#arty gets productive

[artyfae]

help me choose some art stuff

im making prints as a part of an apprenticeship im working on this semester, and my professor suggested they be fanart so they'd sell better... anyways choose for me plz

[artemispanthar]

Silent Hill games ranked by me

Silent Hill: Shattered Memories

Silent Hill 3

Silent Hill 2

Silent Hill 4: The Room

Silent Hill 1

P. T.

Silent Hill Origins

Silent Hill Downpour

Silent Hill Homecoming

Silent Hill: Book of Memories

[pixel3603]

I NEED IOS 15 TO GET TUMBLR UPDATES NOW FUCK APPLE FR

[chlmtsdoll]

i need some obsessed love sick art with reader…yummyyyyyy <3

Girl yessss. Writing this kinda reminded me of that one lyric from The Bolter by Taylor that’s like “taming a bear, making him care” idk I thought it was sweettt 🫶🏽🫶🏽 love sick Art is my fave

Fluff ! With a little bit of my size kink added 😉

To the world he was an icon. A star. The undefeated Art Donaldson. But away from the court, tour life, all the eyes, he was insurmountably tender. The sweetest as they come, overly caring and cub-like if you will, all for you.

When it had been just the two of you, nothing could take his mind a drift from being as close as possible. And that was as literal as it could be. He was on you whenever and wherever. It didn’t matter. Being their to swaddle you in a warm towel right after a bath, being the first person he ran to after a torment, kissing on your neck even as you read a chapter of your book before bed.

He loved picking you up. Tossing you over his shoulder, carrying you like a baby, whenever he could. Even with his gentle touch to everything and sensitive approach to most situations — it was obvious Art was physically a big guy. And you were in fact the ironic smaller girlfriend to his side, “look at your little toes.” He would chuckle to himself as you perfectly fit snug in his hold when the two of you would cuddle. He also would purposely use the excuse of him being much bigger to lay himself slightly on your lap so you couldn’t escape his hugs or when he’d kiss on your knees and thighs all sweet and cloying. It made you go crazy.

It was quite daunting the man could have had you so love struck by his cling to you when you’d always been the reserved type. Never too good with overtly being in your lovers space, or craving that contact with them every minute of the day — but with Art it was just different. He entranced you. With his sweet gestures and bashful doting eyes you couldn’t help yourself. He was your kind, warm hearted Art.

He loved watching you get ready, leaning on the counter top or lounging on the bed as he observed you from the bedroom while you did your makeup or hair. He was a girls guy after all. Always wanting to know the products you used and how you would do the styles he liked the most.

“Is this okay ?” Art questioned as he touched your locks, hardly, as if it would break if he clamped down too hard on the curling iron when you were showing him how to curl your hair for the first time, your giggle coming from where you sit between his legs.

“It’s fine, your doing great.” Your voice was encouraging, but that only got so far to the man who was a natural over achiever. He just wanted to do it right, impress you. You could tell from the way he looked in the mirror ahead of you, so serious as he pulled his lip underneath his tongue and he twirled your hair in a manner as best as he could. But quickly getting slightly upset when the curl hadn’t been as tight as the ones you showed him prior.

“You make it look so easy, baby… I don’t know how you do it.” His pouty voice matched the one on his lips, which was probably the most adorable thing to you really, you smiled fondly as you patted his hand as he frowned upon his work of your hair.

“You’re learning, with practice comes perfection, Artie.” Your voice was soft with him, and he liked that. Leaning down to leave a sweet peck to your cheeks that warmed up on instant at your blush from the man’s tender touch. He made you feel so loved — occupying all of his free time away from his career to love on you. He couldn’t get enough. He truly was obsessed with you.

Other times when you two would be watching a movie (or more like the movie had been watching you). You’d fallen into Arts trap to really lure you into making out with him, somehow always ending up on his lap as your thumbs caressed the skin of his soft cheek as you smooched and nibbled at his lip. Art groaned into every kiss you laid on him, letting you take control of the way his mouth moved with you. Hands going over your hips, he wanted to feel your angel like skin. Confessing in between kisses “wanna lock you down so bad.” And you’d giggle into the kisses before there had been a knock on your hotel room door.

Pulling away from the blonde as he groaned, “I’ll get it, lover boy.” You joked with a soft grin before getting up from his lap, but Art only lounged after your presence as he held on to your arm with greed not to let you up.

“No, no, no. I’ll miss you too much, princess.” Art whined as he stayed put relaxed against the pillows of the bed.

“I ordered take out for us, baby. I’ll only be a second,” you responded with a soft chuckle at the way his eyes watched your figure, following up the sight of his tongue darting out to lick over his lips at the plain sight of your adorable little bloomers.

“Fine.” The man sighed out and you gave him a sympathetic smile before turning on your heels to grab the food — but not to your much surprise, Art had followed right behind you. Turning around to notice him towering in coyness as he stuffed his hands in his pockets only to walk behind you as you scoffed at his needy response to loosing you for a quick second.

