#art restorer peter

[shironezuninja]

Waiting for that Silver Bullet or Deadpool professional to make my REM sleep dream come to fruition. The OO is not a throne room.

[thesearenotphotographs]

De-Evolution Is Real: The Restored Films of DEVO with Gerald Casale and Mark Mothersbaugh at The Museum of Modern Art

Full gallery available on my website here.

On Saturday, January 27, 2024, The Museum of Modern Art screened restored videos from the Akron, OH band known as DEVO as a part of their “To Save and Project: The 20th MoMA International Festival of Film Preservation” series. The restoration and screening coincided with the 50th anniversary of the formation of the band.

I first discovered DEVO many years after the group was founded. They had a hit song with a single, “Whip It,” that was released the year I was born. The song would play on the radio and when I was older, I finally saw the video on MTV (or VH1) and was struck by the video. It made me laugh and I decided to check out more. I ended up purchasing a two CD compilation released in 1990: one disc was their Greatest Hits and the second disc was titled Greatest Misses. Their sense of humor was right up my alley. So was their weirdness and politics. In college, I enrolled in a class at Fordham University called “Popular Music As a Form of Communication.” One day, my professor, Anahid Kassabian, played DEVO’s cover of “(I Can’t Get Me No) Satisfaction” for the class and asked if anyone knew who the band was. I immediately knew but hesitated to answer. I looked around when I saw no other hands raised, I then put mine in the air and gave the answer, she smiled and seemed relieved that at least one young person knew the group’s music. Both of these aforementioned songs had their videos restored by Peter Conheim who was in conversation with Mark Mothersbaugh and Gerald Casale at MoMA last night.

Before the restored videos were screened, MoMA curator Josh Siegel talked about his connection with the band before introducing ex-Negativland member Conheim who worked on the restoration of these videos. The earlier ones that were shot on film were restored from the negative, but the later videos that were shot and edited on video were more difficult to upgrade, and some are still in progress. The item in the program that I was most excited to see was the live footage of the band’s first performance in New York City at Max’s Kansas City in 1977. They were introduced to the stage by David Bowie and wore extremely short shorts in this performance. It was definitely of those things that I truly wish I was alive to witness in person. When “Freedom of Choice” was shown, I realized that it was the second time in one day I saw a man on a leash (photos of the first instance are to come hopefully tomorrow). I also saw someone get spanked earlier in the day, just like in one of DEVO’s videos, too.

After the videos were shown on the large screen of Theater 1, Conheim was joined by Mothersbaugh and Casale who spoke candidly about their band. Casale appreciated that the audience laughed when a baby was thrown in the air. We also clapped excitedly after each video was shown. Casale admitted that the record executive character in a couple of their videos was based on an amalgam of people and the things he said were direct quotes. One of the questions from the audience was regarding Mothersbaugh’s commercial work and he revealed that he did a Hawaiian Punch commercial and added in a subversive message of “sugar is bad for you.”

DEVO were just at Sundance Festival for their documentary and hopefully that film, plus these restored videos become available commercially for fans to see at some point in the future. Images from the Q&A session appear in the above gallery, and many thanks to Peter Conheim for his efforts in restoring DEVO’s videos and for Gerald and Mark for taking the time to make an appearance at MoMA last night.

[blueiscoool]

Rome is Building an Eight-Story Underground Museum – But Treasures Keep Getting in the way

Rome, as it’s often said, wasn’t built in a day. And nowhere is that more evident than its state-of-the-art Metro Line C, an ambitious project meant to help relieve the Italian capital’s renowned traffic hellscape and celebrate its rich archeological history with a unique-in-the-world underground museum.

The €700 million line ($757.7 million) was originally envisioned for the Catholic Jubilee of 2000 as a vital link between Rome’s San Giovanni Cathedral and Vatican City’s St. Peter’s Basilica, making it easier for visiting pilgrims to collect indulgences by walking through the churches’ holy doors. Rome’s major basilicas open their holy doors only during Jubilee years, allowing Catholics from all over the world to make pilgrimages to the city to walk through them, symbolizing an openness to receive mercy and reconciliation.

But the 2000 dream never happened, thanks to a series of problems ranging from a corruption scandal in the city government and the sheer number of archeological objects – 40,000 in all, from petrified peach pits to pottery and vases and even the walls and mosaics of Emperor Hadrian’s 2,000-year-old military barracks – found with each shovel full of dirt during the initial preparations.

Now the hope is to have the line’s showcase Piazza Venezia stop, featuring an eight-story underground museum, ready in 10 years, according to engineer Andrea Sciotti, who is in charge of the metro museum complex. This will allow them to open around the Jubilee of 2033, which will mark 2,000 years since the death of Jesus Christ.

“It’s true, 10 years seems like a long time, but we aren’t just dealing with the engineering issues,” Sciotti said inside the construction site. “This station will be judged as the most beautiful in the world … we don’t have to rely on museum items being brought in, the museum station is in its original context in ancient Rome.”

Displayed where they were found:

During the initial phases of work carried out in the last five years, Sciotti said all of the artifacts were removed from the site for restoration. Each will be placed exactly where it was found inside the metro museum, which is being dug some 85 meters (280 feet) deep, encompassing eight stories below the modern city of Rome.

Over the millennia the modern city has been built over covered ruins. Only around 10% of ancient Rome has been excavated, with the rest still buried some nine meters (30 feet) below the current city, according to Rome’s tourist bureau. The city dates back to the stone age and construction work is notoriously hampered by the discovery of ruins that are too plentiful to even excavate and are often reburied to preserve them. Even simple infrastructure work, like sewage repairs, have to be attended by archeologists who have the power to stop the work if something is found.

There will be 27 escalators, six elevators and 66,000 square meters of archeological exhibit space. Ancient walls found during excavations will be placed “in situ” in the modern station and the ancient Via Flaminia that ran through the ancient city to the nearby Roman Forum and Colosseum.

The station’s three main entrances will connect the three museums around the square: the Vittoriano, the Palazzo Venezia and the outdoor ruins of the Roman Forum anchored by the Colosseum at the far end, which has its own metro station that will also feature museum and exhibit space.

Several of the archeological sites will have access points from inside the metro museum, meaning commuters and tourists alike can exit the station by rambling through historically significant ruins like Hadrian’s Auditorium, which was discovered when the initial archeological investigation into the project started and was meant to be the location of the station entrance. Since then, they moved the site and excavated the ruins, which are currently only visible looking down from street level.

