Donnie: *looks at leo* ooh. Thats why he is loud and obnoxious.

Leo: i heard that!

Donnie: I said "proud and awesomeness"

Leo: oh? Why thank you! *Walks away proud*

Donnie: Deaf ass.

Lmao

I mean... have you seen their ears?

Exactly.

I fucking LOVE your art style!!! I absolutely NEED you to draw Abby, she would be so aesthetically pleasing <3

TYYYY here i dont have time to draw anything fancier :^)c

Pic of the Abbey Road echo chamber in case anyone wants to see the location of John and Paul’s secret giggling sessions

MH G3 ASK GAME 🦇🖤

Rules: Reblog if you'd like your followers to send numbers/questions from this list to you! Anyone can reblog and don't forget to have fun~

How did you feel about G3 when it was first announced/rolled out vs. now?

2. Which G3 character (new or rebooted) is your favorite?

3. Which G3 doll is your favorite?

4. Are there any aspects of G3 you dislike?

5. Is there a line or idea for a line that you'd like to see in a G3 release?

6. Which G3 pet is your favorite?

7. Favorite G3 parent(s)?

8. Which episode of the G3 series is your favorite?

9. Which G3 song (from the show or character songs) is your favorite?

10. What's your favorite piece of fan content that's been made for G3 (customs, art, videos, etc.)

11. Any G3 ships you'd like to see?

12. Are there any canon relationships (platonic or otherwise) in G3 you enjoy or don't enjoy especially?

13. How do you feel about the live action movies?

14. You have been given the chance to design the G3 version of one G1-introduced character. Who do you choose?

15. Is there any G3 merchandise you own or want to own?

16. If you could steal the wardrobe of one G3 character, who would you choose?

17. Is there a G3 character you feel deserves more attention?

18. What kind of monster what you be in G3? Would you be a teacher, a student, or an alumni?

19. Which G3 power (moon claw, witchcraft, dream powers) is your favorite? Which would you want?

20. Random character headcanon!

I wish you would write a fic where... Cora and Robert would've had their son.

Yes! We were robbed! I don't know if I'll ever commit to this weighty storyline but here is a tidbit of how it could look <3

⟫⟫⟫

His hands clasped behind his back, Robert squeezed his fingers and let his gaze flit over the rainy garden behind the floor-to-ceiling windows. His mind was turning over the words of the latest letter from the war office. These letters were his invaluable connection to the front. He wasn't there himself; he had other duties to attend to. But at least he was being kept informed.

"Robert, darling. Do you want another cup of tea?" Her voice was soft but it pierced through his thoughts sharper than any scream could have. Her fragile tenderness was such a harsh contrast to the content of his thoughts. He suspected there was more she wanted to say from the open tone of her question. But upon turning around, he registered Carson and believed that her concern was too intimate to call across the room.

He left the rain-streaked window and took the tea Carson had silently poured him. He went to stand next to an empty settee and avoided looking at Cora. On his mind was the war. He didn't want mix these images with the vision of his wife, rosy and soft and naive.

Robert held on to the saucer and the silver spoon and felt no interest in the tea whatsoever. The same words went round and round in his mind. Germany is advancing on all fronts. Reading the letters from the war office felt increasingly like a fever dream. And he wanted to put an end to it himself.

"Oh, look who is there!" Cora's cooing caught his attention in an instant once again. Robert's head shot up and he took in Nanny in the doorway with the little master on her hip. A serene calm seized Robert's mind. Finally. Arthur managed to achieve this better than anyone else.

Robert watched Nanny walk over to where Cora was seated and place the little master on his mother's lap.

"Thank you, Nanny. I will ring for you when you can pick him up again."

Nanny bowed out. Robert lifted the teacup to his lips and followed Cora's gentle gestures with his eyes. She patted little Arthur's white gown and adjusted the ruffles on his tiny shoulders. His arms were so short, his little fists so easily disappeared in Cora's palm, his feet didn't reach his mother's knees. Robert was once again in shock at how miniature everything on Arthur was. Though, he was an infant after all.

Cora lowered her lips to the crown of Arthur's head. Robert watched the scene with a moved tug in his chest. What a gift. His eyes didn't leave the innocent, embracing duo as he approached them. He discarded his teacup on a tray and carefully sat down on the other end of Cora's settee. Their eyes met for a second before they both observed their son who had taken hold of Cora's pearl necklace and purred quietly in full concentration, studying the accessory.

