Rosalia (shewolf) and Solayne by Ami Thompson on Instagram
DEAR READER
Claire Keane
taylor price
TVSTRANGERTHINGS

Love Begins

izzy's playlists!
2025 on Tumblr: Trends That Defined the Year
Stranger Things
Aqua Utopia|海の底で記憶を紡ぐ

blake kathryn
I'd rather be in outer space 🛸

Andulka
NASA
"I'm Dorothy Gale from Kansas"
d e v o n
PUT YOUR BEARD IN MY MOUTH
$LAYYYTER
Xuebing Du

Origami Around
Alisa U Zemlji Chuda

seen from Türkiye
seen from United States
seen from Germany

seen from United States
seen from United States

seen from United States

seen from United States

seen from United States

seen from United States

seen from United States
seen from Argentina

seen from Sweden
seen from Sri Lanka
seen from Brazil
seen from United States
seen from United Arab Emirates

seen from United States

seen from United States

seen from United States
seen from Brazil
@smoke----mirrors
Rosalia (shewolf) and Solayne by Ami Thompson on Instagram
Werewolf pup.
In other TMNT news today, I walked by a poster for The Roofman movie and something familiar caught my eye. Channing Tatum is wearing a shirt featuring a Dontatello I worked on for Nickelodeon!
I really like this russian edition of classic books. Letting famous artists do the covers in YA style was such a simple but clever decision. According to the recent study the number of teenage readers increased, possibly thanks to these covers. I own traditional classics with blank covers but if I ever see one of these in the wild, it’ll probably make me go feral.
Here are some of my favs:
Dracula (art by Renibet)
2.Jane Eyre (art by Ulunii)
3. Little women (art by чаки чаки)
4. The Idiot (the hedgehog-omg-) (art by Xinshi)
5. Pride and Prejudice (art by Cactusute)
6. War and Peace (art by Xinshi)
7. Wuthering Heights (art by Renibet)
8. The Great Gatsby (art by NIKEL)
9. Frankenstein (art by Iren Horrors)
10. Crime and Punishment (art by REDwood)
11. Anna Karenina (art by Ulunii)
12. The Cherry Orchard (art by lewisite)
13. The Master and Margarita (art by Renibet)
RUBLEV, RIDE OR DIE
Andrei Rublev is divided into seven chapters and a prologue and an epilogue only loosely related to the main film. The main film charts the life of the great icon painter through several episodes of his life. The background is 15th century Russia, a turbulent period characterized by fighting between rival princes and the Tatar invasions.
The film’s prologue shows the preparations for a hot air balloon ride. The balloon takes off from the roof of a church, with a man named Yefim (Nikolay Glazkov) roped beneath the balloon, at the very moment of arrival of an ignorant mob trying to thwart the flight. The man is highly delighted by the sight from the air, but can not prevent a crash landing. Yefim is the first of several creative characters, representing the daring escapist, whose hopes are easily crushed. After the crash, a horse is seen lolling by a pond, a symbol of life — one of many horses in the movie.
The Jester, Summer 1400: Andrei (Anatoly Solonitsyn), Danil (Nikolai Grinko) and Kirill (Ivan Lapikov) are wandering monks, looking for work. The three represent different creative characters. Andrei is the observer, a humanistic artist who searches for the good in people and wants to inspire and not frighten. Danil is withdrawn and resigned, and not as bent on creativity as on self-realization. Kirill lacks talent, yet strives to achieve prominence. He is jealous, self-righteous, very intelligent and perceptive. The three have just left the Andronikov Monastery, where they have lived many years, heading to Moscow. During a heavy rain they seek shelter in a barn, where a group of villagers is being entertained by a jester (Rolan Bykov). The jester, or skomorokh, is a bitterly sarcastic enemy of the state and the Church, who is earning a living with his scathing and obscene social commentary and by making fun of the Boyars. He ridicules the monks as they come in, and after some time Kirill leaves unnoticed. Shortly, the skomorokh is picked up by a group of soldiers, knocked out headfirst against a tree and taken away.
Theophanes the Greek, Summer-Winter-Spring-Summer 1405–1406: Kirill arrives at the Theophanes the Greek’s workshop, where Theophanes the Greek (Nikolai Sergeyev), a prominent and well-recognized master, is working on another of his icons. Theophanes the Greek is portrayed as a complex character: an established artist, humanistic and God-fearing in his views yet somewhat cynical, regarding his art more as a craft and a chore in his disillusion with other people. His young apprentices have all run away to the town square, where a convicted criminal is about to be tortured and executed in public. Kirill talks to Theophanes, and the artist, impressed by his erudition, invites him to work as an apprentice on the decoration of Cathedral of the Annunciation in Moscow. Kirill refuses at first, but then accepts the offer on the only condition that Theophanes will personally come to the Andronikov Monastery and invite Kirill to work with him in view of all the fraternity and Andrei Rublev.
