#i will not be seen for the next while

[sparrownnax]

I'VE BEEN GIVEN ACCESS TO THE BUSINESS TEESPRING. SEE YOU IN THE NEXT 2-3 BUSINESS WEEKS.

[ktkat99]

Slightly Crack Batfam AU

Duke, shortly after being adopted, finds an old demon summoning circle burned into the floor under a rug in one of the rooms.

That, combined with some of the literature he finds laying around, leads him to conclude that someone in his new family is secretly a demon and he starts trying to figure out who.

Could it be Bruce, the literal demon of the night?

Dick, who bends and flips effortlessly in ways no normal human could?

Jason seems the most likely, as he climbed out of his own grave, but to be fair, he'd never actually seen Tim sleep.

And then there was Damian.

He never would have guessed that the demon is actually Alfred, summoned by a desperate, distraught Bruce the night of his parents' deaths.

Originally, their deal was just for Alfred to help Bruce get his revenge.

The reason he stuck around, though?

He realized he needed to make sure that Bruce and his collection of equally crazy orphans stayed OUT of the afterlife (and therefore AWAY from the throne of hell, which he has no doubt someone would eventually take) and decided to stay on as their oddly perfect butler.

[doctorsiren]

He’s so dramatic

[heartorbit]

WHEEEEEE

[luck-of-the-drawings]

JUST ROLL WITH IT: PRIME DEFENDERS - EPISODE 12: FESTIVAL OF FEAR

part of a thumbnail project hosted by the lovely wonderful GREF (that link goes to the twitty post, heres the pdf for ur own viewing tho)

THIS WAS VERY FUN! THANK U FOR ALLOWING ME TO JOIN AND PLAY.

[meamiki]

mira !!! :]

[galaxyspark-6e16]

did i really cry at the end of an (maybe) isekai where the answer to prevent a doomed narrative is a fix-it fic ( or in that case a rough animation sequence) because i did.

i've seen a lot of people giving their own thoughts and interpretation of the finale, which made realized that THIS! is what media does to fans. We consume it, we digest it for a while, and then we move on. But not for a majority of us. There are, and will be, media that stays with us forever.

Take Natsuko, atop impacted her in such a way that it influenced her life. From the choices she made and people she met, that movie (and Luke) as with her through. in her highest and her lowest, but was always by her side, reminding her why she's pursuing this dream. we may never know if she would have taken the path of an animator if she never that movie, but we can assume her life would be different either way. that's how important it atop is.

Sometimes, you will come across something, for the first time, with fresh eyes that is engraved forever in your mind, heart and soul. that you love wholeheartedly, that love is real because it makes you happy. So that's my take on Zenshu, a beautiful love letter to artists who'd been inspired to take a pencil to draw, to write, to mold, and it blooms into passion and commitment towards their future of what inspired them to pursue the career that brought them so much joy and love in the first place.

[read-write-thrive]

saw @tma-thoughts ‘s post talking about not enough butch charles rowland and wanting to see more butch4femme painland and naturally I spent the entire rest of my day brainstorming, researching, and then drawing this time period accurate (to the best of my abilities) butch!Edwin(a? Edie?) x femme!Charles (definitely Charlotte/Charlie)

I have whole spreads of photo references for both of them but in case anyone is interested, Charles is inspired by rudegirl/ska punk/skinhead/punk/goth feminine aesthetics from the 1980s UK (even more specifically by the band The Bodysnatchers) while Edwin is inspired mainly by sportswear for women in the 1910s as well as what photos I could find of teenage girls during that era! in terms of Edwin reading as butch, I wanted to combine the shortest hair I could get away with (for the era and while still reading as Edwin—too 20s reads as too fashion forward which is not the vibe), as well as balance the line between sportswear (which imo reads as butch) and Edwin’s usual fashions. I also kept her makeup-free, accessory-free, and overall more “practical” in her dress to try and read as more butch. something to note that you don’t see here— Edwin is 100% wearing bloomers/trousers either as part of or underneath this skirt. I couldn’t get it to read correctly in the design but I need you to know they’re there lmao

feedback welcome (and further discussion even more so, I’m a slut for fashion history x character design!!!)

EDIT: now part of a series!!! part 2 (more sketches of Edwina); part 3 (lingerie!Edwina); & part 4 (lingerie!Charlotte)

[moeblob]

she's filled to the brim with love...

[aliusfrater]

similar cinematographic choices to portray the same imagery with insanely different circumstantial contexts

[reonnex]

Wylan is overworked and overwhelmed with the merchant council to the point of near exhaustion

Kaz is bored out of his mind, making tunnels to get through the day.

Or. Wylan agrees to let Kaz help him with paperwork from the merchant council for a much needed break, just as long as he doesnt sign off on anything new

[stylinsoncity]

in addition to really complex grief, liam's passing has also stirred up anxieties i have about life and death, about our limited time on earth and the pressure to do something with that time. i think we owe it to ourselves to feel grief thoroughly (rather than push it down or minimize it), but i think the next thing we can do -- when we're ready -- is live the life we would've wanted for those we've lost and not give into hopelessness or melancholy. i struggle with the concept of people just not being here anymore. it feels like an error in the matrix. or a flaw in human design. that someone can be here and their presence and their spirit can be so clear and indisputable and then in the next instance, and very quickly, just not be anymore. except it isn't true that their presence or their spirit simply vanishes. i do think it lives on in other ppl. and i do think that's why we have to go on living fully and fiercely in spite of loss. bc the act of living keeps them alive in some way too.

i wanted to drop a note here to say that i support you all in however you're feeling and i love you. pls be kind to yourself and to others. and take all the time you need... xx

[octobertomarch]

Way too late but my contribution,

Wind Breaker Week: day 7- Bed Sharing

@windbreakerweek

It's a ship prompt but this trio is also my three-way ship 😂🤣

I wanted to color it better but I'm still bad at it 🤷‍♀️

Reference and other version below

For some reason, i also like this no-line version. It's got different appeal

I tried to track down the original pic of cats that i used for a previous fanart and my google lens led me to this particular pic, same set of cats. It's so funny that i knew i had to do another one. I did my best to capture the expressions 😅

[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

[moxanji-real]

Hello Moxie! So I did another doodle and I thought of you and Sanji ^^"

I'm so sorry if it's ugly 🥹

I’m literally about to cry from how much love I’m feeling right now!! This drawing of me and Sanji is just TOO sweet for words! He looks so tiny and adorable!!! AAAAAA!!! My little Sanji!!! Just LOOK at him! His little blush is making my heart explode!! 😭😭😭 I can’t even express how grateful I am for this beautiful art!! Seriously, I didn’t expect anything like this at all. Waking up to this made my entire day, thank you so much!! 💖

[bumblingbabooshka]

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