‘Top down’ excavation system:

To secure the site as they dig, engineers are using a “top down” excavation system, which has never been used in Italy but was an integral part of the Jubilee line in London. Cross walls and diaphragms are being buried deep into the soil to form the perimeter of the underground complex, with the dirt taken out recycled and enhanced to be used in the building materials, Sciotti said.

The train tunnels themselves are not the issue since they will be more than 100 feet below ground.

The Venezia station museum stop is not the only treasure on the new line. In 2016, archeologists working on the site of the Porta Metronia (previously known as the Ambra Aradam) station found a 39-room complex that spanned more than 9,700 square feet that has been incorporated into the underground station, which will open by the end of 2024. In 2025, the new Colosseo-Fori station, complete with a four-level underground museum to showcase artifacts including 25 archaic wells unearthed when it was built, will also open after activation tests, meant to begin in October, are completed.

The entire 26-kilometer C-line will be Italy’s first fully automated driver-less subway system and will reduce road traffic by 400,000 vehicles a day, meaning CO2 emissions will be reduced by some 310,000 tonnes a year, according to the WeBuild group, which is the main contractor for the project.

The original plans from the 2000 Jubilee have been modified to eliminate several stations in the historical center that would have simply been too difficult to excavate.

By Barbie Nadeau.

[otrtbs]

okay thinking about the secret art history au fic idea i've had again and like yeah.

pandora taking them all out into the woods and taking a bite out of a raw deer heart for a performance art piece (james being absolutely horrified)

james running into regulus on day one who says "cubitum eamus?" instantly and james is like "??????"

peter turning up dead after betraying the art history group bc duh

marlene mckinnon breaking into a professor's art show and slashing all his paintings with a meat cleaver

all of the group meeting at sirius and regulus' elaborately decorated apartment the night before exams because it's a tradition to study doing drunk flashcards (they all show up to tests hungover except for dorcas and peter who never seem affected no matter how much they drink)

barty being a nepo baby and by being a descendant of michael knoedler and having a lavish country house everyone visits to drink whiskey out of tea cups and hold seances to talk to dead artists

the group running a little shop of forgeries that mary swears is just for practice at being an art restorationist but ,,, some of the fakes keep conveniently going missing

james staying over the winter break in a freezing vermont apartment with no heating before regulus shows up on his doorstep like 'come stay w me'

the group in charge of identifying 17th century prints for a project and sabotaging each other because the winner curates the university's next art show

lily taking james to a burger king parking lot to do cocaine after he starts spiraling about peter's death

instead of a bacchanal there's a heist challenge (most expensive work stolen wins) and people wind up in JAIL but regulus and sirius use their bajillion dollars to bail them out

pandora volunteering at a hospital to watch patients die so she can depict the changeover from life to death better in her artworks

their exams being all-intensive spot the forgery, restore this artwork, bring in a miniature of a gallery space u designed with artworks and an explanation of ur curatorial process

[itsloriel]

Art by Peter Bauer

via Restoring Balance

[brokehorrorfan]

Demolition Man will be released on 4K Ultra HD and Blu-ray on December 17 via Arrow Video. Laurie Greasley designed a new cover for the 1993 sci-fi action film; the original artwork is on the reverse side.

Marco Brambilla directs from a script by Daniel Waters, Robert Reneau, and Peter M. Lenkov. Sylvester Stallone, Wesley Snipes, Sandra Bullock, and Nigel Hawthorne star.

The film has been newly restored in 4K from the original 35mm camera negative, approved by Brambilla, with Dolby Vision. Both the the domestic "Taco Bell" and international "Pizza Hut" versions are included via seamless branching.

Special features and limited edition contents are listed below, where you can also see more of the packaging.

Special features:

Audio commentary by director Marco Brambilla and screenwriter Daniel Waters (new)

Audio commentary by film historian Mike White of the Projection Booth podcast (new)

Audio commentary by Marco Brambilla and producer Joel Silver

Interview with production designer David L. Snyder (new)

Interview with stunt coordinator Charles Percini (new)

Interview with special make-up effects artist Chris Biggs (new)

Interview with body effects set coordinator Jeff Farley(new)

Somewhere Over the Rambo - Visual essay by film scholar Josh Nelson (new)

Theatrical trailer

Image gallery

Also included:

60-page book featuring new writing by film critics Clem Bastow, William Bibbiani, Priscilla Page, and Martyn Pedler

Double-sided fold-out poster with original and new art by Laurie Greasley

6 art cards

Three Seashells and Edgar Friendly Graffiti stickers

In 2032, arch criminal Simon Phoenix (Wesley Snipes) awakens from a 35-year deep freeze in CryoPrison to find a world where crime is almost non-existent – a serene utopia ripe for the taking. With the police no longer equipped to deal with his 90s-style brutality, they revive ‘Demolition Man’ Sgt. John Spartan (Sylvester Stallone), the no-holds-barred police officer unjustly sentenced to CryoPrison who originally took Phoenix down. Old-school cop against old-school criminal, settling their scores on the streets of San Angeles? The future won’t know what’s hit it.

Pre-order Demolition Man.

[gale-gentlepenguin]

Gale Reviews: Deadpool & Wolverine

(Thanks @knightsweeties for the GP Wolverine art)

Now I happen to be a fan of the merc with the mouth. And so when I found out there would be a 3rd movie I was hyped. When I found out Disney was producing it … less hyped. Mainly because Disney has been hit or miss with superhero movies after Endgame.

But having watched it, And letting my bias die down I can tell you exactly how I feel about this as a movie.

For this review I will be covering the following.

The Plot,

The characters

The “Meta”

The Choreography

The Lesson

Final thoughts.

____________________________________________

The Plot

When it comes to Deadpool, plots are meant to be simple in order to allow for all the shenanigans. Deadpool and Wolverine is a movie that sounds like it will be complicated but is actually surprisingly straight forward.

Wade/Deadpool finds himself in a funk after his shenanigans in the previous movie and failing to join the avengers.

But despite that, he still has a good amount of people in his life. And they celebrate his birthday.

Suddenly the TVA (Time variance authority) appears and pulls him in. Where Paradox tells him he’s being pulled into the main timeline. Deadpool is hyped because it means he gets to be a hero again!

But he finds out that his timeline is dying because the “Anchor being” is dead. Turns out it’s the Wolverine from the Logan movie. And because of this Paradox decides instead of waiting for that timeline to decay he would use a timeripper to destroy it. (A literal time bomb)

Deadpool then goes to try and revive Wolverine. Which he digs up his corpse, and TVA agents appear. (This is the actual start of the film) Deadpool uses Logan’s corpse to kill the TVA agents.

