#okay yeah i'll stop now.

[transformers-earthspark]

I have some unfortunate news.

While it's not confirmed either way yet, it is likely that Season 2 will be Earthspark's final season.

Recent information has shown that he show has been, to put it quite frankly, a flop. By their own fault, Hasbro has only lost money from it. Earthspark was badly marketed, had mediocre toys accompanying it, and was hardly ever advertised-- not to mention the major review-bombing done by transphobes online after their discovery of its queer representation. All of this makes it highly unlikely that Hasbro will even attempt to continue the show after Season 2. (Edit: Check reblogs for clarification.)

I'll keep you updated on any further information.

[eikichi-supremacy]

If nothing else Koenma is a Kuwabara stan and I'm right there with him o7 (I need to write the kuwameshi fic that goes with this fr)

[spinnysocks]

the frenemies of all time

it was so hard to find pictures of them in the same shots 😭 they're in the same scenes all the time but not the same shots- i think it's actually a purposeful choice by the animators to show they're not actually allied, which i think is cool

[starscreamingg]

Honestly transformers one deserves a medal for being the first transformers. Thing. In like five years to make me actually like and want to see bumblebee

[evevoli]

i accidentally conned my way into an autism clinic referral by offhandedly mentioning that i think i might have it to my doctor last week and this is about how the entire interaction felt

[anghraine]

dontstandmedown replied to this post:

re:tags could you share the playwright you're talking about? :0

No problem! For others, the tags in question are this:

#thinking about this partly because the softer & gentler versions of fanfic discourse keep crossing my dash #and partly because i've written like 30 pages about a playwright i adore who was just not very good at 'original fiction' as we'd define it #both his major works are ... glorified rpf in our context but splendid tragedies in his #and the idea of categorizing /anything/ in that era by originality of conception rather than comedy/tragedy/etc would be buckwild

I am always delighted to share the good news of John Webster! If you're not familiar with him, he was an early seventeenth-century English playwright known for being a slow, painstaking, but reliable writer. He did various collaborations with other playwrights (and acknowledges a bunch of his peers in an author's note to The White Devil, including Jonson and Shakespeare) and wrote some middling plays in various genres that could be more or less termed "original fiction," but he's remembered for two brilliant, bloody tragedies.

The basic premises/plots of both of these were essentially ripped from the headlines of the previous century, and Webster makes zero attempt to conceal that fact.

I couldn't shut up about my guy so more under a cut!

The White Devil is based on the actual murder of Vittoria Accoramboni in the late sixteenth century and the characters in the play are generally given the same or similar names as the real life people in the story as known at the time, so there's no attempt to conceal the play's origins (the anti-heroine/villain???[debatable] is named Vittoria Corombona in the play, for instance).

The original production of The White Devil largely failed, which Webster blamed mainly on bad weather and an audience who just didn't get his ~vision and what he was trying to do. It would not be unsurprising for a contemporary audience to struggle with it given that it's a complicated play in which, among other things, Vittoria is put on trial and rhetorically shreds the underlying misogyny of the entire legal process.

The Duchess of Malfi, generally considered a still greater achievement, is based directly on the murder of Giovanna d'Aragona, Duchess of Amalfi by her brothers (it was presumed, likely correctly). Lope de Vega also wrote a play about this tragedy not long before Webster did, though the plays are very different and it's unlikely that Webster would have had the time or linguistic knowledge necessary to read Lope's version. Probably part of the reason for the differences between Lope's and Webster's takes is that Lope had to be careful about the reception by the Catholic Church given that one of the murderers was a cardinal, while obviously an English Protestant like Webster could say whatever he wanted about eeeeevil cardinals.

Webster takes a lot of artistic license, a normal approach at the time to adapting previously-established narratives, but the source material is very recognizable. One of the commendatory verses at the beginning of the play (blurbs in poetic form from other playwrights) is like "I'm sure the real duchess was cool but she couldn't be as cool as Webster's heroine, wow <3". (One of the other commendations is by another fave of mine, John Ford.)

Bosola, the historically mysterious minion of the Duchess's murderous brothers (=Bozolo in the historical narrative) gets an elaborate quasi-redemption arc in the play. And the play is extremely critical of various characters' obsession with and attempts to control the Duchess's sexual behavior (a fixation that is often extremely normalized in early modern British drama, but which comes off really badly here).

Ultimately this obsessiveness leads to her brothers, the Cardinal (=the historical Cardinal Luigi d'Aragona) and Ferdinand (=Carlo d'Aragona) orchestrating her torment and murder in which she emerges with her sanity and integrity intact and dies with dignity. Meanwhile, the Cardinal is exposed as a remorseless villain (he proceeds to murder his mistress with a Bible) and Ferdinand's already-shaky sanity snaps under the realization of what he's done.

Webster's Duchess is often considered the first real female tragic hero in British drama—the tragic is especially significant because tragedy was typically considered a higher art form than comedy and the truly great female characters from that era of drama are often restricted to comedies or secondary roles in tragedy (a marked trend in Shakespeare, for instance). The Duchess in the play is virtuous, strong-willed, witty, and fairly unabashedly sexual in the context of the time, a concept that several hundred years of critics have struggled with. (My favorite OTT complaint is from Martin Sampson, an early 20th century critic who lamented the conspicuous absence of a "strong active man, following righteous things" in Webster's work, to which I say l m a o.)