"Careful, dear chap," Robert said softly. "That's a favourite of your mother's."

Cora kissed the infant's dark hair again. "It's alright. I like to share it," she hummed.

Robert was enraptured by the gentle display of mother and son. He lifted his hand to his wife's face and tentatively brushed the back of his forefinger over her incredibly soft cheek. She acknowledged him with a fond, even smitten smile.

Robert was reassured that his duty here at home wasn't any less important than supporting the war. It was very different but a single look at his wife and their infant son confirmed his responsibility and the rightfulness of his staying.

⟫⟫⟫

(Funny enough, I just started working on an old WIP again that's kind of fitting the brief and kind of not... Well, it's basically an angsty s1 pregnancy AU with a twist. But more about this when I've finished this ficlet :) )

I wish you would write a fic where...

now that i've managed to pull a few people's attention towards dream & art

please consider

edwin austin abbey's "the golden tree" but with hob, knight of the dreaming

For the Christmas fic maybe…Sabezra and “All I Want For Christmas is You?” (I just saw that post and it sounds so cute and fun!)

Thank you so much for sending in a request!! This one got a little long, but I'm fairly proud of it

“Looks like we were right about this being a meeting place for the local Imperials,” Sabine said quietly, nodding to the table filled with gray uniformed officers, all chatting and drinking.

“Looks like it,” Ezra said, fidgeting with his drink cup a little as he shot another glance at Sabine. They were both in disguise— him in a crisp white shirt and suit coat of Kanan’s that Hera had found for him, and her in a dress that Ezra had never seen before. It was magenta with a halter top, leaving her arms bare. The fabric was embroidered and beaded in diamond patterns, and the skirt hit just below her knees. In her hair— dyed freshly just for the occasion— she wore a small silver tiara.

She looked beautiful, and Ezra was trying really hard to pretend he didn’t notice. He was supposed to be over his crush, after all.

But missions where they went undercover together made that hard, especially around Life Day. Mistletoe and sappy songs were everywhere— even now, playing in the background of the bar.

I just want you for my own,

More than you could ever know.

Sabine glanced at him, and lifted an eyebrow. “Spectre Six? You good?”

Make my wish come true,

All I want for Christmas is you.

Even when she was looking at him like he was insane, she was prettier than anyone else in the room. Maybe especially then. Take it easy, Bridger, Ezra ordered himself. He wasn’t going to ruin their friendship. Not now, not ever.

“I’m good,” he said.

who at mattel do I need to get in contact with to give clawdeen textured hair 🗣️🗣️🗣️🗣️🗣️

I am extremely interested in your draft/post about Downton Abbey and the timeline 👀

Important disclaimer: I was never in the fandom of the series, so I'm completely ignorant as to word of god and fanon, and might have forgotten some details of the plot as the years have passed since I watched.

*video essay voice* (bear with me) in 1980, British playwright Peter Flannery, while watching rehearsals for Henry IV, felt inspired to write his own historical epic, a Shakespearean sort of short History of his native Newcastle from the 60s to the present, interweaving the personal History of 4 "friends" with the big historical events of Britain through those years, to create a strong political narrative through them, but that was life-like enough in its everyday life details and turns as to feel real. The characters deal with their desire to change the world, achieve success, recognition, or even just survive, and experience hope and hopelessness by turns*

This theater play, called Our Friends in the North, caught the eye of the BBC, and after several back-and-forths it was adapted into 9 episodes in 1996. It was a big bet (it cost 8 million pounds to produce) and a big hit, and I do get the gut feeling that in some corner, the first season of Downton is inspired in OFITN as a concept, a sort of Our Freenemies in Yorkshire, but that its own success derailed it into a different direction, and made it Edwardian-Roaring 20s Aristofairytaleland, the same way Regency Romance tends to take place on a Regency Fairytale land full of dukes and none of the social, economical and political problems of the time.