Deadpool then starts traveling the multiverse for different Wolverines (each one beating the s*** out of Wade) before finding the Wolverine that would accompany him for the rest of the movie.

He returns to the TVA to find out that he picked up the Worst Wolverine and that this isn’t how Anchor beings work.

The duo gets tossed into the void. Where they are supposed to get eaten by the Alioth. (Deadpool points out what episode of the show it’s from.) Deadpool and Wolverine meet a bunch of characters thrown into the void (all from 20th century Fox movies) where they eventually meet the main Villain Cassandra nova, Professor Xavier’s twin sister that was removed from the timeline as a baby because she was dangerous.

The duo barely escape and travel to find the “Resistance” in order to fight Cassandra and escape the void.

There they meet Electra, Blade, Gambit (from the unaired tv show), and X-23. The one from Logan.

They eventually go back to fight Cassandra and after a failed assassination attempt on her life by Pyro who was hired by the TVA. DP and Wolverine manage to get back to DP’s Timeline.

Unfortunately Cassandra Also shows up because she is salty with Paradox and decides to use the time ripper to give herself the power to destroy every timeline

Deadpool and Wolverine end up fighting an army of Deadpool variants before being saved by Peter.

They stop the Time ripper with the power of friendship and because of that Cassandra Nova gets ripped apart and Paradox gets arrested by the TVA’s Hunter B-15.

Deadpool gets his timeline restored. Wolverine ends up becoming part of DP’s friend group and it ends with Deadpool reconciling with Vanessa.

Overall it sounds complicated but the movie always does a decent job explaining anything that the viewer would be confused by without slowing down the movie pace. It fits very inline with the Deadpool movie plot lines. Though some scenes did drag on and some things felt like padding. It was a solid plot.

8/10

__________________________________________

The Characters

Deadpool: Ryan Reynolds does arguably his best performance of DP in this movie. I felt like the balance of plot and parody was in top form. There was never a scene where I said “Deadpool wouldn’t do that.” Solid performance and is the most fitting actor for the hero they are portraying. 10/10

Wolverine: Hugh Jackman is the best at what he does and he plays most of the Wolverine variants. His performance as Wolverine in this is second only to his performance in Logan. I love the reveal that this was X man Origins Wolverine. Turning one of my least favorite movies into something I can enjoy. 9/10

Cassandra nova: Emma Corrine’s performance of Xavier’s crazy sister is solid. I love how absolutely vile she is. She is vicious, petty, unhinged and manipulative. You understand why SHE is a threat. And her unhinged mannerisms explain why she doesn’t just kill people right away. She loves to toy with them. But the best part is, her plan is a reaction. If paradox had left her alone, she wouldn’t have even bothered leaving the Void. I love that part. It’s very Maleficent of her. 8/10

Mr.Paradox: he is exactly what you would expect, a disgruntled employee that thinks he knows better than everyone else. He’s slimey, cowardly and thinks he’s smarter than he is. His name also fitting how much of a contradiction he is. He claims he’s doing what’s best for the TVA, yet is going behind their back to do his plan. And his ending scene is *chef’s kiss*. 8/10

The Resistance: Blade, Elektra, X-23, and Gambit are all phenomenal characters. The way they play off of Wade and Wolverine is some solid banter. Though the break out for me was Channing tatum’s gambit. But all of them had their moments. 9/10

Deadpool Corps: From Dogpool to Headpool.I loved each variant of Deadpool. I even liked Nicepool who had the funniest death. Lady Deadpool being portrayed by Blake Lively. And baby pool and kidpool being portrayed by Blake and Ryan’s kids. Lovely. Though Peggy’s performance as Dogpool was AWE-inspiring! Stealing every scene she was in. I think the DP variants were in all the scenes they needed to be in. Not over used. 9/10

Blind Al: Leslie Uggams gives another amazing performance. Top tier and the best character in the movie. Just as important to the Deadpool franchise as Deadpool and Peter. 10/10

Peter: Rob Delaney crushing his role as Peter. He is used the perfect amount. No notes. 10/10

Overall the rest of the supporting cast and cameos were all solid and the casting could not be better.

9/10

__________________________________________

The “Meta”

Deadpool is no stranger to 4th wall breaks. But this is the first movie where the Meta is such a huge part of the plot. The references and used assets of previous movies and shows make up 90% of the movie. Now I want to say that this isn’t distracting… but it kind of is. It makes the film just feel like a 2+ hour 4th wall break. And for some people, that can be jarring.

For me, I enjoyed it and I was expecting it. But to those going in expecting a typical marvel movie. It’s not that.

That being said I like how even if you didn’t know about the properties you can get enough of an explanation to follow what’s going on. I haven’t been keeping up with everything marvel so there were some things I didn’t know. The movie rewards you the more you watched the things it references, but it rarely penalizes your enjoyment if you don’t.

Overall I thought the Meta was fine but a few tweaks could have made it better.

7/10

______________________________________

The Choreography.

This is the best fight scenes I’ve seen in the franchise.

All the fights have interesting gimmicks or styles that it never feels repetitive. It always has something new, gives great drama and suspense. And the fight in the Toyota is one of the most fun fights in marvel.

And that opening sequence maybe my favorite in the franchise.

And that Climax (I almost cried)

Absolutely no notes

10/10

____________________________________________

The lesson

I know how shocking this sounds, but yes, this does have a lesson. It actually has 2 lessons.

The first we learn from Deadpool. That purpose does not need to be grand. To be a hero you only need to protect those you love, cherish your world and you will never falter. Or simply put. Realizing how much one Matters.

The second lesson is Wolverine, that mistakes and failures do not need to define us. We can change, we can grow, we can be better. Redemption, or in a way the opposite of Wade’s issue. The past doesn’t need to matter if you focus on the future.

Both lessons are shown by both characters (especially in the climax) such a solid character growth for both characters. (And the matter and Antimatter convergence)

8/10

_________________________________________

Final thoughts

The movie for me is an 8.5/10

I loved the movie for what it is. It is a bit clunky at some points. But the heart of the characters is there. The movie has a soul, something I felt was lacking from Marvel since endgame. The movie jokes that it’s the marvel messiah. I also think they made the joke in bad taste (disrespecting the man upstairs)

Though if they do believe that this movie could save marvel, I honestly can’t say it’s true. But I can say it’s my favorite marvel movie post endgame. Just barely beating out No way home.

[sirfrogsworth]

Peter McKinnon did a video with a photographer named Garrett King. And he just went on a very long rant about lazy photographers who use Photoshop and "fixing it in post."

