#izzy lamb

[cr0wqui11]

@iridescentis told me to make this meme

[asklegolandtrio]

EZRA DO YOU PREFER BEING CALLED IZZY?

🪄: No. That is a different version of me. Last I heard, she lost her memories and stuff. Quite depressing

[rtc-confessions]

Shout out to that one time in a legoland/rtc rp where Izzy (transfem Ezra) drank nail polish remover bc she thought it was pop 💯💯💯💯💯💯💯

~~

[izzypaw]

2 designs 🐑🦦 lamb girl is currently on th if you wanna make an offer for her :3

[byeeizzy]

Yearning for more granpa Nari shenaningans

Say no more 🫡

In grandpa Nari we belive 🤲🤲 Samael love his granpa 🥹🥹🫶

[crownsandbishops]

If moonbow had the chance would they kill the other pony’s?

(if yes please put moonbow in the praetor suit)

(Pondwish (The green unicorn at the end) belongs to @rabiesram!!! )

[troublemakingrebel]

[dwsavideos]

The characters from Ride the Cyclone hearing from beyond the grave that the characters from Water for Elephants say “choose the ride” a million times must be pretty rough, huh?

[mysteriouslybluepirate]

Can't send asks from my sideblog, but this is @chewing-the-drywall

I feel like much of s2 fell into Frenchie's "we put it in the box and then lock it and don't open it again" in the sense that it set up A LOT that I was intrigued about how they would address it, but it either never was mentioned again or was handled poorly.

Examples range from light, like how I wish we saw more of the crew interacting with each other in ways that built on their characters from S1, where in S2 they didn't feel any more developed, or even regressed. (Example, Fang used the word Fingies 2-3 times through S2, and it felt like they were using it almost as a shorthand for his character, rather than making him feel more real and multidimensional as a character.)

100% @chewing-the-drywall. When I first heard that line I had I was so excited for the story to prove Frenchie wrong. Or show how important it can be to put aside problems to stay alive in the moment. But in the end, this one line summarized how the season handled everyone, besides Stede and Ed. Below, is an in depth discussion on where this season decided to spend it's limited amount of time. Instead of focusing on the characters and plotlines they'd already established.

This season had so MANY ideas it wanted to touch on.

Izzy trying to deal with his unrequited love and opening up to a new way of living. The traumatized 'Revenge' crew trying to adapt to a softer way of life again. The abandoned crew learning how to help their traumatized friends. Introducing new characters like Zheng, Auntie, and Archie into our main group. Setting up a conflict to resolve in season three. Along the way, referencing Pirates of history like Ned Low, Mary Reed, and Anne Bonny.

Notice, I've said all this and we're not even at our romantic leads.

Which is fine. Stories are fluid things. As long as the story knows how to flow from our leads to our side characters. Which leads us to how I feel this show took a lot of time away from establishing our central crew-

[Warning- this will be a controversial opinion- I want to know what y'all think about this] Zheng/Oluwande. This seasons habit of retreading old plotlines and referencing scenes from S1.

What S1 did so well was paralleling the side stories with what was going on with Ed/Stede. Usually, highlighting how well Stede/Ed worked by showing how much Ed/Izzy DIDN'T work. Or general hijinks that tied into the plot (Oluwande and Frenchie on the French ship).

Season 2 chose to parallel our main story with what was going on between Zheng/Oluwande as a budding romance and Izzy's slow recovery. The reason Zheng/Oluwande scenes felt like a waste for me in that the story was JUST a retelling the story we watched from S1.

A frustrated first mate(Auntie), and a legendary captain(Zheng) fighting over the captain falling in love with an idiot(Olu). In season 2, much like every callback for me, it felt like it slowed down the plot by pulling us out of the story. Like...yeah, you did the thing again, do you want me to applaud you for it?

I LIKE Zheng and Oluwande as a couple! I like that Oluwande was debating leaving Stede and taking Jim and Archie with him. But at the same time, I didn't care about Zheng until episode 7 when she beat up Stede, showing that yes. She's not just some all powerful woman taken down by a mix of love(the crew in ep3) and thinking that she was above it all (ep 7). She's fast on her feet, smart, and willing to stab someone who gets in her way. She's her own person. But.

Every other scene that established her was about her romance, felt like we could have put Rhys and Taika in there. It didn't feel...unique. It's as if the show only knows 1 way to write a romance between a badass and a bumbling idiot. Again. Oluwande in season 1 wasn't dumb in the same way everyone else was. He was protective of Jim, a bit nervous overall, but he was the person the crew chose to lead them. The season just dumbed everyone down a bit and called it a day.