“What??” You laughed.

“I told you I’d miss you too much,”

You rolled you eyes as you opened the door to greet the delivery person and almost immediately after handing you the bags, they notice Art behind your figure, standing hunched against the wall with his attention proudly on you. There was a colossal gasps when they’d really examined who the tennis player was as you’d already known to be prepared by now. “Art Donaldson!” They screeched before you shut the door kindly with a cheeky smile.

“Bye!” was all you noted before locking the door and It was soft chuckles coming from the blonde as you narrowed your eyes at him with a grin before folding your arms. “Was it really worth giving them a near heart attack just to watch me walk down the hall ?”

“Yes. I don’t like being apart from you for too long, sweets.” Art shrugged before his lips curled up into a grin as he reached behind you to squeeze your ass just a bit. “And the sight of this can’t be missed.”

You swatted his hands away playfully even though you would of attacked him with more smooches if your food hadn’t been getting cold. Art smiled and took the bag from you to only catch your lips in a kiss anyways, and your flush grew as you couldn’t help but laugh at the ridiculousness, yet sweetness that Art naturally was in his quality time with you always. Even if it boarded on quite obsessive. <3

[muzaktomyears]

When Lennon's anxiety about having lost contact with reality became alarming, he would bring himself back to earth by a simple expedient: "When it gets too bad," he told his biographer, "I have to see the others." The value of the Beatles to him at such moments was that they were "someone else like me." In other words, the Beatles embodied the identity that John Lennon was always losing. But their own identity was by no means simple. Consider how various were the ways in which the public perceived the Beatles. Initially everyone saw the Fab Four as one man repeated four times. Soon, however, this perception was superseded by the vision of the Beatles as four different men wearing the same costume, which is how they were seen by the typical fan, who then identified with his favorite Beatle. The more sophisticated Beatle watchers, however, had yet another take on the group: they saw the Beatles as one man with four different faces. This was an idea that appealed to the Beatles themselves, but it raises a basic question: who was that man? The best clue is provided by the finest description ever written of the Beatles as a collective identity. According to British Pop critic Nik Cohn, the most remarkable thing about them was their self-sufficiency, which was the product of their perfect complementation, each Beatle interlocking with and counterbalancing the other like the works in a Swiss watch. "Lennon was the brutal one," Cohn observed, "McCartney was the pretty one, Ringo Starr was the lovable one, Harrison was the balancer. And if Lennon was tactless, McCartney was a natural diplomat. And if Harrison seemed dim, Lennon was very clever. And if Starr was clownish, Harrison was almost sombre. And if McCartney was arty, Starr was basic. Round and round in circles... and it all made for a comforting sense of completeness." Exactly.

The Lives of John Lennon, Albert Goldman (1988)

[nikrouz]

"Muse with Aquamarine Scales" (Full Comic) 28-page long self contained comic about a bird who started seeing flying fish

Oops, reached the limit of images per post with the last page. Guess i'll have to add Afterword in text form: Been a while since I've done something in comic form. So yeah, initially "Muse" started out as a self-proposed challenge to do a short comic story within 2 weeks of production. Not 2 weeks straight, just a total of 2 weeks' worth of free days, majority of which I could spend on it. And as far as writing and storyboarding got, I didn't really have much problem with that, finishing up both at around a week. I already sketched down character designs and had a story structure ready from the conceptual step of the process. But as I moved on to sketching, I slowed down my work on it paradoxically enough 'cause i didn't want to waste any free days I had when I felt like I wouldn't do much progress with, so those days wouldn't count to the arbitrary 2 weeks limit I gave myself. The limit being my way of trying to handle my perfectionism issues, going with more concept-arty quality than properly cleaned arts. And even then, in the end I ended up having some specific parts cleaned up, such as the final page. Easy to say that I failed my challenge in terms of the rules I gave myself, firstly I extended production time to 3 and then 4 weeks and around week 3 when I was around halfway into finishing the comic, I lost count of how many days I've given to the production of it. And don't get me wrong, I'm glad I gave more time and attention to a story which I was interested to write for a while now, had this idea for years. Don't think I've ever been as excited when finishing work on a comic before. This was an enjoyable rest from the exhaustive production of ELoNR's second chapter. Thanks for giving it a read. Hope I'll still be around to do more Started work: Somewhere near the start of 2024 Finished: 7th of July 2024 Proofreaders: Rudra and Joshua C. Pipkins

[animebw]

You know, summer usually ends up being the most barren anime season of the year.

That is definitely not the case this time.

MUST-WATCH

Mayonaka Punch: The director of Ya Boi Kongming is back with a show about lesbian vampire Youtubers. Need I say more?

Days With My Stepsister: Don't be fooled by the title: this is actually a very contemplative, serene series exploring the complexities of family. The stuff it's doing with light and shadow has my brain on fire.

Monogatari Series OFF and Monster Season: The ultimate problematic fave is back, and it's just as spectacular as ever.

The Elusive Samurai: Dear lord, this is the most beautiful thing I've ever set my eyes on.

Too Many Losing Heroines: Screwball comedy at its finest. The first episode had me cackling from start to finish.

Shoshimin Series: When a show manages to gut-punch me with strawberry tarts in the very first episode, I know it's operating on another level.

RUNNERS-UP

Oshi no Ko Season 2: god dammit why is this show actually good now

My Deer Friend Nokotan: Shikanoko nokonoko noshikankan shikanoko nokonoko noshikankan shikanoko nokon

Twilight Out of Focus: Always down for more good BL, though be warned it dives headfirst into themes of abuse and pedophilia, so come in prepared.

Senpai is an Otokonoko: Really with the production was better on this was cause the trans narrative at its core is so fucking good so far.

Bye Bye Earth: Thank the gods for classic anime fantasy.

Arti- My Dear Moments: An actual good Key adaptation in this day and age? I never thought the day would come again...

WORTH A LOOK

Narenare: Cheer For You: Incredibly vapid first episode, though the art direction is unique enough I'll probably stick with it a little longer to see if it gets better.

Sakuna: Of Rice and Ruin: This would be an easy recommend in a less packed season, but if you must let one good show slip through the cracks, make it this one.

ON THIN ICE

Tower of God Season 2: I'm willing to give it another shot, we'll see how long that lasts.

The Magical Girl and Evil Lieutenant Used to be Arch Enemies: The story behind this anime's existence is way more interesting than the anime itself.

Suicide Squad Isekai: Tappei Nagatsuki, my guy, what are you even doing?

[mercifullymad]

In capitalist political economies, illness is seen as a drag on productivity. Frequent or prolonged illness is often seen as disqualifying or devaluing an individual's labor power. There is a rush to be over with ill health and get back to work as quickly as possible. Rest is scarce, and all treatment under health-capitalism is rationed along class lines. The ways we encounter medicine reflect this dynamic: care is designed around billable encounters, acute care is the most easily accessible, and our cultural imaginary frames disease as something which is episodic. The provisioning of medical care and the social determinants of health have been based on a system of triage that attempts to devote maximum care resources to those most able to contribute productively to the economy.

Health Communism by Beatrice Adler-Bolton and Artie Vierkant

[torchlitinthedesert]

Kenneth Tynan and the Beatles

Shout out to @mmgth for noticing Beatle mentions in the letters of Kenneth Tynan - including working with John Lennon, Paul's 1960s reputation, and glimpses of the breakup. (Alas, no George or Ringo.)

Tynan was a drama critic and later worked with Laurence Olivier at Britain's National Theatre. Philip Norman calls him "the most rigorous cultural commentator of his age": he championed working class plays in the 1950s, supported progressive art (and was widely believed to be the first person to say "fuck" on British television). So he's an interesting perspective: well connected, arty, eager for cultural change, but from an older generation, and outside the immediate rock/pop world.

The first mention is 1966, when Tynan is already working at the National Theatre.

28 September 1966

Dear Mr McCartney,

Playing 'Eleanor Rigby' last night for about the 500th time, I decided to write and tell you how terribly sad I was to hear that you had decided not to do As You Like It for us. There are four or five tracks on 'Revolver' that are as memorable as any English songs of this century - and the maddening thing is that they are all in exactly the right mood for As You like It. Apart from 'E. Rigby' I am thinking particularly of 'For No One' and 'Here, There and Everywhere'. (Incidentally, 'Tomorrow Never Knows' is the best musical evocation of L.S.D. I have ever heard).

To come to the point: won't you reconsider? John Dexter [theatre director] doesn't know I'm writing this - it's pure impulse on the part of a fan. We don't need you as a gimmick because we don't need publicity: we need you simply because you are the best composer of that kind of song in England. If Purcell were alive, we would probably ask him, but it would be a close thing. Anyway, forgive me for being a pest, but do please think it over."

Paul replied that he couldn't do the music because, hilariously, "I don't really like words by Shakespeare" - he sat waiting for a "clear light" but nothing happened. He ended, "Maybe I could write the National Theatre Stomp sometime! Or the ballad of Larry O."

It's interesting that Tynan approaches Paul individually - because they had theatre connections in common? Or did Tynan assume that John wrote the words and Paul the music, so Paul's the guy to ask for settings of Shakespeare lyrics? (Though he does correctly identify Paul songs in his letter, plus the musical setting of Tomorrow Never Knows, so he might just be asking because he's a Paul girl. He also wants Paul to know that he's cool and hip and has done acid.)

Tynan definitely is a Paul girl. On 7 November that year, he pitched possible articles (I think for Playboy). He offers articles on the War Crimes Tribunal (set up by Bertrand Russell on the US in Vietnam), an interview with Marlene Dietrich, or:

"Interview with Paul McCartney - to me, by far the most interesting of the Beatles, and certainly the musical genius of the group."

It's a reminder of how drastically Paul's reputation changed, between cultural commentators of the 1960s and post-breakup.

Tynan didn't get his Paul interview, but he worked twice with John.

On 5 February 1968, he's sorting out practical details for the National Theatre's company manager about about the stage adapation of John's book In His Own Write (which had already had a preview performance in 1967). It's a very Beatle-y affair:

Victor Spinetti and John Lennon will need the services of George Martin, the Beatles A & R man to prepare a sound tape to accompany the Lennon play. Martin did this tape as a favour for the Sunday night production, but something more elaborate will be required when the show enters the rep, and I feel he should be approached on a professional basis as Sound Consultant, or some similar title. I have written to him to find out if he is ready to help and will let you know as soon as he replies.

...John Lennon says that as far as his own contract is concerned, we should deal directly with him at NEMS rather than his publisher.

So John prefers to work within the Beatle structure: George Martin, Victor Spinetti, plus NEMS, rather than pursuing closer ties with his book publisher.

On 16 April 1968, Tynan writes to John about his ideas for a wanking sketch.

Dear John L,

Welcome back. You know that idea of yours for my erotic revue - the masturbation contest? Could you possibly be bothered to jot it down on paper? I am trying to get the whole script in written form as soon as possible.

John's reply is very John:

"you know the idea, four fellows wanking - giving each other images - descriptions - it should be ad-libbed anyway - they should even really wank which would be great..."

Oh John.

Tynan still wanted to interview Paul - and was noticing changes in Beatle dynamics. On 3 September 1968, Tynan pitched another feature on Paul, this time for the New Yorker:

In addition to pieces on theatre, I'd love to try my hand at a profile (I remember long ago we vaguely discussed Paul McCartney though John Lennon is rather more accessible)...

Accessible because Tynan had already worked with him, or because John was already flexing his PR muscles? The New Yorker was interested, because Tynan follows up on 14 October 1968:

4. A few days in the life of Paul McCartney (which we agreed should come at the end of the series of articles, because of the current overexposure of the Beatles.)

Why does he see the Beatles as "overexposed" in autumn 1968, when he hadn't in 1966? Was it the Apple launch? The JohnandYoko press campaign? The cumulative impact of a lot of Beatle news?

Tynan was still trying on 17 September 1969:

...I'd like to go on to either Mr Pinter [playwright Harold Pinter] or Paul McCartney... I incline towards McCartney who has isolated himself more and more in the past from the other Beatles and indeed from the public: he seems to have reached an impasse that might be worth exploring. On the other hand Pinter is a much closer friend and would be more accessible to intimate scrutiny."

I'm fascinated by this - that Paul's isolation was visible to those outside the Beatles circle (the letter is dated three days before the meeting of 20 September 1969, where John said he wanted a divorce).

But Tynan was right about Paul being inaccessible. On 5 January 1970:

I'm saddened to have to tell you that Paul McCartney doesn't want to be written about at the moment - at least, not by me. I gather that for some time now the Beatles have been moving more and more in separate directions. Paul went to a recording session for a new single last Sunday which was apparently the first Beatles activity in which he'd engaged for nearly nine months. He doesn't know quite where his future lies, and above all he doesn't want to be under observation while he decides.

So while Paul "doesn't want to be under observation", he's surprisingly open about the breakup - less blunt than "the Beatle thing is over", which he told Life in November 1969, but still frank.

Trying to persuade Paul to open up to "intimate scrutiny" in 1969 does suggest another reason why 1970s interviewers adored John. Tynan works for an older, more established press, but he's offering the kind of profile John would make his own - discussing his inner life and personal/artistic conflicts with cultural commentator who respects him as an artist. And Paul can't run away fast enough. As a journalist, you'd absolutely go for the guy who makes himself accessible and is eager to bare his soul, over Mr Doesn't Want To Be Written About At The Moment.

[scrumptiouskoalahottub]

Sidelines | Arthur Hill Fluff (slight smut)

Tour has started and you're locking your flat you share with Arthur for the last time for the next month, you're nervous but excited to see your boyfriend perform to lots of his fans. You burst with pride for him, you're nervous to be watching him at the side, not many fans have seen you appear nor have you posted much of your private life, although you've been together for 7 months.

It's 6am, your alarm wakes you up from your sleep, it's tour day number 1. "Good morning baby" you say softly as Arthur stirs himself awake "happy first tour day" you say as you snuggle up to his chest. "Morning beautiful" he says as he rests his head on top of yours "I'm nervous y/n" your heart sinks as you sit yourself up and looking at him reassuringly "what for baby? You're going to smash it, everyone's excited and I'm beyond proud of you" he sits up to align himself next to you as you grab his hand gently "I don't know, maybe it's because they're bigger venues or because I don't know how it'll pan out" your eyebrows furrow as you heart breaks a little, you hold out your arms and let him fall into your chest. "Don't be worried darling, we're all behind you. You've nothing to worry about, I love you" you plant a kiss onto his forehead "shall we go make some breakfast and steady your nerves?" You ask. "5 more minutes, I'm enjoying this" he mumbles, you laugh and place another kiss onto his head as you allow him some extra time in bed.

You both finally arise for your bedroom and make your way into the kitchen, you grab some bread and make some slices of toast with "dippy eggs" for you and Arthur, you finish your breakfast and get dressed into a comfy travelling outfit consisting of joggers and one over Arthur's t-shirts, you both check you've got everything and not forgetting anything before you lock your flat up for the next month. "Ready baby?" You ask Arthur. "With you by my side? I'll always be ready" he sends you a small smile. You wheel your suitcases out of your flat, lock your door and make your way to the Uber. You're meeting up with Arthur's production/tour team before hand to make arrangements. You arrive at the production studio and the nerves set in, Arthur paces and starts to get stressed. You leave him to settle as you take all your luggage onto the "tour bus" you have for the month, you make your way to the top deck and you see the bed you're going to be sharing. It all feels real now.

It's 5hours til showtime and you're finishing the final pieces of his first set list, you're sat on the bed listening to him warm up and practise, you sit in awe of your boyfriend. He catches you smiling, "what's that look for?" He says "I'm so bloody proud of you, you know that? You never cease to amaze me Artie and I can't wait to see you from the sidelines" you start to tear up, eyes form tears and you say those words "I have you to thank for that, you push me to my limits and make me believe I can do all this, you really are the best thing that's happened to me y/n, I love you so much" he walks over to you and lays next to you. You stare at eachother for a while and share a soft but intimate kiss before Arthur's called to get ready for his meet and greet.

You join Arthur backstage after his meet and greet and your heart races, he looks amazing. His hair done but small pieces running ragged, his full set outfit just everything about his sets your heart in to overload, he looks up and sees you're studying him as you're lose for words "cat got your tongue?" He chuckles "you look amazing" you manage to say "so do you" he says gripping your waist "I have a spare 30 minutes of you wanna help with my stage nerves?" He hints to you "absolutely" you giggle. You both make your way to his dressing room as you lock the door behind you. He plants a kiss on your lips gently, not to ruin your makeup he lifts you up onto the desk as he runs his fingers up the seam of your dress, you tangle your hands in his hair as you tug at his trousers, he gives into your desperation eager to let out a little bit of stress from earlier as you share more intimate kisses, some more deeper than others. The rest follows along like pieces to the perfect puzzle.

"Did that settle your nerves?" You smirk, a little out of breath "definitely baby, Thankyou" just as he says that you hear a knock at the door, 10 minutes to spare til showtime and you both make your way out. Arthur goes to get his mic and sound buds as you make your way to the sidelines of the stage. Suddenly the lights dim and you hear dead in the disco start to play he walks out from the other side of the stage and shoots you a smile before starting his set "WOOO!" You shout in sync with the crowd, your face beaming with joy. You feel so complete and at ease with how things have panned out for Arthur. Tears form in your eyes once again as you shed a tear of happiness for him. Suddenly Arthur pauses after his first song and talks to the crowd

"Just before I play my next song, there's someone I would like to make a special mention to, someone who has been my rock, not only today but for the last 7 months she-" the crowd screams as he says the word she, they go wild at the thought of Arthur having a girlfriend he'd never mentioned before, he chuckles down the mic "right, I guess it's time to fetch her out, y/n would you finally introduce your self" he holds his hand out as you make your way up the stairs to the stage, tears streaming down your face as you make your way over to Arthur, you wave at everyone as you hug him on stage, he passes you the mic "hi guys! It's so nice to finally be able to let out the truth about our relationship, excuse the tear stains on my face, I've been very emotional today as you can imagine, I want to Thankyou all on my behalf for coming tonight and supporting my little Artie on his journey through this life. You'll never know how much it means to us to experience this, enough of my blabbing I hope you all enjoy the rest of the set!" You blow a kiss to the crowd as you hug Arthur once more and give him a kiss "I love you baby and thankyou" he says as you smile whilst walking back to the sideline. Life feels complete.

-

🫶🏻

[artyfae]

by god when will the horrors end (i've been scrolling on linkedin)

[ficretus]

How V4 Tyrian fight actually went

Ruby: This whole plan to stop Pyrrha's murderer is fine and all, but you know what I need?

Jaune: Cookies?

Ruby: No, I need blood to sate my hunger.

Nora: LETS GOOOOOOOOOOOOOO!

Ren: Nora, not so loud. You are scaring that man over there. *points to Tyrian*

Tyrian: Greeting travelers, can I help you somehow?

Ruby: Oh don't worry, you can. Give us blood donation.

Tyrian: Blood donation? I'm not sure I have necessary equipment. I can call Mistrali hospital if you nee...

Ruby: Oh don't worry, we need ALL OF YOUR BLOOD! MUAHAHAHHAHAHA! *pulls out Crescent Rose*

Nora: Tonight we dine scorpion soup! *pulls out Magnihild*

Ren: Nora that's gross.

Jaune: We are gonna kick your ass so hard you are gonna think you are still in SDC mine! *pulls out Crocea Mors*

Ren: Wo wo wo Jaune, that's definitely not appropriate.

Tyrian: I don't know what brought this up, but I'm scared. I... I... I'm gonna have to defend myself.

Ren: Timeout folks. I know we are all secretly evil, but we cannot attack random people we run into. Besides...

*Tyrian pulls out a pepper spray*

Ruby: HE HAS A WEAPON!

Ren: Get his ass!

*5 minutes later*

Tyrian: Please, stop attacking me. I'm pretty sure this is a hate crime.

Ruby: Oh don't worry, it's not a hate crime, I enjoy doing this.

Nora: Time to tenderize meat! *slams Tyrian with hammer*

Tyrian: Ouch, my head! Someone is coming! Help! Bunch of unhinged teens attacked me for no reason! Help!

*Qrow walks up*

Qrow: *unintelligible drunk noises*

Tyrian: What?

*Qrow punches Tyrian*

Tyrian: Ouch! Now even drunken hobo is assaulting me! I need to run!

Qrow: *unintelligible drunk noises*

Ren: He is running away!

Nora: That's my dinner!

Jaune: Don't let him report us to authorities! We need to pretend we are good guys for at least few more volumes.

Ruby: Don't worry team, I got this. *cuts off Tyrian's tail*

Nora: Woohoo, we did it.

Ruby: Nice job team.

Jaune: Ruby, Qrow passed out.

Ruby: Alcohol poisoning, typical. Just call an ambulance, they'll fix him.

*end credits roll*

Jaune: What the hell did I just watch?

Oscar: I never imagined Ruby was this hardcore.

Weiss: Pretty sure this counts as slander. Who even made this movie?

DIRECTED BY: Sally M

WRITTEN BY: Tony Callous, Cindy Falkner

EDITED BY: Artie Watson

PRODUCTION COMPANY: Rude Studios

STARRING: ...

Jaune: Of course...

Weiss: I am calling my lawyers.

[that-left-turn]

Re: Norman’s influence, Kirsten Acuna observed he was one of a group of actors given too much creative control over their series. Norman blocked her for that. I have seen screenshots circulating on Twitter. Sorry but you are minimizing his impact on the storyline.

I understand that people have strong feelings on Norman. He's definitely had an impact on the storyline, if for no other reason than that he complained endlessly during the last couple of seasons of TWD, which resulted in Angela Kang getting booted all while Gimple interfered with S11. (Probably because AMC wanted Norman's reps to stop calling them with said complaints.) His reps negotiated solo top billing and the title change for him, so yes, Norman's had a big negative impact. Daryl Dixon is a means to getting other work, not a passion project.

The claim I'm objecting to is that Norman has a veto or final approval, that he sits in the writers' room breaking the story. Those things are not true. Zabel was most likely hired because he's pretentious, which lines up with Norman's notion of what's arty or cultured—he thought S1 showcased France while Clémence rightfully called it "all the clichés," and Zabel attempted to write Daryl as the brooding hero. Instead of shoehorning preexisting characters into his original story, he should've done his research on those characters and their audience/fanbase. His ideas of what makes a great show aren't any better than Norman's, but all four horsemen of the post-apocalypse think they're making high-brow art and don't need to keep the audience in mind.

Acuna is an entertainment reporter. She doesn't work in the industry and she doesn't have an inside view of what goes on in this particular production. Her observation isn't wrong per se, but I think fans put their own spin on her words to fit the narrative they've created for themselves. Norman blocked her because she said something uncomplimentary and he's a thin-skinned, middle-aged white man. It doesn't mean he sat up at night mapping out all the character arcs on the whiteboard in his basement. He isn't innocent. He's done plenty of unethical things, but Norman isn't plotting the show and he doesn't have final approval of its content.

With better leadership, who knows how to keep Norman in check, the show can change for the better.

[spaceorphan18]

What is a plot line you wish the Glee writers had added for Kurt, and for Blaine?

Hmmm, interesting question, nonny! :)

I think there are some general things that would have been neat to see...

How about a beach episode? Glee never really did summer related things, which is a shame. I feel like it was always eternally winter at McKinley.

I would have liked to have seen a better alternative Christmas episode if they were really forced into doing one for Season 5. Like, c'mon, go bonkers wild with it. PUC just.... well, I think most of you know how I feel about it.

How was there never an episode that takes place all in one night where they're all up for whatever reason.

I get production stuff limited things, but the school felt claustrophobic after a while -- outside of going to New York and back, there weren't road trips, or just things that happened outside.

Send Klaine and Brittana on a double date - that would have been fun. Or, I mean, just put them them on anything together, and it would have been interesting.

I think, in general, Glee had a tendency to stick to dynamics and pairings that they thought worked well, and missed opportunities to wild and crazy things. What's a Mercedes and Blaine story line look like? What happens when Kurt and Artie spend time together?

I think for Kurt and Blaine, there are moments I'd have seen over arcs or plot lines?

Let Blaine have an actual conversation with his mother.

More Cooper -- he needed to come back for an episode

I'd have rewritten a lot of the wedding episode

Blaine's journey back to going to school (college)

Any kind of reflective conversation post any of their big milestones

Idk, I think that's all I got for now

[fantasyinvader]

@ezralahm

Which naturally leads to still more questionable views of what the Adrestian Empire will be when it doesn't matter HOW you "win" - you just "win," and you get to set the terms. For all that Edgey wants a worthy successor, I suspect the point is that she wouldn't see the difference between Bob the Deft Swordsman or Artie the guy who poisoned all his relatives and blackmailed his way to the top.

There's actually something about this in the Japanese version of Caspar's endings. In the endings where Caspar becomes the head of the Imperial Army, his ending with Dorothea mentions that the Empire sends him on expeditions. Military expeditions are when a country's army conducts missions within other countries, it's actually considered a form of invasion. The Japanese version of this ending confirms that Edelgard begins marching on other countries following the conquest of Fodlan.

But the kicker is what the translation really changed. In english, Caspar is said to be “sometimes reckless,” whereas in the original text Caspar and the Imperial army is “often out of control.” It's mentioned in his ending with Annette that she needs to teach the army discipline, but Caspar's the one who is in charge of it. He does complete his missions, but the guy can't even control the army he's meant to be leading.

It's the results that matter in Edelgard's empire, which is typical of meritocracy. If the son of a noble hgets better marks in school because they have a paid tutor and time to study while the son of a farmer needs to spend time on chores and taking them off the farm would hamper production, it isn't going to matter if the latter was in fact smarter than the former because the tests, the end result, would say otherwise. It's not going to take privilege or access to opportunities into consideration, just this person succeeded or did better than this other person and therefore their position is justified by deeming it to have merit.

And, yeah, I really believe that with Edelgard manipulation IS supposed to be her strength. Scarlet Blaze was supposed to be about her fighting based on that according to the devs, hence her being happier than in Houses, and that route makes it more overt how much attention she puts into her public image. The route drops that she conscripts her people to fight, that the farmers wouldn't support the war, that she's oppressing the masses to appease the nobility yet she'll still make a big deal out of how she's supposedly allowing commoners to rise up while she's giving the positions of authority to nobles because the nobles wouldn't like her giving them to no-name commoners. You need to distinguish yourself before you're even considered for advancement if you're not nobility, and even then it's a matter of them believing you won't screw up and make Edelgard look bad.

So in the end, Edelgard's reforms also prioritize making Edelgard look good.

[bikinibottomdayz]

OCTOBER 10, 2024 RELEASE

All my videos can be found here, full release under the read more! If interested, please contact me at bikinibottomtrading@gmail.com!

I'm also using this release to say if you want to get email notifications for my releases, you can sign up for my mailing list here. Additionally, I have a Discord server you can join by dming me and asking me for the link!

This release includes: Cabaret (new cast), Sunset Boulevard, Nine, The Hills of California, N/A

CABARET September 16, 2024 | Broadway | 4K MP4 (11.64GB) | bikinibottomday’s master Cast: Adam Lambert (Emcee), Auli’i Cravalho (Sally Bowles), Bebe Neuwirth (Fraulein Schneider), Calvin Leon Smith (Clifford Bradshaw), Steven Skybell (Herr Schultz), Henry Gottfried (Ernst Ludwig), Michelle Aravena (Fritzie/Fraulein Kost), Gabi Campo (Frenchie), Ayla Ciccone-Burton (Helga), Colin Cunliffe (Hans), Marty Lauter (Victor), Loren Lester (Herman/Max), David Merino (Lulu), Julian Ramos (Bobby), MiMi Scardulla (Texas), Kayla Jenerson (s/w Rosie) Notes: Excellent 4K capture of the new cast (debuts for Adam, Auli’i, Calvin and Michelle)! Some wandering / readjustment and unfocusing throughout. A bit of occasional obstruction from people walking the aisles. Includes curtain call, audio is fed from external source. https://flic.kr/s/aHBqjBHS99 | ASKING $20 USD NOT FOR SHARING EXCEPT THROUGH ME UNTIL APRIL 2, 2025

