#the great king's dream

[stars-and-birds]

Dana’s last ‘fuck you’ to Disney

He/they collector

Genderqueer/bi-gender papa king

TWO girlfriend kisses

Onscreen mlm kiss

Implied aladarius

a happy ending to the bi/enby couple

A happy ending to the aro/ace character

And

Death to the white Christian puritain

[alintalzin]

Out of this list, I've watched The Kingdom of the Winds - that had a gorgeous soundtrack - Gyebaek, which made me cry at the end, God of War, which got a little boring in later episodes but the soundtrack made up for it, and The Iron King, which is not on this list, but it's about the first king of Gaya, so it counts. Currently watching The Legend.

Pre-Joseon Sageuks: a Biased and Incomplete List

So, as promised way earlier, a post on pre-Joseon sageuks that I’ve either watched or plan to watch so am aware of them. I am sure there are others but here is what I got. Obviously my takes on them are subjective blah blah blah.

Jumong - arguably the Daddy of all Traditional Sageuks, this one ran for over 80 episodes and had insane ratings. It follows the rise of the mythical founder of Gogureyo tho it takes fantastical elements of his story and changes them for historically plausible ones. It’s very long and very meaty and politics/battle heavy and has a large cast of complex characters (including pretty nifty women and a LGBTQ supporting OTP) but it is anchored by the incredible performance of Song Il Gook as the titular character as he slowly but believably grows from nothing to a hero if at the cost of losing his marriage.

The King of Tears Lee Bang Won - this is basically a half and half beast as (you can tell by the title), it’s set in the last days of Goryeo and early days of Joseon. The time period covered is the same as in My Country and Six Flying Dragons, but this is the most traditional take of them all, even more so than 6FD. Not a single pretty face in the cast (tho Joo Sang Wook is a mighty fine man, emphasis on “man”), this is for the real fans of traditional sageuks. I enjoyed it a lot but if you want to check out pre-Joseon sageuks but have mainly watched youth sageuk stuff before, you should probably start with another drama on this list.

The Great Seer - set in the reign of King Gongmin, the last proper king of Goryeo (his son King U is technically the very last but there are questions as to his status), this is for those of you who want to watch Ji Sang in a sageuk. It’s centered around seers but don’t expect mysticism, this knuckles down to politics.

Shin Don - hi there, another story set in the reign of King Gongmin! From the title, you can tel it centers heavily on the powerful monk who ruled for the King at one point. This has been on my to-watch list forever because this appears to devote a decent chunk of its time to Gongmin X Noguk and I am dying for a proper drama for those two. This is from 2005 so if you do watch, keep that in mind in terms of visuals etc. That cast is lit!

Bicheonmu - this is sort of cheating because it’s pretty much set in China but it involves Koreans so. It’s a drama take on the same story told in a pretty awesome movie. Tragic love, battles, young Joo Jin Moo etc. i am very fond of it. This said, find and watch the Chinese version, Korean one was shredded.

The Iron Empress/Empress Cheon Chu - set in Goryeo, this was another of women ruler centric dramas that had a mini popularity peak in late 00s/early 10s (a trend I wish continued.) it got overshadowed by Queen Seonduk but by all accounts is a solid drama. It’s on my list but I haven’t watched it yet.

The King’s Daughter, Soo Baek Hyang - by the writer of The Rebel and My Dearest. Have I got your attention? Another woman centric ruler tale set in Baekje. Yes, there is a love story. That cast is great, to boot. I have started and liked what I’ve seen but got sidetracked. Need to get back to it. Before you look at the ep number and faint seeing the number 108, keep in mind that the eps are half an hour long so it’s an equivalent of a normal 54 ep sageuk so if you can watch eg Empress Ki, you are good with this.

My Country: The New Age - Lee Bang Won but make it gay. OK, I kid, sort of (not really) but this is smart and passionate and heartbreaking. If you want a wide scope or lots of politics, probably not a take for you (Six Flying Dragons is RIGHT there), but if you want an intense, emotional tale, come right in!

Six Flying Dragons - to me, this is THE drama about Lee Bang Won. It’s smart and emotional, deals with politics and has heart. It has a large cast of characters I got invested in, OTPs that will blow your mind etc etc.