This comes to the larger issue. When we only have eight episodes I don't want to rewatch the exact same plot beats with different characters. Time spent here ends up taking away from other stories we could have told about trauma and growing as a family and other forms of growing as a family. We didn't need another romance plot line. Imagine taking this time instead to show Lucius reaching out to Pete AND the crew for help. Or Frenchie finally feeling safe enough to play his lute. Or Roach helping Fang get over his thing with cakes-you get my point.

The fact we took all the found family stuff from season one, and pushed it onto only Izzy in S2 means when he dies, all the found family shit falls away. His death makes us realize we've been ignoring the central family we were supposed to care about. Because in so many words, their trauma was ignored.

[I even theorize if Izzy was alive and sailed away with them. Showing how he was taken in and loved by his crew, the ending wouldn't feel so hollow. This crew doesn't feel like a caring family. The person who protected them for months died, wasn't mourned, and then they threw a wedding the same day. Not even a full day to mourn. The 'New Revenge' feels like a heartless crew of characters we barely recognize because they aren't a family like they were at the end of S1. More like coworkers who sometimes fall in love with eachother.]

Trauma, Timelines, and Tonal issues when jumping from Episodes 1-3 to Episodes 4-5.

When the crews meet up, the story chooses to focus on the fun plot. Ed and Stede recovering their relationship, only dipping back into that serious tone when Izzy or Lucius come on screen to 'make things sad' again. I don't think the transition from 'serious' to 'comedy' was handled well.

I don't have an official timeline of the events of season two. But from what I remember, everything happens within 2 weeks.

In episode 4, Stede ignored the vote of his crew- to let the man who was torturing half his 'FAMILY' for at least 80 days- back aboard. This rubbed me the wrong way, as it showed Stede being a selfish prick in a way that could seriously harm his crew. That's when I started to see how not adding a *single* time-skip mid-season would hurt S2.

Imagine if we had a one-week off-screen time skip between episodes 4 and 5.

Maybe it's implied that they stay in that town for a bit. Izzy would a bit more time to learn to move on his new leg and start to open up to those he already trusts. Include a scene of Izzy WITH the crew, maybe laughing about something with the old traumatized crew, even if it's just a 30-second opener. Imply that the traumatized crew would have more time to settle in with the family they miss. Show that yeah, the traumatized crew needs more time to heal. Imply at the start of the 'Ed apology' that Ed and Stede have had more time to talk their issues out.

THEN have Ed apologize. You can even keep the bullshit corporate to show that Ed still has to work for this.

Healing takes time. Setting a series over the span of two weeks after half your cast was tortured by your lead love interest? After five of your main crew thought they would sail off into a storm and die after months of stress and life threatening battles? Why did that shit get shoved to the side so quickly?

Framing episode 5 as the START of Ed making amends with the crew, only to drop the plot by episode 7? Not a smart move. Because let's be honest, 'poison into positivity' in episode 6, referring to the fact that they sold all of Ed's loot to pay for the party, ignores the sacrifices the crew made to live that long. (The death of Ivan, and intense trauma they all need to work through). In a way, Ed throwing this party was him asking the crew to start putting everything away in that imaginary box.

It's Ed retroactively letting himself say 'hey, that time I spent torturing my captives was worth it because we got something good out of it' while still ignoring his own guilt. Ed needed to take accountability for his actions. No more 'I took 'a' mans leg' bullshit. The reason his arc feels so unsatisfying is that the plot easily forgives him. Fuck. I hate what they did for Ed's arc, but that's not the point.

Overall.

My issue with this season is not that it chose to do these topics, it's that it didn't think about the implications of what they were bringing up. It didn't dare to think 'maybe it's fucked if we quickly brush off a trauma like this'. Again. I know we have to blame MAX for cutting off two episodes. But I don't think 2 additional episodes would fix a tone problem seen going from episodes 3-4.

Fucking hell. Each member of the revenge had the potential for their own arc, so it's baffling to see them all reduced to 'well meaning idiot' when they all felt so fleshed out in S1.

When izzy gives his speech about belonging, there's a reason the only image in the show of the crew all together was from S1.

At the end of the day, Season 2 didn't let our surviving side characters grow. This is a mean spirited bit on how I feel the writers see the their own characters.