S1 of DA hinges around the "Death of the old world" theme: it opens with its first marker (the sinking of the Titanic) and closes with the last marker (the beginning of the Great War). The central plot is that of the survival of Downton as a place and an institution -the kickstart is the death of James and Patrick aboard the Titanic, and the next heir presumptive being a middle class lawyer, an outsider to the aristocracy. The old, dying aristocracy, managed to patch up their situation by marrying rich American heiresses, like Cora, but it doesn't have any vitality for the future: the heir (Robert and Cora's son) is born dead. The question then is "can the aristocracy make a bridge with the raising professional middle class, merge with it in order to gain new life?" that's what Matthew's plotline this season is all about, specially in his growing and changing relationship with Robert and Mary (who are the epitome representatives of the aristocracy, with lady Violet): there is a small seed of aspiration that grows through the season, but gets quashed once he realizes that as much as he has grown to care for the Crowleys, they haven't really grown to care for him as anything but an uncomfortable necessity. And so he leaves. And the Great War begins. No compromise can be reached, the old world is dead.

I don't think I say anything controversial when I say that Fellowes and Downton as a series loves Mary with undying devotion; she gets a second chance at Matthew in s2 that she wouldn't have gotten IRL, and she would have kept Matthew forever if the actor didn't want out. And I think Dan Stevens wanting out (and Jessica Brown's to a certain extent), and as much as he can say within the bounds of politeness, has a lot to do with a sense that the series he signed up for was not the series he ended up being in on the follow up seasons. Matthew, who was a central character to the main plot of the series in s1, now gravitates Mary's storylines, because that pressing conflict of the inheritance is solved, and he can be disposed of as soon as he produces a male heir without causing any plot-ripples. A story about Downton the house as anchoring to class conflicts and point of connection with big events becomes a story of Mary and her relatives with Downton as a mainly aesthetic backdrop as s2 progresses (yes, yes, every once in a while some lip service is given to "money troubles" and having to downsize, but it's just... that).

As seasons progress, as well, the historical markers to open and close a season disappear, and so do... general historical events at all. The story gets atomized and more and more separated from History, and "the old world is dying" theme vanishes.

So, now, on this premise (that Downton S1 and Downton s2-6 are different animals, with different core themes and structures) where do I think a true continuation of S1 would have gone?

Mind you, I haven't plotted five series to detail, because I'm not that invested. But also it feels like DA the series itself started running out of plot after s4 anyways, so, in general lines:

The same way OFITN did (episodes were each set on a different year: 64, 66, 67, 70, 74, 79, 84, 87, 95) every series would have a time skip that would tie in with bigger scale events in Britain and the world (the end of the Great War, the Spanish Flu, the crack of 29', etc), and in my mind I would have it cover until the late 1940s: the series begins with a middle aged Robert and Cora, and ends with a middle-aged next generation.

Matthew does actually marry Lavinia, and takes William with him as they bonded in the war, and goes back to his job. They try to keep their distance from Downton, but, of course they keep getting drawn in because of the inheritance.

Matthew's marriage to Lavinia means a vital wake-up call for Mary: she -and by extension the aristocracy- cannot always get what she wants, even though her name and status carry a lot of importance. But she also experiences new freedom because her choice of husband has now no influence on the fate of the estate. I think she'd choose to travel a lot, in ways that would widen her mental horizons and change her feelings and perspective about her family. I even feel like her marrying Henry Talbot in the end makes sense; she remains ever the aristocrat (although I'd think she'd marry later, probably past her mid-30s, a spirit of the new times).

Sybil's storyline remains the same, minus death (in this scheme, the core characters that thread the timeline are the Crawley sisters AND Matthew), but she never returns to Downton to stay, and it is through her and her visits that we do get the perspectives and storylines of the process of independence for Ireland, and her complicated position as wife of an Irish man but daughter of a British earl. You can even get stories in the later years storylines like Marygold trying to run to Ireland and her aunt after WWII breaks.

A similar thing goes for Edith; if Mary is and makes the choice of aristocracy, and Sybil makes the choice of a working class life, then Edith embodies a commercial-professional upper middle class aspiration (in fact, I do think that her punching-bag status in the series has a lot to do with Fellowes derision of that class), so it makes sense for her to do most of the things she does towards her place in life; just cut some of the drama and no sudden marquess nonsense in the end. Edith and Bertie marry and remain successful editors/printers/periodical owners.

