person he’ll take down that barrier for, and even then he’s drunk before he does it.
Dear God/Satan/Someone that makes my heart ache. Crowley’s chosen Earth, but he’s also chosen Aziraphale. He’s been looking for somewhere to belong his entire existence, and it’s with the angel that he finally feels it.
When the dust settles and the world is saved and they finally have space to be themselves unguarded, I like to imagine Crowley takes off the glasses when it’s just the two of them; the idea of being known doesn’t scare him quite so much anymore.  

theladyzephyr: Folks let me talk about Crowley and sunglasses, because I have a lot of emotions about when he wears them and when he doe...

manor: andantegrazioso: Coton Manor | aaron.etc
manor: andantegrazioso:
Coton Manor

| 
aaron.etc

andantegrazioso: Coton Manor | aaron.etc

manor: New Historical Drama Just 90 Minutes Of Woman Holding Up Petticoats While Running Through Open Field triss19: theonion: LONDON—An early review confirmed Wednesday that upcoming historical drama The Sisters Of Darington Manor was just 90 minutes of a woman holding up her petticoats while scampering through an open field. “After the opening credits roll, it’s really just an hour and a half of a woman in a silk gown grabbing the hems of her petticoat while she hurries along a windswept plain,” said The Independent reviewer Christina Gordon, confirming that the costume drama—which offers no discernible dialogue and could take place at any point in history between the Georgian and Victorian eras—features a striking string soundtrack that swells to accentuate the woman’s progress across what appears to be either the English heath or possibly the Scottish moorland. “About midway through the movie, there’s this 45-minute unbroken shot of her rushing in front of a misty hillside. Then she mounts a horse at one point and rides it for a few minutes, which was nice. But then she just gets off, hitches up her petticoat, and starts hurrying across the plain again.” While criticizing the film’s lackluster narrative, Gordon praised the “breathtaking finale,” in which the woman completes her 90-minute journey by rushing directly into the embrace of a troubled-looking but handsome man in a brown frock coat and cravat. I’d watch it. 
manor: New Historical Drama Just
 90 Minutes Of Woman Holding
 Up Petticoats While Running
 Through Open Field
triss19:
theonion:
LONDON—An early review confirmed Wednesday that upcoming historical drama The Sisters Of Darington Manor was just 90 minutes of a woman holding up her petticoats while scampering through an open field. “After the opening credits roll, it’s really just an hour and a half of a woman in a silk gown grabbing the hems of her petticoat while she hurries along a windswept plain,” said The Independent reviewer Christina Gordon, confirming that the costume drama—which offers no discernible dialogue and could take place at any point in history between the Georgian and Victorian eras—features a striking string soundtrack that swells to accentuate the woman’s progress across what appears to be either the English heath or possibly the Scottish moorland. “About midway through the movie, there’s this 45-minute unbroken shot of her rushing in front of a misty hillside. Then she mounts a horse at one point and rides it for a few minutes, which was nice. But then she just gets off, hitches up her petticoat, and starts hurrying across the plain again.” While criticizing the film’s lackluster narrative, Gordon praised the “breathtaking finale,” in which the woman completes her 90-minute journey by rushing directly into the embrace of a troubled-looking but handsome man in a brown frock coat and cravat.
I’d watch it. 

triss19: theonion: LONDON—An early review confirmed Wednesday that upcoming historical drama The Sisters Of Darington Manor was just 90 m...