Stede and Ed are our leads. They won't die, not in this genera. Their shitty actions will be forgiven because it's a comedy, and as long as it's joked about, it holds no weight. They won't die. They won't get fatally hurt. Their trauma will be taken seriously, but it's a 50/50 on if they'll talk about it before breaking up again. They will eventually get a happy ending, their trauma looked at head on, because duh.

Jim, Olu, Lucius, Pete? Characters who used to have defined personalities in S1, but haven't been defined much beyond their relationships with their partners? Whose trauma might be mentioned, but will quickly be 'resolved' in one scene? Shame. Seems like they're only useful as set dressing, But we might make you useful as interchangeable side characters to riff against. Oh, and you're in love! Isn't that cool!

Izzy? I'll just quote Jenkins here. "To have him become a father figure to Blackbeard, and on some level to the rest of the crew, and to see him become the heart of why we’re giving pirates the chance to stand for being able to live how you choose. In reality, they’re thieves and criminals, but what our pirates stand for is a life of belonging to something larger than they are in the face of a crushing, slightly fascist normalcy." So...Is Izzy a pirate and accepted into the Revenge family? Or is he still an outsider? Jenkins gave us a romcom but still defines Izzy's character as that of one stuck in a drama/tragedy. Point and laugh, because tonally these two things clash HARD and will make an audience lose trust in it's writers unless well established. Leading us to the entire issue we've pointed out of not letting your characters actions hold in dramatic weight in your story.

Frenchie, Wee John, Roach, and Fang- Ah. No love interests again...shit. Well. Background actors it is... for now. We'll see. But we need 2 more scenes of the couple breaking up, so MAYBE you'll get some backstory hinted at in dialogue. You all have 1 thing your good at, so that's easy enough to put you where you belong.

Buttons and Swede? Well. They're still alive!! Don't be sad, fans :) The actors just couldn't show up anymore. We don't want our silly happy queer pirate rom com to not end on a happy ending! (Closes the lid of the trash can where they're keep Con O'Neill a bit tighter, thanking God Con was silenced by a strike this entire season from social media)

Do you agree, or disagree? Leave any lingering thoughts down below!

I'd love to chat down below.

[celestialmazer]

Camille Lemoine

Gemma Dagger

Rachel Lamb

Wendy McMurdo

Izzy Leach

Margaret Mitchell

https://diormagazine.dior.com/dior-magazine-en/dior-magazine-48/fashion/from-dior-to-scotland

Christian Dior - Cruise 2025

Highlands, Tantallon Castle, Edinburgh

Catwalk at Drummond castle, Scotland, June 3rd 2024

Pietro Ruffo's blue Toile de Jouy Scotland motif

Yilan Hua wears Dior for Vogue Czech December 2024 - https://anneofcarversville.com/fashion/2024/12/16/7yilan-hua-vogue-czechoslovakia

https://www.dior.com/en_gb/fashion/womens-fashion/ready-to-wear-shows/cruise-2025-show

For Maria Grazia Chiuri, the presentation of the cruise collection is an opportunity to follow the steps of Christian Dior around the world.

Visual journeys that each time invoke new experiences. In 1955, Monsieur Dior presented his work in Perthshire, Scotland, in the ballroom of the Gleneagles Hotel. For the Creative Director of Dior Women’s Collections, this country has become the narrative framework of the Dior cruise 2025 collection – unveiled in the gardens of Drummond Castle – where memories, inspirations and suggestions fuse to generate shapes and embroideries.

The unicorn and the thistle, both symbols of Scotland, provide an unprecedented variation of the Millefleurs motif, and are transposed into heraldic embroidery, recalling the savoir-faire of this exceptional technique, a language in itself, a form of resilience. An emblem of Mary Stuart that can be found in Clare Hunter’s book Embroidering Her Truth: Mary, Queen of Scots and the Language of Power1.

A map of Scotland adorns some of the models in this cruise line, sketching a cartography of collaborations and cultural encounters deployed specially for this défilé, such as the tribute to tartan: “It’s probably the only fancy fabric that resists fashions,” Christian Dior wrote in The Little Dictionary of Fashion2. Blending various colors and the cut of a kilt, this historic cloth, intrinsically characteristic of the region, continues to cross fashions past and present, from romanticism to punk.

Photographs from the spring-summer 1955 presentation are transformed into prints or employed as appliques on the edges of kilts or pea coats, in a kind of cinematic montage. They constitute objects of memory punctuating this Dior cruise 2025 collection.