As for the house itself, of course Matthew inherits (you could set Robert's death for 1929, and then have a Lavinia inheritance save the estate after Robert's failed investments like it goes in s1). I do think this lends itself to interesting dynamics, specially with the servants, considering the aristocratic head is gone and the Great War significantly changed the self-image of the serving class, plus the return of William now in a much more privileged place; but also with Cora as the new Dowager and Lavinia as the new Lady Grantham. How do the children adapt to their new home and status? How did their parents conduct their upbringing? I think you can do a lot there (I'd assume just two children, a boy and a girl).

I do also think it'd be interesting to contrast the rising tensions in the 30s as Mary perceives them through her continental travels -I can imagine Henry Talbot joining the foreign service and getting at least obliquely involved in spy shenanigans- and Edith through her very localized work.

The Kingsmen movies play with this idea of WWI creating a generation of fathers who buried their sons and had to take their places. The Crawleys escape this by having only daughters, so I think it is fitting for Matthew and Lavinia's son to die in WWII, and for the daughter to become a war bride and move to the US, as the centre of power moves from the UK to the US.

Downton, more and more difficult to maintain as the years pass, cannot survive the economic blow of WWII, and Mathew and Lavinia, now middle aged, don't have the energy and vitality to begin again; and so they make an arrangement with the just-founded National Trust after the war ends: the main part of the house becomes a museum, but they still get a part of it to live in. I think, after a family reunion tea/party to wrap things up, you can have as a symbolic last shot, a close up of Matthew's hand as he turns over the keys to the Downton gates to the National Trust agent, CUT TO BLACK AND THE DOWNTON ABBEY THEME.

So, hm, that's pretty much it. Please do not maul me to death XD

*While I think the series was very well written, I'd hesitate to recommend it here as there was too much explicit nudity and sexual content for my taste and that of many people here. The 2022 radio adaptation seems to be faithful to the original tv series and avoid that problem, but of course you lose on the other visuals that are quite impressive (and believe me, besides some awkward wigs and make up, they really did blow up that 8 million pound budget in many ways).

Family reunion! RSVP now.

—

Just a little campaign sketch that I decided to color! As of a couple session ago, it turned out Emilia was not an orphan, to her great displeasure. Nothing good is happening in our campaign.

So, who's winning the baddest bitch off?

FUUUCK... why do we have to pit two bad bitches against eachother 😭?

Could we perhaps get some Donnie getting his shell scratched and churring

Biiiiiig stretch

Abbey Road Phoxing

Based on the famous Abbey Road album cover.  Cirrus is dead.

Posted using PostyBirb

If you want people to @ you about Her Majesty, I'm only too happy to darken your virtual doorstep. Please expand on your statement that (quoting from memory) ending their recording career with Her Majesty is the beatliest thing the Beatles ever did. Also (optional) please tie this in with any thoughts on where Lennon and McCartney were at at the time, in terms of their creative collaboration. I'd be very interested in your thoughts; thank you in advance!

Ooh, thanks for this ask!

So first of all, is Abbey Road the end of their recording career?

I think so. It's weird to think that several of their most iconic songs are on Let It Be when it's such a mess in so many ways. But it was recorded first, and for me Abbey Road is a kind of thesis conclusion.

Well then, is Her Majesty the end of Abbey Road?

Someone in the notes of the post you're referring to called Her Majesty the post-credits scene of the album, and that is fair. But that's not how I think of it. Abbey Road is arguably the apotheosis of the album form. Flowing perfectly from one song to another, pulling together all their influences, their compositions mixing and blending until we reach The End. Guitar battle, drum solo, loveyouloveyouloveyou. And then Paul pulls down the band's collective glasses and says "it's only us!". Their humour and irreverence was such a key part of their charm, and it's important to me that they close their Magnum Opus with a silly ditty that got there by accident.

Where were Lennon/McCartney at?

Unfortunately, I think it had to be Paul who made the joke, because John had lost sight of the beauty of charming irreverence at that time. His humourlessness in 1969 is heartbreaking tbh. What humour he did have leaned into his cruelty (cf Sun King).

Warning: headcanon follows

John had lost faith in their collaboration, but Paul never did. John was afraid that Paul could produce something like Abbey Road without him, and even convinced himself that Paul had done so. But (as much as I love Wings) Paul could never produce anything on that level without those specific collaborators, and he never believed he could. (Though he hadn't yet recognised how vital George and Ringo were to the magic). Abbey Road was extremely collaborative, and The End captures that spirit in a deep way, even if John couldn't see it. And then Her Majesty says "lol".

