#they were ​masterpieces

[emilbh]

i reached my peak in media analysis when i and every other army was scrambling to analyze the hyyh era music videos

[thetwinsinlaw]

Anne Rice's Interview with the Vampire - Variety Studio presented by Google TV

[petricorah]

scenes i loved from Real Enough to Get Me Through by @marriedzukka <333 [ids in alt]

[taylortruther]

all her fuckin' lives flashed before her eyes is one of the main themes of ttpd actually. like, all those men with many faces, all those stories, they all return when she emotionally plunges through the ice.

[hannibard]

Say what you will about the witcher season 2 but all the "Yennefer took Jaskier in the divorce", "Geralt and Yennefer are a divorced couple rasing a kid and dating the same man", "geraskefer love triangle with an oblivious Jaskier in the middle" memes and fics were top tier

[machonnes]

THE WALKING DEAD: THE ONES WHO LIVE (2024) 1.01 "Years" | 1.04 "What We"

[linusbenjamin]

Prometheus stole fire from the gods and gave it to man. For this he was chained to a rock and tortured for eternity. Oppenheimer (2023) dir. Christopher Nolan

[owlsie-hoot]

Heart eyes "Don't be daft"

[eldritchred]

i love drawing her so much

this one was most certainly not a quick 90-minute sketch hheheheh.. id say,, this is,,,, about the same level of effort and time as my big painting from when whitepine 1 came out i think ! rambling under the cut

in that last painting, i rly tried to capture the same vibe as the visuals of whitepine with ivory being so small, especially with the forest looming over her so high in such an unusually tall frame, her facing away from the camera, and the desaturated, dreary colours and all.

this ones. pretty much the opposite? i really wanted to capture. like. how dreamlike and ethereal the soundtrack is. to really focus on ivory and who she is as heard through the music. i specifically listened to wych elm a lot while i drew this :] honestly that song is so pretty,, the entire ost is so pretty. the whole show is so pretty. augh. excuse me i gtg listen through the soundtrack again now bye

[thatonespacek1d]

You ever see a movie and while watching it you think, “This is going to be a cult classic.” I thought this while watching Lisa Frankenstein. In this TedTalk-

[toomanylesbiancouples]

Also another thing I figured out: right before she stays back, Lilia says to Agatha:

“When she calls you a coward, hit the deck”.

I didn’t understand the sentence at first. And I thought this was meaning something that would intensify Agatha’s fight with Rio (bc we already know that’s happening).

However it actually means Lilia is saving Agatha. Probably Rio will throw her knife or a spell or something that would hit - and kill - Agatha. But Lilia is giving the heads up.

She’s saving her.

And I think it’s beautiful.

[sntofbirbs]

I’m so deeply disappointed in Tumblr rn. Transformers One has come out AND ITS NOT TRENDING? HUH? This movie is Across the Spiderverse levels of amazing both art and storytelling and it’s nowhere near trending???? DO BETTER TUMBLR THIS MOVIE IS PURE ART AT ITS FINEST AND I NEED TO SEE MORE LOVE AND ADORATION FOR IT NOW

[gallifreyanhotfive]

Next time the Master comes back they need to have an incredibly homoerotic sword fight.

You know, for old time's sake.

[rin-solo]

I love. LOVE. Get In the Water

It's one of the objectively best songs in the musical; I will die on this hill.

Poseidon was always, despite being pretty much the main antagonist of EPIC, a really underdeveloped character in my opinion. He just needed a little more nuance and the fact that one (+ kind of one more) song managed to add so much to his characterization pretty much exclusively through subtext and implications is incredibly impressive writing. Because it did!

At the start he's yet again playing games with Odysseus, the way he did in Ruthlessness. In both songs he could kill him easily at any point, yet he chooses not to for the sake of playing games. In Ruthlessness, this becomes his own hubris as it leads to Odysseus escaping.

If you listen closely, at the start of GITW he already sounds slightly different. He's still trying to keep up this "God of Ruthlessness" front that he's so proud of, but he's no longer more or less carefree the way he was in Ruthlessness. He's been obsessing over this feud for ten years, and even if he would never admit it, it's actually clear just from his voice that he really is tired of it too. Not in the sense of it emotionally draining him the way it probably does Odysseus, but in the sense that it's a bother, a loose end in his life, a book that he finally wants to slam shut.

But he still has a reputation to uphold, and he still cannot close this book until Odysseus is dead, so he keeps up the game. Instead of just killing him, he's taunting him to kill himself. He might associate the idea of just striking him down with a sort of loss, like then he'd have to his hands dirty. Then he's rambling about killing his people, his family. He's provoking Odysseus on purpose, likely trying to get him to snap back, to hate him and fear him the way that Poseidon would think any mortal who has consumed this much of his time should. In his eyes, Odysseus deserves nothing less than to curse him with his last breath as his "darkest moment", the god who became the bane of his life.

And Odysseus replies, of all things, with ... sympathy.