The looks merge contrasting elements, including the diverging textures of velvet and lace dressing the contemporary equestrian. Certain silhouettes feature exaggeratedly wide sleeves which, on white shirts, appear under little dresses with gathered skirts and bustiers resplendent with embroidery. The latter can be found on several dark, iridescent pieces that are sometimes adorned with pearls. Lace collars, in their turn, brighten up the black.

Also used in very light materials, tartan is the common thread running through this veritable celebration of the kilt, whether made directly in Scotland or reinterpreted. Not to forget dresses conceived in diverse lengths, as well as coats and capes with large hoods. Rain boots come and go. Small jackets adopt the gray of menswear fabrics, and the iconic Bar jacket sports black velvet Brandenburg buttons.

This same velvet magnifies an evening gown, the fitted bust of which emphasizes the oversized skirt. Feathery woven fishnet metamorphoses into long, lightweight dresses, embracing the mauve hue of nostalgia.

This inventive choreography is made up of interconnected affinities. Like an testimony revisiting stories of earlier times, it offers a journey where the different stages become the subjects of creativity.

1 Embroidering Her Truth: Mary, Queen of Scots and the Language of Power, Clare Hunter, Sceptre, 2022.

2 The Little Dictionary of Fashion, Christian Dior, Cassell & Company Ltd, London, 1954, translated into French in 2007 as an appendix to the catalogue Dior 60 Years of Style.

Odes To Mary Stuart

Inspired by Scottish craft traditions and the iconic figure of Mary Stuart, the silhouettes reinvent the look of the visionary sovereign, from romance to punk, tartan to corset-armor, dresses with accentuated shoulders to tweed sets and prodigious couture embroidery, echoing that of Holyrood Palace*. Between celebration and transgression(s), the iconic Argyle motif is unveiled in a fine open-work version; emblematic Fair Isle lace is modernized with a subtle interplay of material and transparency; crinolines are boldly revisited, punctuated by elements borrowed from counter-cultures. All these reinterpreted textile symbols marvelously revive the founding ties between France and Scotland.

* Primary residence of the kings and queens of Scotland

Punk Attitude

Poetic and all-conquering, the silhouettes designed by Maria Grazia Chiuri for the Dior cruise 2025 show are enhanced by accessories that convey a powerful, impetuous femininity. Worn with high socks, leather riding boots are adorned with zips and multiple straps, promising a confident, determined gait. Inspired by traditional sporran, kilts are worn with saddlebags emblazoned with the initials “CD”. A tribute to the customs that make Scotland so rich, the bags' shoulder straps are decorated with heraldic symbols that combine the House's emblems with those of this fascinating country. Wonderful finishing touches include necklaces with delicate black ribbons and pendants featuring marine motifs, a poetic evocation of the seas that shape the beauty of coastal landscapes.

Dior in Scotland: The making of the collection

Full show:

[biheinrixvancalox]

every oc group has + love quiz

tagged by @adelaidedrubman for the uquiz, untagged for the oc meme and i don't even remember who i got it from. it's been A Past Two Weeks.

(L-R unapplicable, Rosalyn Ashford (Skyrim), Samantha Toren (SCP, Outer Worlds), Roz Ashford (Fallout New Vegas). Isadora-Marie Toren DeSoto (Outer Worlds), Josephine Mendoza Ashford (Saints Row, Far Cry), Fauna Lamb-Seed (Far Cry), Hannah Lamb, PhD (Far Cry), Suze Ashford (Saints Row, Far Cry), Zoe Ashford (Oblivion), Sparrow Black (Fable 3), David Grahan (Fallout New Vegas)

Quizzes under the cut

Love as a Choice You choose to love. Love does not come to you easily, but every day you wake up and choose it. It would be so easy, wouldn't it, to grow cold and callous and grim. But you rise to greet the world, making the conscious effort to find something, anything to love. When you fall for someone, you do not kid yourself of their flaws. Instead, you resolve to see them for who they are, mistakes and all and you love them all the same. Your love is work, and it does not come easy. Your love sweats and toils. It is calloused and sunburned; it bears scars and comes with stories. Your love is worn, but it is no less valuable for it. Being loved by you is like being loved by a gardener, a mother, a teacher. Your love may not always be the simplest, but it is worth the effort.

