#art action 2017

[princess-ibri]

Ok I did some more Live Action redesigns xD

Of course I had to redesign Belle's ballgown, but I wanted to see if I could take the shape of it from the film and at least give it some more ✨️Magic✨️, and I think I've succeeded:)

I kinda did the same with her village dress too. I actually kinda liked the look in the film, it was at least memorable, so I just made it a little more period, added a proper bodice, changed that random side cloth out for a pocket and cuz I loved that she had glasses in that one stage version gave her a pair here as well

For her winter screen I gave her a more voluminous cloak to actually keep the cold out (also some Red RidingHood vibes) and gave a nod to her Enchanted Christmas look in the dress she has underneath.

Also always liked that green dress on her, so decided to have some fun and switch it up to being the one she leaves and returns to the castle in. Green for new beginnings and to tie into the Enchantress's magic that's about to be broken and all that

Also spruced up her wedding dress. I actually think the movie one is very lovely but it doesn't really stand out/feel like it fits the time period, so I jazzed it up.

Also I've been spinning a tiny rewrite idea round in my head. If they wanted to delve into Belle's mom's past/give Maurice a real reason for keeping her death a mystery (like seriously, why does he do that) I think they should go back to the og fairytale and have Belle's mom be a fairy.

Either have her connected to the Enchantress (friend, sister) or heck have her be the Enchantress like in the Twisted Tales (not what I'd pick myself but it lends to a tighter narrative) and have Maurice feel guilt for doing whatever happened that caused her inadvertent death/separation---and this could tie back in to Belle and her own complicated relationship with hwr magical being

Have that magic book (if it must be there) show people's pasts instead of being a transportion device Belle doesn't even use to get to her dad. It's meant for the Beast to reflect on his prior actions, but Belle also uses it to discover what happened with her mother.

Also give that poor Beast a proper canon name. I waited the whole movie and he never got a name!!

[abusivelittlebunny]

Alternative first meeting between Logan and Donald Pierce where Logan needs a getaway car quick and just so happens to find young Donnie in his abusive father's chopshop... or maybe Logan time travels into the past to try to stop Dr Rice before he could start AT's program and runs into kid Pierce along the way before Rice could get his hands on him? You decide~

[nesssiah]

going insane over the fucking clown

[whatthefuckisasweep]

Hey, look, it’s Stan

it is definitely him. he is judging. always. in the background. just done with everyone's shit.

[sunriozz]

nuh uh

[madamshogunassassin]

GOD OF WAR (2017)

[wanderlustwineblissblog]

[lavendercobalt]

It feels like Disney deliberately puts less passion and effort into their more progressive movies so that when they fall flat on their face at the box office, the company can be all

Well see there you go THAT’S why we don’t put black/trans/gay/disabled/etc people on screen because the world isn’t ready for it and the people don’t want it and we don’t make any money off it!

When in reality they are butchering stories, ignoring feedback, overworking and underpaying their employees, and straight up just don’t care about their craft anymore. But at the least they’ll put more thought into a movie like Ralph Breaks the Internet because it’s more of a money opportunity that’ll appeal to nostalgia and that’s all they need.

The live action little mermaid and the live action beauty and the beast and the live action lion king are UGLY. The renaissance movies are based greatly magic and that just can’t be done as well in live action. Or, it CAN, but not without extra work and TLC.

Idk it just feels like the studio and company will jump through so many unnecessary hoops to avoid making actual art that appeals to us and is what we want.

Which is ironic because THAT might be the best way to make their profit. I would sell at least three of my toes for a deaf Disney Princess or a gay Disney Prince or a revival of the Tinker Bell movies and more but nope let’s tell the same story we told forty years ago but this time with less whimsy and more celebrities.

[a00zmtisay]

[harpergalyon1980blog]

[schlock-luster-video]

On December 26, 2017 Mayhem was released on DVD in Brazil.

