#remake of old poem!!

[junehart]

love is the thing with sharp teeth and soft skin. there is always so much blood ── judas h. ( @judas-redeemed ) image id in alt

[bluepenguinstories]

It's Hard To Be a Free Bird When You're a Canary In a Coal Mine

You might leave any day now and never remember me. Some might call that a blessing. Yeah, in the past, I would’ve traveled with you but I’ve seen enough already. These tired old bones beg me to sit and stare out at the places I’ve seen

Tell me you need a change and that you need to spread your wings. But if I leave the window open bugs will crawl in. So don’t be surprised when all entrances have been bolted shut. “You see, girl, I like my privacy,” I say, halfheartedly.

When you ask, “What happened to all your dreams?” I’ll say they were traded for a restful sleep. Just one wink, that’s all, I went on my knees. It’s a selfish dream, but already knew I wouldn’t always live not stopping.

Back before you knew me, I was an animal - I ran naked through creeks, or wore my birthday suit in the streets on those cold, dark, drunken nights torn through with all my might. I had crowds at my feet I had the limelight. Too many benders, too many blackouts too many arrests, it only served to feed me. That’s the life you want, but all that time spent wild and young, it’s all been wasted time, wasted time. The lives we lead are the lives we leave behind.

You say you want to be free Well, fuck, that was me. But all my embers were coughed out as coal. While mining for more life I was caved in with nothing but the darkness as my companion. Another exercise in futility, I learned how the caged bird screams! But as I tried to open my beak and be the phoenix I thought I could be all my feathers were plucked and my wings deep fried, slathered in honey.

[yousaythatsooften]

the flowers which subsist on joy and life

are nothing at all like the rose

which blooms behind the gates of death

photosynthesizing tears and woes

the famous, the infamous, the big names

are nowhere near as free as the nobodies

who are fortunate enough to know who they are

without falling for the trap of being somebodies

having the free time to do as one pleases

is nothing like knowing your purpose out here

structure that time...no architects to help

no passing or failing, we're all in the clear

[ktheqw]

Old = New

Modern fashions wearing the latest fashions

We are fashionable what those before wore is gone

Modern and futuristic wearing what dreams come

We wear art-borrowed what remake of something old

[clairesvalentine]

OOOOOO UHHHHH IF YOURE ALRIGHT W IT maybe some cutesy/romantic headcannons w Luis Serra???? :000

my love — romantic luis sera headcanons

note: AHH I LOVE LUIS!!! he was never really my favorite before the remake but god they did such a good job with him. bro’s a little cutie patootie 🤭 i will definitely do a part two to this if you're down!

warnings: n/a

luis has always been a charmer, it's just a given. from his interactions with leon and ashley, that is very clear. however, it was kind of different when he met you. yes, he was his same old charming self but he was almost nervous to be around you. that was just because he didn't want to mess up what you both had. it was something special and for the first time in years, you made him feel like he mattered.

luis is a HUGE gift giver. from years on years of being under appreciated, he'd never want his significant other to feel that way. whenever he comes home from work, he's always bringing you something. from flowers to little pastries, you name it. he wants you to feel appreciated.

though luis is often silly or rambunctious at times, you'd find that he enjoys his peace and quiet. one of your favorite activities is sitting in your guys' backyard and staring up at the stars. he's a bit of an astronomy geek. luis would be pointing up at every star, telling you which one it is. if you managed to get one wrong, he'd tease you about it.

one thing about luis is that he remembers every little detail about you. from the way your eyes light up when you talk about something you love to the subtle preferences in your coffee, turning ordinary moments into cherished memories.

luis is quite the poet, crafting sweet verses that reflect the adventures you both share and turning everyday moments into poetic expressions of friendship and connection. every year on your birthday, you receive a new poem, each one more beautiful than the last.

[wistfulpoltergeist]

List 5 facts about a favorite sim of yours, and send this to 10 simblrs whose sims you adore ♥♥♥ Maybe something about Dean?

Sorry for such late answer, I simply HAD to remake my Dean first :D Okay, Deanie, tell us what you've got!

He is a professional cook and baker. Making risotto, buns and puddings is his personal antidepressant. But it only works if his friends and boyfriend eat it and comment on how Italian pizza is trash in comparison. (No offense to Italian pizza, though!)

