Tuhle jsem narazila na Babičku ilustrovanou Zdeňkem Burianem. Prolistovala jsem ji a se smutkem jsem shledala, že tam nejsou vůbec žádní dinosauři. To mě samozřejmě velmi zarmoutilo a ta myšlenka mě pohltila natolik, že jsem ji musela realizovat. Výsledek zde:

Digitální.

Potřebuju svého osobního blanického rytíře, co mě zachrání, když jsem na tom nejhůř (mohl by přicválat hned teď)?

Je znepokojující, že na toto téma máme hned dvě písničky...

I'd like to introduce to everyone this horrid thing I created about a year ago but haven't shown many people yet (probably for the best).

This is Baby. AKA The Monster. AKA Sight Tremendous and Abhorred, AKA Vile Insect, AKA A Thing Such As Even Dante Could Not Have Conceived, etc, etc. It's made from bits of scrap fabric I scrounged from various sources and is roughly the size of a human toddler. Its design is based on Mary Shelly's original descriptions of Frankenstein's creature.

But that's not all! Behold!

You can dissect this little abomination to reveal a full set of crocheted, knitted, and scrap fabric organs, all hand-stitched by yours truly!

It has a heart, stomach, lungs, liver, small and large intestine, kidneys, bladder, and, of course, a brain! So it can ponder the horrors of its own existence!

I used this pattern by Less Than Three for the heart. I ended up felting it because I screwed up most of the stitches (I was relatively new to crochet at the time). The result was a bit of a blobby mess, but oh well.

So yeah. This thing lives in my house now (my family hates it). I have yet to reap the full consequences of my hubris.

Let us suppose that the "average" horse would have equal proportions of all these parts. The degree to which each part in this poll deviates from the "average" size (20% of total) will determine how large or small that part of our horse will be (i.e a horse with only 10% in Legs will have legs half the size of the average horse).

I will draw a picture of the horse we make!

Druhá řada To se vysvětlí, Soudruzi PROSÍM!!!!!!!!!!!

Poznatky prváka:

Můžete se dobrovolně stát pokusnými králíky (především pro výše zmíněného Flegra)

Na každou zkoušku se musíte oblíkat jinak. Na chemii snad fancy šaty. Na ekologii nejlíp terénní oblečení

Černý je bůh a nejspíš bydlí v Mrtvé rybě

Papoušci v botanické zahradě

KACHNA v botanické zahradě

"Máte dvě možnosti, buď umrznete nebo se udusíte, hezký den" - demonstračky na anorgáně a následná debata o otevření oken během největších mrazů

Cvičící z anorganiky jsou největší zlatíčka

*potřetí překresluju nákres v protokolu z praktik z morfologie živočichů* "Musíte pochopit koncept kloubu!"

Cvičící z organiky vám neustále opakuje, že jste na výšce, tudíž musíte bojovat, má neustále kruhy pod očima, pořád pije kafe, říká vám buď "milé děti" nebo "malověrní" a kreslení reakčních mechanismů doprovází náhodnými zvuky

*přednáška z botaniky* "Představte si, že jedna vaše babička by byla gibon, druhá šimpanz, váš dědeček by byl člověk, druhý gorila a vy sami byste byli fertilní a mysleli byste si na orangutana"

Život na Přf UK je jako

“Pošlete si kunu” a kuna je živá a vůbec se jí to NELÍBÍ

90 % předmětů učí profesor jménem Černý. Jsou to ve skutečnosti tři různí Černí, ale jakkoliv je odlišovat by nebyla sranda

Když už má člověk pocit, že se v těch 4 základních budovách vyzná, objeví se další patro… nebo další budova

Albertovské schody.