Faith/The Great Doctor - if you are a fan of old school shoujo like Red River, Basara or Fushigi Yuugi, this or Moon Lovers are your best bet on this list. A time traveling tale with other fantasy elements about a modern day plastic surgeon who ends up being kidnapped into Goryeo during the early days of King Gongmin’s (hi!) reign by a tormented, oath bound warrior played by Lee Min Ho at his hottest (and playing historical General Choi Young. Do RPS at your pleasure), this one is one of my all time favorites.

Seodonyo/Ballad of Seo Dong - I am actually currently watching this one tho I haven’t been posting about it. Set in both Baekje and Silla, this is an angsty love story with a side of politics. It’s filmed in 2005 and looks accordingly but if you don’t mind dated visuals, this is pretty great!

Emperor of the Sea - set in Silla and Tang, this was a huge hit and deservedly so. Our protag is a slave and gladiator and a great naval hero. This is grim and smart and epic. It’s from 2004 so once again, if dated visuals are no-go, skip, but if you want a great story and performances, this has your name on it.

The Kingdom of the Winds - an epic cursed prince narrative, our ML (Song Il Gook at his sexiest) rises from abandoned prince and slave and abused assassin to general, royal and king, sparing time for an angsty delicious love story with an enemy princess. This has serious sageuk bits AND the best shoujo tropes in the business, plus enough whump to keep anyone happy.

Gye Baek - Lee Seo Jin, another sageuk stalwart, stars as the title character in this tale of a Baekje commoner, war slave and general. This is grim but glorious.

Soldier/God of War - this is a traditional war-centric sageuk and grim as hell. Another slave to general tale.

King Geun Chu Go - this is on my watch list; it’s about a warrior king of Baekje. Haven’t seen it but heard good things.

Ja Myung Go - smart and unrelentingly tragic, featuring Jang Ryeo Won and Jung Kyung Ho as doomed lovers and Park Min Young in an evil role, this is great and has deeply flawed characters in the very definition of doomed by the narrative tale.

Arthdal Chronicles - this is obviously a fantasy but the tale of prophesied twins, magical priestess, wars and mysticism is clearly set in a pre-Joseon in terms of aesthetics world.

Alchemy of Souls - like Arthdal this is pure fantasy but also like Arthdal, a lot of its styling is pre-Joseon so on this list it goes.

Moon Lovers/Scarlet Heart Ryeo - ok I think if people have heard of only one drama on this very long list, it’s probably this one. Modern time traveling heroine ending up during the reign of Goryeo’s King Taejo, in the middle of his sons’ fight for the throne, having an epic but doomed romance with shoujo catnip tortured bad boy Lee Jun Ki.

Shine or Go Crazy - if you want a more historical take on Moon Lovers succession fight but still with plenty of hotness, angst and doomed romance, come right in. This baby stars Jang Hyuk, so you know it’s bound to be good. I actually started it and enjoyed it but got sidetracked. Need to get back to it. Fun fact: while Moon Lovers was hugely popular internationally, domestically Shine or Go Crazy (they aired around the same time), did much better.

The Legend/The First King’s Four Gods - for a long time this was my favorite kdrama of all time and is still probably in my top 10. Ignore the odd first episode, the rest is perfection. Expensive and wonderfully written, this was Bae Yong Joon’s last drama before he retired to rest on his pile of money (if you are young, you probably don’t remember what a big deal he was, bigger than all the Hallyu stars nowadays put together. He basically was singlehandedly supporting the kdrama industry at one point), but what a worthy way to go out. It’s an epic Goguryeo fantasy tale of a prophesied prince coming into his own, with such amazing characters and relationships and OTPs and battles and points about destiny versus free will. It is everything and I kinda want to rewatch now.

The Blade and The Petal/Sword and Flower - ostensibly a star-crossed Gogureyo love story, this really is more about politics. It’s a mixed bag. The visuals are insane but Uhm Tae Woong, while always solid in modern dramas, is out of place in a sageuk (in QSD Kim Nam Gil stole his thunder; there is nobody to do so here but that doesn’t help him.)

Queen Seon Duk - probably the most famous entrant into female power sageuks, this was a mad hit and centered on the titular character’s rise to power and fight for the same with her female nemesis Mishil. If you want love stories, angsty fighter Bidam propelled Kim Nam Gil to stardom as he stole the leading man mantle from Uhm Tae Woong.

Empress Ki - currently rewatching this. It’s set in the waning days of Goryeo but takes place mainly in Yuan. Still, the FL is Korean and a lot of the story revolves around one of her suitors’, a deposed Korean king, attempts to get his land back. As you can tell by my rabid posts, this is a great drama - politics, romance (I ship FL and the Yuan emperor like mad), murder, dysfunction and everything good.

