#but i ain't got TIME for that

[vantablackdraws]

real sleepy hours

bonuses:

[olasketches]

studies

[fl00mie]

watching 0.6 for like the 30th time and came with a thought

cross unconsciously falling in love with dream doesn't sound so fucked up (i am not letting this scene go), like i highly doubt cream WILL become canon -again- somehow but i totally see it working given the context (goddamn such a hardcore backstory it rocks istg)

said this already on one of my cream drawings here but the fact that cross saw dream as a light of hope in his life is so damn wholesome and i beg for them to be together, it literally will make cross' life way happier

it's very implied that all of the x gang do share their feelings so that's why cross says this specific line

and they are seen crying just after that

it may not be a strong feeling for them besides genuine happiness or relief and calm but cross being the one directly interacting with dream wouldn't make it so far-fetched for him to start feeling love

[scribbly-z-raid]

Doodles practice drawing difference faces and body shapes of the YTTD cast

[tricos-here]

I trip and another sylvari drops out of my pockets

[vaguely-concerned]

gideon cheerfully accepting kremy using suggestion on him left and right (and also being like '*fond smile* aaaaw yeah all the good old times :)' at the implication that kremy has essentially wielded him as a bloodied blunt instrument all these years) has some. hm. kinky implications. perhaps. also narrative/character/interpersonal ones of course but the kink factor here is unspeakable.

why are you as a man freely and gleefully offering the use of your body and occasionally autonomy to another man. why would someone who fought so hard for freedom and agency find such joy and satisfaction in willing submission. who's to say! finally actually having gay sex about this would frankly be less gay than whatever sublimated thing is going on right now

[lihyot-am-chofshi-beartzeinu]

Do the people calling for the dismantling of Israel because it's an "ethnostate" not realise that Israel is a thriving multicultural society? Like, it's well-documented. 20% of the population are Arab Israelis, including Muslims, Christians, Bedouins, etc. There are Muslim-representative parties to the Knesset.

If they're so obsessed with ending ethnostates, why aren't they calling for the dissolution of the 50+ Muslim states in MENA? Not going to say anything about Japan? No? Just the Jewish State that you want to be dissolved and replaced with... another Muslim ethnostate? Mkay then.

[strongermonster]

wore a sweater similar to this one today to a workshop for teens i was helping run

huge fucking mistake. highlights from the roasting:

"oh shit, everybody hide their cookies!"

"hey if you're looking for sesame street, this ain't it"

"somebody call PETA and get this bitch cancelled, they poached the cookie monster"

"do they pay you to do stuff like this? "yeah?" "...in cookies?"

one kid pretended to get a phone call and told me it was jim henson's lawyers suing me for copyright infringement

one kid also asked me if i was gay and when i said yeah he said ":/ i can tell"

😂😭

nothing like a pack of 16 year olds to keep you humble about how you dress <3

[shana340artblog]

Happy Birthday to the girl!! Compiled most of my artworks of her! I'm taking a small break but expect rwby content to be back! .. maybe.. probably... idk..

[epickiya722]

Folks, you're not going to like what I have to say. I just know it and I'm warning you of that. I said it once before, but leaks really do make some folks act out in ways that I can't understand. We ain't even got a full translation and already people are saying this ship is canon and that ship is canon... and whatever else. Jumping to conclusions when you don't even have all the facts.

Look, I'm not saying Hori is the best writer. I'm not saying Izuku and Ochako is a bad ship (it's not, there's worse... a lot worse).

But I do think some people are jumping ten steps ahead and I doubt that they are canon romantically. This isn't me being in denial because I could care less about the ship. It's not a ship that makes me sit up at night and cry and want to punch a wall and harass people. No ship for me does.

So far, from what I can gather from the very little information Izuku wants to see Ochako more because... THEY LITERALLY HAVEN'T SEEN EACH OTHER A LOT. In the last chapter, Izuku states that the class haven't been able to catch up and whatnot because over the years they got busy with their careers. The last time they probably had a proper conversation was in high school.

Izuku and Ochako wanting to meet up more doesn't automatically mean they're going to date. Let's not forget, Ochako is one of the first people to become a close friend of Izuku's in their first year. They clicked because they were so similar. They mirror each other even!

They're best friends if anything and wouldn't you want to see your best friend after not seeing them for a long time?

So far, it just feels that this epilogue is them accepting their own feelings about everything that has happened, like a self-reflection and self-acceptance type of deal.

Sometimes, you realize something about yourself when encountering someone who is like you. That's how Izuku and Ochako are to me.

It takes them identifying with the other to come to terms about themselves.

"But the blushing! The handholding!"

So blushing automatically means "I have romantic feelings for you", is what some of you are saying?

Just gonna forget all the times they and others have blushed out of embarrassment or happiness? That even some characters have the blush stickers to show their sweet innocent nature, like Ochako for most of the story?

Izuku blushed at Katsuki in the final chapter out of happiness, so it can't apply here, too? Why does blushing got to only be used in a romantic sense?

Seeing Izuku blushing looking at Ochako is funny when considering he's holding an (possibly) alcoholic beverage in that same shot. My guy is probably drunk. 😆 Jokes aside, jokes aside.

This is Ochako and Izuku, we're talking about here. They're the Queen and King of MHA characters who blush a lot, no matter what is going on.

And the handholding? In MHA? It happens a lot between characters! It's not like anything new or Izuku and Ochako are going to get cooties.

Look, I might make some people laugh or hate me for this one but when I saw this... I was reminded of this.

For those that don't know, that is from the Predator (1987). Yes, that Predator.

Two characters that have been friends for a long time and just happy to see each other.

We seen this kind of handshake like this before between characters of different and same genders. Either as a greet or as an agreement.

Izuku and Ochako are just agreeing to see each other more and that they should allow themselves to live happy lives. That doesn't mean they're going to start dating and having babies the following week.

"Bakugou is being treated like his wingman!"

Ah, stop right there. Katsuki encouraging Izuku to talk to Ochako isn't like that strange because between Izuku and Katsuki, Katsuki is the one to most likely reveal his emotions. He is more in touch with his emotions than Izuku who while emotional tends to keep everything in.

Katsuki isn't playing wingman. He's playing advisor and someone who has experience with emotions.

Seeing Izuku stumbling over his words and being all nervous trying to talk to Ochako is so in character for him. He has never been too good expressing his emotions.

I doubt Katsuki would be like "go tell her you want to marry her". He is more like "go talk to her, you're friends, remember? Been forever since you had a proper conversation."

It's the same case with Himiko pushing Ochako towards Izuku. She is encouraging her to be happy and not be stuck in the past. Not "go get married".

Happiness doesn't mean you must be in a romance.

Just me, again, but I feel like some people are really just jumping the gun here. If you really are thinking Izuku and Ochako being canon is bad for your ship, that's... I'm sorry, this will be mean of me to say, but that's ridiculous.

A ship being canon shouldn't stop you from enjoying the ships you do like. What ever happen to "ignore canon"? Oh, I guess that becomes irrelevant when you want to cause panic and bash and panic and bash and panic and bash.

Like a handhold like that shouldn't make you feel threatened by that ship.

Just continue shipping your ships! Take it from someone whose favorite ship is of two characters who haven't been seen interacting before.

Even still, with just leaks alone, it doesn't mean they are canon. I have my ships and there's moments in whatever the story makes me ship them but I also don't think every little behavior is meant to be romantic.

The thing I know I'm going to hate about this epilogue isn't even the chapter itself. It's the reactions.

I know some people are going to say this chapter is queerbait and use to it to even go as far as to bash Ochako given she is the woman and it's routine to hate on the woman. It ain't queerbait if Katsuki and Izuku wasn't going to be explicitly a couple themselves. Let's not forget it's Shonen Jump and even though the queer coding can be there, we can't have everything.

Also, I also know that some fans of IzuOcha are going to use this chapter to justify their "authority" of "best ships" and harass people like "my ship is better than yours" and be only concerned about Ochako being a housewife.

I don't think Horikoshi is the greatest human and MHA is a flawless story but some of you are no better to these characters and the story.

[starry-bi-sky]

Out of Context Danny Phantom Memes for a fic i haven't posted (yet)

[liedownquisition]

Every time someone writes anything re: the Arrows (esp Ollie) and treat it like they have these like Bat-level strict morals or just otherwise being really "strictly principled"???? it drives me crazy. Like I don't wanna be "you haven't read the comics" but... They haven't.

Ollie, very famously, killed not only Parallax (something which was very difficult for him bcs Hal was his friend, for all their fighting), but also the Electrocutioner (for killing Lian, maiming Roy, and destroying most of his city). There was that whole thing in Crossroads when he worked with Huntress, Catwoman, and Deathstroke, and was killing criminals with guns! Killed a man torturing Dinah! Hell, even further, at least once he helped someone who he considered to have been justified in killing someone escape the law!

I'm pretty sure literally all of his proteges have harder lines than he does (Jason criticizes Mia for limiting her angles to non-lethal in Seeing Red, Oliver being shown to use more brutal methods in a team up with Roy in comic I admittedly don't remember the exact name of & Connor disapproved of Ollie training with the guy who trained Deathstroke to learn the "killing arts" re: 1YL, tho idr if that was more of a killing disapproval or a "dad, really, this guy is awful tho???" kinda deal. Uhhh... Emiko might be an exception to this probably, at least inasmuch as you can consider those two his proteges given I don't think Ollie really trained them that much/they mostly came to him like that). Hell, when Mia killed someone he wasn't mad about her killing so much as that it was her (an innocent kid) that did it!

In the marriage comic, Dinah had apparently killed Ollie in self-defense! (Before concluding that it hadn't been him despite all evidence to the contrary, ect., ect., ect.)

Roy worked for the gov't and definitely killed for them when it was called for. Fell in love with an assassin and walked away instead of turning her in or killing her like he was probably supposed to do despite knowing she'd likely go on to keep killing more people (You could call this a statement on his love for her, which on some level, yeah, but on the other level shows that his lines aren't so well-defined.) The only reason he hadn't killed the Electrocutioner himself is bcs Ollie got there first. For all the complaints re: RHATO/RH&A they are still considered current canon (to an extent, I think some specific things around it might be retconned?) & he has killed in there too.

Emiko as a former assassin/being trained & raised to be a "perfect killer" by Shado I feel is rather self-explanatory.

There's probably more but I'm runnin' out of steam here. Anyways. My point is that while they're not exactly actively murderous vigilantes, they FAR from have some kind of no-kill rule. They'll typically try something else first, but when lines are crossed (like their family) or there doesn't appear to be a better solution that would actually work, they're plenty willing. They're not "Batfam 2.0 but lamer and not as powerful," which seems to be the predominant interpretation most of the time.

[foxett]

OMORIONETTE MENTIONED. GOES INSANE. (Suntan streak: 8 days)

[dkettchen]

[little-paper-man]

Day 4: Implications

*internal screaming* FINK you Emotionally Constipated fox you hit me in the feels-

[tyttetardis]

Macbeth Q&A 18th Jan 2024 Part 1

Was lucky enough to get a ticket for the Member's Event at the Donmar Warehouse that took place on the 18th...with the price of the patronages I sure never thought I'd have gotten the chance, but luckily, they also let in some non-members 🥹❤️

The brilliant performance of Macbeth was followed by a very quick cleaning of the stage - thought for sure it would've taken them longer to remove the blood than like 5 minutes - followed by a lovely, little Q&A session.

The Q&A was led by Craig Gilbert (Literary manager) who talked to Annie Grace and Alasdair Macrae (Musicians and part of the acting ensemble) as well as Cush Jumbo and David Tennant.

Anyway, just gonna write down some of the stuff they talked about :) sorry if it's a bit messy! Might be spoilery if you haven't seen it yet but are going to!

To begin with Craig remarked that he didn't think he'd ever seen that many people staying behind for a Q&A before (While I was just wondering why some people even left!? Stressful!).

David introduced himself with "My real name is David "Thane of Paisely" Tennant - while Cush introduced herself with "I´m Cush Jumbo - there's only one of me".

First question was Craig asking them what it was that brought them to the Donmar to do Macbeth - to which David pretty much just replied that 1. It's the Donmar! 2. It's Macbeth! One of the greatest plays of all time in an amazingly intimate space - and that the theatre is famous for its quality of work. So he found it quite hard to think of a reason not to do it!

Cush said she'd worked there before and loves the theatre, how it's so intimate but also a great workspace. Followed by her saying she said yes because David asked her. She talked about how important it was for this play to do it together with the right actor playing opposite you.

David says Max Webster asked him about a year ago if he wanted to do the play - he gave him the dates - and since there weren't any obstacles in the way, David didn't have any excuse not to do it.

He then said that he had slightly avoided Macbeth - there sorta being the assumption that if you're Scottish and has done some Shakespeare plays before you have to do Macbeth. Which he joked was a bit odd since it's not like every Italian has to play Romeo. Then he mentioned that Macbeth is probably a bit more of a jock than he is - that it seemed more like a part for big, burly actors.

Max had laid out his initial ideas to David, a lot of which are in the final production, and David thought he seemed lovely, bright and clever and inventive plus it being the Donmar Warehouse! To which joked that he had last worked there 20 years ago - when he was 8 years old! "It's just one of those spaces" - friendly and epic at the same time where it's such a pleasure to be on the stage.

When Craig asked his next question concerning the sound of the play someone asked him to speak louder as she couldn't hear them - to which David joked that they've gotten so used to whispering. But also said sorry, and that they would!

Alasdair explained a bit about the process of the binaural sound - bit I find it a bit difficult to decipher it all correctly, sorry. He did say that a interesting part of it is that it allows them a controlled environment where they can put all the musicians (and even the bagpipes!) behind the soundproof box so "Poor David and Cush" doesn't have to shout over all the racket.

Craig asked David and Cush what their reaction was when they heard about the concept of the binaural soundscape - to which David replied that it didn't quite exist when they first came onboard - Cush joking they were tricked into it. Then she talked about her and David going on a workshop with Max to get a feeling of how it would all work - and get a sense of how it would sound to the audience, as this was one of the few times, they got to hear that side of it. Their experience of the play being completely different to the experience the audience has.

Cush said they can hear some of the sound - like she can hear some of the animal sounds and David can hear some of the stuff from the glass box - but most of their cues and information comes from timing with each other. She said they won't be able to ever hear what the audience hears - to which David joked "We're busy".

It felt like mixing medias - as it all went quite against their natural stagecraft instinct - but Cush found that in the long run it made things very interesting - like they don't have to worry about getting something whispered to each other - as the audience will hear it anyway.

David said the odd thing is that they don't really know what the experience truly is like. He mentioned that to the sides of the stage there's a speaker for them where they will get any cues that they need to hear. Like they can hear the witches - but they can't hear where they are "positioned" - so they have to learn how to place themselves to fit with what the audience hears. They don't hear everything, though. And the audio they hear is quite quiet, so it doesn't disturb what comes through the headphones.

He thinks it's been exciting - that it's a bit like a mix between film and theatre. It's happening live - but it's also like post-production is happening between them and the audience as it's going on. They just have to trust that the audience is hearing what they are supposed to for it all to make sense.

Cush said she thinks in 10 - 20 years, as these technologies has developed, doing theatre like this will feel a lot more normal - not that they will do it ALL the time, but that they will be doing it - whereas now it's still like an experiment. What Cush really like about the concept is that if was done in a much bigger theatre - then people in the cheapest seats would be able to have an experience much more similar to those in the most expensive seats - they'd be a lot more immersed into the action.

David then talks about how it feels extremely counterintuitive to not go on stage and speak loud enough that the people in the back row can also hear you. And usually, if they can't hear you, you aren't doing your job right! But then it felt very liberating. He loves it.

Cush then talked about how it felt odd waiting in the wings for a cue you can't hear - where you traditionally wait backstage and you can hear your cues, you can hear the rythm and know when it's your turn - so it was quite disconcerting to hear silence. So it's basically down to them now knowing the show and each other's timings - like if David is standing at a certain point, she knows how long she has before she needs to say/do something. So you have to watch each other more closely and really focus on what the others are doing.

David asked the musicians if they can hear everything inside the box, to which Annie replied that they get everything except some extra bits in the soundscape. But they can hear the actors on stage. Annie said it's actually a bit of a mystery to all of them what the audience actually experiences - how the big pictures actually look like - they just have to trust that it's there "Is it there?!".

Someone asked if they had had any adverse reactions from audiences to having to wear the headphones. Quite a bit of laughter all around :P then David said "There's the odd person" and something about if someone hadn't gotten the memo before turning up...but not sure how he ended the line. Then once again says that yes, there's the odd person who doesn't like it and that's fair enough.

The same audience member then said he could see the advantage of it in a big theatre where the distance is big, but not in a small place like the Donmar - to which David very quickly, rather passionately replied that it's not about projection, it's about being able to do things you wouldn't normally be able to do live - where they can speak so quietly that they can't even hear each other when standing next to each other. So even in such a small place, people wouldn't be able to hear that. It's about creating a different play - which isn't to everyone's taste and that's fair enough. But for a play that's been done a hundred and seven million times he thinks it's very valid to try and find a new way into the play - even if it's not for everyone.

Part 2