#Grand Stage

[talthorn-sylvoran]

The Hearts of Tenacity Festival ( WoW N-RP Event - May 19-21st 2023 )

The Hearts of Tenacity Festival is coming up fast! Embrace this incredible experience with fellow community members with a passion for performances and storytelling! Talthorn and Konietzko Syl'voran are your captivating hosts for this weekend of magic! ✨✨✨✨✨✨

We host our event at Tenacity Isle, a lone isle that is unnamed in game though we've given it a name! The proxy is located as seen below, within Pandaria near the Kun-Lai Summit!

Please join for our DISCORD the most current info or check out our CARRD SITE! https://www.tinyurl.com/HeartsDisc https://heartsoftenacity.carrd.co/

[meringuecream7]

Clover-Inktober Day 13: Grand Stage

(I don’t know how to make grand stages better… ;-;)

[weirdlookindog]

Les Goules - Grand Guignol de Paris, c. 1900

poster art by Jean Charles

[icarus-suraki]

Dame Maggie Smith

December 28, 1934 - September 27, 2024

[dais-and-nights]

“what is this feeling, so sudden and new? i felt the moment i laid eyes on you!” girls you’re gay.

[crustyfloor]

oiu... Initially, it was implied, but now I believe this piece confirms that Heperu had created earlier artificial "prototypes" of Luka that were failures and disposed of before the "perfect" version was created, the Luka we have today.

When Luka remembers those tubes with the embryos of what might've been other versions of himself, he knows just how inexplicably expendable he is to Heperu despite how "special" he is, Heperu is obsessed with making a perfect Luka that can rule the stage forever, Heperu will only keep him until he makes a mistake, that's why he plays his role of perfect pet to a T to ensure he keeps the aliens' favor, to maintain his perfection.

Luka was made aware from the beginning that If he failed, Heperu could just throw him away and make a new and better version, that's how insignificant his life is. Possible replacements being made in front of him, just in case he was imperfect or died, was a threat. And just made the fact that Luka was a tool more prominent. The caption of this art being "Disgust" could mean the disgust Luka feels towards those failed versions, and himself is the pure cruelty of it all, the burden of being the success, it feels like a violation, the fact that you have no bodily autonomy or choice in any of this. the eerie intimacy of it, the other versions gravitating towards the "perfect" Luka, touching and holding him while he looks disturbed.

there is the existential dread of not feeling like your own person, or rather, feeling unnatural and disgusting when you were made on the foundation of the failure of other versions of you, a disturbing and bleak amalgamation of what's considered perfect, but not truly a person, just an object for a desire. He can quickly amount to nothing but another failure just like the rest of them, just like the rest of the Lukas that grew up on the understanding that they're inconsequential existences made in the pursuit of one goal

[ask-squidbeaks-agents]

Time really flies when you're having fun huh?

[ethoslays]

am i friend shaped enough..

[anghraine]

It's wild to me that I had heard of the prime Kirk/Spock content in various TOS episodes long before I saw them, but had never heard of what IMO is the shippiest moment of all thus far, in an interestingly O_o goddamn I do not want whatever you two have but you do you?? holy shit though what a moment way.

I'm of course referring to the otherwise rather mid episode "Requiem for Methuselah," in which Kirk has an underwritten love affair with a clueless woman whose various secrets have to be discovered before her inevitable death.

At one point in this relationship, her.......uh, guardian??? sort of???????? had Spock play the piano while she and Kirk waltzed, which (in-story) Spock did perfectly while somehow managing to silently exude even more intensity than usual. After the plot (and her life) were over, we end not with the usual cheerful bit of snark on the bridge that ends most episodes, but with a weary Kirk falling asleep with his head on his arms and Spock hovering not for away. McCoy exposits the last bit of detail and then goes on an unprompted and honestly pretty viciously racist speech about how Spock, unlike Kirk, will never suffer from the joys and travails of love because of his inherent lack of feeling as a Vulcan. The speech is longer than usual and just really mean-spirited as McCoy waxes rhapsodic about all the aspects of passionate true love that Spock will not and cannot experience as a Vulcan before he just leaves.

Spock then turns to look at Kirk, and now just bleeding intensity, takes a few slow, deliberate steps towards the sleeping Kirk, lays his hand against Kirk's cheek and neck, and then very obviously mind melds with the sleeping Kirk while murmuring, "Forget."

Is this healthy respectful behavior that honors Kirk's autonomy? No, obviously. Is it god-tier repressed homoerotic passion between two people who should probably just work their issues out and stop inflicting themselves on anyone else? Yes.

[chicinsilk]

Christian Dior Haute Couture Collection Fall/Winter 1950-51. "Ligne Oblique". Marlene Dietrich wears "Viviane", a lace ball gown in Alfred Hitchcock's film "Stage Fright" in 1950.

Christian Dior Haute Couture Collection Fall/Winter 1950-51. "Ligne Oblique". Marlene Dietrich porte "Viviane", robe de bal en dentelle dans le film d'Alfred Hitchcock "Le Grand Alibi" en 1950.