manor: w,p Happy FathersDay Gothamites! Today it is fitting to discuss father figures within the Batman mythology, the first being Thomas Wayne (cover panel to Batman (Vol 3) 22 by Jason Fabok)! Created by Bob Kane and Bill Finger and first appearing in Detective Comics (Vol 1) 33 from 1939, Thomas Wayne was a successful surgeon and respected patron of Gotham City, keeping alive the Wayne family name with the ownership of Wayne Manor and head of Wayne Enterprises. Married to socialite and philanthropist Martha Wayne, they had a son, Bruce, and at his young age, he faced Thomas and Martha's untimely death at the gun of mugger Joe Chill. Although established 78 years ago that his death would spawn the shadowy vigilante of Gotham City, the character of Thomas Wayne represented more than just that sole purpose. Thomas Wayne is shown as an influence past his tragic death in Finger's Detective Comics (Vol 1) 235 from September 1956 in "The First Batman" (panel 2) when Thomas' 'Bat-Man' costume inspires Bruce to track down Lew Moxon, the man who hired Joe Chill to kill his parents. As this classic tale was retold in Len Wein and Jim Aparo's "The Untold Legend of the Batman" from 1980 (panel 3), more modern stories told of Thomas as a brilliant surgeon aiding crime master Carmine Falcon in Jeph Loeb and Tim Sale's 13 arc epic "Batman: The Long Halloween" from 1997 (panel 4) and as a guide to Bruce in spirit. Thomas' most thrilling role has been as the Batman, established in Geoff Johns and Andy Kubert 2011 arc "Flashpoint" and Brian Azzarello and Eduardo Risso's 3 issue side storyline "Batman: Knight of Vengeance" (panel 5). In this alternate timeline, Bruce is murdered in front of Thomas and Martha Wayne, driving Thomas into the lethal and vengeful Batman and Martha going insane and taking up the persona of The Joker. As a large part of New 52's Convergence arc (panel 6 by Ethan Van Sciver, Earth 2 (Vol 1) 17) and bringing words of wisdom to his son Bruce as Batman in DC Rebirth (panel 7 variant cover by Tim Sale, panel 8 and 9 from Batman (Vol 3) 22), Thomas Wayne proves to still be an important part of Batman's amazing history. ✌🏼💙🦇
manor: w,p
Happy FathersDay Gothamites! Today it is fitting to discuss father figures within the Batman mythology, the first being Thomas Wayne (cover panel to Batman (Vol 3) 22 by Jason Fabok)! Created by Bob Kane and Bill Finger and first appearing in Detective Comics (Vol 1) 33 from 1939, Thomas Wayne was a successful surgeon and respected patron of Gotham City, keeping alive the Wayne family name with the ownership of Wayne Manor and head of Wayne Enterprises. Married to socialite and philanthropist Martha Wayne, they had a son, Bruce, and at his young age, he faced Thomas and Martha's untimely death at the gun of mugger Joe Chill. Although established 78 years ago that his death would spawn the shadowy vigilante of Gotham City, the character of Thomas Wayne represented more than just that sole purpose. Thomas Wayne is shown as an influence past his tragic death in Finger's Detective Comics (Vol 1) 235 from September 1956 in "The First Batman" (panel 2) when Thomas' 'Bat-Man' costume inspires Bruce to track down Lew Moxon, the man who hired Joe Chill to kill his parents. As this classic tale was retold in Len Wein and Jim Aparo's "The Untold Legend of the Batman" from 1980 (panel 3), more modern stories told of Thomas as a brilliant surgeon aiding crime master Carmine Falcon in Jeph Loeb and Tim Sale's 13 arc epic "Batman: The Long Halloween" from 1997 (panel 4) and as a guide to Bruce in spirit. Thomas' most thrilling role has been as the Batman, established in Geoff Johns and Andy Kubert 2011 arc "Flashpoint" and Brian Azzarello and Eduardo Risso's 3 issue side storyline "Batman: Knight of Vengeance" (panel 5). In this alternate timeline, Bruce is murdered in front of Thomas and Martha Wayne, driving Thomas into the lethal and vengeful Batman and Martha going insane and taking up the persona of The Joker. As a large part of New 52's Convergence arc (panel 6 by Ethan Van Sciver, Earth 2 (Vol 1) 17) and bringing words of wisdom to his son Bruce as Batman in DC Rebirth (panel 7 variant cover by Tim Sale, panel 8 and 9 from Batman (Vol 3) 22), Thomas Wayne proves to still be an important part of Batman's amazing history. ✌🏼💙🦇

Happy FathersDay Gothamites! Today it is fitting to discuss father figures within the Batman mythology, the first being Thomas Wayne (cov...