#source: deadline

[911actually]

📹 • deadline • 05.14.25

Will the #911onABC writers give into the fans ship of Buddie? Oliver Stark and Ryan Guzman respond at the #DisneyUpfront and discuss Buck and Eddie's relationship

[josefinemarch]

wait ted lasso is really coming back for a season 4???

[weisshapt]

finding the "folk" and the "lore" in the folklore of the wwe

do you want to participate in/contribute to the most electrifying master’s dissertation in all of folklore studies sports entertainment? read below to find out how you can!

thank you to @moxleyrollins for helping me find and source footage, and @alistairs for both excellent suggestions and putting up with me throughout the whole process!

i am currently looking for wwe fans to answer questionnaires and potentially sign up for one-on-one interviews regarding their relationship to, experiences with, thoughts on, and memories connected to their viewership of the wwe and professional wrestling. these will be used as data to help bolster my upcoming master’s dissertation project, where i will be arguing that the “lore” within and surrounding the wwe fits the criteria to be considered folklore, and that the wwe universe, comprised of both performers and fans alike, can be viewed as a folkloric group.

i know what you might be thinking: how the hell do you get folklore out of what is essentially a soap opera of violence? well, that was my question too and apparently i’m the first person to ask it because as far as all of my research has found, i am the first to climb this mountain, and by participating, I’m inviting you to climb it with me!

at this point, feel free to skip to the bottom unless you want to go down this absolute rabbit hole with me as well.

now, what exactly am i calling folklore? for starters, everything you see above. but let's take it step by step. think about how extensive of a culture wwe has amassed over the years, and not just for those of us tuning in weekly and for events. how many people do you know who’ve never watched a single match in their lives, but can recognize john cena’s entrance music and can understand what the five knuckle shuffle is, and the “you can’t see me” catchphrase? how many memes have you seen using pictures or gifs of various wrestlers or that one clip of vince mcmahon (i don’t even have to specify which one do i?) or videos using the undertaker bell?

as fans, have you ever thought about how, given all the various jargon, when you talk about wrestling, you’re practically speaking a different language, one unique to those within this specific community? and a whole language it definitely is. i’ve got 220+ words in the glossary portion of my appendices to prove it. material culture? how about all the replica belts, action figures, and various merchandise sold by wwe? what about fan-made stuff like signs, clothes, fanart? and yes, ring gear can and does count (or at least i’m arguing it does) as a kind of folk costume, whether that’s ric flair’s robes, cody rhodes’s red, white, and blue get-up, the wyatts’ masks, and pretty much every look shawn michaels or seth rollins have sported across their entire careers.

the very nature of wwe storytelling adheres to some of the characteristics folklorists study. not only are the plotlines and developments governed by adherence to calendar customs, with raws and smackdowns always leading up to and following in the wake of one of the many premium live events, but the storylines themselves are chock full of motifs straight out of the stith thompson index, constantly utilising tropes of good vs evil/hero vs villain (babyface vs heel), underdogs and heroes journeys. additionally, folklore and the folkloresque are often used as symbols and aesthetics to build up the image of a character and their gimmick.

and the community, from the wrestlers in the ring to the fans behind the barricades? easily checks off the list for attributes of a folkloric group. shared experiences and interpersonal relations, a sense of community, unique customs, rituals, beliefs, and traditions that are preserved and sustained, culture transmitted through group-wide communication and oral traditions (online with the iwc or in-person at events). the only box not checked has to do with size, and that's a point of wider contestation living now in such a technologically interconnected world.

i'll stop here, or else you'll end up reading through what is essentially a prolonged abstract of the entire project.

so what am i actually looking for and asking of the community?

i need members of the wwe community to take a few moments out of their day in order to answer questions about their introduction to and memories involving the wwe, their interest, engagement, and experiences with the material and the performances, their knowledge of wwe 'lore' whether it deals with the wrestlers (in or out of kayfabe) or fans and how they view those anecdotes, and their thoughts on the wwe community as a whole.

the questionnaire is made up, in total, of 10 main questions (one for every era), with an additional checkbox for those interested to note down their willingness to participate in one-on-one interviews, either chat-based or audio-recorded depending on the interviewee's preference.

below you will find a link leading first to an official consent form provided to me by my university. this will involve some level of sharing personal information, however it should be noted that no identifying information will be shared outside of the written project itself, all data will be kept secured on a university-issued cloud drive and will be deleted following the submission date of august 4, 2025, and any participants not wishing to be named in the dissertation itself can and will be anonymised.

