#spectacular plays

[arxcii]

the four horsemen of the apocalypse (wherein you say something interestingly sus)

[borgialucrezia]

GEORGE PLANTAGENET + hair flip

[mutedeclipse]

Obsessed with the idea of zokket gently reaching out and holding eck's mouth shut with his massive fucking hand. A mildly bothered and hushed:

"Quiet, ego. Your drivel is tanking our efficiency."

[dinosaurwithablog]

This is one of the best plays that I've seen all year! Cody Bellinger backs up Jasson Dominguez, and with Anthony Volpe, they throw to home plate and get the out!! This combined with the home run, makes Cody Bellinger the MVP of this game, in my opinion!! I'm so glad that you're on my team. Thanks, Juan!! 😁😁😁

LET'S GO, YANKEES!!!!!

As you can see, the pitchers were thrilled with this play, too

[4ddi3addie2005]

Late to the partayyy but I’m crying over Clown’s latest Makeship vid,,, SO many good shots of him and we got a jammers reveal 🚨🥳

[sukibenders]

Anthony doesn't get enough flack from this fandom if I'm being honest, like most of it is pushed onto other female characters while he gets the "he was struggling," excuse. And while he was struggling, there's definitely validity to that, he also should not have his actions (eg. playing with Kate's feelings, putting her and Edwina in a difficult situation, etc) excused because of that.

[mikimeiko]

1670 | Season 1 (2023), Jakub Rużyłło

[hywl]

[pushing500]

Happy new year! Cheers to another year of your comics and funny little guys!

Thank you! Happy New Year!! I hope you'll continue to enjoy following the Jones Boys and Co. as they see what trouble they can get into in 2025. 💝

There aren't any fireworks in Sparks, but Mechi built a piano for Ivy (and Henry, I suppose) in her bedroom, and I'm sure they found they found their own ways to celebrate, probably with lots of coffee and chocolate.

Hmm... perhaps they should do some research and figure out how to make fancy cocktails... 🤔🍸🍹

[feralkwe]

Kit can't really read, anyway.

[river-of-wine]

I’m thinking a lot about Persephone Hadestown. Something about Persephone, blinded by a river of wine, living in an oblivion, is that she does want to help people, but helping them would require directly facing and acknowledging the suffering her situation is causing the world, which directly clashes with her own method of coping with it all. Persephone drinks and drowns herself, and the hardship of her marriage and the disasters it causes falls away. But that isn’t reality.

In Livin’ It Up On Top, Persephone does acknowledge what the surface is like when she isn’t there - “who’s doing the best she can? Persephone, that’s who” “some may say the weather ain’t the way it used to be”. The way she speaks about it insists that it isn’t that bad, when we know for certain that it is, and “you take what you can get, and you make the most of it” while, for us, we draw the connection with Orpheus and Eurydice, the timing she chooses to share her mother’s advice insists that through the suffering, they must do their best with what they have. This is both for herself and the people around her, but in a song as upbeat as this, it isn’t something we really catch on a first listen.

Perhaps the most direct sign of how Persephone herself deals with and views this entire issue is “who says times are hard?” She knows times are hard, and we know she knows. She knows exactly how hard they are and exactly why they are so hard, but who says times are hard? The world came back to life, after all. She is here, and she brings summer with her, and people are dancing and drinking and having fun, so who says times are hard?

But then Hades comes for her too early, and everything is wrong again. She sees what he has done, and it ain’t right and it ain’t natural. She knows just how much people are suffering - “in the meantime up above, the harvest dies and people starve, oceans rise and overflow”. Persephone knows exactly how awful the world is and she knows exactly who and what is causing it. It’s her husband, it’s her marriage, it’s her absence that she has no say over anymore.

Persephone is not just a bystander to the goings on in Hadestown, though she wants nothing to do with it. She is Hades’ wife, she is the queen, and - though she does not want to be there - she is part of the chorus in Why We Build The Wall. When her husband asks, she replies. The enemy is poverty. The wall keeps out the enemy. We build the wall to keep us free. That’s why we build the wall.

Persephone copes with her drinks. She drowns herself in her alcohol, unable to face either world truly. On the surface, she is drunk. Down below, she is worse. When she drinks, she does not have to face the reality of Hades or Hadestown and the suffering of the people within it, nor does she have to acknowledge the suffering of the people above she is well aware of. The Fates continue to torment her, and she is too drunk to even retort. Persephone wants to help people, but to truly help she would have to face reality, and that is something she is wholly unwilling to do, because it would require recognising the true scale of tragedy, both in her own life and in the lives of everyone up above and down below. Her one method of escapism is all she can offer to the workers, drinks and drugs and a crack in the wall.

But then Papers happens and something changes. Hades speaks to Orpheus, and Persephone, for the first time in this entire act, puts down the flask. In Amber Gray’s performance in the West End, she slams it right down on top of the piano - “Hades, I know this boy”. Persephone has, since Our Lady of The Underground, drunkenly and miserably watched everything. She has watched Eurydice emerge from Hades’ office and realise what has happened to her, she has been on the sidelines for Flowers as the rest of the workers collapse, and she has watched Orpheus’ return and known that his journey has been for nothing. But it is here, in defiance of her husband, that she puts down her flask and forgoes her ability to disconnect any longer. She has directly inserted herself into this conflict, and it does not end here. When Orpheus is attacked, Persephone attempts multiple times to jump in and stop the workers from hurting him. She watches on in horror, unable to help but trying anyway. For the first time, Persephone is trying to help somebody with more than just the brushing off of the disastrous conditions of the world and providing them her own methods of ignoring reality. She has never been quiet to Hades himself about her dislike of Hadestown, but now, she is attempting to put an active stop to something he has caused.