Honestly, I don't blame Poseidon for being speechless for three full seconds. He literally just threatened to gauge Telemachus' eyes out the way Odysseus did with Polyphemus, and this absolute madlad of a man replies with an acknowledgement that he (might have) caused Poseidon pain too.

Now, I don't really think Poseidon was particularly hurt over Polyphemus' loss or hurting in any way in that moment. But just the fact that Odysseus acknowledges that he might be hurting too is probably something Poseidon hasn't heard in ... who knows how long? His family is the Olympians. I don't think I have to say more.

It's actually more of a genuine apology than Odysseus' explanation in Ruthlessness ... Now he doesn't say "sorry" because he's still not sorry for hurting Polyphemus, since he still needed to do that in order to escape. But he expresses regret over the pain he caused in a more genuine way than ever.

I am convinced that Poseidon is utterly unfamiliar with sympathy or mercy. He's lived by his "Ruthlessness is mercy" motto for centuries, and he doesn't know anything else. No one would try to teach him something different. The other gods all live by this logic, even if he's the most vocal about it considering he seems to have made it his whole personality. Mortals wouldn't dare to question Poseidon in the first place. And barely anyone would be willing to treat someone with kindness who is in turn treating everyone around them with ruthlessness.

It's very likely that Poseidon hasn't encountered anyone like this until Odysseus. Ruthlessness is simply how he treats people, and also how he expects to be treated back. The fact that Odysseus doesn't, the fact that instead of hating or fearing or cursing him he acknowledges that they have both hurt each other and that it doesn't lead anywhere to still pursue vengeance must have triggered Poseidon in an unprecedented way.

To him, this was probably the most outrageous thing Odysseus could have said in that moment. And it throws him off so much that he is genuinely speechless, and then simply replies, "I can't." ... his most genuine-sounding line in the whole musical.

I cannot stress enough how much it threw me off to hear this line; in the best way imaginable, it doesn't sound like Poseidon. It sounds almost vulnerable. Almost human. Because he is genuinely at a loss so much that he forgets to put up his "wrathful god" facade for just one second. Standing ovation to Steven Rodriguez for his whole performance, but especially this part.

And then Odysseus goes all out, to say something even more outrageous: "Maybe you could learn to forgive?"

... Which is when Poseidon snaps.

Kind of understandable, honestly. There's this mortal whom he has likely fantasized about seeing pleading, hate-filled, and terrified, cowering before him, for ten years now ... telling him that he ought to learn something. Even hijacking his own motif and his instrument in order to turn it on its head, "defile" it if you will.

This f*cking mortal pr*ck took his own "Ruthlessness is mercy upon ourselves" catchphrase and turned it into forgiveness ... Of course, Poseidon is no longer hesitating, of course he is no longer concerned with getting his hands dirty or not. He yells "DIE!" and unleashes his ultimate move (which is really overkill for simply killing a mortal if you think about it) ... But he does it anyway because this time he genuinely means it.

This simple exchange (my favorite moment in the whole musical, actually) tells us so much about both of these characters that it makes me want to skitter and squeal in excitement.

Here is Odysseus—the very same one whom Poseidon specifically tried to teach ruthlessness—becoming the first person in a long time to offer him sympathy despite how Poseidon himself showed him nothing but ruthlessness. And then one song later, here is Odysseus showing him the consequences of not accepting said sympathy.

Six Hundred Strike and what Odysseus does to Poseidon would've not hit the same, in my opinion, if he hadn't made this offer, if he hadn't given Poseidon this way out, even if no one watching genuinely expected it to work (probably not even Odysseus himself.)

Six Hundred Strike is not Odysseus exacting vengeance. If GITW proved anything about Odysseus it's that he does not want vengeance. He wants all of the hatred and pain to be over, to the point where he is willing to let go of, and I am inclined to say forgive, Poseidon for what he's done to him. Six Hundred Strike is simply Odysseus teaching him this lesson that Poseidon couldn't have learned in any other way, because he has proven in GITW that he genuinely does not speak any language besides that of ruthlessness.

It's just the perfect representation of how Odysseus has now finally learned the balance between mercy and ruthlessness, which seems to be the core theme of the musical: Both have their time and place, one simply has to be willing to act in both ways and know when to use either. No one extreme is the solution. I am genuinely exhilarated that Odysseus finally seemed to have figured out that it's been both all along.

[emborami]

Hi so in case anyone was dying to know, this is what i think some of the cast of the terror would look like as animals :3 notes under cut

From left to right:

Crozier- Irish Terrier

Silna- Polar Bear

Goodsir- ryeland sheep (known for tasty mutton ;3)

Hickey- red fox

Franklin- old english game rooster

Fitzjames- red deer

I had fun coming up with them :) and I kinda wanna doodle some screencaps but with like a lil short sheep goodsir and his bestie the giant polar bear lady silence whom he thinks would love England. Or like hickey on his bullshit but with more flair bc he would have a fox body and tail to really fuck up that line of action

Anyways heres some closeups and sketches

[oceanatydes]

I think it’s so beautiful how queerness is inextricably woven into the arcane plot