upon finishing the consent form, you will then be referred to the questionnaire itself, described previously.

as for the interviews themselves (for those interested and able), those may range anywhere from 30 minutes to 1-2 hours, depending on time constraints and interviewee preference), and will largely focus on expanding on the answers previously provided in the questionnaire.

i hope that's all clear but i am happy to clarify any information for those who may have questions! if not...

click here to access the consent form and the questionnaire

now, for those who may wish to contribute but either don't have time to fill out the questionnaire or for whatever reason don't want to, my ask box and dms are both open for any comments or suggestions for what others might consider "wwe lore." have a moment that's stuck with you ever since it aired? a favorite match or promo? a fan-story you can point me to somewhere online? send it in, anonymous or otherwise! and feel free to share this post wherever you like and/or send it to anyone you believe might be interested in participating!

[asmodeusamaryllis]

Hiroja's rough draft for chapter 2 colour page

[kordeliiius]

A Cut From Every Cloth

Series of vintage photo mockups to commemorate Tarsier Studios turning 20 this year, featuring the main members of their pantheon in cultural clothing

Outfit descriptions and references below

Little Nightmares

Six - Japanese hakama, haori, and hair ornaments Mono - Swedish Dalarna suit Runaway - Embroidered Baju Melayu with headwrap

LittleBigPlanet Vita and Tearaway Unfolded

Sunshine - 19th-century Yorkshire dress with bonnet and lace shawl Atoi - Scottish tartan kilt and flat cap Sean - Regency-era suit with cybernetic motifs Flounder - Ringmaster uniform with Russian punk rock motifs Marianne - French folk dress with gothic accessories Otis - Appalachian denim overalls with decorative trim

The Stretchers, Statik, and Fists of Plastic

Red medic - Mexican serape wrap and sombrero Blue medic - Zoot suit with fedora and metallic accessories Dr. Ingen - Victorian pinstripe suit Hero - Hainanese bamboo dance costume

The City of Metronome

Ten - Irish-inspired coordination with walking hat and Galway boots New - Bai and Hmong Hoa-inspired outfit with traditional headdress and Hong Kong embroidery

[mrs-stans]

Vanessa Kirby & Sebastian Stan ‘Ruins’ Package Acquired By Miramax, Scott Free Producing

By Anthony D'Alessandro

EXCLUSIVE: Miramax in a competitive bid has snapped up the rights to Australian author Amy Taylor’s upcoming second novel Ruins with Oscar nominees Vanessa Kirby and Sebastian Stan attached to headline and produce. Scott Free put this package together, I hear. Kirby will produce through her company Aluna Entertainment.

Ruins follows a couple whose affair with a young Greek woman over the course of a summer in Athens threatens to crack their relationship open in a story about privilege and power, desire and intimacy. The Dial Press is publishing Ruins in the U.S. on Aug. 12 and Allen & Unwin will publish in Australia and New Zealand on July 1. There is currently an ongoing negotiation for UK publishing rights. Taylor’s first hit novel was Search History in 2023. The author is represented by CAA and Pippa Masson at Curtis Brown Australia.

Kirby and Stan are also producing with Scott Free and Linden.

Stan recently received an Academy Award nomination as well as Golden Globe and BAFTA nominations for his role as a young Donald Trump in The Apprentice. He won a Golden Globe Award for his performance in A24’s A Different Man. He earned an Emmy, SAG and Golden Globe nomination for his role in the Hulu limited series Pam and Tommy. Upcoming he will star in Cristian Munju’s next feature film Fjord for Neon and he will next begin production on Justin Kurzel’s Burning Rainbow Farm, which he will star in opposite Leo Woodall. Stan can currently be seen reprising his role of Bucky Barnes in Marvel’s THunderbolts* and he’s currently filming Avengers: Doomsday. The actor is repped by CAA, Brookside Artist Management, and Sloane Offer.

Volpi Cup and BAFTA Award winner and Oscar, Golden Globe, Emmy and Critics Choice nominee Kirby will next star as Sue Storm (The Invisible Woman) in Marvel’s The Fantastic Four: First Steps which will be released globally on July 25. She too is currently filming Avengers: Doomsday. This summer she can be seen in Vertical’s Ron Howard’s directed period thriller Eden. Also on the horizon is Netflix’s Night Always Comes, which she also produced through her company Aluna Entertainment. She earned critical acclaim for her performance in Kornél Mundruczó’s Pieces of a Woman for which she was nominated for an Academy Award. Other credits across film and television include the Mission: Impossible franchise, Ridley Scott’s Napoleon, The Crown series, The World to Come, and Fast & Furious Presents: Hobbs & Shaw. Kirby’s Aluna Entertainment has a multi-year first-look deal with Netflix, and serves as a Global Ambassador for War Child. The actress is repped by CAA, Hamilton Hodell in the UK, Linden Entertainment and Johnson Shapiro Slewett & Kole.

CAA repped Scott Free Productions was formed in 1995 and is the film and television production vehicle of director brothers Ridley and Tony Scott. The company’s canon counts some of the most successful films ever made – including Top Gun, Gladiator, Blade Runner, Alien, American Gangster, Thelma and Louise and Black Hawk Down. Scott Free films have received over 80 Academy Award nominations. Recent releases include the global box office smash Gladiator II, Alien: Romulus, A Sacrifice, Napoleon, Boston Strangler, House of Gucci, The Last Duel, A Haunting in Venice, and Blade Runner 2049. Other past releases include Death on the Nile, Boss Level, The Earthquake Bird, The Aftermath, American Woman, Alien: Covenant, All the Money in the World, Mark Felt: The Man Who Brought Down the White House, and The Martian. Upcoming Scott Free films include The Dog Stars, Echo Valley, Trap House, The Chronology of Water, The Riders, and The Untitled Bee Gees Project.

[becca4leafclover]

"Someone Cares" Chapter 7!

https://archiveofourown.org/works/65807035/chapters/171705292

Moon Milk is smart enough to recognize that what he's trying isn't working. However, he is not smart enough to know what else to attempt.

Chapter 7: I Get Ghosted (word count: 4024)

Hurt/Comfort, Alternate Universe, Worldbuilding, themes of depression and abandonment, self-care

For the next day or two, "Someone Cares" is gonna be taken off registered users mode so you don't need to be logged in to read it! I'll probably do this every once in a while. If you have an account I think you should be able to open it as "Entire Work" and as long as the page doesn't refresh you can read it!

[incorrect-malfoys]

Bellatrix: If 34 years of looking stunning, gorgeous, and beautiful isn't enough-

Lucius: Yeah, when are you gonna start those 34 years?

[dipplinduo]

Live long enough to become the villain. Rome didn't fall in a day.

[911actually]

‘9-1-1’ Showrunner On That Helicopter Chase & ‘Apocalypse Now’ Connection That Wasn’t To Be

SPOILER ALERT: The story includes details about Episode 815 of ABC’s 9-1-1, “Lab Rats.“ On a typical 9-1-1 episode, this would’ve been a centerpiece — a chase involving three helicopters around Downtown Los Angeles skyscrapers that ends with a landing on the field of the L.A. Coliseum. But the April 17 episode of ABC’s firefighter drama, “Lab Rats,” was far from typical, marking the exit of star and executive producer Peter Krause. So the impressive stunt was overshadowed by Station 118 Captain Bobby Nash (Krause) dying just minutes later at an underground lab where a fire had triggered the release of a deadly virus.

READ THE FULL ARTICLE HERE

[revvethasmythh]

Finish your fics. Do it for Veth's Big Naturals 💛

I will 😭 in the name of her bazongas, i will do it

[frog707]

Two months remaining

Sonatype's OSSRH will reach end-of-life on 30 June, forcing me to change how I distribute my open-source JVM libraries. I've known about this deadline for about a month now, but so far I haven't made any progress migrating to Central Portal, its replacement.

Currently I have about 25 projects that publish via OSSHR, so this is potentially a major headache for me.

[phinnking]

oh ok. so im gonna kill this guy

[cherrygummybears]

crash out narrowly avoided, i think. hopefully

[suddencolds]

~ /delete later/ ~

[sheliesshattered]

Yeah, so that fabric is definitely not cotton, turns out. When I ironed it before, I had my iron at a slightly lower temperature, and this time I set it to cotton. It melted to a crisp in 0.25 seconds, a sure sign that it's polyester, not cotton or rayon or anything natural.

Welp. That's the back of the sheer back dress ruined, and I don't want to use this fabric anyway if it's not a natural fiber. Sigh.