The three monks are back at the Andronikov Monastery. Theophanes the Greek sends a messenger to Andrei to ask him for his assistance in decorating Cathedral of the Annunciation. Both Danil and Kirill are agitated by the recognition Andrei experiences. Danil refuses to accompany Andrei and reproaches him for accepting Theophanes’s offer without considering his fellows, but soon repents of his temper and wishes Andrei well. Kirill is jealous and in great anger, and he leaves the monastery for the secular world, throwing the accusations of greed in the face of the monks. Andrei leaves for Moscow with his young apprentice Foma (Mikhail Kononov). Foma is another creative character, representing the light-hearted and practical-minded commercial artist. Still he seems to be contemplative enough to get along with Andrei.
The Passion According to Andrei, 1406: While walking in the woods, Andrei and Foma have a conversation about Foma’s faults, especially lying. While Foma has talent as an artist, he is less concerned with the deeper meaning of his work and more concerned with practical aspects of the job, like perfecting his azure, a colour which in painting was often considered unstable to mix. They encounter Theophanes in the forest, and the old master sends Foma away. As he leaves, the apprentice finds a dead bird and pokes it. We cut to a conversation between Andrei and Theophanes, this time set on a stream bank. Theophanes argues that the ignorance of the Russian people is due to stupidity, while Andrei says that he doesn’t understand how he can be a painter and maintain such views. “I’d have taken vows of schema long ago and settled down in a cave for good.” This section contains a reenactment of Christ’s Crucifixion, which plays as Andrei recounts the story and expresses his faith.
The Feast, 1408: During a nightly walk Andrei encounters a group of naked pagans, whose celebration implies sensuality and lust. Andrei feels attracted by the rituals he witnesses. He is caught by the pagans and tied to a cross, and threatened to be drowned in the morning. A woman named Marfa (Nelly Snegina), only dressed with a mantle approaches Andrei. She drops her mantle, kisses and then frees him. The next morning as Andrei leaves a group of soldiers arrives and rounds up the pagans. Marfa escapes by running into the river and swimming past Andrei’s boat. He and his fellow monks look away in shame.
The Last Judgment, Summer 1408: Andrei and Danil are working on the decoration of a church in Vladimir. Over months, work is not progressing, as Andrei is doubting himself. He confides to Danil that his task disgusts him and that he is unable to paint a subject such as the Last Judgement, as he doesn’t want to terrify people. He comes to the conclusion that he has lost the ease of mind that an artist needs for his work. Foma, impatient and ambitious, quits to paint a church of his own. Stone carvers working on the church are offered work on the Grand Prince’s mansion. On the path to their new job, the Grand Prince’s jealous brother sends soldiers to accost the artisans and put their eyes out, so that they cannot replicate their work. Back in the church Durochka (Irma Raush), a holy fool or Yurodivy, wanders inside. Her feeble-mindedness and innocence leads Andrei to the idea to paint a feast.
The Raid, Autumn 1408: While the Grand Prince is away in Lithuania, the Grand Prince’s brother and a group of Tatars raid Vladimir. The invasion and the resulting carnage is shown in great detail. One famous scene shows a horse falling from a flight of stairs and being stabbed by a spear. Another famous scene shows a cow set on fire. The tatars enter the church. Andrei prevents the rape of Durochka by a Russian by slaying the perpetrator. Shaken by this event Andrei falls into self-doubt and decides to give up painting and takes a vow of silence.
The Silence, Winter 1412: Andrei is once again at the Andronikov Monastery. He neither paints nor speaks and keeps Durochka with him. After several years of absence, Kirill shows up at the monastery and asks to be taken in. The father superior allows him to return, but requires him to copy the scriptures fifteen times. One day, Tatars stop at the monastery while traveling through. One of the Tatars takes Durochka away as his eighth wife.
