goodbye everyone, I’ll remember you all in therapy

Lauren's fandom blog! I reblog lots of cartoons and anime stuff, occasionally edit my own videos (tagged as “my vid”)

[howling-wizard2]

first run of the xenonite suit (grace naively thought he was going to be able to play it cool)

[gawronka]

thinking about eva stratt as a history student before she was the world's scapegoat.....like yeah who else could it be but a historian and a middle school teacher to save the world??

[snoozeeroo]

unlikely duos 🤔

[90ssuperheroes]

Let's take a moment to appreciate just how amazing the title cards were for Batman the Animated Series.

[forgotn1]

Oh! I actually know what made these look so iconic!

The backgrounds for the entire series were done on black paper, a first for any animated show. It's Batman, which means everything is at night and incredibly dark. So, the majority of the backgrounds were going to be black anyways and using black paper would cut down on the time it took to create all of the backgrounds. Adding color over the black paper instead of the traditional method gave it a much more stylized look that helped make it iconic.

It also forced some other creative choices, such as using an airbrush to do all of the background art. During the early testing, they found that using an airbrush was easier to apply paint with than a paintbrush and that it looked better. Airbrushing let them be more experimental with painting techniques, such as the spattery fades you can see in the "Bane" and "Deep Freeze" title cards above or the soft, deeply shadowed face on "the Last Laugh." The overall effect of airbrushing on a black background is a much darker, moodier vibe than could be achieved with a traditional approach.

They cared very deeply about the art of the show and how they were going to create it. It wasn't just about the story or the character. In the words of co-creator Eric Radomski: "As opposed to making shows just to sell toys, we've made quality films."

[mteverestaaaaahh]

It was nice not having to cover them in blood and soot this time

[faitokie]

She is tolerable, but not handsome enough to tempt me...

Some Pride and Prejudice fanart 😇😇😇 such a big comfort movie

[laurenzuke]

ON THE LAST EPISODE OF STEVEN UNIVERSE….

Trusts broken. Hearts betrayed. Clods, named.

Will our favorite green gem fumble her way through the formative fogs of friendship?!

FIND OUT THIS FRIDAY AT 5:30pm!

[steven-universe-heritage-posts]

Steven Universe Heritage post

[lemonsweet]

Do you remember the episode of Spongebob where he's training gary for the snail race and does a coach persona + calls gary a girl and has an aside where he's like "I called you a lady to demean you 🤓" and right after he says that it cuts to sandy and she somehow telepathically feels that Spongebob just did something misogynistic and us like I feel like I need to kick Spongebobs ass for some reason. And then she appears just at the end of the episode to kick his ass.

[swoopyswish]

i love when random tumblr users find my blog and go through it liking and reblogging everything in a frenzy, it feels like i’ve been cultivating a nice backyard with a lovely birdbath and feeder and i’ve glanced out the window to see a bird going absolutely wild with it

[potato-lord-but-not]

Mooooreeeeeeeee Graces because he is in fact fun to draw sound the alarm the rumors are true

[cerusee]

Okay. For my money, the entire thesis of Chris Nolan’s 2026 film The Odyssey is that society chokes and sputters and dies when we abuse, ignore, or violate social norms like the laws of hospitality. That is not really what The Odyssey (the book/poem) is about, but I can clearly see why in the horror that is the 2020s, someone could read The Odyssey and go oh my god that’s a lot of bad dropping in. That’s a lot of bad visits. That’s a clear vision of how the loss of social norms and cohesion fucks you up and how war, literal, brutal war, is a terrible wound that destroys your humanity and your understanding of what civilization and society is. I don’t know that the iteration of Greek society that ultimately birthed the poem would agree with Nolan’s take, but I think this movie is quite ideologically coherent, that Nolan knew exactly what he was trying to say with each and every adaptational change, and I think he wasn’t nuts for using one of the most famous classical western civilization works as a way to make that argument.

[nateconnolly]

Like the Christian Gospels, American shooting and crying stories are fundamentally about sin, redemption, and forgiveness. Stop-Loss does not condone Brandon killing a family in their own home (the sin), but it suggests that crying makes up for the shooting (the redemption). You are expected to forgive Brandon by the end of the film. Brandon doesn’t reach out of their surviving relatives and apologize, or do much of anything to support refugees in the Middle East, but he does suffer, and you are expected to agree that his suffering makes up for the murder, that his tears exonerate him.