Hwarang - it’s so brain dead it might as well be a brain-eating amoeba in drama form but it did give us both Park Hyung Sik and Park Seo Joon before they made it big in drama world. It’s terrible tho, stay away.

River where the Moon Rises - I have such a love/hate relationship with this drama - I loved the beginning, with our tormented assassin heroine slowly being warmed by the loyal rustic ML with his own trauma. And then Ji Soo’s bullying scandal happened and he was replaced by Na In Woo, aka the actor I like least from any country in all my close to two decades of watching dramas. I tried but I simply couldn’t and I am still mad. This said, if you don’t share my NIW allergy, it’s probably worth a watch.

The Great King’s Dream - if you liked QSD and can’t get enough of the period but want an even more traditional tale, you can do worse than this drama. I liked what I saw but this baby is 70 eps and lacks Bidam so I peaced out. Maybe I will get back to it sometime, but probably not.

Jeong Do Jeon - as you can tell by the title, centers on JDJ and the last days of Goryeo. Not really my bag (time period been done plenty in other dramas and I don’t have that much interest in JDJ) but supposed to be solid.

My Only Love Song - a short silly mess but still probably better than River (which tells the same story) because it doesn’t have NIW.

King Gwanggaeto the Great - 92 eps. I can’t!

The King Loves - delicious love triangle (that goes ALL ways), angst, prettiness, a side of bodyguard romance. What’s not to love in this Goryeo tale?

ETA: this post was so long that when I tried to tag every drama I mentioned, tumblr told me you hit the tag limit of 30 tags no more tags for you. Oh well, sorry dramas that ended up I tagged!

[demigoddessqueens]

Rest in the most ever loving peace James Earl Jones, you’ve more than earned it and will be missed by all generations 😭💞💕😢💔

[notbecauseofvictories]

it takes years for terry pratchett's books to get consistently good. I would argue that the series doesn't really hit its stride until Feet of Clay, which means that pratchett was writing and being published for 12 years before he found his groove.

and I genuinely can't imagine that. in part because I do think that pratchett's publication calendar looks different than what's expected of writers today---he had about 2 books published per year for his entire career. he must have been writing furiously, and the publisher must have relatively quickly gotten these to press.

but also....I just can't imagine any modern-day publisher keeping an author on their list for twelve years, unless that author is a prestige get or a constant presence on the bestseller list. And what does it say about the state of publishing that you can't go on publishing someone's good-but-not-revelatory books until they figure out what story they're trying to tell?

[jojo-schmo]

"We told our friends they were beautiful and recorded their reactions!"

Click the "read more" for the rest of the Waddle Dees' video :)

I misremembered the Waddle Dee camera crew's broadcast as Channel DDD when it's actually Channel PPP. Sorry... blame the anime for planting the wrong name in my head haha :'D

[starry-bi-sky]

'Late At Night, When The Nightingale Sings' doodles, because Pathetic Wet Cat Danny is the best Danny to practice drawing young faces with (and expressions).

[asongofstarkandtargaryen]

This is Bran and Arya coded bc lately I have many feels for my baby Starks

[greenerteacups]

oooh please someday tell us what you think of GOT

oh, no, it's my fatal weakness! it's [checks notes] literally just the bare modicum of temptation! okay you got me.

SO. in order to tell what's wrong with game of thrones you kind of have to have read the books, because the books are the reason the show goes off the rails. i actually blame the showrunners relatively little in proportion to GRRM for how bad the show was (which I'm not gonna rehash here because if you're interested in GOT in any capacity you've already seen that horse flogged to death). people debate when GOT "got bad" in terms of writing, but regardless of when you think it dropped off, everyone agrees the quality declined sharply in season 8, and to a certain extent, season 7. these are the seasons that are more or less entirely spun from whole cloth, because season 7 marks the beginning of what will, if we ever see it, be the Winds of Winter storyline. it's the first part that isn't based on a book by George R.R. Martin. it's said that he gave the showrunners plot outlines, but we don't know how detailed they were, or how much the writers diverged from the blueprint — and honestly, considering the cumulative changes made to the story by that point, some stark divergence would have been required. (there's a reason for this. i'll get there in a sec.)