Flégr is life

Na přesun na další cvičení má člověk celých 5 minut… škoda, že ty učebny jsou tak kilometr od sebe

*Asi 15 minut po rozdání vzorku* “Jo a je to infekční tak si nesahejte do očí. Byli jste varováni a já jsem z obliga :)”

Rozvrhy si sestavujeme kompletně sami, takže si asi umíte představit jak to pak vypadá

Že se lidé slušně oblékají do školy jsem zjistila po dvou letech vysoké, když jsem byla navštívit jinou fakultu

“Nezapomeňte si dalekohled :)!” jistě, taková běžná věc v domácnosti. Jsem ráda, že mi to oznamujete celých 24 hodin předem

Jedeš na terénní cvičení na 5 dní. Chtěl bys vědět kam? Smůla :)

Jsi hetero, jsi menšina, promiň

Někdy člověk vyleze na chodbu a tam to smrdí jako v pavilonu opic. Nebo spíš želv. Protože to jsou želvy

“Řehoř nebyl brouk!”

Botanici se na praktikách nejvíc baví tím, že vám dají něco ochutnat a pak sledují váš výraz v momentě kdy zjistíte, že to chutná fakt děsně

K oboru prostě patří určitý typ osobnosti. Všichni se bojí biochemiků, všichni milujou entomology

“Doporučuji abyste uměli plavat”

Jednou jsem si na praktiku z imunologie vedla tak špatně, že vedoucí brečela smíchy nad mými výsledky. Pak jsem musela slíbit, že už mě neuvidí

Konflikty zásadně nevyvolávám, ale žádném případě není čerstvá

Miluju jak nekonfliktní čumblr je. Můžu tady říct i kontroverzní názor jako třeba že je čerstvá a nikdo mi nebude odporovat 😇

Jisté česko/slovenské pohádky be like: Způsobilo mi to doživotní trauma, neskutečně krásná hudba, hodnotím 15/10, nevhodné pro děti do 12 let

Anglofonní lidi jsou tak strašně zvláštně překvapení, když zjistí, že jejich oblíbená postava má stejného dabéra jako jiná velice populární postava.

Kdyby se to stejně takhle dělo i v česku, tak všichni vyšilují z toho, že Megatron dělá reklamu na Lidl.

Igraszki z diabłem, 1979

what i look like when neglecting my responsibilities

DJKT JCS review (Apr. 2nd 2024)

Here's a short review (for my standards) of just what happens onstage during the recently premiered production of Jesus Christ Superstar in Pilsen. Cut is for length.

The main cast for the show on the day were: Pavel Klimenda (Jesus of Nazareth), Dušan Kraus (Judas Iscariot), Charlotte Režná (Mary Magdalene), Pavel Klečka (Pontius Pilate), Jan Holík (King Herod), Jan Fraus (Caiaphas), Radim Flender (Annas), Jaroslav Panuška (First priest/Company), Lukáš Jindra (Second priest/Company), Roman Krebs (Third priest), Martin Holec (Peter), Jakub Gabriel Rajnoch (Simon Zealotes), Apolena Veldová (Virgin Mary/Jesus' Mother)

Pre-show: The show starts all the way in the theatre lobby, where instead of DJKT’s usual ads for other of their shows, all the TVs show footage of the Roman in-show propaganda posters, which are sometimes interrupted with footage of Jesus and Judas. Once you enter the auditorium, you can see the set fully exposed, lights running left and right through the first few rows, the fog machine softly running and all the screens onstage showing in-show Roman propaganda posters, all of them talk about the strength and glory of the empire, how the empire protects It’s inhabitants and preserves the empire’s culture. On the graffitti covered metal fence are tacked on a few scrunched up posters with Jesus on them. All throughout, you can hear a soft mechanical whirring in the background. As the lights dim, Jesus and Judas slowly come onstage, followed by the apostoles, from the right offstage door and observe the set and the propaganda. Jesus raises his hand in a sudden motion and the mechanical whirring in the background stops and the overture starts.

