L'Impératrice Désordonnée

Just think it's about white people who obviously work at the government and are the one who made the world hell.

There's nobody disabled, homeless, old or too young who's actually dying. We're just all rich white people who live this for the first time and deserve to take a bit of suffering for being born here or our parents moving there for an easier life

Also you invisibilize POC in Europe. As usual you act progressive but you can't even stop to think only about your ass or at best your country and not think about other.

Oh but yeah keep telling yourself you're a good person who just punch down to the white countries while it's the vulnerable people who actually suffer

I'm writing a story right now that I probably won't post at all and I still spent a good hour and downloaded a research paper to figure out if women in feudal China were allowed to have baths during their periods. The answer is no, as I suspected, but I checked! I also learned about their version of pads which sound much better than European historical period solutions and kept reading long after I'd found my answer. It was all fascinating to learn about because history is interesting.

So I guess what I'm saying is, why write historical fiction or make a period drama if you aren't even interested in or in love with history? When I read Bernard Cornwell, for example, it feels like he's fascinated by the period he's writing about. No one seems strangely modern, but they all feel deeply human. I don't need a female character to point out sexism or patriarchy to me, it's obvious. I'm trusted to think about it for myself. The author trusts that I care as much as he does about the past.

KATE WINSLET as ROSE DEWITT BUKATER

and EVEN WHEN things were more muted/neutral, the neutrality was OFFSET by ACCENT COLORS and HIGH CONTRAST between the wood tones and everything ELSE

ALSO AMERICAN COLONIAL INTERIORS POPPED OFF, Y'ALL (IN TERMS OF COLOR/COZINESS)

PEOPLE USED WHITEWASH AND COLORFUL TRIM OR EVEN JUST COLORFUL FURNITURE IF THEY COULD AFFORD TO DO SO

AND DON'T GET ME STARTED ON FRENCH AND BRITISH AND AMERICAN WALLPAPERS

"ELIZABETH" YOU CRY, "WHY ARE YOU BEING SO EXTRA THIS MORNING?! IT'S MONDAY"

Because, my friend, my war on GREIGE will NEVER end.

Historic interiors were filled with LIFE and LIGHT and COLOR. ALWAYS HAVE BEEN.

Part of the reason we don't see a lot of textile art is because, frankly, textiles tend to degrade over time - especially ones that had utility! And yes, pigments and weaving and dying all boosted the expense of things, when we were finally reliably block-printing fabrics and broad reams of paper, it was no longer just the wealthy who could afford pretty patterns!

In the Americas, a far wider variety of pigments also became available because of the abundance of... well, a shitton of flora and minerals, some of which weren't as common in Europe.

WHY THE HIGHLIGHTER COLORS? you ask.

CANDLES.

Those colors reflect candlelight and natural sunlight REALLY WELL.

Humans LOVE bright colors, it's NOT just a thing for kids. We live in a brilliant, vibrant, multifaceted world. We ALWAYS have.

(If ever you have the opportunity to visit the Stencil House at the Shelburne Museum in Vermont (pictured above at 3, 4, and 5), I highly recommend.)

And that's before you get into American painted murals: