#cover triptych

[geekynerfherder]

'Somna Triptych' by Tula Lotay.

12" x 22.5" archival pigment print on 290gsm cotton rag paper, in a numbered TIMED Release edition.

On sale until Wednesday April 17 through DSTLRY.

(Image edited for social media)

[voxyldy]

03.20.2023

[INFO]

According to Elle Korea, a Fashion film in collaboration with Celine and an Interview of Taetae will be released soon

Kim, TaeHyung for ELLE Korea

Source: The Tae Print

[haaaaaaaaaaaave-you-met-ted]

Foundation, Foundation and Empire, and Second Foundation Cover Art Triptych by Fred Gambino

[balu8]

George Perez: War of the Green Lanterns

Source Edward Acle (comicartfans)

[potato-lord-but-not]

it’s who we are

mhm yeah just wanted to post em all together because look at themmmm I’m gonna yap about this under the cut don’t mind me

having them all lined up is giving real triptych vibes, which honestly opens up a whole new level of symbolism I’m too lazy to explore rn.

And didn’t even realize Oscar and Arthur were basically in the same pose until after I finished them all. LIKE ?? ok what was my subconscious brain on… the position of the star… the little sun in Kayne’s knife in the same spot as the sun in the celestial water in Oscar’s piece.

Arthur having a light silhouette and dark background, and Oscar having a dark silhouette and light background… THE BLOODY ROSARY WITH A MOON ON IT !! ARTHUR COVERED IN BLOOD !!!! THE HALOS IN THE BACKGROUND THAT MATCH JOHN’S SUN !!!!

John holding the moon…. his little star earring… the overwhelming background that the sun entirely envelops…

Here’s a much better analysis for each one @absoluteocellibehavior did bc they go CRAZZYYY— Oscar, Arthur, andd John !!

and also their interpretations of the cards in general <3

ough now I wanna do more characters…. I’m ill

[hannaedits]

Shepherd.com: "The best books that blend fantasy and alternate history"

Shepherd.com: “The best books that blend fantasy and alternate history”

Have you heard of Shepherd? It’s an interesting new option for those looking for book recommendations. I was asked to contribute an article in a way that ties into my Steel Empires series, so the topic I landed on was the best books that blend fantasy and alternate history. It was incredibly difficult to settle on 5 books, and you can definitely take as given that I recommend the full series…

[pauline-nunez]

Emmanuel Plane, Les Retardataires ne sont pas admis en salle, 5e étage sans ascenseur éditions, 2022. »

See more pictures by lesuperposeur »

[gwynnbleiddd]

the jim lee trinity triptych is finally complete! the new wonder woman cover looks great :)

[nemonclature]

GUYS. I HAVE A THEORY. IT’S SUCH A GOOD THEORY. ACTUALLY IT’S THE BEST. Actually I’m just gonna go ahead and call this canon. I’m staking my entire identity on it.

So, I was gonna do an in depth art post bouncing off this excellent bit of research. I was expecting some thematic hints a la Hannibal and much fun to be had.

I decided to start with this:

Francis Bacon’s Three Studies for Figures at the Base of a Crucifixion, which hangs on the wall in the Dubai apartment.

Let’s sidestep the Christian connotations of the crucifixion* IMO the Christ bit is misdirection (mostly. We’ll come back to that)

Armand: Witnesses to Christ’s agony. Mr Bacon also referred to these as the Three Furies.

Who are they? The Furies/Erinyes are Ancient Greek Goddesses of vengeance. "The Erinyes, that under earth take vengeance on men, whosoever hath sworn a false oath" ... They are traditionally depicted as … preoccupied with avenging patricide and matricide by hunting down and killing violent criminals ... Their task is to hear complaints brought by mortals against the insolence of the young to the aged, of children to parents, of hosts to guests.” (wiki)

Kinda on point for a vampire that tried to kill his maker, no? Or for a vampire that’s abusing the guests in his home? Or an old man shit-talking two much older vamps. (lol jk not you Danny boy, you trash them all you want bb).

Armand: We’ve received an aggressive offer for the Bacon triptych.

Louis: Oh? I didn’t know we’d made it available.

Armand: It’s a new name, so I’ll have to run due diligence.

Hmm, who could possibly be being setup to enter late season under cover as some innocuous buyer? Who would Armand let into his theatre home in order to wreck it? Who’s presence/interest/existence would he keep from Louis? Who better to complete Bacon's intention and provide the crucified final figure of the set, but...

YES! Our favourite victim of patricide. The ultimate Daddy Vampire. Lestat de fucking Lioncourt.

Guys there’s a reason I’ve been calling him White Vampire Jesus and it’s not (just) because I find myself hilarious.

Real Rashid: The lawyer for the buyer is ready for the teleconference.

Not a massive deal, rich people make lawyers do things for them. But so do VAMPIRES WHO DON’T WANT TO BE IDENTIFIED.

But yeah, lets’ get into that phone call. Mr Philips, the lawyer, is introduced to Mr du Lac (like, in case anyone was wondering how Lestat knew it was Louis who owned it, just fucking use your real name Louis, sure.) The buyer wants it for her husband (GUYS. HE WANTS IT FOR LOUIS).

This is episode 2.03 and, guys, Lestat is EVERYWHERE in this episode. We get Armand opening up, but not about his full past, just about his past with Lestat.

Dreamstat dogs Louis’s footsteps

Louis admits to Armand that Lestat was his maker in this episode.

And the scene directly before the lawyer calls?

Louis and Claudia are talking about Lestat, it moves on to Bruce, but it starts with Lestat.

We could also talk about how, this season, as the focus has moved away from Loustat to Loumand, the action has moved away from the main room with the Triptych, to the tree room and the dining room.

Lets start with the tree room, where Armand (the clinging vine) reaches, but never touches Louis (the tree).

"For woman is a branching tree, and man a clinging vine. And from your branches carelessly, he’ll take what he can find."

(Let no man steal your thyme, trad)

Too much? Then how about the dining room of equally symbolic paintings. (and, side note. Paintings have been IT this season. This is the Armand season, the Amadeo season, the Louis photographer season, the breaking into museums to look at or steal art season. If S1 was music, S2 is art).

The dining room where we find the Ron Bechet, Transformation (A TREE AND VINES FFS), representing Louis (or Loumand) and the (stolen - can we take a moment to appreciate the hilarity that is Louis and Armand dressing up as police officers to carry out one of the biggest art heists in recent history?) Rembrandt, Christ in the Storm on the Sea of Galilee representing Daniel (Fear and Faith).

You can see them more clearly in the S1 scene where Dan and Louis are at either end of the table, each before their own painting.

But also in S2 in combo with the Marius christ-and-demons, representing Armand (or representing Armius?? Lol do they have a ship name? kill me now). I find it very interesting how Armand is sometimes framed with Dan's painting behind him and at other times with Louis', almost like he's being pulled between the two.

Anyway. Point is the GIANT RED ORANGE LESTAT CHRIST SYMBOLISM is suspiciously out of frame this season.

See the difference in framing here in Season 1: (note, this is DanLou first meeting. It's BEEN THERE FROM THE BEGINNING)

And this itty bitty corner shot in Season 2:

And when does the triptych come back into frame? Oh just DIRECTLY AFTER THIS BIT OMFG:

Me too, Dan. Me too.

The triptych has been on the wall from the start of the show. Looming over everything, haunting the narrative, like a giant bleeding meta signpost.

[szollibisz]

Thought I'd post some portfolio work because why not

This was for a specific assignment, of illustrating the same poem five different ways. I chose East Europe Triptych by Tóth Krisztina. You can read the full poem and the english translation here.

The first piece was inspired by old 70s hungarian cartoons and 50s posters. I focused on the general vibe of traveling through Hungary by train, which I find myself doing more and more nowadays.

2. My second piece was a digitally drawn zine. This time, instead of heavily interpreting a twisting the text, I took direct images from the second part of the poem and drew them, and then put them together in an accordion zine, with traditionally collaged covers.

3. For the third one I wanted to focus on the poem's theme of belonging and connection, but using the simplest visuals to convey them. I decided to make 5 posters all illustrating different aspects of connecting with another person, place or feeling, using the idea of overlapping shapes and colors, as well as some text.

4. I knew I wanted to make a collage, and I wanted to use some religious imagery in one of the pieces. I know it's not a very prominent theme in the text, but my entire life I've lived in a country where christianity and catholicism dictate many facets of life. I can't imagine a hungary or eastern europe without it. I treated this piece sort of like an altar, and the character as the virgin mary. The trash around her is sort of a messed up mandorla.

5. I wanted to do something completely outside my comfort zone, and since jewelry is a big symbol in the poem I chose to make some earrings. They were modeled after car parts, since in the last stanza it was used alongside the jewelry as a metaphor.

[narumi-gens]

Triptych | "You left me alone."

Chisaki Kai x f!Reader

summary: Your life is nothing more than a triptych, a work of art in three parts with each panel depicting a distinct period — a beginning, a middle, an end. And in the triptych that is your life, the central figure has always been Chisaki Kai.

chapter warnings: 18+ minors/blank/ageless blogs dni, yandere, angst, imprisonment, emotional manipulation, emotional/psychological abuse, depression, reader stops eating, codependency, abandonment issues

notes: this is from a non-chronological series so the parts can be read in any order (or on their own). shoutout to the anon who asked me a very long time ago when their "husband" (triptych) was "coming home from war" (unofficial hiatus). he's back, bb!

words: 1.5k

SERIES MASTERLIST

The End

It’s hard to gauge time in the darkness. With no window to keep track of whether it’s day or night, the only way to track the passage of time is by the three daily meals that are left for you by a masked and silent guard. When you were first locked away, it was easy to count the meals and thus the days.

But as the days and the darkness and the isolation stretch on, your grasp on reality begins to slip. It’s difficult in the blackness to tell if your eyes are open or closed — if you’re sleeping or if you’re awake. Is this meal the first of the day or the second? Maybe it’s the third. 

The longer you spend in this room, in this cell, the more you can feel the life slowly draining from you. Eventually, you stop eating, your appetite fading altogether along with your will to keep fighting. 

Your faceless, nameless guard brings you a meal, only to take away an untouched one. You don’t know how long this goes on for. All you know is it doesn’t take long for your body to feel as fragile as your mind. 

Until one day, when the door to your prison opens and the figure holding a tray and standing in the doorway, backlit by the light from the hallway — the only light you ever see anymore — isn’t your usual guard. 

Despite the way your heart races at the sight of someone new, someone familiar, you remain still, too tired and weak to move even if you wanted to. All you can do is look at him with eyes squinting from the sudden brightness. 

“You’re not eating,” Kurono points out needlessly from the doorway. You can’t help but wonder if you’re dreaming. How long has it been since you’ve heard a voice other than the one in your head?

You watch in a daze as he walks toward you and sets the tray down on the table beside the twin-sized bed that you’ve been curled up in since you were first put here. The scent of your lunch, or maybe it’s dinner, reaches your nose and while your stomach reacts with a deep pang of hunger, you still feel no real appetite to actually eat what Kurono has brought you. 

You glance at the tray and see a shallow bowl on top. It must be a broth, something easy to digest after days — has it been days? — of eating nothing. When you look back at Kurono, you find that his head is tilted down in your direction. With his mask covering the entirety of his face, you can only assume that he’s turned his attention fully to you. 

There’s an unfamiliar sense of longing deep down inside of you. You wish he would take off the stupid mask. You’re desperate to see another person’s face.

“How-” you’re cut off by a small cough, your throat dry and scratchy, unused to speaking after so long spent alone in the dark. “How long have I been here?”

Kurono stays silent, refusing to answer your question. Against your will, tears begin to blur your vision from how much it hurts to be ignored by someone you know so well after having been locked away by yourself for so long. You must look pitiful because he softly sighs.

“You need to eat,” he says and even through your haze, you can hear his weariness. 

You wonder if he’s truly concerned or if he’s just tired of the irritable mood that Kai has surely been in since he put you here. But as you continue to stare up at him, you decide that it isn’t a fair assumption. For as long as you’ve known Kurono, whatever’s important to Kai is important to him. 

And apparently, there’s nothing of greater importance to him than you. Except for one thing…

“E-Eri,” you breathe out, a new type of desperation taking hold. “How’s Eri? Is she safe? Is she okay?”

They’re all stupid questions. Of course she isn’t safe. Of course she isn’t okay. She won’t be safe until you can take her far, far away from the Hassaikai and Kai. 

“If you don’t eat, Eri will be the one to pay.” The words are Kai’s even if they’re coming from Kurono, and they cut just the same.

Your next question escapes you before you’re even able to fully process it.

“Where’s Kai?” you rasp and you should feel embarrassed. You should feel ashamed for asking after the man who’s torturing a little girl, who incapacitated your father, who locked you away in the dark for what must have been weeks by this point. 

You should feel ashamed for asking after the man who’s been quietly controlling you and isolating you and manipulating you for your whole life. 

But you’re just so lonely. You would give anything to be free of the darkness.

Right now, you want nothing more than to see Kai, and the realization has a single tear finally escaping your eye and rolling across the bridge of your nose

“Kurono,” you weakly plead with a pathetic sniffle when he doesn’t answer you. “Hari…Where’s Kai?”

The use of his given name seems to soften his stony demeanor because he gives another quiet sigh.

“Eat,” he says, gentler this time, but you’re already beginning to spiral. The small hint of kindness he’s shown you, even when it’s dripping with pity, is too much for you to handle when you’ve been isolated and alone for so long.

“Please, tell him I don’t want to be here anymore,” you cry. You squeeze your eyes shut in a futile attempt to hold back your tears as the pillow beneath you quickly turns wet. “Tell him I’m sorry.”

The feeling of a warm hand on the side of your head has you opening your eyes back up to find Kurono now kneeling down at your bedside. His mask is held in his other hand, allowing you to see the slight frown on his lips as he watches you cry.

“You’ll feel better if you eat something,” he assures you and you want to protest, to continue to waste away into nothingness, but you remember Eri. 

Eri, who’s suffering, who’s being tortured, who will pay the price should you keep refusing to eat, who will truly have no one on her side if you disappear.

And so, after looking up at Kurono for a long moment, you weakly nod. It’s his steady hand that helps you sit up, holding you carefully but firmly when you feel lightheaded. Once he seems to think you’re no longer at risk of collapsing back onto the bed, he releases you to bring the tray to your side. 

Then, as if you’re nothing more than a child, he raises the bowl and brings a small spoonful of the broth to your chapped lips for you to sip. Anger bubbles in your stomach and you feel the urge to shove away the spoon, the bowl, and Kurono for the infantilizing behavior. 

The anger is almost a relief, letting you know that you’re capable of feeling something, anything, other than despair. But again, you think of Eri and swallow the broth without complaint. Just as you do when he gives you another spoonful and then another, eating what you’re given until you’re full, which admittedly doesn’t take too long. 

He gives you a soft smile before putting his mask back on, picking up the tray, and leaving you alone in the darkness once more. He doesn’t visit again, but the meals continue to show up on their usual schedule, three times a day, evolving from broths to more nutritious food once your stomach can handle something more. 

But one day — you’re not sure how many days later — instead of waking up to a meal, you open your eyes to find Kai sitting on the edge of your bed, patiently watching you. 

There’s a part of you that thinks you’re imagining his presence, or that maybe it’s a dream, until he places a glove-free hand on your cheek. His touch is achingly familiar and you’re overcome with self-loathing at how much comfort it provides you.

“Kai?” you breathe, tears of relief blurring your vision. His thumb gently brushes away the first one that escapes. Your own hand comes up to cover his where it cups your cheek, desperately and pathetically clinging onto him in a wordless plea for him not to let you go. 

“You said you’d never leave me alone, but you did,” you start to cry. “You left me alone.”

He lets you weep, his thumb continuing to swipe away the tears that he can catch with a touch that both burns and soothes. He offers no explanation or words of consolation, silently and calmly watching as you fall apart before him. 

It’s only when your sobs have started to die down that he encourages you to look back up at him with his touch.

“I’m here, aren’t I?” he finally asks.

All you can do is move closer to him so you can bury your face in his lap as a fresh wave of tears comes over you. 

[polish-art-tournament]

paintings* round 1 poll 20

Death and conflagration, central section of the triptych “Disaster” by Adam Chmielowski, c. 1870:

[no propaganda has been submitted]

Pegasus by Wojciech Siudmak:

propaganda: Art you love to see on the cover of a pulp-y scifi book or some rock album cover, this one specific remainds me of Hieronymous Bosch and the surreal animated short film Angel Egg by Mamoru Oshii. The bright yellow and off whites contrast so nice with the black void.

about the artist: He did illustrations for Frank Herbert's Dune!

[voxyldy]

01.09.2024

BOLD AURA OF V IN BLUE DRAGON YEAR 🐉✨

The full story of V's daring hair and striking visuals for the Blue Dragon year is out in @bazaarkorea February issue and online. More digital delights following the cover soon! Stay tuned. 💙

@bts_bighit @celineofficial

#V #KIMTAEYUNG #BTS #CELINE #CELINEBYHEDISLIMANE #뷔 #김태형 #셀린느

Source: @kwaveone

[elenthyaolyenths]

DAY 14 - «On Thin Ice» Good Omens AU - Triptych Tribute for @blairamok  

Part 2/3: "Fallen Serpent" Crowley

Please, listen to this

Race

Life's a race

And I am gonna win

Yes, I am gonna win

And I'll light the fuse

And I'll never lose

And I choose to survive

Whatever it takes

You won't pull ahead

I'll keep up the pace

And I'll reveal my strength

To the whole human race

Yes, I am prepared

To stay alive

I won't forgive, the vengeance is mine

And I won't give in

Because I choose to thrive

Yeah, I'm gonna win!

Race

It's a race

And I'm gonna win!

Tomorrow, they will be together for the Grand Finale... See you there! ;-)

[Previous] [Next Day] [First Day]

Don't forget to 💕/ reblog ;-)

↓Come on, check the behind-the-scenes!↓

Personal challenge: a simple sketch each day

Goal: forcing me to keep things simple - inking, shading, just a few sashes of colour

Improvement pursued: to get the movement, the emotion, finding how to add depth, learning how to leave things barely finished

Max time allowed: 2 hours, as usual for my Daily Challenges.

Tribute Time, so I threw the timer away, lol :-p. As for my Fallen Angel Aziraphale (link), I spent more or less 3 hours on the lineart, plus 1h30 on the colouring/shading.

Crowley, as my « Fallen Serpent ».

“On Thin Ice”'s author Blairamok describes the Cantilevers figure as « one of the biggest fuck yous to physics », and so one of Crowley’s signature moves. As I was searching drawing references about this amazing figure, I found a lot of ways to perform it, all beautiful and impressive. I finally chose this particular one (I am sorry I don’t know the original performer’s name on the picture I used, but to me he seemed so powerful, yet relaxed and happy on the picture, so I couldn’t resist). Though I had to slightly re-adapt the figure to Crowley who is taller, thinner and maybe even more flexible (ssssnaky, duh).

I had so much fun re-thinking his clothes for my sketch. I used the scrumptious💕 black and red « Serpent » clothing that Blairamok created, and I added my own « signature move » : wings – or, well, feathers. As Crowley is THE Fallen Angel here, the feathers are slightly burnt, some of them almost torn apart. They cover his shoulder blades, then spread out as a unique short and damaged wing at the back of his right shoulder, go down on his right flank, then cross his back as they slightly go embracing his left hip. The Red Serpent Pattern is quite the same as Blair’s clothing, but it still continues on his leg and circles his right ankle like a leg shackle.

I am particularly proud of Crowley’s eye and expression. Remember? I dearly wanted Crowley sharing a glance with Aziraphale while he was doing his Cantilevers, and Aziraphale was supposed to glance back to him. I had to give up on this idea later – because the figure I chose for Aziraphale definitely couldn’t allow such a shared glance. (but wait for the third part of this triptyque, it will be posted tomorrow!)

So, my Crowley still has this ethereal, strangely happy, almost enthralled expression. It kind of represents my own interpretation of the Cantilevers figure : it’s a proof of complete trust, in yourself, in your skills, in your art and your environment. And I like to imagine that if Crowley is able to have such confidence in himself, then maybe he can and will trust his partner Aziraphale with quite the same strength.

Thanks for reading! See you tomorrow for the third part - our Ineffable Partners will be toghether, finally! (aaaand they will be not talking but whatever the acting will speak for them)

[Previous] [Next Day] [First Day]

Don't forget to 💕/ reblog ;-)

[lordcrumps]

Sul Sul! Cats and Dogs Stuffs!

Sul Sul! Some windows, wall coverings and the curtains converted from TS4 Cats and Dogs!

Enjoy!

DOWNLOAD

@sims4t2bb - think this is the names of everything Buy Bella Curtains set

Build - Windows Easy Breezy Arch and railing The Port Hole Lemon Slice Lunette Lit Lookout Miniature Cross Shape Casement Sailors Sight Seaside Shorlight The Greater Wall Hole The Great Wall Hole The Teensy Winder Three Good Dogs Sitting Transparent Triptych

Build - Wall Coverings Double Trouble Panelling Palatial Planking Posh Stripes Rounded Edges Shacked Side Shingles Shaken Shingles Split Personality Panelling

[iwtvfanevents]

Rewind the Tape —Episode 1

Art of the episode

During our rewatch, we took note of the art shown and mentioned in the pilot, and we wanted to share. Did we miss any? Do you have any thoughts about how these references could be interpreted? How do you think Armand and Louis go about picking the art for their penthouse in Dubai?

The Fall of the Rebel Angels

Peter Bruegel the Elder, 1562

This painting is featured in the Interview with the Vampire book, and it was important enough to be included in the draft pilot script!

Bruegel the Elder was among the most significant Dutch and Flemish Renaissance artists. He was a painter and print-maker, known for his landscapes and peasant scenes.

Three Studies for Figures at the Base of a Crucifixion

Francis Bacon, 1944

Bacon was an Irish figurative painter, known for his raw, unsettling imagery and a number of triptychs and diptychs among his work. At a time when being gay was a criminal offense, Bacon was open about his sexuality, and was cast out by his family at 16 for this reason. He destroyed many of his early works, but about 590 still survive. The Tate, where these paintings are displayed, says this about the work: "Francis Bacon titled this work after the figures often featured in Christian paintings witnessing the death of Jesus. But he said the creatures represented the avenging Furies from Greek mythology. The Furies punish those who go against the natural order. In Aeschylus’s tragedy The Eumenides, for example, they pursue a man who has murdered his mother. Bacon first exhibited this painting in April 1945, towards the end of the Second World War. For some, it reflects the horror of the war and the Holocaust in a world lacking guiding principles."

On the Hunt or Captain Percy Williams On A Favorite Irish Hunter and Calling the Hounds Out of Cover

Samuel Sidney, 1881 [Identified by @vfevermillion.] and Heywood Hardy, 1906 [Identified by @destinationdartboard.]

Sidney was an English writer, and his prints usually accompanied his publications about hunting, agriculture, and about settling Australia during the colonial period. Hardy, also British, was a painter, in particular an animal painter. There's also a taxidermy deer, ram, and piebald deer on the wall.

Iolanta

Pyotr Tchaikovsky, 1892

The opera Louis and Lestat go to was composed by Tchaikovsky, another gay artist. The play tells a story "in which love prevails, light shines for all, lies are no longer necessary and no one must fear punishment," as put by Susanne Stähr for the Berliner Philharmoniker.

Strawberries and Cream

Raphaelle Peale, 1816 [Identified by @diasdelfuego.]

Peale is considered to have been the first professional American painter of still-life.

Outfits inspired by J.C. Leyendecker

Leyendecker was one of the most prominent and commercially successful freelance artists in the U.S. He studied in France, and was a pioneer of the Art Deco illustration. Leyendecker's model, Charles Beach, was also his lover of five decades. You can read costume designer Carol Cutshall's thoughts on these outfits on her Instagram.

The Artist's Sister, Melanie

Egon Schiele, 1908 [Identified by @dwreader.]

Schiele was an Austrian expressionist painter and protege of Gustav Klimt. Many of his portraits (self portraits and of others) were described as grotesque and disturbing.

A Stag at Sharkey's

George Wesley Bellows, 1909 [Identified by @vfevermillion.]

Bellows was an American realist painter, known for his bold depictions of urban life in New York City.

Mildred-O Hat

Robert Henri, undated (likely 1890s) [Identified by @nicodelenfent, here.]

Henri was an American painter who studied in Paris, where he learned from the Impressionists and determined to lead an even more dramatic revolt against American academic art.

Starry night

Edvard Munch, 1893 [Identified by @vfevermillion.]

Munch was a Norwegian painter, one of the best known figures of late 19th-century Symbolism and a great influence in German Expressionism in the early 20th century. His work dealt with psychological themes, and he personally struggled with mental illness.

If you spot or put a name to any other references, let us know if you'd like us to add them with credit to the post!

Starting tonight, we will be rewatching and discussing Episode 2, ...After the Phantoms of Your Former Self. We hope to see you there!

And, if you're just getting caught up, learn all about our group rewatch here ►