#for your reference

[churrochamp]

I've always known that I had it in me to become deeply, consummately superstitious in a fuck-my-life-up kind of way. It's why I've avoided organized religion, astrology, reddit creepypastas, etc. all my life. Then I saw Sidney Crosby and fell off a cliff

[ninetyminutes]

SNL SCHEDULE IN THE 70’S

“Monday the host came in and we pitched ideas to them. It usually was an early night.

Tuesday we came in at noon. It was the day all of the writing happened and we worked through the night sometimes into Wednesday morning.

Wednesday was the read through and you were just hallucinating by then. Beatts and I would often write around three sketches. Saturday Night Live was unique in that if you wrote a piece, you went to costumes and said what you needed, you went to props, you went to the scenic design and said what you were thinking of. There wasn't time for Lorne to do too much of that. He did some top down producing and some course correcting, but we actually got to mount and do our own little productions, so that was pretty cool.

After read through, Lorne would sit with the host, go over all the sketches and the ones they liked went on cards. The cards were then placed up on a board to get an overview of the show. There was also the News Updates segment, little films and musical guests that filled out the ninety minutes.

Thursday and Friday were for camera blocking; you blocked half of it on Thursday and half of it on Friday.

Then Saturday was a monster day. There was a tech-run through, then dress rehearsal with an audience. After dress rehearsal we all met in Lorne's office where some things got cut, some things got tightened and then suddenly we had a live show. And an occasional baffled host was just like, “What? This is live? Wait, when do we tape?” A few were pretty drunk at dress.

Then Sunday off, if you got home. I often got home at 6 am.”

— Rosie Shuster, writer on SNL

[satellitewar-archived]

from @erebius: best case scenario, you might get some superpowers. worst case, some tumors. / for shawky LMAO

"you are such a positive and uplifting person, victor. i'm so glad you're here." the sarcasm is paired with a grimace/smile combination, one that matches the desperation of their scenario. they're perched up high enough to avoid the flooding below, but the only way forward is through this old water. "this obviously wasn't filled with water when they built this tunnel," shawky goes on, immediately switching subjects and avoiding victor's dry humor as much as he can. "but time has..." he tentatively sticks a boot into the water to test it, "... clearly been poor to this structure. if we want to get out of here, we have to wade through. i'll see how deep it is. you stay there." a little laugh. "superpowers or tumors... your mind just comes up with the strangest combinations."

shawky expects the water to be ankle-deep, but it's clear from the way he splashes down into it that it's much deeper than he thought. suddenly the archaeologist is up to his chest in water, hands above his head, his flashlight clutched in his left hand to keep it from getting wet. "the water smells," he winces, peeking up at victor (who still stands safe and dry above him). "i wouldn't be surprised if some of the burial chambers in here were flooded, too. might be some floating mummies around here. watch yourself when you climb in."

[theheistattheball]

Book Cover Versions

[fatherfigurefusion]

Mentally planning a Faerghus 4/Childhood Quartet as Leo/Need (and maybe vice-versa) AU, featuring Dimitri as Ichika, Sylvain as Saki, Ingrid as Honami, and Felix as Shiho. I was quick to realize that, by extension, Glenn would be Shizuku and Miklan would be Tsukasa, and I'm not quite sure how to respond to these facts.

[cardiaccadillac]

@supersaiyanheart hi there! There is plenty more where that came from. Check my RE fic tag.

[kscrichardii]

...at the end of [I.i], Richard asserts his linguistic supremacy by showing that he is at liberty to break the rhyme scheme at any time he chooses. In this scene, Richard is the only person who is truly at liberty to stop and start rhyme schemes as he pleases. He twice halts another character’s run of couplets as if tacitly scolding them for starting one in the first place. But no character dares to decline one of Richard’s rhymes. In this first scene of Richard II, Shakespeare shows how Richard regulates his power almost exclusively through language.”

“Ideology in Richard II and Henry IV”, from Shakespeare’s History Plays: Rethinking Historicism by Neema Parvini