so far, i'm not saying anything all that original. a lot of people recognized how bad the show got as soon as they ran out of Book to adapt. (I think it's kind of weird that they agreed to make a show about an unfinished series in the first place — did GRRM figure that this was his one shot at a really good HBO adaptation, and forego misgivings about his ability to write two full books in however many years it took to adapt? did he think they would wait for him? did he not care that the series would eventually spoil his magnum opus, which he's spent the last three decades of his life writing? perplexing.) but the more interesting question is why the show got bad once it ran out of Book, because in my mind, that's not a given. a lot of great shows depart from the books they were based on. fanfiction does exactly that, all the time! if you have good writers who understand the characters they're working with, departure means a different story, not a worse one. now, the natural reply would be to say that the writers of GOT just aren't good, or at least aren't good at the things that make for great television, and that's why they needed the books as a structure, but I don't think that's true or fair, either. books and television are very different things. the pacing of a book is totally different from the pacing of a television show, and even an episodic book like ASOIAF is going to need a lot of work before it's remotely watchable as a series. bad writers cannot make great series of television, regardless of how good their source material is. sure, they didn't invent the characters of tyrion lannister and daenerys targaryen, but they sure as hell understood story structure well enough to write a damn compelling season of TV about them!

so but then: what gives? i actually do think it's a problem with the books! the show starts out as very faithful to the early books (namely, A Game of Thrones and A Clash of Kings) to the point that most plotlines are copied beat-for-beat. the story is constructed a little differently, and it's definitely condensed, but the meat is still there. and not surprisingly, the early books in ASOIAF are very tightly written. for how long they are, you wouldn't expect it, but on every page of those books, the plot is racing. you can practically watch george trying to beat the fucking clock. and he does! useful context here is that he originally thought GOT was going to be a trilogy, and so the scope of most threads in the first book or two would have been much smaller. it also helps that the first three books are in some respects self-contained stories. the first book is a mystery, the second and third are espionage and war dramas — and they're kept tight in order to serve those respective plots.

the trouble begins with A Feast for Crows, and arguably A Storm of Swords, because GRRM starts multiplying plotlines and treating the series as a story, rather than each individual book. he also massively underestimated the number of pages it would take him to get through certain plot beats — an assumption whose foundation is unclear, because from a reader's standpoint, there is a fucke tonne of shit in Feast and Dance that's spurious. I'm not talking about Brienne's Riverlands storyline (which I adore thematically but speaking honestly should have been its own novella, not a part of Feast proper). I'm talking about whole chapters where Tyrion is sitting on his ass in the river, just talking to people. (will I eat crow about this if these pay off in hugely satisfying ways in Winds or Dream? oh, totally. my brothers, i will gorge myself on sweet sweet corvid. i will wear a dunce cap in the square, and gleefully, if these turn out to not have been wastes of time. the fact that i am writing this means i am willing to stake a non-negligible amount of pride on the prediction that that will not happen). I'm talking about scenes where the characters stare at each other and talk idly about things that have already happened while the author describes things we already have seen in excruciating detail. i'm talking about threads that, while forgivable in a different novel, are unforgivable in this one, because you are neglecting your main characters and their story. and don't tell me you think that a day-by-day account tyrion's river cruise is necessary to telling his story, because in the count of monte cristo, the main guy disappears for nine years and comes hurtling back into the story as a vengeful aristocrat! and while time jumps like that don't work for everything, they certainly do work if what you're talking about isn't a major story thread!

now put aside whether or not all these meandering, unconcluded threads are enjoyable to read (as, in fairness, they often are!). think about them as if you're a tv showrunner. these bad boys are your worst nightmare. because while you know the author put them in for a reason, you haven't read the conclusion to the arc, so you don't know what that reason is. and even if the author tells you in broad strokes how things are going to end for any particular character (and this is a big "if," because GRRM's whole style is that he lets plots "develop as he goes," so I'm not actually convinced that he does have endings written out for most major characters), that still doesn't help you get them from point A (meandering storyline) to point B (actual conclusion). oh, and by the way, you have under a year to write this full season of television, while GRRM has been thinking about how to end the books for at least 10. all of this means you have to basically call an audible on whether or not certain arcs are going to pay off, and, if they are, whether they make for good television, and hence are worth writing. and you have to do that for every. single. unfinished. story. in the books.