He finds Zen in repairing old cars, seeing how broken things come back to life. He believes his heart is one of those neglected engines that need a touch of a masterful hand.

He is dramatically short and hates his Hobbit's looks but has a good eye for beauty outside (like his handsome, masculine boyfriend :D). Dean never goes anywhere without his camera with which he takes all he finds divine but totally reachless. He believes he can capture it and keep it for himself forever. No wonder he has tones of Roland's photos.

Dean is afraid of Policemen. His darkest fear since he was a boy is to get imprisoned by an armed brute in uniform. He never tells this to the police officer he is dating to his own surprise, but Roland's started to suspect something.

He writes silly romantic songs and stupid angry poems and sends them to his boyfriend anonymously and will deny his authorship even if an armed brute in uniform puts him in prison for that.

Just to show you HOW short Dean is, here's him next to his boyfriend with average height and tall Arwin.

[headgehug]

beat generation dash simulator

📝 windblownworld

I need to run away and live on a mountain fr

#jack.txt #my buddy gary @ dharmabum has a good gig lined up for me next summer. #feels like forever away #fuck my life

( 1 note )

❕️This post has been flagged for the following community warnings: mature

📚 starvinghystericalnaked

okay, you know what, fuck you. fuck. you. there's nothing "obscene" about my poem. in fact the bible is more "obscene" than this. maybe if you had the guts to read it you'd understand that YOU are the problem. WE are the movement WE are the people WE are the answer.

🔁 🐒 oldbulllee14

Allen, I completely agree with you. Customs officials are a load of cock-sucking bastards. Next time you are in town, come over. I just got back from Mexico if you know what I mean.

🔁 📚 starvinghystericalnaked

say less 👀🍃

#like for real say less LMFAO if the feds are on tumblr we are so fucked

( 30 notes )

🚗 coloradocarjacker-deactivated04011948

"Well it's about time you wrote, I was fearing you farted out on top that mean mountain or slid under while pissing in Pismo, beach of flowers, food and foolishness, but I knew rhe fear was ill-founded for balancing it in my thoughts of you, much stronger and valid if you weren't dead, was a realization of the experiences you would be having sown there, rail, home, and the most important, climate, by a remembrance of...

read more

🔁📝 windblown world

needed this right now. missing you, brother.

#does anyone know if neal remade or is he just gone? #did he say anything to anyone? he told me he was just remaking

( 2,396 notes )

🎶 bopaholicedie Follow

happy 1 year anniversary of the official annulment of my marriage

#if you're reading this jack go to hell. I wish you'd rotted to death in jail with that m*rderer #after all these years and not even a fucking thank you

( 2 notes )

📝 windblownworld

logging off indefinitely. my editor needs a draft of my book by the new year and I already blew my advance so there's no way I can ask for an extension. if you see me online tell me to fuck off

#mutuals can still send letters

Pinned post

( 0 notes )

❤️‍🔥 lucienspress

feeling blessed for all of my good friends today. real ones know — rip d.k. '44 — keep the hustlers and parasites at arms length, we'll get through this!

#this one goes out to you jack! 🙌 hit me up sometime

( 74 notes )

🛤 railmanmoriarty Follow

what's up motherfuckers! remade from @coloradocarjacker

🔁 📝 windblownworld

neal? holy shit. is that you? are you busy tonight?

🔁 🛤 railmanmoriarty Follow

kerouac my boy my lad my good man for you I am never busy I have to just drop carolyn off at the motel and procure a fine feast dinner for her and the kids and then maybe an hour two just setting around making sure she's and they're alright and then if you pick me up at 10 no I better say 10:45 not a minute later than ten forty five pm jack I will be fired up and ready to go out with you

( 4 notes )

📝 windblownworld

SAL AND DEAN ON THE PROWL TONIGHT JUST LIKE THE OLD DAYS!!! if you want to party with the OGs first rounds on me.

#NYC beat scene #jack.txt

( 12 notes )

❤️‍🔥 lucienspress

"Make 'em laugh, make 'em cry, make 'em horny."

#quotes #beatnik #beat literature #deep #counterculture #new york city #on the road core #kerouaquette #writer #writing advice

( 500 notes )

[ilikethisacompletelynormalamount]

Halfway through their Actors on Actors conversation, Brie Larson and Andrew Scott discover something they have in common: Neither of them is a trained actor. Larson brings up the subject almost hesitantly, to explain why she has difficulty talking about her craft. “I didn’t go to school for it,” she says. “No! I didn’t either!” Scott replies. Excitedly, Larson says: “I knew I liked you!”

