#look it's the fruits of my labor

[tribbles-the-lesbian]

🍎Apol Thieves🍎

✨🍎✨

⬇️Background + various close-ups⬇️

[spirkbitch]

how i remember this scene happening

[blueskittlesart]

cold fruit in a hot kitchen (so i had this great watermelon last weekend)

[mimicmerchant]

I want what they have (a loving friendship and unrivaled rhyming abilities)

[steel-nageyari]

thumbnail for a comp i was going to do but i dont know if i have the patience anymore -__-

[mllllonsknlves]

SEEDS of growth.

[iirulancorrino]

Movies that attempt something different, that recognize that less can indeed be more, are thus easily taken to task. “It’s so subjective!” and “It omits a crucial P.O.V.!” are assumed to be substantive criticisms rather than essentially value-neutral statements. We are sometimes told, in matters of art and storytelling, that depiction is not endorsement; we are not reminded nearly as often that omission is not erasure. But because viewers of course cannot be trusted to know any history or muster any empathy on their own — and if anything unites those who criticize “Oppenheimer” on representational grounds, it’s their reflexive assumption of the audience’s stupidity — anything that isn’t explicitly shown onscreen is denigrated as a dodge or an oversight, rather than a carefully considered decision. A film like “Oppenheimer” offers a welcome challenge to these assumptions. Like nearly all Nolan’s movies, from “Memento” to “Dunkirk,” it’s a crafty exercise in radical subjectivity and narrative misdirection, in which the most significant subjects — lost memories, lost time, lost loves — often are invisible and all the more powerful for it. We can certainly imagine a version of “Oppenheimer” that tossed in a few startling but desultory minutes of Japanese destruction footage. Such a version might have flirted with kitsch, but it might well have satisfied the representational completists in the audience. It also would have reduced Hiroshima and Nagasaki to a piddling afterthought; Nolan treats them instead as a profound absence, an indictment by silence. That’s true even in one of the movie’s most powerful and contested sequences. Not long after news of Hiroshima’s destruction arrives, Oppenheimer gives a would-be-triumphant speech to a euphoric Los Alamos crowd, only for his words to turn to dust in his mouth. For a moment, Nolan abandons realism altogether — but not, crucially, Oppenheimer’s perspective — to embrace a hallucinatory horror-movie expressionism. A piercing scream erupts in the crowd; a woman’s face crumples and flutters, like a paper mask about to disintegrate. The crowd is there and then suddenly, with much sonic rumbling, image blurring and an obliterating flash of white light, it is not. For “Oppenheimer’s” detractors, this sequence constitutes its most grievous act of erasure: Even in the movie’s one evocation of nuclear disaster, the true victims have been obscured and whitewashed. The absence of Japanese faces and bodies in these visions is indeed striking. It’s also consistent with Nolan’s strict representational parameters, and it produces a tension, even a contradiction, that the movie wants us to recognize and wrestle with. Is Oppenheimer trying (and failing) to imagine the hundreds of thousands of Japanese civilians murdered by the weapon he devised? Or is he envisioning some hypothetical doomsday scenario still to come? I think the answer is a blur of both, and also something more: In this moment, one of the movie’s most abstract, Nolan advances a longer view of his protagonist’s history and his future. Oppenheimer’s blindness to Japanese victims and survivors foreshadows his own stubborn inability to confront the consequences of his actions in years to come. He will speak out against nuclear weaponry, but he will never apologize for the atomic bombings of Japan — not even when he visits Tokyo and Osaka in 1960 and is questioned by a reporter about his perspective now. “I do not think coming to Japan changed my sense of anguish about my part in this whole piece of history,” he will respond. “Nor has it fully made me regret my responsibility for the technical success of the enterprise.” Talk about compartmentalization. That episode, by the way, doesn’t find its way into “Oppenheimer,” which knows better than to offer itself up as the last word on anything. To the end, Nolan trusts us to seek out and think about history for ourselves. If we elect not to, that’s on us.

[skitskatdacat63]

Notes:

I think I definitely like the original versions more than the edited ones. I'm more happy with the grumpy Fernando one, whereas the bratty Seb one made me want to cease painting forever. So hopefully he looks good?????? I'm sure I'll soften on it, but yeah, not TOO pleased with it right now. His facial expressions are so cute and dynamic and unique until you have to try and paint it and then you dont love him anymore(kidding ofc, how could I ever hate my beloved boy king 🥺)

Anyways, these are them:

[mister-mordy]

new banner new banner banner made of stuff from my sketchbooks

[artystaroc]

Me, looking at fanart for Welcome Home: why does everyone draw the caterpillar buff?? Why???

Me, trying to draw the caterpillar: I Suddenly Have Clarity...

[prettybbychim]

ain’t nobody who will care here but i won a genshin geoguesser event on the childe main’s server and i am very proud of myself and also i spent 5 hours straight on it and then continued off and on for the next 24 hours trying to find ONE location so fuck yeah the agony was worth it

[lucishell]

welp. i ended up making a whole ass universe and a whole ass disease (inspired by hanahaki disease)

if you can't read my handwriting sorry

[solvicrafts]

Potentially weird fact about me: I simply CANNOT decorate my living space like a normal fucking person. My walls are always covered with backdrops and murals to make it seem like I live in a fantasy world, my bed is framed with a curtain and ivy strands and fairy lights and realistic flower and leaf pillows, and walking into my room from any other part of the house is like jumping into a forest from The Legend of Zelda.

It kind of brings to mind that tour of Guillermo Del Toro's house -- from the outside you'd see a normal apartment or house, but walk in and you'd swear you've been teleported into another world.

So as I'm gearing up for my move in a few months, I've been thinking about how I'm going to redecorate my new space, and I fully intend to drow it up as much as possible. I'm thinking underdark/cave murals that I will custom-paint luminous mushroom forests onto, oversized spider webs (yay for Halloween being almost around the corner), and all sorts of weird solar lights for my little private garden.

And as I'm talking about this it gets pointed out to me by a friend of mine, 'are you sure making your room look like the Underdark is a good idea? Like... how comfortable are you going to be falling asleep in a cave with glowing mushrooms and huge spiders?'

Very. The answer is very comfortable.

[sweet-bazzle-bean]

He’s just a little guy.

[gible-love-nibles-archive]

I FINISHED THE E.TERNAL D.IVA FIC

[cum-padre]

The photos of the modeling gig were sent and I'm too nervous to look 😅