He continues... "You can't do that in film. You can't just make a bad decision and say "Oh, I'll fix it in post." (Not true. There was plenty of editing in dark rooms in the past. And now you can scan a film photo and literally manipulate it like a digital photo.) Fix it in post drives me nuts. That statement is so played out. It drives me nuts that people say that. Cuz dude, I don't work that way."

He also says that choosing film is the "hard path" and keeps talking about how lazy photographers who photoshop are.

I love film photography. I have an old Minolta that my mom gave me that I hope to restore and use someday.

But film photographers drive *me* nuts sometimes.

IT'S NOT A COMPETITION!

BOTH THINGS ARE COOL!

This idea that their way of making art is more valid or authentic than my way of making art is just a continuation of an old school mentality that really needs to die. There are still some photographers who will bully people because they use autofocus or aperture priority mode.

I actually think learning to be really good at Photoshop is much more challenging than learning to be good at photography. Sure, there are fields like photographic microscopy and product photography that require years to master, but I've been learning Photoshop for 20 years and I feel like I have barely scratched the surface of what is possible.

I have seen people with near 0 experience take an amazing picture.

I have seen people who barely know how their camera works take consistently good photos. It's the "using only power chords" version of photography.

But I have never seen someone with 0 experience photoshop something artistically impressive.

When people say "that looks Photoshopped" as if that is an insult, it really breaks my heart. Photoshop was a huge reason for my success. My ability to lay in bed and make funny things was essential to building my blog.

My post on Karl Taylor's Clinque photoshoot had so many comments saying his work "looked photoshopped" and it was a little frustrating.

Firstly because he actually sculpts with light and isn't actually very good at Photoshop. When he takes a picture, it pretty much looks like that from the start. The rest is just minor compositing work and blemish removal.

And secondly, because that kind of product photography predates Photoshop. Karl was doing this when Photoshop was just a baby.

In fact, still life photography was inspired by Dutch paintings of fruit and shit.

They were all, "I cannot stand sitting with another yappy model for days on end. I'm sick of people. I'm just going to paint *stuff* but with really amazing lighting."

But it is also frustrating because there is this mentality that digital tools are lesser. As if digital artists just press a few buttons and cheat-code their way into good images.

It's the same mentality people have about CGI. CG artists are the modern day sculpturists. They do the same thing as Michaelangelo or Rodin, just with different tools and in a different medium. Oh, but they also animate their sculptures in thousands of frames in multiple dynamic lighting environments all while maintaining photorealism.

To me, Thanos is just as artistically impressive as the statue of David or The Thinker.

Blair Bunting is a very talented photographer who mixes incredible photographic technique and lighting with his amazing photo manipulation skills.

And while these photos may not be as "authentic" as that film photographer's picture of a dude sitting on a truck...

I can assure you no laziness was involved in Blair's process.

Also, I really didn't want to bring up disability. But it is really difficult for me to do the physical process of photography. Sometimes I do not have the energy to get the perfect "in camera" exposure. Sometimes I won't even check my settings and I will snap a picture knowing that I can make it cool with editing. I just look at the histogram, make sure the data I need is there, and do the rest on my computer.

During my adventure to photograph a bridge in Alton, I was only able to take 6 photos. Usually I will take hundreds in a session. My fatigue got the better of me and I nearly had to go to the hospital after walking up a hill. (I was having a bad day. I'm better now.) I didn't get the photos I wanted to get. And on the way down that hill, as I was out of breath, I pulled out my phone and tried to snap a pic of something cool I saw in front of me. The phone had been set 2 stops underexposed from a previous shot and so the picture was pretty much all in shadow. And because I was walking super slow, I had just missed the sun over the horizon.

But it's a RAW file. And I knew I could probably do something with it. I could "fix it in post." Not because I was being lazy. Mostly because I was trying not to hyperventilate. Apparently, my body can't handle slight inclines any longer.

And this is what I came up with.

I'm not saying this is an amazing photo. And it would have been really cool if I hadn't missed the sun. But this is what my eyes saw as I came down the hill and I was able to recreate that with digital tools.

I think that is pretty cool.

[traumacatholic]

I was told there is a 50% chance I'll need a root canal that I just can't afford. I don't know how much more stress and humiliation I can take. prayers appreciated greatly.

I'm really sorry to hear this. It would also be worth looking into local and national charities and seeing if there's any that exist that can offer financial aid / support for dental treatments that are outside of your budget. I would imagine that there would be some support and advice for people in your position. Please also do consider reaching out to your local Church (or local Churches) and seeing if there's any kind of support and guidance they can provide. They might be able to signpost you to some kind of support, but at the very least having their prayers also can be of some great comfort and support.

I'm going to put some prayers under the readmore, that you might find to be of help

Prayers for all sick people

O Lord Almighty, healer of our souls and bodies, Who putteth down and raiseth up, Who chastiseth and health also; now, in Thy great mercy, visit our brothers and sisters who are sick. Stretch forth Thy hand that is full of healing and health, and raise them up, and cure them of their illness. Put away from them the spirit of disease and of every malady, pain and fever to which they are bound. And if they have sins and transgressions, grant to them remission and forgiveness, for Thou lovest humankind. Yea, O Lord my God, have pity on Thy creation, through the compassions of Thine only-begotten Son, together with Thine all-holy, good, and life-creating Spirit, with whom Thou art blessed, both now and ever, and to ages of ages.

Prayers for yourself in sickness

O Lord Jesus Christ our Saviour, the Physician of our souls and bodies, Who didst become Man and suffer death on the Cross for our salvation, and through Thy tender love and compassion didst heal all manner of sickness and affliction: do Thou, O Lord, visit me in my suffering, and grant me grace and strength to bear this sickness with which I am afflicted, with Christian patience and submission to Thy will, trusting in Thy lovingkindness and tender mercy. Bless, I pray Thee, the means used for my recovery, and those who administer them. I know, O Lord, that I justly deserve any punishment Thou mayest inflict upon me, for I have so often offended Thee and sinned against Thee in thought, word, and deed. Therefore, I humbly pray to Thee, look upon my weakness, and deal not with me according to my sins, but according to the multitude of Thy mercies. Have compassion on me, and let mercy and justice meet; and deliver me from the sickness and suffering I am undergoing. Grant that my sickness may be the means of my true repentance and amendment of my life according to Thy will, that I may spend the rest of my days in Thy love and fear; that my soul, being helped by Thy grace and sanctified by Thy holy mysteries, may be prepared for its transition to the eternal life and there, in the company of Thy blessed saints, may praise and glorify Thee with Thy Eternal Father and Life-giving Spirit. Amen.

* * *

O Holy Father, heavenly Physician of the body and soul, Who hast sent Thine Only-begotten Son, our Lord Jesus Christ, to heal ailments and deliver us from death; do Thou heal me, Thy servant, of all suffering, and restore me to health by the grace of Thy Divine Son, through the intercessions of our Most Holy Queen Ever-virgin Mary, the Mother of God, and all the saints. For Thou art the Fountain of all cure, O Lord, and we give thanks to Thee, the Father, the Son, and the Holy Spirit, now and forever, and unto ages of ages. Amen.

Prayer for Protection

O Lord, Thou who steadied the hand of Peter as he began to sink on the stormy sea, if Thou are with me, no one is against me. Grant to me the shield of faith and the mighty armor of the Holy Spirit to protect me and guide me to do Thy will. The future I put into Thy hands, O Lord, and I follow Thee to a life in Christ. Amen

Prayers for Oneself in Time of Need

Almighty God, the Father of mercies and God of all comfort, come to my help and deliver me from this difficulty that besets me. I believe Lord, that all trials of life are under Your care and that all things work for the good of those who love You. Take away from me fear, anxiety and distress. Help me to face and endure my difficulty with faith, courage and wisdom.

Grant that this trial may bring me closer to You for You are my rock and refuge, my comfort and hope, my delight and joy. I trust in Your love and compassion. In the name of the Father, Son, and Holy Spirit. Amen.

Prayer for Oneself in Times of Sickness

O Lord, Healer of our bodies and souls, visit me with Your loving-kindness and stretch forth Your hand of healing. Raise me up from this bed of sickness, and heal me of all disease, pain, and fever that is binding me. We bless and honour You, our most holy Father, gracious Son, and life-creating Spirit, both now and forever. Amen. Almighty God and Father of our Lord Jesus Christ, because You love mankind, pity Your creation. Your only-begotten Son taught us that not even the smallest sparrow falls to the ground without Your knowledge. We pray to You for Your servant [name here], for the healing of body and soul. Calm me with confidence in the fullness of Your love. To You belongs all our praise and worship, to the Father, Son, and Holy Spirit, unto ages of ages. Amen.

Prayer to St. Spyridon of Trimythus

O most blessed hierarch Spyridon, thou great Saint of Christ and glorious wonder-worker!

Standing in heaven before the throne of God with choirs of Angels, look down with a compassionate eye upon the people gathered here (names may be added) and asking thy powerful help.

Entreat the merciful kindness of God Who loveth mankind, that He judge us not according to our iniquities, but rather act towards us according to His mercy.

Ask for us of Christ our God, a peaceful and serene life, health of soul and body, a fruitful earth, and in all things abundance and prosperity; that we turn not unto evil the good things bestowed upon us by our generous God, but rather unto His glory and the praise of thine intercession.

Deliver us, who with unswerving faith approach God, from all ills, whether spiritual or physical; from all discouragements and diabolical snares.

Be a consoler unto those in sorrow, a healer of the infirm, a helper of those in troubles, a coverer of the naked, a defender of widows, a protector of orphans, a nourisher of infants, a strengthener of the aged, a guide unto travellers, a compass to those that sail, and pray for all that seek thy mighty intercession, that they may receive all that is profitable unto their salvation: so that, taught and kept by thy prayers, we may attain eternal rest and together with thee glorify God, Who is One in the Holy Trinity, the Father, and the Son, and the Holy Spirit, now and ever, and unto ages of ages.

Prayer to Saint Nicholas the Wonderworker

Hierarch and father, O most holy Nicholas, thou extraordinary Saint of the Lord, our loving defender and ready helper in sorrows everywhere: help us sinners and hapless ones in the present life: entreat the Lord God to grant us remission of all of our sins, that we have committed from our youth and all our life, by deed, word, though and all our senses; and in the passing of our souls, help us wretched ones; entreat the Lord God and Maker of all creation, to deliver us from trials in the air and eternal torment: that we may alway glorify the Father, and the Son, and the Holy Spirit, and thy merciful intercession, now and ever, and unto ages of ages. Amen.

Prayer in Time of Trouble 

O God, our help and assistance Who is just and merciful, and Who hears the supplications of Your people, look down upon me.  Have mercy upon me and deliver me from the trouble that besets me.  Deal not with me after my sins, but according to Your bountiful mercies, for I am the work of Your hands and You know my weakness. Grant me, I beseech You, Your divine helping grace, and endow me with patience and strength to endure my tribulations with complete submission to Your Will.  You know my misery and suffering and to You, my only hope and refuge, I flee for relief and comfort.  Trusting in Your infinite love and compassion, I know that in due time, when You know best, You will deliver me from this trouble and turn my distress into comfort.  I shall rejoice in Your mercy and exalt and praise Your Holy Name, of Father, Son, and Holy Spirit, forever.  Amen.

[jboy44]

Spider demon girl au.

All the spider-man x morrigan art had me thinking.

What if morrigan found out about one more day were Peter's marriage and daughter mayday are erased?

As whe lived for thrills and likes spiderman she would probably go after the demon to undo it.

Yet because Mj is with Paul, morrigan can restore the marriage but can bring mayback.

Thanks to this mayday parker is restored to the timeline but as morrigan and Peter's daughter.

This leads to problems as both succubus and spider work to protect their new kid.

[maxiemumdamage]

So this turned into basically all of my immediate reactions, I will say more in depth when I have time which may not be until June:

It’s occurring to me now how devastating even thinking he lost Weiss must’ve been for Whitley.

Sooo Winter handling her grief VERY well, honestly I am a little worried for her

TEAM CFVY FUCK YEAH COCO AND CO

Oh yeah, the refugees from Atlas would’ve just drawn a ton of Grimm towards Vacuo. I’m sure that was great for relations with a country that already colonized them and was now a massive burden on the economy.

Like Oscar straight up used the world Colonization we are NOT hiding it

People flinching at Nora’s scars noooooo

Oscar saying he wishes he could borrow Ruby’s certainty when we KNOW she’s never certain and just tries to put on a brave face

Even just in outline Shade academy is SO cool

Ren just immediately peeking up at the sight of Nora made me so happy, and seeing him visibly bury his emotions for the sake of supporting her (because he can see she’s doing the same) made me much sadder

Mercury tries so hard to act all scary and evil but he clearly looks miserable with Tyrian

“No Place for Royalty” is the Crown coming back? I thought for sure that the novel plots would be self contained!

I realized after a minute that MEH was Marrow, Elm, and Harriet, but I LAUGHED MY ASS OFF when I first saw that label

(Also Qrow being grouped with the Happy Huntresses…?)

PETER PORT BACK AGAIN??? DR. OOBLECK???

I guess if Salem is going North to South it makes sense to trample Vale all over again on the way from Atlas to Vacuo, but also, HAVEN’T THEY BEEN THROUGH ENOUGH????

Qrow and Willow recovering alcoholics together!

Marrow and Fiona’s uncle!

I loved Qrow’s little speech about how small kindnesses are often all it takes to restore your faith. Even when you can’t make a huge difference, doing something good, however small, will end up helping someone.

Also he’s still wearing Clover’s pin!

Robyn and Qrow friendship HECK YES

The Ruby mural!!!! The quiet little faith in her! The ironclad belief she has made a difference!

I didn’t think the portal was Ruby and co at first, I thought it Raven showing up while Qrow was brooding alone and it made me laugh

But Raven did show up, which then made me feel confused

I realize the idea was one unified kingdom against Salem but uh. Mistral is still fine isn't it?

THIS WILL BE THE DAY MY BELOVED

They even added concept art!

Real question: how did the Ruby muralist know what her boots look like? She was only visible from waist up in the broadcast!

[whencyclopedia]

Interview: Pre-Raphaelites: Modern Renaissance

Pre-Raphaelites: Modern Renaissance marks the first multidisciplinary exhibition in Italy to examine the profound impact of Italian Renaissance art on the Pre-Raphaelite movement, which flourished in Victorian and Edwardian Britain (c. 1840-1920).

Displayed throughout the hallowed halls of the San Domenico Museum, a restored 13th-century Dominican convent in Forlì, Italy, are over 300 works of art, which juxtapose and highlight the revolutionary creativity and intensity of two important artistic eras. In this exclusive interview, James Blake Wiener speaks to Mr. Peter Trippi, a co-curator of the exhibition and an expert of Victorian art, about the exhibition.

JBW: Peter, thanks so much for speaking to me and introducing us to a most gorgeous exhibition.

I have always seen the Pre-Raphaelite artists as rebels and innovators. Their rejection of Victorian complacency and industrial materialism, as reflected in their works, shocked segments of the British public. Looking to the distant past to find a more natural vision, Pre-Raphaelite artists embraced that which was ordinary while still applying innovation to technique and treatment of form in novel ways.

What was it that made the revolt of the Pre-Raphaelite Brotherhood so enduring and yet so profound in its immediate impact?

PT: The earliest paintings exhibited by members of the Pre-Raphaelite Brotherhood electrified their contemporaries in the late 1840s and early 1850s for several reasons. Visually, they were completely out of step with everything around them at London's crowded major exhibitions: their brilliant coloring stood out from the drab browns and greys used by most artists at the time; their draftsmanship and paint handling was precise rather than "sloshy" (the term they used to criticize their older colleagues); their compositions were willfully naïve and sometimes even jarring, ignoring the polite post-Raphaelite conventions that the Royal Academy promoted; and they were depicting narratives that were unexpectedly high-minded (such as the Annunciation to the Virgin Mary) or gruesomely passionate (such as the run-up and aftermath of Lorenzo's murder in John Keats's Romantic poem Isabella and the Pot of Basil). Viewers could see these were young men with talent and something fresh to say, but they were not quite sure what to do with it. It was not until 1851, when the prestigious critic John Ruskin came to their defense, that the British public began to accept these innovations.

The continuing power of those innovations was demonstrated in 1986 when I was sitting in an art history lecture hall at the University of St. Andrews in Scotland. As an American exchange student, I had never even heard of the Pre-Raphaelites (who were little known in the U.S. then). But I sat up straight in my chair as their brilliantly colored, oddly composed, and often erotic images came up on the screen. 175 years after its launch, the Pre-Raphaelite Brotherhood's power to fascinate is still evident. Once they start, people cannot stop looking.

JBW: Highlights on display within the exhibition include celebrated paintings and drawings by the great Italian masters, including Botticelli, Lippi, Verrocchio, Michelangelo, Veronese, Titian, and even Guido Reni. These are juxtaposed with major works by British artists including Dante Gabriel Rossetti, John Everett Millais, William Holman Hunt, John Ruskin, and J. W. Waterhouse, among others. The pairing of Renaissance Italian antecedents with Pre-Raphaelite masterpieces affords visitors a rare opportunity to compare and contrast across time and space.

What new perspectives can the visitor learn with regard to Pre-Raphaelites as a result of this exciting pairing?

PT: The exhibition at Forlí has a light touch; it is almost poetic in the way it allows the Italian Old Masters and their British admirers to converse with each other in the same rooms, without striving to show direct influences or replications. A great example is the large room of Dante Gabriel Rossetti's mature paintings, most of which show women in bust-length portrait formats, as if sitting at a window. These images (of such sitters as Jane Morris and Fanny Cornforth) have become famous around the world, but never before have we seen them hanging side by side, literally interspersed, with the Madonnas, Florentine noblewomen, and Venetian courtesans to which Rossetti was responding. It is only in an art-rich country like Italy that a museum can make this case so visibly. In the UK, for example, there simply are not enough of the Italian prototypes available to lend them to a show about 19th-century British art. My co-curator Liz Prettejohn and I knew that this opportunity might never come again and so we pounced on it. Once visitors leave that Rossetti room, they will never see his famous woman-at-the-window the same way; suddenly her backstory has become clear.

JBW: Aside from paintings and drawings, sculptures, prints and photographs, to furniture, ceramics, glass, metalwork, tapestries, wallpaper, illustrated books, and jewelry are also displayed within Pre-Raphaelites: Modern Renaissance.

Many Pre-Raphaelites artists believed that the way art was produced could shape wider cultural values. Is this reflected within the exhibition, and if so, how?