Hello! Just wanted to say I enjoy your tumblr. Seeing your posts on the Brontes, Austen, Keats and Hamlet remind me of the time when I was obsessed with literature and specifically these works/authors. One of my underrated favourites is Villette by Charlotte Bronte (though Jane Eyre was my first Bronte love.) And Mansfield Park awakened me to Austen's depths. What are your favourite Bronte novel and Austen novel?

Halloo!

I LOVE Villette. It is Charlotte Brontë's best work in my eyes, showing her real development as a writer. I've always found it confusing/sad that Jane Eyre is the most well known of the Brontë ouvre because although it's good and I enjoy it, it is the weakest link. Charlotte Brontë got SO much better. The Tenant of Wildfell Hall is my favourite Brontë novel, partly because I lean more towards Anne's cleaner style, partly because the subject matter is very dear to me. Wuthering Heights was my first love, though. My grandma took me to visit the parsonage having read only bits of Jane Eyre and I took home a copy of Wuthering Heights and devoured it in one night. It's a really magical whirlwind on your first read.

I really need to appreciate Mansfield Park more and do a re-read— I know I saw much more in Emma as an adult and I may well see more there too. Northanger Abbey was my favourite for a while as the most cheerful and fun (and my first Austen novel) but Persuasion has my heart.

Also Keats! Keats! Do you have a favourite piece? A gripe against The Eve of St Agnes? (I do) Please talk to me about Keats because Tumblr has not yet scratched that itch for me.

also a separate mary/matthew question: what are their love languages? both to give and receive

Thank you for the ask!! Sorry it took a while, I was trying to get it perfect :D

SO. Matthew is a person who’s affectionate in visible, transparent ways. We’ve seen that so many times on the show. He kisses Mary’s cheek in greeting and goodbye. He likes a fair bit of PDA (the cricket match kiss..... he could NOT get back to the game without giving her a smooch!) not too over the top, but the way he does it leaves no doubt of how madly in love he is. He also LOVES cuddling - I’m taking that “I’ve held you in my arms....” scene as proof that this is a man who adores cuddles and snuggles. And he comes up with the SWEETEST verbal professions of love, too. They make my heart melt every time. - “I could never be happy with anyone else as long as you walk the earth." “I do love you so terribly much. “I will love you till the last breath leaves my body.” “I didn’t think it was possible to love as much as I love you.” “I fall more in love with you every day that passes." He’s such an adorable romantic! And he really likes doing things for and with Mary.... getting her necklaces because he knows she’s fond of them, giving her belly rubs during her pregnancies, dancing with her..... oh, he loves her too much.

Mary, though.... she’s more complex, and her love language is a little more subtle. The thing with Mary is... she’s not a person who will gush about how much she loves you. It’s hard for her to express herself verbally. But when someone has deeply cemented themselves in her heart, they can never for a moment doubt how much she loves them. She uses her “I love you”s more sparingly. Actions speak louder than words where she’s concerned. Her beauty lies in the things she does for Matthew that demonstrate how much he means to her. When he’s working late in the library, she lays on the settee to keep him company. She distracts him when she knows he's thinking about the war (especially in early November when Remembrance Day draws nearer). She calms him down when he has nightmares, simply by holding him and kissing him and reassuring him that everything’s all right and he’s perfectly safe with her. She gives him endless massages with warm, scented oil when his back hurts him. When he’s ill, she devotes herself to him body and soul. She doesn’t leave Matthew for a moment, unless she really has to. She gives him a rub between the shoulders when he’s hunched from sitting at the desk too long (in 3x04). AND SHE LOVES KISSING HIM. Yes. She likes their snog sessions, kissing him and being kissed. Mary uses kisses to convince him that she’s on his side (“There.... will that convince you?”), she uses it to apologise after they’ve had a tiff, she uses it to reassure him and support him. And she plays with Matthew’s ears quite often - if you notice, during most of their kisses, she's touching his earlobes..... oh, and she likes running her fingers through his hair. HIS THICK SOFT BEAUTIFUL HAIR. Her touch, her loving gaze, her tiny caresses..... Matthew treasures her gestures of affection, because they perfectly complement his.