Persephone remains on stage for If It’s True as well, watching on in disbelief and Orpheus rallies the workers to his side. At one point, she is centre stage, watching the workers rise with him as if she cannot believe her eyes. She goes to their final joined group, but she does not become part of it. Still, she is not quite there.

Where Persephone does aid them, though, is with Hades himself. How Long? is such a pivotal moment for Persephone. How Long? is much more than her vocal distaste of Hades’ creations and her hard stance against it. How Long? is Persephone’s attempt to change things. It is where she makes it clear that her drinking and disconnection is done, that she will no longer live in her own oblivion away from her husband and Orpheus and Eurydice and the world. She is here again, and she pleads with him, she finds the flaws in his arguments, she reminds him of important truths and, no matter how much it hurts, she sees the reality of the world around her head on.

[dinosaurwithablog]

When I went to the game on Monday, I had to get my picture taken with Julio Rodriguez!! He might not be a Yankee, but he's an incredible baseball player so it was my honor!! I love this game, and I love the great players regardless of what team they play for. I love watching these phenomenal athletes do their thang!!! That being said.... LET'S GO, YANKEES!!!!!

[cloudbends]

I LOVE YOU SO MUCH WONDERFUL PRECURE

[just-null]

i've always wanted to try out this trend! i didnt think i drew him that different. i was wrong. very wrong.

hes so baby girl in my style what the fuck. oh i know, i was just drawing what gege meant to draw. dw, i got his telepathic brainwaves 👍

[time lapse + my headcanons for Noritoshi's appearance under the cut]

some headcanons i have while drawing him are semi obvious while others are bc i like it ahehahhaheha

cupid's bow lips! this was semi inspired by Mizuki Umetsu, the actor for Noritoshi in the jjk stage play! hes so. pretty. perfect guy for the role imo! i was captivated therefore my views changed.

longer hair! the thought that his bangs(? are the same length, or longer, as the rest of his hair is nice.. it also makes his inevitable haircut much more refreshing! i also just like long hair and its a fucking waste not to do whatever the i want.

thicker brows and visible eyelashes! i naturally draw thicker eyebrows because it looks pretty, but the eyelashes is so fucking canon bro. dont even fight me on this, you'll lose. i read a fic about Noritoshi where it said he took good care of himself and his appearance inspired jealousy. that fucked me up man, so now i draw him as beautiful as i can.

monolids! I've looked through the manga and i think its highly implied that Noritoshi has monolids? yk those lines in between the eye and eyebrow, he doesnt have them in the manga. i thought it was because of the expressions he had, but no. the others have them, except geto! so geto also having monolids is so fr in my head. i like that feature abt him.

loose hairs! the hairs that i draw on his face. they make him look so cute and a bit more relaxed. he's not trying to be perfect nor have a single strand out of place. he's just a bit more at ease... though if there's something important he has to go through, he sharpens up. becomes.. stiffer?

I UNINTENTIONALLY MADE HIS CHEST LOOK A BIT BIGGER IN MY STYLE AND I WANT TO APOLOGIZE, BUT I'D BE A LIAR. DOES THIS COUNT AS A HEADCANON??? I JUST THINK... SINCE. YK. HES AN ARCHER. AND DOES TRAINING. AND COMBAT. AND DOES ALL THOSE HIGH JUMPS... HIS CHEST. ITD BE A BIT BIGGER FOR HIS STATURE.. omfg. that'd imply that his legs are fucking insane. and his arms too, since he has to pull back all those arrows so quickly.. oh my fuck. this. this is a revelation. what are you hiding under those robes noritoshi...???? one day.. one day we'll see...

oh my fucking god i forgot that i wrote shit while drawing. please ignore my fucking stupid writings AND THE STUPID ASS THING IN THE MIDDLE I FORGOT ABT WHILE DRAWING..

[wonder-worker]

[Matilda of Boulogne's] thorough integration into the governance of the realm was not repeated in [Eleanor of Aquitaine's] years as queen of England. Eleanor's coronation followed a new model that emphasized the queen as progenitor of royal heirs and subordinate to the king rather than as sharer of royal power. Though Eleanor acted as regent in England between 1156 and 1158 and in Poitou on several occasions from 1165 on, her writs suggest delegated rather than shared royal authority. In England, her power was limited by the lack of lands assigned to her use and by the elaboration of financial and judicial administration. Whereas [Matilda of Boulogne's] inheritance allowed her to play an integral role in politics by securing the Londoners' loyalty and a steady supply of mercenaries, Eleanor's inheritance provided her with more extensive power in Poitou and Aquitaine than in England. Until 1163, Eleanor withdrew funds from the Exchequer by her own writ, but unlike her Anglo-Norman predecessors, she was not a member of its council nor did she issue judgments from the royal court. Eleanor's counsel and diplomatic activities, in contrast to Matilda's, are rarely mentioned. She did, however, encourage the 1159 Toulouse campaign and supported Henry in the Becket affair and the coronation of young Henry. Eleanor was not a prominent curialis; she rarely witnessed Henry's charters or interceded to secure the king's mercy. She did follow in Matilda's footsteps in her promotion of her sons, cultivation of dynastic goals through the Fontevraudian tombs, and patronage that reflected her family's traditions. For Matilda, to be queen encompassed a variety of functions-curialis, diplomat, judge, intercessor, and "regent." Through a combination of factors, Eleanor's role as queen was much more restricted.

— Heather J. Tanner, "Queenship: Office, Custom or Ad Hoc", Eleanor of Aquitaine: Lord and Lady (Edited by Bonnie Wheeler and John Carmi Parsons)

[queer-crusader]

Watching 28 Weeks Later and honestly?? Robert Carlyle is THRIVING. My man took his theatre training and went FERAL. SO glad they didn't just kill him the second he got infected that zombie can GET IT