N/A July 27, 2024 (E) | Off-Broadway | 4K MP4 (6.05GB) | bikinibottomday’s master Cast: Holland Taylor (N), Ana Villafañe (A) Notes: Excellent 4K capture of this new political play! Head visible on the bottom right but doesn’t block anything. Some wandering / readjustment and unfocusing throughout. Includes curtain call, audio is fed from external source. https://flic.kr/s/aHBqjBBC1r | ASKING $20 USD NOT FOR SHARING EXCEPT THROUGH ME UNTIL APRIL 2, 2025

NINE August 10, 2024 (E) | Kennedy Center | 4K MP4 (8.76GB) | bikinibottomday’s master Cast: Steven Pasquale (Guido Contini), Shereen Ahmed (Claudia), Carolee Carmello (Liliane La Fleur), Michelle Veintimilla (Carla), Mary Elizabeth Mastrantonio (Guido's Mother), Jen Sese (Stephanie Necrophorus), Lesli Margherita (Saraghina), Elizabeth Stanley (Luisa Contini), Georgina Pazcoguin (Annabella), Paloma Garcia-Lee (Maria), Haley Fish (Diana), Allison Blackwell (Mama Maddelena), Charlie Firlik (Young Guido), Sasha Hutchings (Asa Nisi Masa), Marina Pires (Sister Vincenza), Lucia Giannetta (Giorgia), Yani Marin (Camila), Morgan Marcell (Norma), Kamille Upshaw (Leonor), Dylis Croman (Dr. Ernst) Notes: Great 4K capture of this wonderful production! Act One is pretty messy, with a minute worth of blackout at the beginning then again a few minutes in due to late seating. Alongside that, a lot of it is wideshot and generally not as well filmed as usual. Gets better as the show goes on, and Act Two is much better. Minor obstruction on the far left blocks some action but is generally worked around. Some washout throughout. Increased moments of wandering and unfocusing. Includes curtain call, audio is fed from external source. https://flic.kr/s/aHBqjBD5eV | ASKING $18 USD NOT FOR SHARING EXCEPT THROUGH ME UNTIL APRIL 2, 2025

SUNSET BOULEVARD September 28, 2024 | Broadway (Previews) | 4K MP4 (10.24GB) | bikinibottomday’s master Cast: Nicole Scherzinger (Norma Desmond), Tom Francis (Joe Gillies), David Thaxton (Max Von Mayerling), Grace Hodgett-Young (Betty Schaefer), Ensemble: Olivia Lacie Andrews (Nancy), Brandon Mel Borowsky (John), Shavey Brown (DeMille/Stan/Finance Man), Hannah Yun Chamberlain (Young Norma/Patsy), Cydney Clark (Joanna/Guard), Raúl Contreras (Finance Man/Frank), Tyler Davis (Sheldrake), E.J. Hamilton (Lisa), Sydney Jones (Dorothy), Emma Lloyd (Mary/Heather), Pierre Marais (Sammy), Shayna McPherson (Camera Operator/Katherine), Jimin Moon (Morino/Hog Eye), Justice Moore (Jean), Drew Redington (Myron/Jones/Camera Operator), Diego Andrea Rodriguez (Artie) Notes: Excellent 4K capture of this anticipated revival’s first preview! Some head / railing obstruction at the front of the stage that occasionally blocks off characters sitting / laying down. 30 second blackout in the New Year Eve scene. There was a glitch with the camera that led to some zooming out without input, which sometimes affects the video (primarily in the first ten minutes). Increased moments of wandering / readjustment and unfocusing throughout. One scene is very dark, therefore very difficult to see and takes a little bit to focus on the main action. Includes curtain call, audio is fed from external source. https://flic.kr/s/aHBqjBKv1R | ASKING $20 USD NOT FOR SHARING EXCEPT THROUGH ME UNTIL APRIL 2, 2025

THE HILLS OF CALIFORNIA September 24, 2024 | Broadway (Previews) | 4K MP4 (11.28GB) | bikinibottomday’s master Cast: Laura Donnelly (Joan/Veronica), Leanne Best (Gloria), Helena Wilson (Jill), Ophelia Lovibond (Ruby), David Wilson Bares (Luther St John), Ta’rea Campbell (Biddy/Penny), Bryan Dick (Jack Larkin/Dennis), Richard Lumsden (Joe Fogg/Mr Potts), Richard Short (Bill/Mr Halliwell), Lara McDonnell (Young Joan), Nancy Allsop (Young Gloria), Nicola Turner (Young Jill), Sophie Ally (Young Ruby), Liam Bixby (Tony), Ellyn Heald (Mrs Smith), Max Roll (Mr Smith), Cameron Scoggins (Dr Rose) Notes: Excellent 4K capture of this stunning new transfer! Very mild obstruction on the bottom that blocks off little to nothing. Some moments of wandering / readjustment and unfocusing throughout. Includes curtain call, audio fed from external source. https://flic.kr/s/aHBqjBJRq8 | ASKING $20 USD NOT FOR SHARING EXCEPT THROUGH ME UNTIL APRIL 2, 2025