here's an example: in the books, Quentin Martell goes on a quest to marry Daenerys and gain a dragon. many chapters are spent detailing this quest. spoiler alert: he fails, and he gets charbroiled by dragons. GRRM includes this plot to set up the actions of House Martell in Winds, but the problem is that we don't know what House Martell does in Winds, because (see above) the book DNE. So, although we can reliably bet that the showrunners understand (1) Daenerys is coming to Westeros with her 3 fantasy nukes, and (2) at some point they're gonna have to deal with the invasion of frozombies from Canada, that DOESN'T mean they necessarily know exactly what's going to happen to Dorne, or House Martell. i mean, fuck! we don't even know if Martin knows what's going to happen to Dorne or House Martell, because he's said he's the kind of writer who doesn't set shit out beforehand! so for every "Cersei defaults on millions of dragons in loans from the notorious Bank of Nobody Fucks With Us, assumes this will have no repercussions for her reign or Westerosi politics in general" plotline — which might as well have a big glaring THIS WILL BE IMPORTANT stamp on top of the chapter heading — you have Arianne Martell trying to do a coup/parent trap switcheroo with Myrcella, or Euron the Goffick Antichrist, or Faegon Targaryen and JonCon preparing a Blackfyre restoration, or anything else that might pan out — but might not! And while that uncertainty about what's important to the "overall story" might be a realistic way of depicting human beings in a world ruled by chance and not Destiny, it makes for much better reading than viewing, because Game of Thrones as a fantasy television series was based on the first three books, which are much more traditional "there is a plot and main characters and you can generally tell who they are" kind of book. I see Feast and Dance as a kind of soft reboot for the series in this respect, because they recenter the story around a much larger cast and cast a much broader net in terms of which characters "deserve" narrative attention.

but if you're making a season of television, you can't do that, because you've already set up the basic premise and pacing of your story, and you can't suddenly pivot into a long-form tone poem about the horrors of war. so you have to cut something. but what are you gonna cut? bear in mind that you can't just Forget About Dorne, or the Iron Islands, or the Vale, or the North, or pretty much any region of the story, because it's all interconnected, but to fit in everything from the books would require pacing of the sort that no reasonable audience would ever tolerate. and bear in mind that the later books sprout a lot more of these baby-plots that could go somewhere, but also might end up being secondary or tertiary to the "main story," which, at the end of the day, is about dragons and ice zombies and the rot at the heart of the feudal power system glorified in classical fantasy. that's the story that you as the showrunner absolutely must give them an end to, and that's the story that should be your priority 1.

so you do a hack and slash job, and you mortar over whatever you cut out with storylines that you cook up yourself, but you can't go too far afield, because you still need all the characters more or less in place for the final showdown. so you pinch here and push credulity there, and you do your best to put the characters in more or less the same place they would have been if you kept the original, but on a shorter timeframe. and is it as good as the first seasons? of course not! because the material that you have is not suited to TV like the first seasons are. and not only that, but you are now working with source material that is actively fighting your attempt to constrain a linear and well-paced narrative on it. the text that you're working with changed structure when you weren't looking, and now you have to find some way to shanghai this new sprawling behemoth of a Thing into a television show. oh, and by the way, don't think that the (living) author of the source material will be any help with this, because even though he's got years of experience working in television writing, he doesn't actually know how all of these threads will tie together, which is possibly the reason that the next book has taken over 8 years (now 13 and counting) to write. oh and also, your showrunners are sick of this (in fairness, very difficult) job and they want to go write for star wars instead, so they've refused the extra time the studio offered them for pre-production and pushed through a bunch of first-draft scripts, creating a crunch culture of the type that spawns entirely avoidable mistakes, like, say, some poor set designer leaving a starbucks cup in frame.

anyway, that's what I think went wrong with game of thrones.

[greattigerssimp]

It's done!! It's finally done!! My magnum opus... My Punch Out AU!

This is my punch out, AU guys!! I'm finally done!! I've worked on this for about a month, and it's done!!! It's a very large AU, <10,600 words, but it's sooooo good!!! Please read it, guys! Listen to music or something if it's way too long to just sit down and read (I'm a writer after all) but please acknowledge it!! ^^

[yujeong]

All I have to say is that as a Tonkla fan, I just keep winning.

[carebearloveshp]

James Earl Jones (January 17th, 1931- September 9th, 2024)

One of my all-time favorite actors. He was such a great man with one of the most iconic voices in the world. Loved him in Star Wars, The Lion King, The Sandlot, Field of Dreams, Merlin (1998), and so many other works.

James Earl Jones was one-of-a-kind and he will be greatly missed. RIP 😔

One of my favorite scenes from any Disney movie.

“Remember who you are.”

[dweemeister]

Whenever you feel alone, just remember that those kings will always be there to guide you. And so will I.

