#man that was a long time ago

[doufupuff]

[alltangledupinblue]

There's a lovely song about this. https://kimboekbinder.bandcamp.com/track/the-organ-donors-march-2

[moody-clovers]

DEVIL MAY CRY ANIME LET'S GOOOOOOOOOOOOOOOOOO

[kowroo]

really looking forward to season 2: patrolling the mojave

[catherine-sketches]

Just watched the Wonka movie.

I enjoyed it as a standalone film but especially enjoyed it as a prequel to the Gene Wilder Wonka. It retroactively made Wider’s Willy so much more tragic.

And that’s because Chalamet’s younger, earnest and kind Willy Wonka is CONSTANTLY having his kindness and compassion and belief in the good intentions of others thrown back at his face almost. Every. Single. Time.

What happens to him, in no particular order: People take advantage of him when he is at his lowest; they sabotage his chocolate; Hugh Grant steal his chocolate and beats him with a frying pan; he is nearly drowned by the chief of police; a boat he’s in is rigged to explode; they try to drown him AGAIN but now in melted chocolate under a church; he is tricked into debt and forced into indentured servitude; the chocolate mafia wants him dead; he has to crawl in the sewers just to sell his chocolate without the police beating the shit out of him at the chocolate mafia’s command, and a bunch of other moments either his earnest nature (or the fact he is illiterate, because by the way he is illiterate) is taken advantage of.

But he keeps believing in the good of others. He has friends, and a pseudo daughter that taught him how to read and his mother’s memory and so many dreams…

And then we arrive at Wilder Wonka. Who was betrayed one too many times. Who had his recipes stolen from him. Who shut himself from the world and trusts no one.

Who doesn’t care for these spoiled people walking around his factory, even if they were his last attempt at proving to himself that good people, good kids (Like Noodle) still exist.

Who is alone.

TL;DR: seeing a young Wonka who is so optimistic knowing how he is going to end up after being betrayed over and over and over again is a emotional experience that I was not quite ready for.

[lonndoodles]

Me too Eda. I wouldn't be able to keep it together if Raine looked at me like that.

[bacchuschucklefuck]

we let the ocean drown out our voices/enjoying the bitterness/in the chaotic light, I close my eyes and see

[milobsters]

hello souyo community

[kendyroy]

Ryan singing and Hugh Hugh-ing

(x)

[mostlyghostlyy]

"I think..... I miss my wife" but it's me talking about a 60y/o man named Dale

[al-luviec]

something simple to try to get out of art block (it didn't work)

[pa-pa-plasma]

hey i feel like we're really sleeping on that time Danny possessed Vlad & framed him for assaulting a minor

Editing with the clip because people don't believe me. Episode is 41: Eye for an Eye.

[outer-edges]

[pixlatedvampire]

I havent finished anything in a bit so please enjoy my favorite Grima doodles lmao 💗🥰

[wrathyforest]

It was an amazing journey! Thank you, Horikoshi Kohei! QWQ

[lemonhemlock]

I did not get into Game of thrones when it first started airing. In fact, I waited until it was long past it's heyday (around s6 or 7) to check it out because the marketing and the conversation surrounding it misled me into thinking it was nothing more than "grimdark" bullshit. As one famous YouTuber sarcastically called it "hot fantasy that fucks." So, I avoided Martin's work for literal years due to the impression that I got from online reactors and show-only casuals who did as you and a few others have described as his work being fundamentally misinterpreted.

Fortunately, I overcame my hang-ups, purchased the books (even the supplementary material) and fell down an entire rabbit hole of ASOIAF which led me to recognizing that this world he spent decades creating is far more complex than what had been portrayed onscreen. Regardless of the possibility of the books remaining unfinished (which I am fine with, personally), what George has created is a genuine work of art that I imagine took a tremendous amount of time and energy. So, for so many people online to behave like children and throw tantrums because they feel entitled to him (ew) instead of ushering forth more reasonable conversations and legitimate debates about the nature of his situation frankly makes me look at this fandom with a heavy dose of skepticism.

It is truly baffling to hear even professional critics and see articles describing George as being "ungrateful" or "unprofessional" when it has been well-documented just how often authors get locked out of the adaptation process and left to the wayside as consultants. Look at what happened to Rick Riordan and Christopher Paolini! George R.R. Martin is not the only author to have qualms with how a multimillion dollar studio has mishandled his creative work, and to act like he should remain silent just because he's amassed a certain degree of wealth is quite frankly, ridiculous. He shouldn't have to settle down, be grateful, and stay quiet because the greedy corporate executives and their media drones will get offended by actual criticism that could alter the perception of the adaption being revealed as mediocre for having departed from the source material.

TLDR: authors should be allowed to speak up about their art being sacrificed for commercialization.

Thank you so much for this message, anon! This needs to be talked about more, because I don't think a lot of commentators truly understand the vulgar, late-capitalistic sheen that seems to set in and slowly poison any ASOIAF adaptation. It honestly baffles me how quick some members of this fandom are to rush to the defense of, what is essentially (let's not be kidding ourselves here), a cashgrab by a giant corporation to the detriment of the actual artist and the actual creative foundation behind it.

Why else would "MAX" (if that is even their name) make another (or several other) ASOIAF adaptations? Not to stay true to any philosophical aesthetic vision, as it has become more than apparent with Season 2, but to increase shareholder profits by appealing to the lowest common denominator. Even the basic premise has been shifted in order to address popular trends and satisfy the mindless consumer that doesn't want to engage with anything deeper than their favourite tropes, prettily packaged:

from a story about a doomed ouroborous family superimposed on the pitfalls of feudalism, with villainy and heroism to be found on both sides, it has been simplified and reduced to a narrative that exalts white feminism and disqualifies anyone who opposes its girlboss protagonist. This is Sheryl Sandberg's version of Fire and Blood.

Truly, I think Sara Hess did (unintentionally) outline it the best: "civilians don't matter in Game of Thrones". They don't matter in Game of Thrones, but they matter in A Song of Ice and Fire. The entire heart of the series is contained in Septon Maribald's speech. The writers "kind of", must have forgotten, though.