The Bell, Spring-Summer-Winter-Spring 1423–1424: Andrei’s life turns around when he witnesses the casting of a bell for the Grand Prince. As the bellmaker has died, his son Boriska (Nikolai Burlyayev) tells the Prince’s men that he is the only one who possesses his father’s secret of casting a bell. Boriska is another creative character. He is aware of his own importance and the difficult task at hand. He is able to create through a combination of natural skill and pure faith. Boriska supervises the digging of the pit, the selection of the clay, the building of the mold, the firing of the furnaces and the hoisting of the bell. During the process the bell-making endeavor grows into a large, costly effort with many workers and Boriska makes several risky decisions, guided by his instinct. At one point, he privately asks God for help.
Halfway through the sequence the skomorokh from the first sequence makes a reappearance and threatens to kill Andrei, whom he mistakes for the man who denounced him years earlier. Kirill steps in and intervenes on behalf of the silent Andrei. Later Kirill confesses privately to Andrei that his sinful envy of Andrei’s talent dissipated once he heard Andrei had abandoned painting and that it was he (Kirill) who denounced the skomorokh. Kirill then takes Andrei to task for allowing his God-given talent for painting to go fallow and pleads with Andrei to resume his artistry.
As the bell-making proceeds toward its end Boriska’s decisive confidence slowly transforms into a stunned, detached disbelief that he’s succeeded at the task. The work crew takes over as Boriska makes repeated, nervous attempts to fade into the background of the activity. Once the bell has been hoisted into its bell tower the Grand Prince and his entourage arrive for the inaugural ceremony. As the bell is prepared to be rung the royal entourage is overhead discussing its doubts that the bell will ring. It’s revealed that Boriska and the work crew know if the bell fails to ring the Grand Prince will have them all beheaded. (We also overhear that the Grand Prince had his brother, who raided Vladimir in The Raid sequence, beheaded.) There is a quiet, agonizing tension as the foreman slowly coaxes the bell’s clapper back and forth, nudging it closer to the lip of the bell with each swing. We pan across the assembly and see Durochka, robed in white leading a horse (preceded by a boy, presumably her son) as she walks through the crowd. At the critical moment the bell rings perfectly and she smiles. After the ceremony Andrei finds Boriska collapsed on the ground, sobbing as he admits his father never told him the secret of casting a bell. Andrei comforts him, breaking his vow of silence and telling the boy that they should go together. “You’ll cast bells. I’ll paint icons.” Andrei sees Durochka, the boy and the horse walk off across a muddy field in the distance.
The epilogue is the only part of the film in color and shows details of several of Andrei Rublev’s icons. The icons are shown in the following order: Enthroned Christ, Twelve Apostles, The Annunciation, Twelve Apostles, Jesus entering Jerusalem, Birth of Christ, Enthroned Christ, Transfiguration of Jesus, Resurrection of Lazarus, The Annunciation, Resurrection of Lazarus, Birth of Christ, Trinity, Archangel Michael, Paul the Apostle, The Redeemer. The final scene crossfades from the icons and shows four horses at a river during rain.
Between "Jews are white oppressors so it's impossible to commit systemic violence against them, only individualized violence" and "by any means necessary" and "when people in the Middle East say 'Jews' they really mean 'Israelis', it's a cultural thing" and "Palestinians don't owe anyone the distinction between Zionists and Jews" and "intersectionality means this is everyone's fight", you get a narrative where it's okay for anyone to hurt any Jew in any way they'd like.
That’s him
Chuck Jones is the best counterexample to “the curtains are just blue” because you would not believe the amount of thought and art theory he put into his silly little cartoons
I need to dig out my Chuck Jones books but one time he was talking about the Wile E Coyote gag where he runs off a cliff and continues running for a little bit before noticing there’s no ground underneath him and then turns to the camera and holds up a sign saying “Help!” before plummeting and Jones said the reason Coyote does that instead of immediately trying to get back to the cliff edge is bc Coyote embodies anxiety and in that particular moment represents the fear and worry about the judgement of others over and above the desire for self-preservation.
Like, if someone was told that interpretation without knowing any better they’d think it came from some pretentious academic or whatever but nope! It’s literally the creator like those are the thoughts he had in his head when he was creating the cartoons