Born to a turbulent family on a Mississippi farm, James Earl Jones passed away today. He was ninety-three years old. Abandoned by his parents as a child and raised by a racist grandmother (although he later reconciled with his actor father and performed alongside him as an adult), the trauma of his childhood developed into a stutter that followed him through his primary school years – sometimes, his stutter was so debilitating, he could not speak at all. In high school, Jones found in an English teacher someone who found in him a talent for written expression, and encouraged him to write and recite poetry in class. He overcame his stutter by graduation, although the effects of it carried over for the remainder of his life.

Jones' most accomplished roles may have been on the Broadway stage, where he won three Tonys (twice winning Best Actor in a Play for originating the lead roles in 1969's The Great White Hope by Howard Sackler and 1987's Fences by August Wilson) and was considered one of the best Shakespearean actors of his time.

But his contributions to cinema left an impact on audiences, too. Jones received an Honorary Academy Award alongside makeup artist Dick Smith (1972's The Godfather, 1984's Amadeus) in 2011. From the end of Hollywood's Golden Age to the dawn of the summer Hollywood blockbuster in the 1970s to the present, Jones' presence – and his basso profundo voice – could scarcely be ignored. Though he could not sing like Paul Robeson nor had the looks of Sidney Poitier, his presence and command put him in league of both of his acting predecessors.

Ten of the films James Earl Jones appeared in, whether in-person or voice acting, follow (left-right, descending):

Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964) – directed by Stanley Kubrick; also starring Peter Sellers, George C. Scott, Sterling Hayden, Keenan Wynn, and Slim Pickens

The Great White Hope (1970) – directed by Martin Ritt; also starring Jane Alexander, Chester Morris, Hal Holbrook Beah Richards, and Moses Gunn

Star Wars saga (1977-2019; A New Hope pictured) – multiple directors, as the voice of Darth Vader, also starring Mark Hamill, Harrison Ford, Carrie Fisher, Peter Cushing, Alec Guinness, Billy Dee Williams, Anthony Daniels, David Prowse, Kenny Baker, Peter Mayhew, and Frank Oz

Claudine (1974) – directed by John Berry; also starring Diahann Carroll, Lawrence Hilton-Jacobs, and Tamu Blackwell

Conan the Barbarian (1982) – directed by John Milius; also starring Arnold Schwarzenegger, Sandahl Bergman, Ben Davidson, Cassandra Gaviola, Gerry Lopez, Mako, Valerie Quennessen, William Smith, and Max von Sydow

Coming to America series (1988 and 2021; original pictured) – multiple directors; also starring Eddie Murphy, Arsenio Hall, John Amos, Madge Sinclair, Shari Headley, Jermaine Fowler, Leslie Jones, Tracy Morgan, and KiKi Layne

The Hunt for Red October (1990) – directed by John McTiernan; also starring Sean Connery, Alec Baldwin, Scott Glenn, and Sam Neill

The Sandlot (1993) – directed by David Mickey Evans; also staring Tom Guiry, Mike Vitar, Patrick Renna, Chauncey Leopardi, Marty York, Brandon Adams, Grant Gelt, Shane Obedzinski, Victor DiMattia, Denis Leary, and Karen Allen

The Lion King (1994) – directed by Roger Allers and Rob Minkoff, as the voice of Mufasa; also starring Jonathan Taylor Thomas, Matthew Broderick, Jeremy Irons, Moira Kelly, Niketa Calame, Ernie Sabella, Nathan Lane, and Robert Guillaume, Rowan Atkinson, Whoopi Goldberg, Cheech Marin, Jim Cummings, and Madge Sinclair

Field of Dreams (1989) – directed by Phil Alden Robinson; also starring Kevin Costner, Amy Madigan, Ray Liotta, and Burt Lancaster

[mirroredknight]

Punch Out Wii, Title Defense 2: NES STYLED

All of the concepts and designs (except for Mr Sandman and Donkey Kong) are all by @matchamabs

[withasideofshakespeare]

Do you remember The Great Shakespeare Playlist?

Well, I've finally caught up with submissions, now with a new playlist on a Shakespeare-specific YouTube channel (also withasideofshakespeare) and individual playlists for each play!

Find out more (and listen to the main playlist or the playlists for your favorite plays) here:

[moodyzines]

I’m already planning it out gang

[morpheusbaby3]

Morpheus' ex-girlfriends when they meet:

If I saw Morpheus's ex-girlfriend: