#no one is going to watch these I fear

[steampunkhobo]

It’s my birthday, so I’m sharing by far my most self-indulgent post. I have two all encompassing interests- O Brother, Where Art Thou of course, what this blog is dedicated to, and ballet, which I’ve been involved in for many years and for all of my free time. So I’ve made the natural but very silly choice of combining the two- and not by commissioning the soggy bottom boys in tutus. I’ve gone through my favorite dances and picked the ones that I thought suited the characters best- or as good as you can get with these hillbillies.

I’m only doing variations and not pas de deux stuff or anything with a corps- the solos show greater depth of character, and group dances are more usually embodying a concept than a specific person or energy. These are NOT dances I think they would perform or dances I even think they’d particularly like, but dances that I think embody their energy and spirit. Written an explanation with each for the non-dancey people or people who can perceive these characters in normal ways. And because I can’t shut up about them ever at all.

Anyway:

Delmar:

This is not a particularly showy dance. She’s not getting into any crazy leaps or doing 20 fouetté turns- just a lot of really simple but clean and delicate footwork. It’s easy to underestimate this dance (read: Delmar) but not right to. The things that she gets, she really really gets. And the dance has a spirit all its own. She is in her own little world, something flowery and lovey-dovey, and it’s clear in the dance. She’s dancing for herself (if not textually), and the energy is so entrancing that you get caught in it too. And all that liveliness makes it feel like she’s being silly. Delmar is nothing if not silly.

Pete:

This is a dance that embodies strength- enough strength to get you through 13 years of prison and nearly getting murdered multiple times. (Surely that’s equivalent to dancing nearly an entire piece en pointe!) It’s a strength that’s been worked on and drilled in that it looks natural. To a casual observer, it seems easy, and even when you know it isn’t, it’s easy to forget just how much work it is. Everyone has a breaking point but she is fighting to make sure you can’t see hers. I also just love the confidence. I’d say sass, but that implies it’s unwarranted. She’s earned her confidence. That’s the attitude of someone who is right about most things and isn’t precious about saying it. You can make the choice not to listen to her, but it’s your own damn fault when you miss something or things go screwy for you. She commands attention. She commands respect. After all she’s been through, (Raymonda or Pete, take your pick), that’s the least you can give her.

Everett:

I’m trying to be indiscriminate with the genders, but there’s no way Everett doesn’t get a male variation. There is entirely too much swagger and arrogance in every male variation to go for anything else. And I’ve danced this one, so I know too well how pompous this one feels. Besides that obvious bit, though, this has a lot of flair, especially for a male variation. The peasant dances in Giselle are supposed to be a little less grand, based on folk dances and traditions, and that’s still here, of course- like Everett, a fancy hick is still a hick. But lord, is he trying to be fancy. And to his credit, it works. It’s just. Super transparent. But hell, if you got it, flaunt it. This is a dance that’s being used to court and charm the royals, and lord is Everett a charmer.

Tommy:

I love Tommy and think he’s a really underrated character, but god, we know so little about him. It was not easy to pick one for him 😭 Strangely enough, that works to Dulcinea’s advantage, however. She’s an important but mysterious presence, symbolized and discussed more than seen, appearing out of nowhere and returning just as easily. She’s going to do her thing, and if it behooves her to join your party or meddle in your affairs, she will. But she’s not beholden to you. Just kind enough to help. Also, supernaturally gifted. Just unreal talent. And of course, both performers had to put in a whole lot of work to seem that mystically talented.

Penny:

It’s hard to articulate why this one’s a match. Words are not a dancer’s strong suit. It’s just very light and feminine, fickle and girlish like Penny very often is- but this in no way signifies weakness. She is just as bosterious and strong-willed as Penny should be. Hell or high water, she’s going her own way. Everett’s being a shithead when he says it, but the truth behind him calling her a succubus is that the same traits that are so alluring on her can just as quickly be frustrating when she wants it to be. She’s nobody’s fool. Plus, that last bit with Romeo reminds me of that bit in the Woolworth’s when Penny loses herself a bit too much in Everett.

George Nelson:

The pointed fingers in this dance are supposed to symbolize electricity. And that’s all I have to say about that.

[thisisahyperfixationnow]

Welcome back SmallEtho you have been missed

[weirdglassthing]

Posting more of my ouaw fanart here because I think I’d die if I shared it on the discord and one of the party members saw it.