[johaerys-writes]

Listen.... patrochilles ballet AU

[finalgirlsamwinchester]

realised. dean is the perfect viewer avatar for a horror show. he gets to be both the action hero and the quippy, self-aware wiseguy who knows he's in a horror show. he provides a safe point; a comfortable power fantasy for you to experience a story through. he's ash in the evil dead. he's a gunslinging tough guy, and you get to see those moments where heroism sits on his shoulders like an ill-fitting leather jacket. and even when he gets his turn at being captured and victimised by the narrative, it's filtered through this mythic lens first. he's the tormented hero; tortured by villains, tortured by the constraints of his role. yeah he gets bruised, beaten bloody to a pulp, torn to shreds and killed, but his perception of reality never gets thrown into serious doubt (unless it's played out as a gag). the narrative valorises his sense of right and wrong, because that's what heroic stories do. their heroes provide moral center, regardless of how we might judge them. the lines dividing hero, anti-hero, and villian are paper thin, and dean isn't truly ever allowed to be ambiguous. and the hero always wins in the end, even when he dies.

meanwhile sam is the abject object of the horror show, a character who gets trussed up, chased, tied up, ripped apart, cut into, possessed, exploited, manipulated and psychologically hounded. he's carrie covered in pig's blood. he's the marginal person people are cheering on either to die - or to live past it all. he gets his turn at playing both movie monster and victim, always occupying the liminal space between both. abject horror lives within him. he's violated with demon blood, he consumes demon blood. he hates halloween because he vomited his guts up in front of a room of normal children. he will never get to be normal, he's designated the freak on multiple levels, but most significantly, by the way his narrative frames him. he's living inside a world that is at its core, fundamentally frightening and horrifying - full control over himself and his surroundings is always slipping away, just beyond his reach. his grip on reality and the world around him gets thrown into question by the story consistently. what's right? what's wrong? what's real? what isnt? the narrative punishes him - because that's what happens to you when you're living in a horror. he can never run away from his nightmare reality, it catches up to him like a curse nipping at his heels. the only way out for him is through the punishing fire. in order to survive, he's required to be pushed to the absolute brink of instability; emotionally, physically and mentally. he emerges out the other end, barely holding it together but somehow alive - like the bloody final girl, changed irrevocably by what she's experienced.

[appleciderjulie]

squid yuri. women who kiss other women. who are squid women. women who are squids who kiss other. other squid women. squid women. yuri. something.

[d0rksausalito]

this is probably the stupidest fucking thing I have drawn this year that is also Invincible related anyways off to go schedule my lobotomy

[hauntedorpheum]

Wicked Marketing campaign is a train wreck i can't look away from. The fact that they are clearly trying to do a Barbenheimer 2.0 happen. The lazy brand collaborations where they are just slapping a logo and painting things green and pink. The INSANE collaborations that completely ignore the original context of some elements of the story, like Greenwich University promoting the movie, while in the musical, Shiz University is helping spread evil propaganda; selling Oz's elixir vodka, while in the book the green elixir is essentially used as a dater*pe drug. Lighting a war monument in pink and green colors. The overuse of the musical high note in Defying Gravity that is turning already musical haters away from the movie. The oversaturation of products to compensate for the fact that musical fans have been waiting for this movie for twelve years now. The fact that this is only PART I, a nearly three hours part 1, and we have a whole other nearly three hours part 2 waiting for us next year! The fact that they are pretending that the whole cheating scandal didn't happen. The lack of a clear target audience, which has been a problem of the original musical since the beginning: is this a whimsy musical for kids following the footsteps of the original movie and books? In which case why are you selling expensive cosmetic kits and jewerly as well as alcoholic drinks that no kid would want or could buy? Or is it a more adult focused satire like the Wicked book? In which case the amount of ads and products sorta go against the anti propaganda message from the story. The fact that honestly they didn't need to do all that, this is a movie about one of the most beloved musicals and it stars Ariana Grande, people were going to see it regardless of what it was, and trust me most people have no idea of what it even is, only that it has something to do with the Wizard of Oz. Also Mattel design team not bothering with proof reading their boxes and accidentally linking to a p*rn website

[livwritesstuff]

this one goes out to my 14yo cousin who walked me through ariana grande's entire dating history over lunch 🙃 i personally could have lived my whole life without this information but here we are

I definitely think that Steve never moves away from the pop music thing. It’s not that he has a specific love for pop music – he’s just never really cared too much one way or the other, and that one top 40s station has been a preset in his car since he bought it a decade ago and he really can’t be bothered to change it.

Combine this with the fact that Hazel is not only a pop music girlie, but also loves celebrity drama, and you get this conversation when Ariana Grande’s new song starts playing during a car ride:

Hazel: You should turn this song off.

Steve: Why?

Eddie, though gritted teeth: Don’t ask why. Just turn this shit off.

Eddie: Fuckin’ sounds like walking into a Forever21.

Hazel: ‘Cos Ariana Grande is canceled.

Steve: Since when?

Hazel: Since she’s a homewrecker.

Steve: 

Steve: Huh?

Hazel then proceeds to explain the entire fiasco to her dads, who are both pretending to not care one way or the other about this random celebrity even though they secretly love the tea.

Eddie, the second Hazel is done: Yet another way this chick is like Nancy.

Steve, perplexed: What do you mean another way??

And that’s why Nancy gets a text from Hazel that says:

my dad thinks you’re like ariana grande.

also, why’d you cheat on pop?