[dughole]

radiohead’s complicity in israeli-occupied palestine

my feelings on radiohead are complicated these days, as i’m sure they are for many. i'm using this post as a method of sorting out my own thoughts & to provide sources.

for me, the bottom line is this: radiohead is both a brand & a musical group. the brand of radiohead has always had deep roots in the israeli colonial project - they have played many, many shows there throughout their career. their breakout single - creep, was intially only a hit in israel (x, x) & the personal choices of some of radiohead's members remain just as involved. jonny greenwood met his future wife - the israeli artist, antivaxxer & vehement zionist (x) sharona katan - at a show radiohead played in israel in 1993 (x). jonny consistently collaborated with zionist musician shye ben tzur & his projects continue to tour in tel aviv as recently as last september. as for jonny himself - his only statement in regards to the war on gaza has been in mourning for the israeli concert goers on october 10th - w no such empathy spared to the 100,000 palestinians dead, injured, or missing. as for thom, while he’s thrown a few bitchfits (x) through the years abt criticism of radiohead’s shows in israel, he has imo - only paid lipservice to the criticism, saying “playing in a country isn’t the same as endorsing its government” going against the pleas of his peers & coworkers in the music industry. as well as the pro-palestine activism undertaken by his long term friend micheal stipe (x & x). (note: stipe stood by radiohead’s performance in israel in 2017, but his current political choices suggest his understanding of the situation has evolved). even his own son - noah yorke, a fellow working musician, has voiced his opposition to the genocide in gaza via instagram stories. as for the other members, rhythm guitarist ed o'brien has called for a ceasefire, as well as making a few tweets about "solidarity with palestinians & israeli peacemakers". while bassist colin greenwood reportedly refused to accept letters of dialogue from the fan-run organization radiohead fans for palestine. drummer phillip selway's commentary is similarly brief but defensive, saying radiohead's 2017 tel aviv concert "felt right"

to me, this paints a picture of a band who's members stances on israel range from abhorrent to simply not enough. & as a brand, their particular combination of action & inaction amounts to a fundamentally zionist perspective. you cannot separate radiohead as artists from radiohead as a brand name.

i've loved radiohead since i was 14. i was brought into it by another longtime fan. i cried & danced when i saw them live back in 2017 - it was, & remains, a moment that allowed me to live through the hardest parts of my life. i felt for the longest time, that radiohead's music & political positions encouraged my empathy - my questioning of conservative political authority. & while all celebrities are failures in some sense - it is still heartbreaking to know how wrong i was.

i don't think it's possible to disconnect the decade of connection & love i have for their music - I won't ask that of myself or anyone else. & the idea of scrubbing one's taste of the "morally impure" is useless effort & an inappropriate simplification of both art & our conceptions of what makes someone "bad". but i can say with certainty - i will not be giving them any more of my money, whether that be streaming their music or buying their merch - & i encourage you to do the same. silence is complicity - this is beyond silence.

in the words of nina simone - "an artist's duty, as far as i'm concerned, is to reflect the times. how can you be an artist and not reflect the times? that to me is the definition of an artist."

[kdinjenzen]

So with all the stuff going on around Nintendo Vs Pocketpair I feel like people are missing the point of what's going on.

And this article actually finally brings up the biggest point: Nintendo has 1000s of patents and chooses not to enforce them all on everyone.

The idea that, quoting the article and Serkan Toto, "Nintendo's sweeping list of patents means it likely "could have sued half of the gaming industry back in 2017," …so like WHY NOT DO THAT?

There's a million reasons to not do it for Nintendo but TLDR is it's just bad business for them to do so.

The real take away is -what has PocketPair/Palworld done- that has brought out Nintendo to start enforcing these things in this particular situation?

A lot if you pay attention to PocketPair/Palworld's marketing and social presence. They threw rocks at Nintendo, so Nintendo is finally pushing back.

Now I'm not going to fully go to bat for Nintendo and say "they are a good company" because there's no such thing truly…

But in most cases with Nintendo, they C&D folks multiple times before even thinking of escalating anything to real legal trouble. Which is kinder than most companies.

The final thought of the article says that Nintendo may feel "threatened" by PalWorld but… I don't buy it.

Pokemon is THE highest grossing franchise in the world… ever… of all time. It's total revenue is around $100 BILLION with a B.

PalWorld, even at it's height, didn't even come close.