Overture: During the first notes of the overture, you can hear a few women offstage screaming for help, presumably from Roman guards. Jesus pulls out a tablet from the backpack he’s carrying and starts tapping into it. The propaganda posters start glitching as Jesus evidently starts hacking into the system and are soon replaced with slightly glitchy footage of Jesus, immaculately dressed and presented as the ideal savior, complete with soft rays of sunlight in the background. The apostles start setting up camera equipment and ringlights around Jesus, preparing to shoot more footage. One of them starts fixing Jesus’s hair with a can of hairspray and adjusting his clothes, so that he looks immaculate, just like the perfect savior of the world should look like and not a single hair is out of place. Judas only looks on disdainfully as he once in a while takes a hit from his vape pen. During the middle of the overture, a Roman guard comes in from the other side of the stage with two women and forces them to take down the posters with Jesus from the fence. Jesus once again starts intensely tapping into his tablet, choosing which footage of him gets shown onscreen until the footage shown is without a single glitch and Jesus looks proudly at the work he accomplished.

Heaven on Their Minds: Evidently fed up with Jesus’s entire spiel, Judas takes away his tablet, turns it off and yeets it onto the ground in frustration. Jesus and all the other apostles give him a look of „Bro, what is wrong with you“ before Jesus takes his tablet again and gets back to working on it. All through the number, Judas looks longingly at Jesus and looks like he’s trying to explain and reason with Jesus that his entire plan is getting out of hand and dangerous. Jesus just waves off Judas’s warnings and runs offstage.

What’s the Buzz: Jesus excitedly leads onstage two ensemble women, presumably as new members of his team. He is evidently still innocently really excited about using his built up infuence to change the world for the better. The metal fence is drawn away, revealing the squat/campsite of Jesus’s followers. Mary Magdalene is already waiting there for the group to return. Jesus whips off his coat and gratefully lays his head in Mary‘s lap and croons in delight as she cools off his forehead and cards through his hair.

Strange Thing, Mystifying: As Jesus is lounging, Judas is evidently very fed up with all the attention that is not being given to him, but to Mary. He kneels down to Jesus and tries to reason with him that so openly associating with Mary as a former sex worker will only harm the entire image and brand Jesus is presenting publically. Mary is very hurt by this. Jesus jumps up from Mary’s lap, upset that Judas dares to offend Mary and as he lectures his apostoles that only one who is innocent should throw rocks into those like Mary, Judas picks up a crushed can and wants to throw it into Mary, but one „wtf bro?“ look from Jesus stops him. It’s evident that already here, Jesus is slowly starting to lose hope whether his apostoles truly mean things as seriously as he does

Then, We Are Decided: The apostle gang along with Jesus, Judas and Mary settle down around their tents in the dim further stage. The only thing breaking the dimness is the soft blue light from Jesus’s tablet as he continues scrolling through it. Annas pushes onstage a wheelchair-bound Caiphas and helps him wash up as they scheme how to get rid of Jesus.

Everything’s Alright: Attention back on the group. Mary notices a medicine seller in the background and taking off her silver tassel necklace along with snatching some small thing from the camp, she sells them in trade for an ointment. She takes Jesus away from the main tent camp (much to Judas‘ exasperation), but he still isn’t paying full attention to her, so she takes away his tablet and makes him lay down onto a pillow made out of his coat and backpack, where she can rub the ointment into his face. Judas starts off on Mary for both unwisely spending the group’s money and for being jealous of all the attention Jesus gives her. Despite Mary’s continuous attempts to get Jesus to rest, his attention is constantly drawn elsewhere, either to longingly staring at Judas or to a poor crippled woman upstage, who he runs off to heal with his touch. In the end, Mary gets Jesus to settle down next to the tents, but he still keeps on tapping into his tablet even as the lights go dim.

This Jesus Must Die: Caiaphas and Annas along with the priests appear up on a construction overlooking the tent camp, where Jesus and everyone else rest. They are now dressed in their full uniform and plot their next step as the screens show what looks like security camera footage of the group arriving in the half devastated city

Hosanna: Jesus and co are chilling in front of their tents when excited crowd of Jesus’s followers approaches them and sings praises for him. They take Jesus up on their shoulders and carry him to a pile of old bottle crates and other old stuff to preach to them from higher up, but he kneels down to them. Amid the crowd throughout the entire play can be seen Jesus’s mother, who is an added silent role within the production. She looks on what is happening to her son, offers a distant emotional support to him, but never interferes.

