dragonflydecay

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if tumblr shuts down you can find me in everything you see by looking for me there

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There is no correct brewing time for black tea imo. You leave that tea bag in there until the end of time. If your tea goes cold because you forgot it and sipping it makes your mouth instantly dry with the strength of the tannins, well that is simply the cost of your hubris

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us<3

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Job market so bad I started following my dreams

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*holds you in my mouth perfectly safe between my sharp teeth bc i love you*

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Oh yeah baby, animations.

The idea of Harry being like “Kim look at this” and never showing it to him is so funny to me idk why

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disco elysium heritage post

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haunting the narrative

find me on instagram !

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fucking hate texting dracula i'll send him a funny meme and he'll call me to be like "i need to take a SCREAMshot on my HELL phone" like oh my god we get it youre scary

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they call my dick excalibur. because it sat in a lake for a long time . no other reasons

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Handbuch der Waffenkunde, 1890

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Goats shelter in Mawsynram bus stop. Amos Chapple

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Some fun things from RSC's 2025 Hamlet

It's set on a boat, and the stage tilts to mimic a boat, including the ending when the ship sinks and the stage tilts way up so actors slide off stage 'into the sea'. We'll come back to this later

Everyone else in the play talks like they're in a play. Hamlet talks like a person. To be more exact, a person who has a lot of feelings and is tripping over his own words to get them out. When the actor playing Hamlet first started talking, I genuinely thought he was corpsing for a few seconds

When he and Horatio first hug, it first feels like a typical friend hug, but then it lasts just a little longer, and Horatio moves one hand from Hamlet's back to cradle his head

There are people dancing during the first couple of scene transitions (until the boat is in trouble and they run around with life jackets on), and in one instance, Horatio dances with another man

Now would be a good time to mention that this whole production takes place over ONE EVENING. It's set at Claudius' coronation/wedding to Gertrude, and the time of night flashes up before each scene. The play starts around 9PM and ends at 1AM.

Now, this, of course, begs several questions like: How were Rosencrantz and Guildenstern summoned so fast? How did Laertes get back so fast? And the answer seems to be: Don't worry about it :) We're working off OFMD boat logic here

Speaking of Rosie and Gil: They're American, and I kind of love that for them. I love it when productions 'other' them in some way, to make them feel out of place. TBH, there were times it felt like THIS was the 'Hamlet' that 'Rosencrantz and Guildenstern Are Dead' takes place in. Which leads me to

The players. The head player is the same actor who plays the ghost of Hamlet's father, and this is acknowledged in play! When Hamlet sees him for the first time, he screams! Then desperately tries to cover for himself

Hamlet barks at people. Literally barks and growls like a dog. Love that for him

He also walks around barefoot for most of the play

They moved 'To Be or Not To Be' to the end of Act One, which cuts off right before Hamlet goes to (not) murder Claudius.

There's a lot more to say, but this is already a really long post, so I'll end with: As the ship is sinking, and the stage is titled way upright, and everyone except Hamlet, Horatio, and the body of Claudius, Horatio clings to Hamlet with his arms around him, and Hamlet pries himself from Horatio's hold, stands up and walks down the ship towards the sea

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Miyazaki’s visual storytelling thrives on a sense of flatness that doesn’t diminish but rather enriches his worlds. By compressing the layers of his compositions—merging the foreground’s details, middle ground’s action, and background’s context—he crafts images that feel like living illustrations. Take the Warawara swarming with dishes in "The Boy and the Heron" or the jubilant feast scene in "Spirited Away" : both are packed with vibrant details, yet the visual plane feels collapsed, like a tableau unfolding all at once. This "flatness" isn't a flaw but a deliberate technique, pulling us into the frame as if we’re unrolling a scroll of visual wonder. It’s not depth that Miyazaki aims for—it’s a sheer density of storytelling in every frame, a reminder that 2D animation’s strength lies in its ability to immerse without imitating.