Odysseus is repeatedly described as a “veteran” by both himself and others in Christopher Nolan’s 2026 adaptation of The Odyssey. No such word exists in Attic Greek. There is a word for men who are absent or else too sick to fight (ἀπόμαχος); there is a word for old men (γέρων), who would not have been expected to fight anymore (see, for examples in the art of the time, Nestor in The Iliad). But there is no one-to-one translation for the English word “veteran” for the simple reason that the Ancient Greeks had no such concept. City-states went to war every couple of years, meaning no one could ever fully move beyond it. War was not something you sign up for, leave, go do Over There, and hopefully come back from. Virtually all men fought in wars, which meant soldiers were not a minority — they were not special.

...The Odyssey (2026) brings the American tradition of shooting and crying to Troy. Odysseus the veteran cannot fully come back home from the war until he has made peace with the crime he committed overseas. Smuggling soldiers into enemy territory via wooden horse might not constitute a war crime by today’s standards, but Nolan frames this strategy as a violation of “Zeus’ law”.

...Anne Carson calls the Odyssey a “postwar epic”. Crying after shooting is simply what a postwar epic looks like in America. In that way, Nolan truly has adapted Homer; Nolan has imported his own cultural situation into the myth.

Just as The Aeneid used Homeric archetypes to express Roman national identity, The Odyssey (2026) shows Americans how we view ourselves: we love our home; we love our family; we come from multiple races, but most of us are white; we are world-weary; we did something wrong far away, but our memories are foggy, and it’s best not to dwell too much on our victims; our hands are perpetually innocent, and stained with fresh blood.

Odysseus at the VA: How Christopher Nolan Americanized The Odyssey

[whencartoonsruletheworld]

hearing anything about the nolan odyssey is so funny. it's like "they cut the extremely important and infamous nobody scene" "the cyclops is a giant puppet that they put in an actual historical cave + gave circe animatronics for her pig transformation instead of cgi" "they dumped plastic skeletons in an environmentally protected location they were not supposed to be in" "they recreated ancient greek instruments in order to have an accurate score" "all of odysseus's agency is basically gone" "anne hathaway actually learned how to weave ancient looms" "the women in this movie are treated like shit" "they actually buried actors alive to get those underworld shots" "did you see what the fuck zendaya was fucking wearing holy shit you can't DO THAT, MA'AM" "what do you mean there was a legitimate epic the musical reference" "NOT A SINGLE FUCKING GREEK WAS CAST IN THIS MOVIE"

like did nolan have two guys standing at his side at all times whispering ideas in his ear and one told the truth and the other told lies and they didnt tell him which was which until they wrapped production cause

[jacqcrisis]

Sometimes fallout redditors are funny

[stiffyck]

When your bestie gonna die if you don’t come back for him

[evidently-endless]

the odyssey (2026)

[tris-morreu]

nolan's the odyssey has such a fundamentally culturally christian understanding of religion and divinity that it is genuinely jarring to see characters in a supposedly ancient greek historical context describe divinity and its expression in those terms. characters wonder aloud why gods hide themselves (they didn't), question the existence of what nolan interprets the supernatural to be (they wouldn't) and talk of zeus's law (not real, and still somehow bastardized) in the same way we would talk about the ten commandments. it's so out of place. and it taps into that "defy the gods" thing.

like. we can defy the christian god, in a way, because we can choose to not do what he says we ought to. sure. but we cannot defy greek gods in the same way, because the god is not just an entity that commands you but the very thing you are doing. apollo does not just send plagues, he is plague. you know apollo is real because there is plague. plague is not apollo acting in the world, it is an instance of apollo, in the same way that insight is athena, love is aphrodite, harvest is demeter, storms are zeus. gods are not commanding nature and sending signs and acting upon the world, because signs and nature and human nature are themselves the gods. the gods cannot be absent, because we still get ideas, and harvest, and go to war, and feel desire, and hunt. the gods cannot be defied because you cannot defy "getting ideas" or "harvesting" or "having sex" or "dying." to attempt to is entirely futile. like you cannot defy poseidon because you cannot defy the sea. you cannot defy aphrodite because you cannot defy love and reproduction. nature and human nature are unbeatable, and so the gods are unbeatable, because they are nature and human nature.

and it's such a beautiful way of looking at the world, and he just doesn't get that.