#Will did something…

[chirpsythismorning]

Me explaining that we technically haven’t seen anyone make a deal with god and swap places for someone they love yet and how it perfectly fits into the theory that Mike is gonna be targeted at the start of s5, after they open the season re-contextualizing Will’s connection to vecna from the beginning, leading up to now where Will is going to sacrifice himself to save Mike, essentially giving Vecna what he wants aka Will, with him going back to his Zombie Boy era (kinda like what happens in the comics with Will the Wise) and his sacrifice initiating the time jump we see, with a year passed and them still trying to find him, living the s1 era all over again, with the town convinced Will’s disappearance in 83’ started this towns curse and how full circle it will feel compared to s1 and with everything that’s happened over the seasons that is going to be addressed.

[dayvan]

crashing the tulpar into the asteroid that turns you into a dog ft. lil curlydog fanart by @rdhndrd

some design notes under the cut

Curly: Husky mix, maybe GShep? (mush, captain, mush!!!) Anya: Silken Windsprite (or long-medium haired sighthound mix) Daisuke: seen at least 2 different instances of people drawing him as a Papillon and i agree wholeheartedly Swansea: XL Bully/Cane corso Jimmy: badly socialized German Pointer mix

also ciarans fanart is based on this

[poorly-drawn-mdzs]

License to Kitty.

[hanjoj]

their ship name might as well be theseus the way there's not a single original characteristic left there

[prouvaireafterdark]

listen I know it's heartbreaking that Claudia dies and it's understandable to wish she didn't, but let's please not accuse the writers of fridging her. to do so is a fundamental misunderstanding of the story and is frankly insulting to the intelligence and skill of the writers of the show.

Claudia's death, and the overwhelming grief and regret her parents experience because of it, is quite literally the point of the entire story. she dies because Anne's daughter Michele died of leukemia when she was five years old and there was nothing she or her husband could do to prevent it.

writing IWTV was how Anne coped with the unimaginable loss of a parent losing her child. she created a story about a little girl that could not die and then killed her anyway. Claudia's death is a senseless, unavoidable tragedy, just like Michele's was. the grief that haunts Louis and Lestat for the rest of their lives is the same grief that haunted Anne and her husband.

so when you're accusing people of killing Claudia off to benefit a story about two men, please remember that in real life sometimes parents lose their children. please remember Michele Rice.

she's the reason Claudia exists.

she's also the reason Claudia cannot be saved.

[hamletthedane]

I was meeting a client at a famous museum’s lounge for lunch (fancy, I know) and had an hour to kill afterwards so I joined the first random docent tour I could find. The woman who took us around was a great-grandmother from the Bronx “back when that was nothing to brag about” and she was doing a talk on alternative mediums within art.

What I thought that meant: telling us about unique sculpture materials and paint mixtures.

What that actually meant: an 84yo woman gingerly holding a beautifully beaded and embroidered dress (apparently from Ukraine and at least 200 years old) and, with tears in her eyes, showing how each individual thread was spun by hand and weaved into place on a cottage floor loom, with bright blue silk embroidery thread and hand-blown beads intricately piercing the work of other labor for days upon days, as the labor of a dozen talented people came together to make something so beautiful for a village girl’s wedding day.

What it also meant: in 1948, a young girl lived in a cramped tenement-like third floor apartment in Manhattan, with a father who had just joined them after not having been allowed to escape through Poland with his pregnant wife nine years earlier. She sits in her father’s lap and watches with wide, quiet eyes as her mother’s deft hands fly across fabric with bright blue silk thread (echoing hands from over a century years earlier). Thread that her mother had salvaged from white embroidery scraps at the tailor’s shop where she worked and spent the last few days carefully dying in the kitchen sink and drying on the roof.

The dress is in the traditional Hungarian fashion and is folded across her mother’s lap: her mother doesn’t had a pattern, but she doesn’t need one to make her daughter’s dress for the fifth grade dance. The dress would end up differing significantly from the pure white, petticoated first communion dresses worn by her daughter’s majority-Catholic classmates, but the young girl would love it all the more for its uniqueness and bright blue thread.

And now, that same young girl (and maybe also the villager from 19th century Ukraine) stands in front of us, trying not to clutch the old fabric too hard as her voice shakes with the emotion of all the love and humanity that is poured into the labor of art. The village girl and the girl in the Bronx were very different people: different centuries, different religions, different ages, and different continents. But the love in the stitches and beads on their dresses was the same. And she tells us that when we look at the labor of art, we don’t just see the work to create that piece - we see the labor of our own creations and the creations of others for us, and the value in something so seemingly frivolous.

But, maybe more importantly, she says that we only admire this piece in a museum because it happened to survive the love of the wearer and those who owned it afterwards, but there have been quite literally billions of small, quiet works of art in billions of small, quiet homes all over the world, for millennia. That your grandmother’s quilt is used as a picnic blanket just as Van Gogh’s works hung in his poor friends’ hallways. That your father’s hand-painted model plane sets are displayed in your parents’ livingroom as Grecian vases are displayed in museums. That your older sister’s engineering drawings in a steady, fine-lined hand are akin to Da Vinci’s scribbles of flying machines.

I don’t think there’s any dramatic conclusions to be drawn from these thoughts - they’ve been echoed by thousands of other people across the centuries. However, if you ever feel bad for spending all of your time sewing, knitting, drawing, building lego sets, or whatever else - especially if you feel like you have to somehow monetize or show off your work online to justify your labor - please know that there’s an 84yo museum docent in the Bronx who would cry simply at the thought of you spending so much effort to quietly create something that’s beautiful to you.

[machveil]

Roommate!Simon Riley that kisses you. no, not on the lips, but nearly everywhere else. some days it’s small, walking up behind you in the kitchen and resting his hands on your hips - not fully, just ghosting his palms over you like you might shatter if he fully held you. he does it when it’s early, blinking the sleep from his eyes as he dips down, lips pressing to the nape of your neck. he mumbles a ‘good mornin’’, mutters something about what you’re making and how he wants some

Roommate!Simon Riley who kisses the crown of your head when you’re cuddled on the couch together. from dawn to dusk, if you’re cozied up with Simon his lips are stuck to you. nose nudging your hair, he’s not really paying attention to what’s on - Simon’s more focused on breathing you in, eyes closed and appreciating the scent of your shampoo. his lips drift, head tilting to kiss behind your ear when you comment on your show, “Mm, tha’ right?”, he murmurs, gravely voice whispering to you

Roommate!Simon Riley who kisses you from your knees to your ankles. a shit day, after you’ve come in through the front door Simon is leading you to bed. you can’t put up a fight when he makes you lay down, sitting on the edge of your bed. you can’t argue when he drapes your legs over his lap, mumbling something about your boss being a prick. all you can do is close your eyes and relax when he rubs at your legs, massaging the meat of your thighs and calf, working his way to your feet. you don’t say a word when lifts your leg up slightly, peppering featherlight kisses down it, “Should let me ‘ave a word with ‘em.”, he mumbles, smiling when you chuckle

Roommate!Simon Riley that all but tackles you to the floor when he comes home from a deployment. he’s roughed up, aching and sore, a mess of a man - but he’s alive. he moves on autopilot, strong arms pulling you against his frame, a bear hug, a death squeeze, his embrace secure. before you can ask him if he’s okay, if he’s hurt, his lips are pressed to your forehead. chapped and dry, but Simon’s. his chest rising and falling into a steady rhythm knowing you’re safe and sound. he’s moving on autopilot when he slumps down, lips pressing a sloppy kiss to your cheek, “Missed you, sweet’art.”

[cyancees]

i have neither a good imagination nor aphantasia, but a secret third thing

[secretdazedragon]

[katsinspats]

Thematically appropriate comic for Make a Terrible Comic Day!!

I saw the original post this morning and it made me get out of bed to make something, so thank u Pseudonym Jones mission accomplished

[theproblemsofdonhi]

Big Luffy finds a weird looking cat.

[poorly-drawn-mdzs]

Dog Meshi.

[protoctist]

i know ryoko kui is a real one because she wrote 97+ chapters of a manga about fantasy ecosystems and food chains and not once did she write the phrase "survival of the fittest" (it's a bad phrase) (it's a social darwinist phrase even) (hated amongst biologists) (doesn't make sense) (darwin didn't use it) (coined by an business major) (one of the worst phrases in pop science) (no good)

[littlelightfish]

This... this is a whole different kind of psychic damage here. When nightmares got Marcille, we get to knew that her's biggest fear is outliving her friends. This isn't even canon probably, but look at this. This isn't a "I don't want my friends to die" kind of dream. This is a "I'm terrified of loosing my daughters, of something killing them, and being incapable of stopping it" kind of dream. It's so simple yet it explains perfectly the whole of chilchucks character. He loves, he cares, deeply. But he, or doesn't acknowledges, or doesn't know what to do with that knowledge.

Besides that. Someone had to wake him up after this. Imagine the devastation in this man after he wakes up. He just saw his three little babys murdered corpses (or maybe he saw them die, wich isn't better). He would possibly not talk about it, and that would worry the hell out of the party, because we'll, they see him all down and only one of them knows what he saw. Imagine being the one to pull him from that nightmare. Seeing this man, usually so composed, fuking staring with tears and terror in his eyes to the composes of what you can only assume are his daughters. It would be heartwrenching.

Idk, I love this man so much...

[thepioden]

if you ever go to an art gallery and you see a painting and you think "that sucks. I could do that." maybe you can! I think a lot of people could do like. Matisse. Mondrian. Rothko. From a technical standpoint at least. Not everyone but a good number of people. But please consider: Artists™ aren't special people. They're just people. Just regular folks with something to say and a trained skill who showed that skill to the right people.

So instead of being like "that sucks! that's dumb! I could do that. It shouldn't be in a gallery." instead try, "I could do that. I should be in a gallery." and then do it and go and show your art to people.

[junodoom]

swordtember day 8: sun