PT: Our curatorial team was eager to show how the Pre-Raphaelites' innovative ideas about the power and romance of Italian Renaissance art were transmitted not only through "fine art" (paintings, sculptures, drawings, and prints) but also through the applied (decorative) arts. We invited Dr. Charlotte Gere, the London-based scholar of decorative arts, to join the team, and she selected most of those artworks, primarily from the Victoria and Albert Museum, Fitzwilliam Museum, and British Museum, but also from other UK collections. One of her aims was to show that the "second generation" of Pre-Raphaelites – especially Edward Burne-Jones and William Morris – were determined to bring their aesthetic into immersive environments ranging from churches to the dining rooms at the Victoria and Albert Museum. They also made objects in every possible medium that individuals could buy and live with, often on the expensive side, but not always. By 1870, their worldview had morphed into the Aesthetic Movement (the so-called Cult of Beauty), which impacted every aspect of visual culture in the UK and, by extension, its empire and the United States. The most dramatic examples of immersive decoration in our show are the huge Holy Grail tapestries designed in the 1890s by Edward Burne-Jones and hand-woven by William Morris's team for a wealthy collector's baronial hall near London.

JBW: Pre-Raphaelites: Modern Renaissance additionally explores the important and often overlooked contributions made by accomplished female artists to the Pre-Raphaelite movement.

What can you tell us about these Victorian talents, and how are they differentiated from their male colleagues within the show?

PT: We are pleased to have 15 women artists represented in our exhibition through 26 different works. In order of appearance, they are Elizabeth Siddal, Christina Rossetti, Maria Rossetti, Eliza Jameson Strutt, Evelyn De Morgan, Christiana Jane Herringham, Constance Phillott, Maria Cassavetti Zambaco, Marie Spartali Stillman, Julia Margaret Cameron, Beatrice Parsons, Marianne Stokes, Phoebe Anna Traquair, Eleanor Fortescue-Brickdale, and May Cooksey. Over the past quarter-century, scholars have proven that women were fully involved in the Pre-Raphaelite movement as it evolved over time, but usually, their stories have been ignored or even erased by subsequent generations. That injustice is certainly not unique to art history, but it is time to rectify it, and we were delighted that so many relevant loans were approved.

Some of these women have been thoroughly studied (such as Dante Gabriel Rossetti's wife and collaborator, Elizabeth Siddal) while others still need to be investigated (such as the enigmatic May Cooksey). We have scattered them throughout the show rather than placing them in a female "ghetto," and we are especially proud to have six major examples of mature work by Evelyn De Morgan. Her parents wanted her to marry a rich man and start a family, but with the help of her artist-uncle J. R. Spencer Stanhope (also in our show), she pursued formal artistic training and ultimately exhibited her large symbolist canvases at London's prestigious Grosvenor Gallery right alongside starry male colleagues like Edward Burne-Jones. I would argue that she surpassed her uncle in quality and ambition.

JBW: I was intrigued to learn that over time, the Pre-Raphaelites and their admirers shifted their attention to other periods in Italian art, including 16th-century Venetian art.

Could you tell us more about this transfer in focus, and how that is revealed within the exhibition?

PT: Because the period we are studying is so long (1840s through 1920s), it is inevitable that the British artists would shift in their predilections for Italian art. In the beginning, the Pre-Raphaelite Brothers had little original Italian art to study in person in London, so they consulted prints and illustrated books. One of their heroes was Fra Angelico, not only for his seemingly naïve compositions and handling (naïve as compared with Raphael) but also because he was a monk – a man of faith who expressed his devotion through art, something the Brothers felt was lacking in British art of the 1840s. Our co-curator Cristina Acidini (former head of the Museums of Florence) selected a superb Angelico, which is now displayed at one end of the huge church that serves as our exhibition's first gallery. At the other end, she has placed Botticelli's famous Pallas and the Centaur so that they face each other. This is a brilliant and quite poetic juxtaposition; back in 1848, when the Brotherhood launched, no one was talking about Botticelli at all. By the 1870s – thanks in large measure to British scholars and collectors getting interested in him – Botticelli was all the rage and was particularly influential on Edward Burne-Jones, whose Holy Grail tapestries are shown just beyond Pallas and the Centaur.

We have many moments of transition like this throughout the show. The gallery devoted to Frederic Leighton is a key example, with its insertion of Lotto, Veronese, and Reni – a disparate trio of heroes! Again, such a loan list could only happen in an art-rich country like Italy. No British or American museum could deliver these prototypes in such quantity or quality.

JBW: One can say that the convent, itself, is another star of the show.

How was it chosen as the venue for Pre-Raphaelites: Modern Renaissance, and why is it the perfect venue to showcase Pre-Raphaelite and Renaissance masterpieces?

PT: It was only in 2021 that director Dr. Gianfranco Brunelli conceived this theme as a logical extension of the series of superb loan exhibitions he has been mounting at the Museo San Domenico. (Most of them have focused on Italian and Continental art, including specific masters and themes such as Mary Magdalene. This is the first one to encompass British art.) He brought in Cristina Acidini (see above) and Francesco Parisi (an independent scholar based in Rome) and then Liz Prettejohn and me. In 2022, we began requesting loans from museums and individuals around the world, and by February 2024, we were opening the show! That is a comparatively quick development process, and I think one reason it worked so well is that many lenders were intrigued by the idea of their British-made, Italian-inspired artworks being shown in Italy to modern Italian audiences.

This theme has previously been tackled in a few exhibitions (e.g., London, San Francisco), but with only a few Renaissance prototypes on view – never so many as we have now. Moreover, the fact that the Museo San Domenico is a renovated medieval monastery adds visual power and meaning to the visitor experience; this is especially notable in the former refectory now devoted to Edward Burne-Jones. In many of his paintings we see scrolling foliage that he borrowed from Renaissance art, and painted on the ceiling above in the Middle Ages are those same scrolling forms. The outer walls are lined with Burne-Jones's art, while the middle of the room features major prototypes by such forerunners as Bellini, Mantegna, and Michelangelo.

JBW: Many readers may agree with me that the Pre-Raphaelite artists remain so compelling because of the exuberance, naturalism, and luminosity found in their works. The Pre-Raphaelites' love affair with the art of the Italian Renaissance allowed them to drive innovation within artistic creation.

What then is the legacy of the Pre-Raphaelites? Moreover, why do you believe visitors come to see this exhibition?

PT: I think that many museums today underestimate the ability of visitors to connect the visual dots for themselves. We are often "spoon-fed" curatorial arguments because our own grasp of art history is slim, and that is OK because it is better to do this than appear exclusive or intimidating. In Italy, however, all young children in public and private elementary schools are taught art history and studio art (and this continues right through high school). And, of course, they are literally surrounded by Italian Renaissance art, which they see not only inside churches and museums but also in public spaces such as piazzas. This means that the visitors in Forlí (95% of whom are Italian) are already familiar with the Italian Renaissance art on view, and therefore eager to learn about the British artists who revered it and adapted it to their own ends.