Anyway, among scholars of early modern British drama, Webster is often considered second only to Shakespeare as a tragedian, on the basis of those two plays. And the modern obsession w/ originality and novelty makes this kind of fascinating, given that his "original" work (in our sense—again, the original vs fanfic dichotomy was not a thing in that cultural context) is sort of meh but his work with pre-existing sources turns them into these staggering dramatic achievements.

[amoneki-ramblings]

Continuing on the religion thoughts/rambles

I just think that a really interesting comparison could be made between ghouls and needing to eat human flesh/blood and like communion/the eucharist?? Like hear me out,

You could probably already draw the connection with people having to eat the actual body and blood of christ and ghouls needing to human flesh. There's also the fact that this practice is an actual necessity for ghouls, like they depend on it to live, as it's the only thing they can consume that'll actual sustain them (unlike coffee), which makes it sacred in a way (not to mention ghouls treat humans/human bodies in a special way that doesn't translate to humans, for example donato mentions how they view the head as the "centerpiece" of a meal, and it is a special part of ghoul meals, we see Yomo put his hands together and bow his head before collecting corpses, the way Shuu acts about his gourmet meals sometimes (also reminding me of a line I saw once in a tg fic, "Not the blood of Christ but certainly the blood of someone else"), etc., just the way that (by some at least) it's held in high honor, and it is a sacrifice).

There's also the fact that hunger will drive ghouls to insanity (and cannibalism still slowly eats away at their minds), the only way they can be "saved" from this fate is consuming human flesh

There's this one verse; John 6:53 that has multiple variations but generally goes “Unless you eat my body and drink my blood, there is no life in you" While it can be very symbolic in the context of religion for ghouls it would be very literal, as they have no choice but to consume the body and blood of humans or they slowly and painfully die

Just. Something something comparison between ghouls eating humans and communion, something something corruption of religious ideas because the lives of ghouls and their need to kill and feed off of humans is regarded as a sin/sinful. Does this make sense.

Ummm I was gonna try and fit that in with amoneki but I ran out of thought juice orz. Tbf I think this kind of connection/irony would definitely not be lost to Kaneki, I think he'd have some interesting thoughts on that as well I just forgot where I was going with this :skull:

[spacebubblehomebase]

Your art looks so yummy and soft it tastes like soft ice-scream with different flavours for each character. GIVE ME MOREEEEEEEEEE

THIS MAKES ME SO HAPPYYY!!! 💙💙💙💙💙

HOW'D YOU KNOW!!!? No one has ever connected those dots for YEARS!!! 👀 See my headline? "With Love Of Every Flavor..." That's something I wrote in my adolescence which I just never bothered to change. It pertains to my posts and how I make them with love (you can cringe), but I also purposely used it to allude to- you literally guessed it- ICE CREAM!!! Which, according to my family, I was infamously obsessed with. STILL super obsessed with actually! (Tho in my defense, the Philippines is hotter than HELL rn.) So yes! I do see my own art as scoops of ice cream. Have been for- again -YEARS! Besides a "space bubble" for introverts -and people who simply love in a different flavor- to feel safe in, that's EXACTLY what I wanted my art to be seen as!!! Which is why I mostly draw sweet things. (Key word: Mostly.) I wanted to convey the giddiness I feel whenever I eat ice cream with my art. So hearing you say that, tho I know naming the taste of an artist's work isn't all that new, really feels like an achievement! THANK YOU!!! ...Okay. Now that you made it this far through my sappy sugar rush induced writing, I know I went off on a tangent, but since ya'll have been really hyping me up lately, how about an update? On my AU? Just a short and sweet reward? Nothing big. Not much lore, but let's saaaaay... it'll beeeee... today? 🫣 Hehe. More, indeed. ^v^ Stay Tuned~! -Bubbly💙

[fritzes]

Carlos Alcaraz // "Miniature Disasters" by KT Tunstall

[selamat-linting]

resignation letter is the most potent painkiller. i love you resignation letter i love you one month notice <3

[iwakuraz]

puella magi rue magica!!!!

[kazumahashimoto]

NOW I CAN BREATHE, TURN MY INSIDES OUT, AND SMOTHER ME

WARM AND ALIVE, I'M ALL OVER YOU, WOULD YOU SMOTHER ME?

[ghostlyarchaeologist]

The Artist at work.

Heaven Sent (2016)

[capricioussun]

It always comes back to the same problems. Tale, Fell, Swap, the majority of all my other AUs, Sans feels tremendous amounts of pressure to take care of his brother and tries hard not to let Papyrus know just how difficult it truly is for him, Papyrus can obviously tell anyway, and feels tons of pressure to take more responsibility for himself.

Papyrus is so easily influenced at such a young age, and learns to keep the struggles a secret from Sans, and later on unintentionally doing the same thing Sans did by trying to hide the burden so it wouldn't weigh on his brother.

Maybe the exact why or other circumstances vary but it always ends up that way. Sans thinks he has to do everything on his own and Papyrus just wants to help him, but the only way he knows how is to do the exact thing that only worries Sans more but neither will just talk about it. For one reason or another. They are locked in knowing the other cares, wanting to take care of them, but failing to ever actually do things to better their relationship, only creating more, and more, and more distance.

Because distance is safer than dragging each other down. It takes a very long time to realize they were doing that anyway (if they ever get so lucky).

[lengthy-artery]

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[simplepotatofarmer]

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