Love as a Threshold Your love does not ask for much. Your love does not take. Your love is free, and unquestioned, and here for wherever needs it. When you fall in love, it is as gentle as a breath in the night. It is quiet, and it is effortless. It is tender. If your love was a house, it would readily welcome all who come through. If your love was a hearth, it would warm the hands of whoever stopped by, whether for a day, a month, a year, or forever. When you fall for someone, it is without strings, without conditions, without need. You love for the sake of loving, for the sake of caring for those who need it. You love with a giver’s heart and a giver’s hands and are made so much stronger for it. Being loved by you is to always feel at home. Your love may not always be well-received by those unprepared to linger, but it is unforgettable all the same.

Love as a Flaw Cowering, your love hides in the dark. In shadows and under cover of night, your love runs from corner to corner, afraid to linger, afraid to be caught. Afraid, afraid, afraid of everything. When you fall in love, it is with alarm bells ringing. Your love is a mistake, a flaw in the code, a purchase you don’t remember making and desperately want to return. You didn’t ask for this. You didn’t want this. It’s a problem–– your problem ––and you would do anything to pass it off, burn it away, scoop it out of you with bare hands, or carved out with hooked knives before it can destroy you. Get it out, just get it out now. You don’t care who you hurt in the process, only that you can’t afford to be hurt first. Being loved by you is to be loved by a figment of the imagination. It is to be loved in halves, or not at all.

Love as Religion Devotion, that is the name of your love. Your love is an act of worship. Your love is like witnessing the birth of Venus, like seeing the sun come alive, or the stars fall. When you love, it is because you have found God in a lover. You have found the meaning of life itself in the heart of the one you adore. They are everything to you; they are your Maker, and you are their lamb, their flock, their first and holiest worshipper. When you fall in love, it is as a baptism. You are born anew, made a believer in the divinity of the one you love most. Being loved by you is an ascension; it is holy and golden. It is all-consuming, and all-faithful, loyal as the dog. You will never, ever bite back.

[cr0wqui11]

the urge to transfem UU!Ezra

[mediumsizetex]

lamb-among-the-grass

SO MANY SMALL HORSES!

[sasyscarborough]

https://sasyscarborough.com/2024/12/16/pierrot-cover-up/ Did you know: That in the viewer “Comm” (short for communication) Menu at the top of your viewer, at the bottom there is a Conversation Log. This holds onto all communication between you and others, even if you have not replied. So in the... #secondlife

[byeeizzy]

I didn't have time for much, much less drawing lol i will try to be more active here again on my college vacation

Until then, here's a concept design of an au I had in mind,

note: not the final design

[devotioncrater]

NAH NAH NAH IT'S JUST —

IZZY BEING BOTH ED AND STEDE'S PUNCHING BAG. HE ALLOWS STEDE TO PUNCH HIM AS HE VIEWS STEDE TO BE AN EXTENSION OF ED.

IZZY JUST TAKING THE HITS AS THEY ROLL. INDESTRUCTIBLE LITTLE FUCKER. BECAUSE HE'S BEEN DOING THIS FOR YEARS. FOR WHAT FEELS LIKE ALL HIS LIFE. TAKE HIS TOES, CURSE HIM OUT — IT'S ALL THE SAME SOUP, JUST REHEATED.

IZZY STILL PROTECTS EDWARD, PROTECTS EDWARD'S IMAGE TO STEDE. HE TELLS STEDE HE HIMSELF STABBED ALL THE PICTURES. SACRIFICIAL LAMB. "GO ON, BONNET, GIVE ME YOUR WORST."

"I HAVE LOVE FOR YOU." IS AN UNDERSTATEMENT. IZZY CALLS EDWARD "EDDY" IN A FRAUGHT TIME.

"I LOVED YOU AS BEST I COULD." IS AN OVERSIMPLIFICATION. EDWARD CALLS HIMSELF "EDDY" IN HIS PURGATORY LIMBO. EDWARD COULD HAVE LOVED IZZY MORE IF HE HATED HIMSELF LESS.

BOTH OF THEM FEEL THEMSELVES UNLOVEABLE, THEY ARE JUST ON TWO POLAR OPPOSITE SIDES OF ITS MANIFESTATION. EDWARD ON THE SIDE OF SELF-DESTRUCTION, AND IZZY ON THE SIDE OF BOTCHED ALTRUISM.

"YOU KNOW ME BETTER THAN ANYONE...I DARESAY THE SAME APPLIES TO ME WITH YOU." AND HOW DO TWO PEOPLE IN THEIR SELF-LOATHING RECONCILE THE QUIET VIOLENCE OF A LONGSTANDING RELATIONSHIP TO ONE ANOTHER?