It is Oct. 7th. One year. A year since the worst massacre of Jews in a single day since the Holocaust and a year since I witnessed on my dash, in real time, people and blogs I enjoyed and respected actually celebrating this utter depravity and imagining this absolutely evil position gave them moral superiority. An entire year of the total dehumanisation of raped, brutalised, and kidnapped human beings. An entire year of atrocity denying, victim blaming justification of the actions of genocidal antisemitic terrorists. An entire year of hostages being held captive in Gaza being subject to unimaginable treatment, for nothing but the “crime” of daring to live.
An entire year of a repulsive and terrifying global explosion in antisemitic abuse and violence, of Jewish pain and grief being ridiculed, sneered at, and ignored. An entire year of the left loudly and proudly betraying every single ideal they supposedly stood for. An entire year of so-called progressives and human rights activists throwing Jews and Israelis under the bus and patting themselves on the back for it.
My Jewish and Israeli friends, I know today is a painful and traumatic day, as it has been a painful and traumatic year. I hold you all in my heart and my thoughts today and every day and I stand with you unreservedly and unapologetically. Your strength and resilience in the face of unspeakable cruelty, your deep love for those who have been lost and your endless hope for those still in captivity has been inspiring and humbling.
May the hostages return home safe to their families and may there be peace 💙💙🇮🇱🎗
do these ppl hear themselves bc like. this sounds like the ramblings of a white supremacist.
- asserting that being a zionist is essentially a career for jews, i.e. we are profiting monetarily from it.
- “the joos on this website are bloodthirsty humans who see us goyim as subhuman and want to subjugate us and kill us because they think jews are the superior race”
like. DO U HEAR URSELVES.
THIS IS NOT NORMAL. THIS IS NOT A NORMAL WAY TO ACT AND SPEAK. DO U HEAR URSELVES!!!!
reblogging this to my main bc please for the love of god i need y’all to see the utterly unhinged things people are saying and realize that these are real people who interact with their local communities, including local activist communities, rallies, protests, etc. when we say there is a massive problem with violent antisemitism in antizionist spaces, this is what we are talking about. this is terrifying, and knowing that there are people like this in my local activist spaces (i know, i’ve met and talked to them) makes me feel hopeless beyond measure. please say something. please push back against this glorification of violence. please just do SOMETHING because they won’t listen to us.
is it godwin's law if I call this nazi behavior?
[Image ID: An edited Destiel meme showing Castiel saying 'I love you' in the upper half. In the lower half autumn leaves have been added in the background and a pumpkin with a surprised face is in front of Dean's face. The text at the bottom written in red font reads 'It's spooky season!'. /End ID]
Tried to get a pumpkin that accurately conveyed Dean's emotions in that moment. Happy October!
I have generally been refraining from reblogging onto my blog about the ongoing situation in Gaza but I felt this cannot be ignored and others must be more aware of this.
Princess Mononoke - Fan art by Julia Tveritina
"Funny you should say that, Mr. Frog, but those coffee grounds we found at the murder... Well, they were Wilkins Coffee. Now see, the thing that bothers me, is that the victim... Well, he didn't drink Wilkins."
the leftism leaving peoples' bodies as soon as they start talking about "porn addiction" or start agreeing with republican porn ban laws
imagine accusing the us military of being too woke
If this is your first time encountering shorthand then you're in for a treat. What's shorthand? Shorthand is a technique for writing very quickly.
At its basics you're writing sounds not spelling and combining simple lines to make full words.
Get it? You're optimizing for speed of writing not density or accuracy. So it's hard to read and takes up more space but you can write down notes fast. How fast? Here's someone writing at 120 words per minute.
The world record is 250 wpm, but even with a little practice you can get a lot faster than cursive or print.
I've seen a few people ask if Jonathan is writing assuming Dracula can't read his notes. I don't know the answer to that, but I can share exactly that happening with Superman and Lex Luthor.
Naturally a reporter like Kent would use shorthand to quickly transcribe notes in the field.
This is the sort of think Mina is practicing specifically because it's the language used in business. You can read a great article on the expectations of men's and women's writing of the era here:
While paving the way for future vampire narratives in being the first full-length vampire novel, Bram Stoker’s Dracula is also told through