Despite any self-professed deficiencies about discussing acting, Larson and Scott insightfully talk about how they each got their start at a young age, and then dive into their current television projects: his remake of “Ripley” on Netflix and her Apple TV+ limited series “Lessons in Chemistry,” which Larson also developed as an executive producer. Both shows originate from books — Patricia Highsmith’s classic thriller and Bonnie Garmus’ 2022 bestseller, respectively — and though their characters are very different (Tom Ripley is a grifter turned murderer; Elizabeth Zott is a thwarted physicist), both stand apart from society, looking in from the outside...

RIPLEY LESSONS IN CHEMISTRY ACTORS ON ACTORS

BY KATE AURTHUR

ANDREW Scott & BRIE Larson

ANDREW SCOTT: I was reading that you were shy as a kid.

BRIE LARSON: Not anymore. I’m totally fine now. I’m totally confident and cool.

SCOTT: I really related to you when I was reading that, because that’s why I started as a kid. I think there’s a slight myth about actors — that they’re very outgoing or sort of precocious. So did you ask to start acting?

LARSON: Yeah. My parents were chiropractors, and I was super shy. I wouldn’t let it go. Of course, it’s changed the course of my life in so many ways. But at a time when I was so shy and had such a hard time expressing myself, at 6 years old, I was basically given, like, “OK, here’s a script for how you have a conversation.” The actual fiber of how I understand how to have pleasant conversations with people is based upon weekly acting sessions.

SCOTT: I used to go to these drama classes on a Saturday, and I would be fully shaking before you go in. And then you’d have to get up in front of your other 7-, 8-year-olds, and do an improvisation, or say a poem or something. I don’t feel like it’s an overstatement to say that I think it’s completely changed my life — not just my career. I had a really bad lisp when I was a kid, so I had to do elocution lessons. I had to go, “He sees seashells by the seashore,” and I just completely got rid of it.

Do you feel shy now?

LARSON: I had to face myself in so many different ways; that’s part of the thing that I actually seek now. I mean, I’m so grateful that I had so much rejection growing up. It’s wild! I very much had a slow burn in my career. I’d get close to things, so I knew that I had something, but I wasn’t booking, or I’d book one job a year or something — just enough to give me hope. It gave me so much experience so that when I was given the opportunities, I was truly ready for it. I never had a time on set where I was like, “Oh, gosh. This is bigger than what I understand.” It was always, like, well paced.

SCOTT: Absolutely. People who get an awful lot of scrutiny at an early age, I think, find it harder to experiment a little bit. So it’s good that I was unemployed for so long.

LARSON: It turns out I’m so happy that it seemed like it wasn’t working out for me! Look at us now! But, yeah, when I was stalking you online, I was like, “Wow, it feels similar.”

SCOTT: Just to wrap that shyness thing up, somebody said a really brilliant thing to me, which was, like, “There’s nothing wrong with being shy. Be shy. It’s a nice thing you go a little bit red.”

LARSON: I blush very easily. It’s horrible.

SCOTT: So “Lessons in Chemistry.”

LARSON: Let’s talk about our shows.

SCOTT: She’s singular, but it’s not shyness. She’s actually quite forthright. It’s beautiful stuff. And you’ve been involved with it for …?

LARSON: I think it took two years. Maybe longer. But I think it was about two years when we started working on it to then actually filming it.

SCOTT: Are you so proud of this?

LARSON: Yeah, I think so. I’m proud of what we achieved in the time that we did. I don’t have a connection to when it goes out in the world; it just feels like then it’s not about me anymore — it’s just images and feelings. I am proud of how much we said in the show. I felt like we got a lot in it, and a really amazing group of people that worked on it. And I loved playing her.

SCOTT: Were you looking at the edit and all that kind of stuff?

LARSON: All the time. And nonstop.

SCOTT: Did you find that you were able to …

LARSON: … detach? You have to. I’m just like, “Of course I didn’t do it all right.”

SCOTT: I think there’s maybe a fear that people are going to say, “We need another close-up of me, please.”

LARSON: I felt very committed to finding what things weren’t working. Especially with a character that I also felt was very different from me, and how little she emotionally expresses.