Simon Zealotes: After Hosanna, Simon is evidently not content with how conventional and tame it was, so with the words „You call THIS a hosanna?“ he leads the apostles and Jesus’s followers in a wild and energetic dance, singing about how they want Jesus to make love to them. Simon looks like has the full intent of destroying property as he sings of how Jesus can easily rule over Rome thanks to his influence. Jesus still stands on the spot he was raised up to by his followers and watches them with slowly escalating horror on his face. At first, he looks like he thinks all of Simon’s talk is just fun and jokes, but he slowly starts realizing that Simon is earnest about what he says and that despite all his peaceful and calm intent with only the hope to help perhaps help as many people as he can has started turning against him and his followers have started to radicalize and there is no way to stop them

Poor Jerusalem: Jesus calms down the raging mob of his followers and reflects on how not a single of them will ever truly understand him and the pressure that being known and famous brings with it. Judas wants to offer him consolation, but Jesus walks sadly away.

Pilate’s Dream: Pilate’s bed, full of ornamental pillows, is raised up from under the stage and he wakes up with a sudden jolt and recounts his nightmare, as if slowly recounting it.

The Temple: The set is flooded with the ensemble offering their wares and dancing around. Into this wild scene arrives Jesus, closely followed by Judas, and is evidently horrified at the scene. Jesus pulls out his phone to document what is happening. Judas tries to reason with him, try to make him put down the phone and lead him away from the scene, but Jesus is firmly set on what he wants to do. He starts filming the sellers, running around the set to get each of them on video in detail before he yells them out. After everyone leaves, Jesus looks very guilty over what he did, both because he broke his principles of being the kindest person he can be, but also because this might hurt his reputation by not aligning with the persona he and his team created. Slowly, the sick people slither onstage from the shadows and beg Jesus to touch and heal/help them. Jesus tries to ignore them and emptily stares into the audience with a sad gaze, but as the pleas get more insistent and he realizes there is no way to Ignore them, but also no way to help all of them, he starts breaking down into tears and desperate screams. He runs away from the crowd far stage right after he yells at them to heal themselves and flops down onto the ground, evidently holding back tears and trying to hide them from anyone seeing them.

Everything’s Alright (reprise)/I Don’t Know How to Love Him: Mary, now with a shawl wrapped around her shoulders, tries to console Jesus, but he only hollowly answers her as he continues being huddled in the corner of the stage, hugging his knees. Mary Is evidently conflicted about her emotions towards Jesus, because she does visibly care deeply for him, but sees that he might never reciprocate her feelings. But, she bursts out into dance and appears to find happiness that she can be near him and his friend, and that thanks to Jesus, she has found a more fulfilling version of herself.

Damned for All Time/Blood Money: Judas looks very reluctant over his decision, pacing left and right over the set and looks rather scared of Annas and Caiaphas as they crowd around him. Annas holds out a red pouch of money in offer to Judas and only very reluctantly, Judas, with an outstretched hand under the pouch, but not touching it, tells them where to find Jesus.

Entr’acte: Jesus has one of his apostoles bring onstage a plastic foot basin and a gas can with water. He leads an apostole and then Peter to the basin and washes their feet. He then approaches Mary and helps her take off her shoes and stockings, while a few of the apostoles hoot as Mary takes the stockings off, and also washes her feet. Then, he approaches Judas, gently helps him remove one of his shoes and washes one of his feet.