The response we are getting (through the Italian media and conversations occurring inside the exhibition galleries) is one of surprise (e.g., "How did we not know about these terrific British artists before?") and also of mutual respect: this show is about a profound love and admiration that British artists felt for Italy, and in the final room we even show examples of how late 19th-century Italian artists integrated British approaches into their own work.

We hope that all our visitors will choose to learn more (perhaps by visiting major collections of Pre-Raphaelite art at venues like Tate Britain and the Birmingham Museum & Art Gallery), and ultimately see how imagery and ideas travel across eras and places that are seemingly disparate. Artists play a special role in society by transcending superficial boundaries and looking – really looking – at their colleagues' creations with respect and insight.

Art made by Italians at the end of the nineteenth century

JBW: Peter, on behalf of World History Encyclopedia, I thank you so much for sharing your knowledge with us! I thank you so much for your time, consideration, and expertise. PT: Thank you for taking the time to ask these important questions!

Pre-Raphaelites: Modern Renaissance remains on display, at the San Domenico Museum Piazza Guido da Montefeltro, in Forlì, Italy, until June 30, 2024.

Peter Trippi is editor-in-chief of Fine Art Connoisseur, the national magazine that serves collectors of contemporary and historical realist art, and president of Projects in 19th-Century Art, a firm he established to pursue research, writing, and curating opportunities. Based in New York City, Peter recently completed a six-year term as president of the Foundation for Advancement in Conservation, which supports and raises awareness of the American Institute for Conservation, the country's leading society of conservation and preservation professionals. Peter previously directed the Dahesh Museum of Art (New York City), headed development teams at the Brooklyn Museum and Baltimore Museum of Art, and has created (with Prof. Liz Prettejohn, University of York) international touring exhibitions and publications devoted to the 19th-century British painters J.W. Waterhouse and Lawrence Alma-Tadema. Their latest curatorial project, the exhibition Pre-Raphaelites: Modern Renaissance, is on view in Forlí (near Bologna, Italy) through June 30. It is accompanied by a 600-page catalogue in Italian.

Continue reading...

[artthatgivesmefeelings]

William Adolphe Bouguereau (French, 1825-1905) Le Jour des morts, 1859 Musée des Beaux-Arts de Bordeaux "And after you have suffered a little while, the God of all grace, who has called you to his eternal glory in Christ, will himself restore, confirm, strengthen, and establish you" (1 Peter 5:10). "For I consider that the sufferings of this present time are not worth comparing with the glory that is to be revealed to us" (Romans 8:18). - The Bible

[scienceninjaturtle]

ULTIMATES #1

Written by DENIZ CAMP

Art by JUAN FRIGERI

Cover by DIKE RUAN

Following blockbuster series launches with Ultimate Spider-Man, Ultimate Black Panther, and Ultimate X-Men, the highly anticipated next title in Marvel’s new Ultimate Universe arrives this June—the ULTIMATES!

Directly spinning out of the very foundation for the new Ultimate line—Jonathan Hickman and Stefano Caselli’s Ultimate Universe #1—ULTIMATES will be written by Deniz Camp, known for his thought-provoking and socially relevant work on titles like Children of the Vault and 20th Century Men, and drawn by rising superstar Juan Frigeri, known for his acclaimed work on Invincible Iron Man. The series will introduce the all-new super hero team that will usher in the next chapter of bold storytelling within the new Ultimate Universe.

Months ago, Tony Stark sent Peter Parker a radioactive spider to set him back on the course to become Spider-Man. Since then, Iron Lad (Stark), Captain America, Doom, Thor and Sif have begun to do the same for other lost heroes, building a network of super-powered heroes hungry for change… Now they must band together to destroy the Maker’s Council and restore freedom and free will to a world ruled from the shadows!

[brokehorrorfan]

Repo Man will be released on 4K Ultra HD + Blu-ray on September 3 via The Criterion Collection. Jay Shaw and Tyler Stout illustrated the cover art for the 1984 sci-fi comedy.

Writer-director Alex Cox (Sid and Nancy) makes his feature debut. Harry Dean Stanton and Emilio Estevez star with Tracey Walter, Olivia Barash, Sy Richardson, Vonetta McGee, Fox Harris, and Dick Rude.

Repo Man has been newly restored in 4K, approved by Cox, with Dolby Vision HDR and uncompressed monaural sound. Special features are listed below, where you can also see more of the packaging.

Special features:

Audio commentary by writer-director Alex Cox, actors Sy Richardson, Zander Schloss, and Del Zamora, executive producer Michael Nesmith, and casting director Victoria Thomas

Interviews with musicians Iggy Pop and Keith Morris and actors Dick Rude, Olivia Barash, and Miguel Sandoval

Deleted scenes

Roundtable discussion with Alex Cox, Sy Richardson, Dick Rude, Del Zamora, and producers Peter McCarthy and Jonathan Wacks

Conversation between Peter McCarthy and actor Harry Dean Stanton

"Cleaned up" TV version of the film

Trailers

Booklet with an essay by critic Sam McPheeters, an illustrated production history by Cox, and a 1987 interview with real-life repo man Mark Lewis

A weathered repo man (Harry Dean Stanton) in a desolate Los Angeles takes a nihilistic middle-class punk (Emilio Estevez) under his wing. The job becomes more than either of them bargained for when they get involved in repossessing a mysterious—and otherworldly—Chevy Malibu with a hefty reward attached to it.

Pre-order Repo Man.

[rascalentertainments]

✨Wish Fan Art Prompt Idea✨

All right, so I'm really loving all the fan art I'm seeing from the Wish fandom, especially featuring Starboy and Asha! I've seen him crossover with Jack Frost, which a great idea! However, I thought of two other crossover potential ideas with him. Here me out:

Puss in Boots 🐱 & Starboy 🌟

Since "The Last Wish" was such a fantastic film that did a great job on its themes, especially with Puss' quest to restore his lives. And the original version of Wish was really inspired by it, I think Puss finding Starboy and seeing a Star come to life could be fun! You could even add in Kitty and Perrito for good measure. (Plus, Starboy gave me Puss in Boots vibes with his black cape, boots and original dynamic with Asha!)

And second:

Peter Pan ✨

HE WAS THE WHOLE INSPIRATION FOR HIS ORIGINAL DESIGN AND CHARACTER, HELLO?? Plus the original Peter Pan movie 71st anniversary is this month, so why not have two magic Disney boys meet?

That's just something I thought I'd give ideas to help inspire fellow artists on here! Please keep up your incredible artwork, rewrites, animations and whatever else you create! 😎 ✌