SCOTT: I love that about it.

LARSON: I struggled with it a lot, and I felt very lost with it. I am just very used to my understanding of when something’s working — when it feels very true and I’m just in it. And I would be in it with her, but I felt like the part of me that would want to cry, for example, was being pushed. She’s always twisting the knot inside, and won’t give it to anybody.

When you’re playing Tom Ripley, what does it feel like to lie when he’s lying?

SCOTT: Well, I tried to make him lie as little as he could get away with, so that he lies in order to get himself out of a situation. And he murders to get himself out of a situation. He’s not bloodthirsty. I mean, he could have not murdered, I suppose.

LARSON: Yeah.

SCOTT: We all make that decision.

LARSON: Yeah, no, it’s a choice you make every day.

SCOTT: I suppose any of those things about him being a liar or sociopath, I found unhelpful. The kind of stuff that Tom Ripley, I suppose, is famous for as an iconic literary character — “Is he a psychopath?” or “Is he a murderer?” or whatever. But the murder-y parts — we shot it for nearly a year, and they only took up a few weeks.

LARSON: He’s mostly not murdering. I have a question about playing a character that has existed in many different iterations and forms. I feel like you have experience with that, because you do theater as well. Do you have the same approach every time, in terms of researching and watching previous versions of it? Or do you just block it out?

SCOTT: Absolutely, I block it. Because, No. 1, I adored the film “The Talented Mr. Ripley” — the Minghella movie with Matt Damon and Jude Law and Gwyneth Paltrow and all those amazing people. But mercifully, I hadn’t seen it in a very long time. One of the first conversations I had with Steven Zaillian, our writer-director, was “Why?” And he had such a singular vision for it. He wanted it a very particular way. I was worried that I was too old and blah, blah, blah — I had just a very specific idea that was based on the film.

I had to remind myself that that film was also a reiteration of something: There was another version with Alain Delon before. There were loads of different ones. So it has been reinterpreted a lot. And I feel like it’s very important that he said, “We want to age the characters up.” And he was talking about this very particular kind of noirish black-and-white vision that he had. And that made me feel very comfortable. And I always think that it’s important, because it happens in the theater so much — if it was a Shakespeare character, thousands of people have played one character. I always find that really interesting. I think the response, I suppose, is to be respectful, but not too reverent. What’s the point of doing it if you’re going to do it exactly the same way? So I didn’t look.

LARSON: What do you think about some sort of Ripley universe — into the Ripley-verse? Just all the Ripleys.

SCOTT: Like Marvel? Sort of like the Fantastic Four? Is that a thing? Oh, and they all get together?

LARSON: Yeah, Ripleys together. I’m just curious. I got a couple studios interested, so I just …

SCOTT: You do? So kind of you! You make things happen. Are you not tired? You’ve been setting up projects for me? God, you’re kind.

LARSON: No, I’m writing a part for myself as well.

SCOTT: You’d be a good Tom Ripley! 

[cryptidvoidwritings]

Full text below.

A D.J. pawing through a carton of old LPs — Natalie Cole, Angela Bofill — comes upon a curiosity: the original cast album of “Cats.” When he opens the gatefold, glittery spangles fly everywhere.

That’s how “Cats: The Jellicle Ball” begins, and it’s basically what the Perelman Performing Arts Center’s drag remake of the Broadway behemoth does to the drab original. It sets the joy free.

Whether upper- or lowercase, cats never previously offered me much pleasure. The underlying T.S. Eliot poems, ad libbed for his godchildren, are agreeable piffle, hardly up there with “Prufrock” as fodder for the ages. The musical, instead of honoring the material’s delicacy, stomped all over it, leaving heavy mud prints. Andrew Lloyd Webber’s score, and especially the rigged-up story and original staging by Trevor Nunn, tried so hard to make big statements from little ditties and kitties that it wound up a perfect example of camp.

Camp, cleverly, is the new version’s base line, neutralizing that criticism. It turns out that the show once advertised vaguely (and threateningly) as “now and forever” — it ran on Broadway from 1982 to 2000 — works far better in a specific past.