The Last Supper: Judas helps set up a makeshift dining table out of crates and a wide board. The apostles sit around it and Jesus sits at the head, breaking up a loaf of bread into twelve chunks with his hands as the apostles pour one another wine. However, as Jesus sees his apostles eagerly bite into the bread as soon as it’s handed to them, without stopping to pray or discuss, a wave of melancholy goes over him. He sees that he himself is the only person there who actually cares about helping people and the world. He leaves the table to collect his thoughts, but even then, he is followed by Peter with a voice recorder, who is trying to catch everything that could  be used for their campaign. He nervously paces around the set and throws off his coat as he says how he knows none of the apostles truly care for him, before quickly snatching up his tablet and to the protest of all the apostles deleting all files from it. When he says that he knows one of them will betray him, Judas steps forward, at first talking to Jesus very matter-of-fact-ly, as if he is trying to get this conversation over and done with as soon as possible, but he starts loosing his composure as the argument continues. Jesus is very hurt by the betrayer being Judas, seemingly berating himself for not realizing sooner that Judas would be the one to do this, and is trying to hold back tears all through their argument. Jesus tearfully yells at Judas to go away, but immediately clings to and embraces him. Judas embraces him in return and they sink to the ground, looking like they just want to stay in the embrace. Judas slowly separates himself and turns to leave, but as if trying to prove a point and justifying his decision, he paces around Jesus, who is still sitting slumped on the ground, eyes watery and unfocused. He tries to reason that Jesus was already hurling towards his demise and the broken state he’s now in is only a proof of that he Is not humankind’s savior, as if he’s trying to drive the knife deeper to mask that he doesn’t want to do this. Jesus once again brokenly yells at Judas to go and Judas reluctantly complies. The apostles lay down to sleep in their tents, leaving a broken Jesus alone onstage, who has been tearfully gazing in the direction Judas left.

Gethsemane: There are two stops intentionally included in the music. One as Jesus is about to start singing and the other before the first „Then I was inspired…“. Each time, the music stops as Jesus looks back towards where the orchestra is situated behind the set and he looks back almost in a plea that he doesn’t want to do this, that he doesn’t want to go through with the story and become a perhaps pointless victim all for wanting to help people. He starts almost pleading with God, but quickly turns spiteful and angsty over God deciding for him how his life will go. As he questions God what is the reason for him having to die, he climbs up the set structure, as If trying to get closer to him. Once he decides that he will do as God wants it and he will die, he screams in spite for God to watch on the destruction he’s about to cause. He ends the song bitterly resigned with tears in his eyes.

The Arrest: Judas arrives with guards in tow and approaches Jesus alone, talking to him in an almost mocking manner to mask his pain over what he’s about to do. The kiss is a gentle and brief one on the lips, as if Judas wants to get over with it as quickly as possible, but Jesus visibly leans into it with teary eyes. Jesus’s delivery of „Must you betray me with a kiss?“ with an emphasis not on the betrayl, but on the kiss and him putting a little pause before the kiss part, as it it’s hard to say out loud. The guards step forward and Jesus willingly offers them his hands to tie up. Peter tries to interfere and hits one of the guards on the head. Jesus immediately takes away his weapon while berating him and turning to the guard, he touches the wound to heal it. Annas and Caiaphas arrive. Through the scene, Judas has been trying to hide in the left corner of the stage, trying to look as if he had no part in this, until Annas directly thanks him for helping in arresting Jesus, upon which he frightfully departs.

Peter’s Denial: A few ensemble members are warming by a trashcan fire, when Peter goes by them, trying to hide his face with the hood of his yellow raincoat. He tries to play off the first denial with a smile and energy of „this Is just a stupid coincidence“, but his third denial is really angry and desperate. Mary appears at the back of the stage, worried over what Peter just did, but tries to comfort him when she sees how much it hurt him to deny knowing Jesus.

Pilate and Christ: The set changes to Pilate’s palace, complete with two green wall chandeliers made out of used bottles. Jesus is brought forth in front of Pilate, who is in his full opulent fur trimmed costume. For the questioning, Jesus is tied to the bars of a cage, which looks to be connected to electricity and made for torture via electroshocks, the guards bring forth. Mary and Peter can be seen in the background, being held back by guards. Jesus is unbound from the cage as Pilate sends him off to Herod.

King Herod’s Song: Into the earlier entry door of Pilate’s palace backs in a beaten up car with Herod sitting on the smashed in car hood. The entire song, Herod relishes in the destruction and chaos he’s causing and in traumatizing Jesus. Specifically, he pulls out the cut off head of John the Baptist from a fridge they have on set and throws it around with his minions like a ball, before rolling it onto the ground. Jesus immediately recognizes John in the head and breaks down onto the ground crying and whispering John’s name, as if trying to apologize to his spirit for being a contributing factor in why Herod executed him. Herod also very roughly slaps Jesus across the face before leaving.