Some guys

Some husbands

0 impulse control

[claraoswalds]

#mrs flood who are you: time lord edition

[poorly-drawn-mdzs]

Welcome to the Dungeons of Fear and Hunger.

[luck-of-the-drawings]

THIS THING IS SCUUUFFED AS HELL & ITS ALSO THE BEST THING I HAVE ANIMATED THUS FAR. IM SO IN LOVE WITH EMIZEL. JUST WISH I GAVE HIM MORE STUPID TATTOOS. NEXT TIME THO. NEXT TIME. I ALSO LOVE VEX&VIV SOOOO MUCH. charlies flavor of Deranged is my FAVORITE!!

[hazieash]

Pentapus Claudia in a moment of remorse

[gen4grl]

my johto timeskip designs + bios/teams below!

i think about this group ALOT!!! if i had any confidence in writing i would easily share the whole hgss rewrite i have in my head but alas… just take my drawings instead! i like to give characters more “realistic” outfits… not really a modern au? i love to imagine the pokemon world with all our worlds pop culture which inspires my designs! long post but enjoy!!! ( ˘ ³˘)♥︎

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lyra + 20. champion ranked trainer

♡ Raised by her single mother, aunt and older cousin Kris in the small New Bark home. Her father died when she was 6 in a mining incident involving Team Rocket. Bubbles, her ace Azumarill, was gifted to Lyra by her father on her 5th birthday - being her final gift from him.

♡ Extremely outgoing, sweetly optimistic and immensely empathic. Absolutley loves making friends and talking to every kind of person. However, is extremely competitive & stubbon and gets frustrated easily - resulting in her giving up quickly but is also extremely quick to be re-motivated. Often feels the emotions of others intensely. Very country girl with an extremely strong Johtoian accent and lisp. Loves 'girly' things like makeup + fashion, period dramas and collecting nick-nacks but also loves spending her days outdoors, espcially in the National Park with Ethan watching the bug-catching contests or the Safari Zone.

♡ Struggled with her battle confidence as a young trainer which resulted in her having to re-battle Falkner and Bugsy several times. Over her journey grew an appreciation for pokemon perceived to be 'weak' & cute and built her team around showing the powers of these types of pokemon. Despite being a Champion Ranked trainer, Lyra opted to work with Ethans grandparents at the daycare center where she specialises in pokemon breeding and training weaker pokemon + their trainers.

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silver + 23. champion ranked trainer

♡ Only child of Rocket Boss, Giovanni. Was born and raised on Island 5 of the Sevii Islands by multiple admins, most commonly Archer before running away to Johto. Has a deep rooted and consistent fear that he’ll never amount to anything but “Giovanni's kid”. Was extremely tight lipped about his upbringing to the trio, especially after learning of his loose connection to Lyras father’s passing. Finally told them the truth of his family after the defeat and final disbandment of Team Rocket.

♡ Originally extremely standoffish, condescending and at times, aggressive. As an adult is still quite serious and independent, but genuinely enjoys the time he spends with his friends and is surprisingly protective of them - especially Lyra and Kris. As time passed, his anger towards his father evolved more into guilt, however, over the years has become more patient, gentle and forgiving with not only others but himself. He still can come off quite intimidating to strangers, but these changes are noticeably visible to those close to him. While usually a quiet person, has a very dry and witty sense of humour that takes most people by surprise.

♡ Mentored by Lance, and later Blue, and spends a large amount of time training in the Dragons Den. While unsure of what direction he wants his life to go into, Lance is adamant he would make a fantastic gym leader or elite four member. Always accompanies Lyra to the yearly Champion Balls and Alola trips. Currently lives in a small beachside bungalow with Lyra in Cherrygrove where he enjoys spending his free time reading and teaching himself guitar.

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ethan + 21

♡ The childhood friend of Lyra, Ethan was raised by his father and grandparents in New Bark. Extremely courteous, friend & family oriented and easy to talk to. A natural comic and can make even the straightest face people crack a slight smile - Red being his proudest achievement. Lax and slightly ditsy but can adapt to any situation and group of people like a flick of a switch. Not the best at articulating himself but always puts 110% into making sure people feel comfortable through his actions.