The aspects that I think Nintendo decided to act upon in their mind for this is the brazen bold rudeness and shit talking that happened on social media/marketing with PocketPair/Palworld.

PLUS the fact that Pokemon fans were also quick to be like "bruh, even if this isn't stolen it's obviously design lifted" for a lot of Palworld's Pals.

Add in the fact that both Microsoft and now Sony have pulled PalWorld onto their platforms… Nintendo is going to notice and get mad.

The truth is that PocketPair is an indie dev… with major AAA studios behind it now in a lot of ways. Which actually hurts PocketPair in a sense.

Nintendo tends to ignore indie stuff and has actually collabed with many indie studios before in major ways, so they aren't anti-indie.

Nintendo is OLD SCHOOL and expects a little bit of respect.

Nintendo has not taken action against pretty much any of the other true new Tiny Critter Collecting Indie IP that have popped up, a lot of them are ON Nintendo platforms and have had Nintendo feature them in directs…

But PocketPair threw rocks. Nintendo easily saw this as disrespect, but could be ignored.

What CAN'T be is the outcry from their own fanbase to "look into things" with PalWorld to see what, if anything, was lifted from Nintendo directly.

And Nintendo did. They took over a year to look into it.

This isn't Nintendo doing a knee jerk reaction, they went over things and took their time to research what PalWorld and PocketPair were doing.

Nintendo isn't stupid. They don't pick fights for no reason.

Regardless of if you LIKE Nintendo, or your feelings on a big company taking on a little company… Nintendo is very likely on the right side of business, IP, and patent law here.

Nintendo -losing- here would be, actually, really bad for small folks more than big guys in the long run.

Adding in the fact that PocketPair launched a generative Ai art game on top of all that…

This feel like, yes, Nintendo is flexing in a lot of ways but… they chose who to flex on and not to flex on -everyone-… so there seems to be a solid reason as to -why-.

Again the real take away is that IF Nintendo could have sued half of the gaming industry (as of 2017) with all the patents they have … why didn't they and WHY are they choosing to sue PocketPair/Palworld -now-?

Because that's more important than anything else.

[ilikethisacompletelynormalamount]

Andrew Scott, Vogue: April 2024.

by Zing Tsjeng, Photos by Annie Leibovitz

Ripley, in other words, is the hero of the tale. “That’s why he fascinates so many,” says Scott. “There’s been so many iterations of him. I think it’s because people root for him.” Actors like Alain Delon and Dennis Hopper have tried the role; Matt Damon played him as an obsequious, lower-class naïf; John Malkovich, as a slimy, camp killer. Scott’s Ripley is different; a watchful loner escaping rodent-infested poverty, more at home among art than he is around people. Musician and actor Johnny Flynn plays his first victim—the monied Dickie Greenleaf—and Dakota Fanning is Dickie’s suspicious ex-girlfriend. “I find Tom quite vulnerable,” Scott tells me. “I don’t think he’s necessarily lonely, but I certainly think he’s solitary…. He seems to me by his nature that he just can’t fit in. He’s trying to survive.”

In Ripley, Zaillian extracts maximum Hitchcockian dread from every creaky footstep. But most sinister of all is Scott’s face, which exhibits a sharklike steeliness throughout. It’s a performance that exudes queasy force. Is Ripley a scammer, a psychopath, or both? “There’s so many things lurking beneath him that I’ve been very reluctant to diagnose him with anything. I never thought of him as a sociopath or murderous,” Scott declares. “It’s up to everybody else to characterize him or call him whatever they want.”

As we weave through tourists near the Tower of London, barely anybody notices Scott, save for a faint glimmer of recognition among mainly young women. He seems to draw reassurance from it. “I don’t like to think about it too much, if I’m honest,” he muses of fame. “I find it a little bit, er, frightening.” He is known but not blockbuster-recognizable, although he is in the upcoming Back in Action with Cameron Diaz and Jamie Foxx. What stunts did he do? “I can’t give that away, I’m afraid, or somebody from Netflix will come and shoot me in the head.”

What’s been on Scott’s mind the most hasn’t been acting at all, in fact, but art. As a 17-year-old, he was offered his first movie role on the same day he was given a scholarship to study painting. He chose acting, but has recently been thinking about Oliver Burkeman’s philosophical self-help tract from 2021, Four Thousand Weeks, which makes the case for focusing on the five things you truly want to accomplish. “For me at the moment, it’s like, What do you want to do? What do you want to say?”

He scrolls through his phone to show me his work. There’s a watercolor of a couple arguing in a restaurant in rich reds and greens, line drawings of friends and people on the beach, and two self-portraits. “It’s a bit weird,” he acknowledges of his depiction of himself, all bulbous forehead and Pan-like tufts of hair. His brisk, nervy lines are reminiscent of Egon Schiele or Francis Bacon, who turns out to be one of his favorite painters. “Well, God, I’ll take that,” he mutters at the comparison. He would like someday to go to art school. “I don’t ever regret it,” he says of acting. “But I suppose you just get to a stage where you think, What else? That’s one of the big painful things in life for me, where you can’t quite live all the lives.” As he gets older, he feels the tug toward revisiting old working relationships, including with Waller-Bridge: “We’ve definitely got things cooking,” he smiles. “I’d love to work with her again. She’s just a singular, wonderful person.” For her part, Waller-Bridge says: “I’d love to see him do a fully unhinged slapstick comedy character. Someone who is outraged at everything, all of the time.”

As we round the pavement and the Tate Modern looms back into sight, he recalls a poster he received in 2017—a monstrously large graphic that detailed every week in a human life span. “It’s your entire life if you live to 80—you have to fill in all the bits that you’ve already lived,” he remembers in awe, “a visually terrifying gift.” What did he do with it? “I didn’t hold on to it for too long.” Easy come, easy go: We finally finish our loop around the Thames and, as Scott disappears back into the throng, anonymous just the way he likes it, it occurs to me that the actor has many lives to live yet. ■

[szynkaaa]

Left my own art, right commissioned from peacchip

ok ok I think I've vaguely figured out some of my OCs backstory for Black Myth Wukong.

She goes by the name Oz (奥兹 Àozī ) - it's not her "real" name, jsut what she prefers to be called. You can find more BMW verse info and OC fanart under the tag Cepheus Baskerville. A head's up that I've had her since 2017 and I throw her into any fandom I am obsessed with, so her backstroy gets adjusted according to my current obsession.

She is a modern OC that gets isekai'd into fantasy ancient China. Oz has met the Monkey King before as a kid, spending summer at her great-grandfather's house, and he has some random sorts of knick knacks lying around in the attic, one of them being a magic object that serves as a portal between two worlds. He was buried under the mountain by then already, she'd bring snacks and food and cake over and visit him and he'd tell her stories of the Great Sage Equal to Heaven. Also time flows differently between the two worlds, what is a day in her world sometimes it would be weeks or months or years that passes for Sun Wukong. Being the dumb 5 years old kid she is, she promises that she will save the Monkey King one day. He chuckles at the declaration and plays along with it.

And then summer ends and her great-grandfather passes away, and she grows up and forgets about the Monkey King, at this point it's just a vaguely rememebered childhood memory of an imaginary friend of a lonely girl that loved mysteries and stories about heroes and adventures. to be honest, SWK also forgets about her LOL like my guy was buried under a mountain for 500 years and he probably watched a lot of mortals growing up and passing away, she was just another one of them albeit an odd one out. Thinks she is already pushing up daisies by the time he got out under the mountain and journeys west

Fast forward to when she turns 2X years old and inherits her great-granfathers house and everything that is inside, finds said magical portal object again and what dya know, time to fullfill her promise and """save""" Sun Wukong, or help his reincarnation on his journey to obtain all artifacts.

As to why her great-grandfather has a magical object like that - maybe her ancestors were from that other world and escaped into this one through said object (probably because the Celestial Court is being a dick) and settled down and got married and had kids. Maybe there is some magic in her blood that has been dormant for centuries and with being back in fantasy ancient China, it slowly becomes active again? I can imagine that sometimes when they bump into Celestial Court members they'd be like "you seem awfully familiar your face but idk why and I don't like that feeling". probably gets called a traitor by the court a lot because of the actions of her ancestors LOL

[teamcavota]

50 milo murphy's law facts

5 not so fun and 45 fun!

Not so fun to start!

The only Milo Murphy's Law official merchandise is a notebook released in Japan for the MML X PNF crossover.

Disney actually apologized to Dan (and I assume Swampy) for the treatment of Milo Murphy's Law. Dan has expressed frustration at the MMLs treatment before, citing the Hiatus between s1 and s2 and the fact it did not air on the main Disney Channel.

Doof appears in more episodes than Cavendish and Dakota in s2 (this is the real reason we needed a s3). Also, while PNF/Doof stuff was planned from the start, Disney did push for more PNF.

When season 2 was airing, new episodes would randomly be released in other countries.

Milo was cut from CATU due to a feeling from Disney that audiences would not recognize his cameo.

ok LAME ones out of the way

On the first drawing of Milo there are three names beside it: Milo, Mikey, and...Monty. As you probably know the Mikey one got pretty far and is the name used in the pitch bible (and was referenced with "I am Mikey!".) The reason Mikey was changed to Milo was not a creative choice, but because there was a popular YouTuber named "Mikey Murphy."

Speaking of, Milo was also just going to be another character apart of a different pitch, but Dan kept thinking he should go into his own show. He went to Swampy and asked him what he thought of Milo (at the time Mikey) and the idea of a show about Murphys Law. it took them about an hour to come up with the concept pitch.

You can find several of MML song dubbings on YouTube and other platforms. Most notably the Japanese version (マイロ・マーフィーの法則) highly worth checking out. Fun fact in a fun fact, Doof and Dakota also share the same voice actor in this dubbing.

In re-airings of some of the first MML episodes, second versions were made that included Cavendish and Dakota in the background.

Yes, Melissa was originally going to feel the lasting effects of the pistachion uprising by remaining looking like one instead of Bradley having his arm turned into a vine. This would have been a source of conflict for her in season 2, but in the end they felt it was too much of a change. As far as Bradley's plant arm it was originally only going to come out sometimes before it was changed to being a constant thing. He does have feeling in this arm.

The Island of Lost Dakota's was going to include a scene with merman Dakota's ("merkotas"). There was also going to be "mutation" Dakotas, such as ones with multiple heads.

There exists a live action version of the Milo Murphy's Law theme song. well, sorta, watch it

Before Milo came out Dwampy made the song "we're gonna do it again."

MML was originally set to debut in early 2017.

Weird Al did not originally come to mind for Milo. One of the idea voices they had was Noah Z Jones (Fish Hooks). They auditioned hundreds of people for Milo, but many had issues such as sounding too nervous in their lines. It wasn't until Alex Hirsch (Gravity Falls) posted a photo with Weird Al that Dwampy realized he'd be perfect for the role.

Sara is based on a friend of Dwampy.

In tune with the popular headcanon/fan theory, it's possible they did actually consider making Cavendish a descendant of Milo. When Cavendish was going to agree he also liked Milo, he was going to say he was his descendant. *this may have also just been a joke line

Milo and Cavendish are meant to mirror eachother in the fact Milo deals with Murphy's Law and Cavendish is the "author of his own misery" in regards to things going wrong.

Another thing they considered was the possibility of Dakota and Cavendish being in a romantic relationship, but they ultimately decided they wanted them to have them represent a strong male friendship.

The Milo Murphys Law crew did keep up a fanart and concept art wall. Here, here, and here are some photos.

There was a baby Cavenpus cut from final productions.

There are no official ages for Dakota and Cavendish. Dan has said he believes Cavendish to be older, while Joshua Pruett has said he believes Dakota to be the older one and by a bit of a margin.

Pistachios came to be a thing in the show because a son of some of Dan's neighbors had been allergic to specifically pistachios. They needed an idea for the larger plot and somehow those two came together. (Swampy also notes it's a funny word).

Several of the scripts for MML storyboarders included just the words, "and Murphy's Law happened."

Dan has made at least one Vinnie Dakota dedicated Tiktok similar to his Doof ones.

The Doof and Dakota lines were recorded together, back and forth.

Melissa was going to have a hamster nemesis named Ham. In the Pitch Bible the name wasn't included, but it's explained it was a pet class hamster that would always escape and end up on her things.

The secret handshake Milo and Zack do in scream-a-tourium was intended to be longer.

The studio executive for MML originally thought The Island of Lost Dakota's was a joke idea until he read the script.

There was a MML kids menu at Disneyland circa 2016.

Dakota and Cavendish were originally not in the shows ideas, nor was any B-plot, but being used to it in PNF the writers room felt they "needed something to cut away to"

Joshua Pruett pitched for the MML x PNF crossover for where when Milo opened his backpack to pull out the thing he needed to save the world it'd be...Phineas and Ferb.

Dakota is the reason parking tickets exist, as he can be a bit careless about leaving time vehicles all over the place. Dakota is proud of this.

Melissa's likeness and name is based on Dan's daughter Meli, as to sorta "balance out" Isabella also being based on his other daughter.

They considered a twist where Bob Block would be an alien wearing a face mask.

"Cavendish Farms" is an episode that never came to be pitched by Pruett where in order to track Cavendish Dakota would try to duplicate Cavendish, though none of them would quite be Cavendish. One of the Cavendishs would have a heart to heart with Dakota, while Doof would ultimately call out Dakota for what he's doing and tell Dakota "you already know what he would do." dwampy rejected this idea because this was a bad idea, to which pruett felt that is exactly why Dakota would have tried it. if renewed, pruett would have tried to convince them more on it.

Chop Away at My Heart was originally called "Jump Jump Jump" and was made for another project by one of Dan's friends. After Dan have asked to transform it into something else for Milo, Joshua Pruett suggested a "Lumberjack themed boyband" in the script.

unfortunate split for character block limit

Dakotas voice was inspired by Elvis Costello. It's also the harder voice for Dan in comparison to Doof.

Mark Hamill originally auditioned to play a teacher on the show, but Dwampy liked his audition so much they decided he'd better fit Mr. Block.

In the MML pitch bible it is stated, "Mikey has a destiny to fulfill, something vital to the future of the planet." The goal of Cavendish and Dakota would be to make sure he stays on the right path.

There IS a full version of We're Going to the Zoo, which was played by Dan in this interview at 3:00:30. Several MML songs have had full versions leaked, implying this is probably the case for some other songs too.

Like several other characters, Sara in the MML pitch bible was different from her show counterpart, being "a hipster like Thora Butch in Ghost World."

The song "A World Without Milo" is based on the song "Happy Together" by "The Turtles"

Almost every character, including creatures or minor one-offs had a name in the script. An example is "Pia," the name of the poodle Diogee falls in love with.

In regards to when Dakota talks about cutting through the Mesozoic in First Impressions and the fact it is illogical, Dan says this is likely just Dakota being Dakota (aka, it was a mistake), and not every such line should be taken serious.

In a deleted "Snow Way Out" line it was confirmed that the raccoon in Going the Extra Milo and Fungus Among Us is recurring raccoon.

Brick and Savannah were going to have a role in the crossover.

Story ideas from the MML pitch bible that never came to include a beach episode, a Friday the 13 episode, and an episode where Cavendish and Dakota try convincing Milo to take a self defense class leading to conflict with a hidden ninja gang.

For unspecified characters (probably multiple different sets) Pruett wrote in hugs that were cut by (mostly) Dan. In response, he says he "put 4 in so at least 1 stays."

S3 would have likely included: A third Block (yes, still voiced by Mark Hamill and a Block "family meeting"), Milo creating the universe, Dakota and Cavendish getting the promotion they wanted but being unsatisfied, Elliot cleverly being connected to the overarching plot, AU exploration (akin to pnf) including an episode where Dr Zone is real, and a conclusion to the Prof Time arc. The overarching plot would have been the "biggest yet."

credits to: danvillecheese for suggestions + encouragement, cheetochild989 for facts the fact about going to the zoo and a world without milo, the 2nd dimension on YouTube, my hamsterward friends, and of course all the talented people who worked on MML :3