Could We Start Again Please: The graffiti covered metal fence is drawn back over the set as Mary, Peter and the apostles come forth. Mary has her shawl drawn up over her hair and leads the group in a collective prayer, seemingly filling in Jesus’s place as the spiritual leader of the group. The motions the group pray with are similar to the way early Christians prayed, with both their hands raised to the sky. Mary is close to tears by the end of the number.

Judas’s Death: Judas runs onstage as the screens show footage of Jesus getting brutally beaten up by the guards, with repeated close ups on his bloodied and bruised face with tears pooling in his eyes. Judas looks very remorseful over what happened, but he tries to hold himself together all through the „I Don’t Know How To Love Him“ part. By the end of the number, he is bitterly and manically laughing up at God as he is about to hang himself. God might have had control over the narrative, but this way, Judas feels like he is taking his fate into his own hands.

Trial before Pilate: Jesus is once again brought forth, visibly weak and beaten up. Pilate circles him as a guard with a turned on phone walks in front of him and „livestreams“ the entire trial onto the big screens onstage. Mary can once again be seen in the background, being held back by the guards and looking on in worry. The crowd in the back part of the stage demands Pilate sentence Jesus to crucifiction, even when Jesus is visibly barely managing to stand and brutally beaten up. To calm the crowd, Pilate has Jesus flogged, where the guards drag him into the cage, tear away all his clothes and tie him to the bars facing away from the audience. With each hit, the lights in the room flicker. After 39 times of being hit, Mary manages to fight her way through the guards and as Jesus’s ties are loosened, she gives him a loin cloth to cover himself. As Jesus turns back towards the audience, his chest and face are visibly bloodied. Pilate tries to empathetically reason and come up with a way to somehow save him. Jesus barely, but chillingly whimpers the „Everything is fixed and you can’t change It“. The cross, which looks to be made of old iron, gets dragged onstage, with a blank cardboard plaque above the head. Pilate is handed a can of blue spray paint and paints on the Initials JC as he tells his verdict.

Superstar: A red cloth is placed around Jesus’s shoulders and a crown of thorns is forced onto his head as Judas, now wearing a red turban/headwrap instead of the previously gray one, and the soul girls, dressed as angels all in red and with giant wings, are rolled in onstage. Judas and the angels dance around and sing as the entire carrying of the cross Is recreated. Jesus falls under the cross three times, he is followed by a crowd of weeping women where he notices his mother, one of the apostles tries to help him carry the cross, he is offered a cloth to wipe his face into by Veronica. At one point, as Jesus is carrying the cross, Judas starts dancing in front of him and sort of leading him where he should go. During the final chorus, Jesus falls a third time, but away from the audience’s gaze.

Crucifiction: The cross is raised up, Jesus hanging on it with bright stage lights behind him. He whimpers on it, sometimes almost incoherently through the pain. He calls weakly his mother, who has to only watch from down below and can’t save him. All she can do is calm a weeping Mary in her arms. Jesus dies with a final whispered „Father, into your hands a commend my spirit“ and remains limply hanging on the cross.

John Nineteen:Forty-One: The cross is lowered and Peter with one other apostle take Jesus’s body off of the cross. They lay him into his mother’s arms in a pose similar to Pieta sculptures, so she can say her goodbye and then lay him on the ground, letting Mary say her goodbye. They cover up Jesus’s body with a sheet, but after they remove it after a few seconds, but Jesus’s body has disappeared. Everyone onstage lokes into the skies as they sing out the last notes.

me admiring a beautiful man: wow he sure does have a vulnerable looking throat, huh?

Neříkám nic… jen že Julek Zeyer nebojuje s ovocnářskými teoriemi ale vůbec…

Who makes the porn bots. Where do they come from. What do they hope to achieve.

I'm just saying that Good Omens has the opportunity to do the funniest bit of casting for Jesus in season 3. Like, he even already has the costume. Maybe minus the cat bell...

This would be a full frontal assault on the sanity of the crossover fandoms. Our minds would splinter. Our souls would dissolve.