♡ Completed the 8 Johto gyms but never challenged the Elite Four & Lance in favour for persuing his true passions. Currently works at the Goldenrod Radio Tower where he co-hosts a program consisting of interviewing gym leaders, elite four, champions and other prolific battlers. At nights, does standup in the clubs in the Goldenrod Tunnel. Due to his easy-going nature and career, tends to knows everyone’s buisness + gossip and has crazy experiences with nearly any person imaginable.

♡ Currently lives in a small loft in Goldenrod. Spends his free time watching anime + cartoons or in the National Park either watching the Bug Contests, skating or talking to the old folks. Enjoys the nightlife of Goldenrod where he usually pulls Silver out to bar hop or spend hours playing Voltorb Flip.

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kris + 25

♡ Oldest and mother figure of the group. Was born and grew up in New Bark town with her mother before her cousin Lyra + aunt moved in with them when she was 11. The two shared the large upstairs bedroom growing up where Kris introduced Lyra to contests and the annual Champion & Wallace cups.

♡ Mature, soft spoken and extremely intellegent - both academically and socially. Because of this, can offer solutions on any issue on both a practical and emotional level, no matter the person and situation. Has unique relationships with all three kids but in general sees them as her younger siblings and takes the role as the 'older sister' very seriously. Has a warm and comforting presence, making those even to the likes of Silver feel comfortable confinding in her.

♡ Quite reserved and struggled with her purpose and sexuality growing up, espcially in rural Johto. After the death of her uncle and seeing her daughter’s interests in the Wallace Cups and contests, her mother moved the two to the Hoenn region, settling in Lilycove City when Kris was 13. While starting her gym challenge in the new region, Kris fell in love with Hoenn's unique weather patterns and ecosystems. Eventually she quit the gym challenge to peruse a career as a meteorologist where she now works at the weather institute. When not working, she enjoys attending contests, museums and scuba diving. Finally feeling settled in life, she came out to her family + the trio when she was 20.

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[bacchuschucklefuck]

Riz has counted four casseroles this week alone. Five, if one goes by the method of cooking, but Yelen's scary when she's crossed, and calling her burek by its proper name is important to her, so Riz does her the courtesy and doesn't include it in his mental tally.

He holds the tupperware over his head to keep it out if the way as he takes careful steps over the piles of notes in his path. The dockman case just closed, relevant documentations handed over to relevant personnels, evidences dealt with as needed; all he has lying around now is just record of the process and traces of himself thinking through it. Unsurprisingly they still haven't invented a surface more convenient for people under five feet who like to pace to put pieces of paper on than the ground.

Actual records go into the case folder with the other documents. Anything else with at least one side still blank is going to the school kids in the block - they chew through an astounding amount of paper just learning arithmetic. The rest is for the recycling basket.

Later. It's his mandated lunch break right now.

Riz sits down in front of the corner file cabinet. In an office often overrun with papers and strings and sometimes even thumbtacks, he's never really managed to clutter up this exact square of surface like every other ones. Ever since the bottom drawer rattled for no discernible reason a day long past, his eyes have always just kinda decided to slide across the space without acknowledging it.

It's years out, now. Riz doesn't know why he thought it such a big deal anymore, back then. He wasn't scared, he doesn't think. Not anymore. Maybe just uncomfortable with the idea that certain things persist despite all efforts to change.

He opens the tupperware. Dame Carabelle's experiment greets him with enough spice in the aroma alone to knock out a small mammal. When he chopped the vegetables for this casserole he couldn't really imagine the eventual heft of it, evident even through just these few ladles' worth, maybe weighing heavier for being still warm. His folk eat more through the smell and the textures and the aftertastes than the taste itself. His folk's meal is really the cooking rather than the eating. The eating is the meal's end.

"Hey," he tells the file cabinet's bottom drawer. "Um."

It's the anniversary. Riz doesn't know the exact date of his dad's death; nobody currently alive does. He and Mom both use the date of the funeral, though as he moved out to Bastion and then got more directly involved with Interplanar he hasn't really been going to Dad's grave as much. Doesn't seem like very efficient use of his time, catching a train or borrowing a car or spending a whole spell slot on going somewhere he knows Dad isn't at. They're sorta coworkers now. They talk on and off every other week between missions. When he goes now, it's just to clean up the place, keeping the landmark tidy and respectable.

Without that work to mark the date he doesn't really know what it serves anymore. But he still remembers it. Still takes note, absently or not, when it comes around.

There's not really a good way to tell the drawer that. Riz looks for another way to start the... conversation, hopefully. The question at play, he'd guess, is why he's doing this. He's been pretty content ignoring all the rattlings and the knocks from inside and the times it sits slightly ajar without him ever opening it himself; hell, he still uses the three drawers on top of it. Space is fucking precious in Bastion.

Precious enough to finally fix this damn drawer so he gets his turn to use it? Riz asks himself. Is that what we're getting to? Then he dismisses the thought - he didn't manage to fix it the times he actually tried, let alone-- now. When he doesn't really care that much to.

That's probably a good place to start. "'s fine if you keep being in there, turns out," Riz says.

The lunch hours are quiet in the block, sleepy and bright with the brief window of sunlight that manages to break through roof overhangs and extended balconies and laundry lines and climbing vines. Riz's work isn't loud here (the loud parts happen away from his office, if everything goes right), but the fragment of early summer heat reflected in the steady warmth his meal still carries compels him to lower his voice even more. It makes the words feel intimate, in a way he's never been familiar with - if he says something he just says it. He doesn't whisper. If he gives his friends something, he gives it open-palm. He's found out, along the way, that people usually don't think of rituals and courtesies the way he does.

Small voice for a diminished monster. "You know why I think so?" Riz asks. "Because almost two decades ago you kidnapped me and almost killed me, and now you rattle a drawer in my office."

It doesn't sound as much like a taunt as Riz wanted it to; the drawer has made a lot of noises again this morning when he checked the calendar, and he was definitely annoyed at it. Now, though, facing it like this after cooking the whole morning with more grandparents and peers from the block than he can count on both hands to cater for a tenant union meeting, he thinks the annoyance has morphed. Changed shape.

It has the shades of something like pity. Riz is not prone to pity, and especially not at these kinda matters. It's slightly maddening that he coheres perfectly outside of this one spot. That he commands his spaces, except for a drawer.

He puts the tupperware onto the floor between himself and the cabinet. "I know we're aware it's the anniversary," he says at the drawer. "You do this every year. You make a ruckus every time I decide to go do my job instead of mooching off my friends' aircon, and every time I get an invitation to some stupid social thing I want to turn down, and every time one of the old people tries to introduce me to a child or a nibling, because being a bachelor over thirty is weird," he pinches the bridge of his nose. "I have three fucking jobs. I love doing my fucking jobs. I'm forcing funds into infrastructures. You're never leaving, are you."

The drawer vibrates lightly. It's a very, very mild acknowledgement, considering the history of reactions Riz has gotten from this thing. Riz thinks it's emanating joyous agreement, or satisfaction.

It only sharpens the pity. Riz doesn't like that, but it's how it is. That's, ultimately, the lesson he's been taught over and over and over again, just by existing as himself, turned every which way by space after space that don't see him eye-to-eye: it's not like he'd quit living over any of it. It's not like any of it can sand off these fundamental pieces of him.

He's outgrown a lot of things, he's found out. Again, and again, and again. A childhood home, a yearly trip, a monster.

"'s probably scary for you, huh?" He asks. "Because I left."

He thinks he hears joints creak that sound like you did. Probably the way a scorned lover would say it, in a movie or a yellowback. He has no more connection to the idea than he did as a kid. Less, because it doesn't even scare him.

"That's what it is, right? That it's the anniversary, and I'll never be like Dad." He raises a knee from the floor, pulls it back closer to him. Slings an arm over it. "You love to remind me. The thing is, Dad also left. He loved Mom and he loved me, and none of us wanted it to happen, but it still did. Because love does fuckall to make anyone stay on its own."

He's long past being bitter about it. It's just the facts. Once upon a time he looked into the future and the specter of his friends' happily-ever-after casted lightless, fathomless shadow over him. Love, marriage, that kind of devotion, to a fifteen-year-old with more solved cases than friends seemed so eternal. Final.

But you can only watch your friends build up apps' worth of jilted lovers for so long before getting over it.

"You know what I learned?" Riz tells the drawer. "Love doesn't make anyone stay. Project management does."

He stands up, and picks up the tupperware of Dame Carabelle's casserole, that he helped make, that he helped share with a block's worth of neighbors and members of a community he's at home with, and goes sit at his desk to eat. "Last chance to get any," he drops an offer over his shoulder as he walks away.

He doesn't eat all of his share in one go. What he's spared he leaves on the desk when going outside for a smoke break. Baron looks the exact same as when he saw them last, when he catches a glimpse; they haven't grown at all. They aren't there when he comes back inside, but the leftover has gone days-old cold, like someone's sucked the future out of it.

[shima-draws]

Ideal ending to WCI is Luffy seeing Sanji cry and then awakening his devil fruit and unlocking Gear Fifth out of sheer RAGE and saying the classic line of “Who made you cry, Sanji?! I’ll DESTROY THEM!!!” and then proceeding to go on a rampage and fucking absolutely EVERYBODY up including the Vinsmokes, Pudding, AND the Big Mom Pirates. Toss in the trope of came back wrong and Sanji can immediately tell something is not right about this Luffy, whose smile is too wide, whose eyes are too distant, who continues to beat upon his enemies long after they’re down, who seems to take a sick sort of pleasure in hurting others, who grins and giggles and tells Sanji he’ll obliterate anything that makes him cry. Eventually he starts to scare Sanji so bad that even Luffy notices his reaction, and immediately turns on himself because if HE’S the one making Sanji cry then he’ll just have to destroy himself too. And that’s when Sanji finally leaps into action and does whatever he can to reach Luffy—including kissing him. Luckily that was exactly what Luffy needed to snap out of it, and when he comes to the Whole Cake Chateau is in broken pieces, the Big Mom Pirates are battered beyond fighting and the Vinsmokes are nowhere to be seen. And softly, tiredly, he asks if they won, if he can bring Sanji home, and Sanji cries again and says yes, take me home to the Sunny, I want to go home with you.

Meanwhile the rest of the Strawhats are like

[agentark]

do you ever think about how in the literal very first scene with Rebecca, we learn that Unit Bravo had no idea she even had a kid

she chose UB and The Agency over the detective so consistently, so frequently, that her team didn't even consider that she had some kind of life outside of them, with someone waiting for her at home

[pharawee]

Imagine being the personal assistant of some rich asshole CEO who threatens to get HR involved on your first day because the cleaners moved one (1) box on his desk 10cm to the left. Oh, and apparently he also got it on with you once (while you were still sporting your "I just started working here!" haircut) but it's ok because there's no (lmao) feelings involved, so you agree to also manage his personal appointments, so now you wait in his BMW (because OF COURSE it's a BMW 🙄) while he's off two-timing some girl with a guy named Kim, but it's totally fine, it's ok, it's because he doesn't know how to love anyone, it's really quite tragic. So anyway, you have this picture of you and your asshole boss (probably screencapped from the company cctv??) right next to your bed because you have no taste and standards whatsoever, but now you're thinking of quitting after five years of micromanaging him via your personal google account (only of course you aren't WINK WONK don't we all quit eventually~) and your boss won't let you because no one's ever said no to him before and he'd rather just continue sexually harassing you.

Oh, and also you live in a parallel universe that exists without any meaningful scene transitions whatsoever, so you constantly jump from the past to the present without any kind of strong notion of who any of the characters even are.

And that's Bad Guy My Boss. 🥴

[tropicalcontinental]

After Parkour Civilization can we all collectively watch Oneshef's videos

[mother-of-houseplants-2]

fiona gallagher // the angry man in the house

[homophyte]

its an episode about the many ways morty fears rick.

its about being afraid of rick and being afraid of his sadness and his callousness and his power. its about morty knowing the power rick has over him and being afraid of that. and knowing that ricks decisions are fickle and often Bad and that morty is going to be beholden to them. when rick jumps morty is forced to follow after and pay the same price for no crime. and the fear that for his loyalty and obedience there is no reward . Morty Is Afraid Of Being A Dog.

if rick is in a simulation where hes given everything he wants and hes too selfish and cowardly to leave when it threatens his life, morty will have to die with him.

if rick is in a simulation where he has the option of pretending nothing is wrong and everything is fine and hes too selfish and cowardly to admit its a lie even when it threatens his life, morty will have to die with him.

if rick is forced to admit he cares for morty or die he would die before saying it. and morty knows it. and Im Going Crazy

[hayaku14]

gymnast kaito x sharpshooter shinichi meet-cute in the olympics au