That past is the world of drag balls, which at the time of the original “Cats” was beginning to achieve mainstream awareness. Madonna’s appropriation of the participants’ style and dance moves in her videos and concerts, as well as Jennie Livingston’s celebration of them in her documentary “Paris Is Burning,” helped pave the way for the supremacy of RuPaul and dragmania today. But beneath that triumph lay a darker truth: that the thrill of ball culture depended on its drawing extravagance from destitution, meeting prejudice with bravery, and staring down death with style.

The key insight of this “Jellicle Ball,” which opened on Thursday at the new downtown arts cube, is that at least some of those themes could resonate with Eliot’s subtext and Lloyd Webber’s score. The directors Zhailon Levingston and Bill Rauch have thus transported Grizabella, Skimbleshanks, Rum Tum Tugger and the rest from a metaphysical junkyard to a hotel ballroom for a vogueing competition, accompanied by new versions of the songs that go heavier on the synthesizers, turn some lyrics into raps and add a distinctive house beat.

It’s often a good fit. The former felines — now fantastically attired humans — compete in traditional categories, like Opulence and Hair Affair, that are to some degree matched to Eliot’s descriptions. The song “Mungojerrie and Rumpleteazer,” for instance, pits those two “knockabout clowns” against the pairing of the balletic Victoria and the acrobatic Tumblebrutus in a showdown called Tag Team Performance.

Not that it is any easier to keep the cats straight just because they’re queer. The structure of the show doesn’t allow it. Hemmed in by the Eliot estate, Nunn could not add dialogue, making it difficult to flesh out any characters or encourage specific emotional investment. His solution was a bizarre framing device with late-1970s woo-woo overtones: The clan meets each year on the evening of the Jellicle moon so that their leader, Old Deuteronomy, can choose one lucky cat to ascend to the Heaviside Layer and be reborn.

That silliness didn’t help much. It remained difficult to keep Jellylorum and Sillabub apart or care about either. In revivals like the one on Broadway in 2016, let alone the dreadful 2019 movie, the material seemed fatally ludicrous.

And if “Jellicle Ball” doesn’t quite solve that problem, it succeeds in making it mostly irrelevant. The new frame allows you to feel something for the characters, at least as a group, even when you don’t know what’s going on, which is often. The design of the long, narrow room, with the audience surrounding a runway on three sides, is awkward in the way one imagines the balls were: You can’t see everything, you’re constantly craning, the sound (by Kai Harada) is blurry and some fuss or hilarity is always happening somewhere you missed.

Even so, we recognize Rum Tum Tugger (Sydney James Harcourt) far better now that he competes in the Realness and Body competitions. (He’s a smooth playah.) Gus, the theater cat, is a more instantly recognizable type as performed by Junior LaBeija, the M.C. of the “Paris Is Burning” ball, as a catty old queen who, though “no longer a terror” can still throw ample shade. And it takes little more than the arrival of André De Shields, with his unsurpassed ability to freeze attention onstage, to show us that Old Deuteronomy is a Moses.

It helps, too, that he’s given a glowing Ten Commandments-like set of tablets, and that he’s dressed (by Qween Jean) in royal purple topped by a gigantic matching lion’s mane (by Nikiya Mathis). Indeed, the wonderfully over-the-top design of the show is as important as the concept itself in filling out the vast blanks of the characters as written. Enjoyable as that is in itself, the chief benefit of the physical staging (on sets by Rachel Hauck, with lighting by Adam Honoré and projections by Brittany Bland) is that it grounds the performative mayhem on the runway in a real environment that suggests the struggles of real lives.

Among other things, this rescues the nominal star role, Grizabella, from bathos. A faded “glamour cat” seeking the reincarnation nod, she has no other function in the original story, not even suspense. (We know she’s going to be chosen because she keeps popping up to sing fragments of “Memory.”) But here, in smeary makeup, a ratty fur and carrying a tarnished old trophy, scrambling about the outskirts of the action, we see at a glance the pain of an outsider now exiled from the place she’d once been safe. Especially as played by Chasity Moore, known in the ball world as Tempress, that pain feels authentic.

That is not something that ever occurred to me in watching the old-school “Cats.” At best the Broadway show felt like a stoned oratorio about nothing, with a dog’s breakfast of song styles including ear-wormy music hall, grating electronica and the occasional Gilbert and Sullivan chorale. (The choral singing here, under the direction of William Waldrop, is gorgeous.) Likewise, the original choreography, by the Royal Ballet star Gillian Lynne, seemed totally random despite its supposedly catlike footwork. The athletic vogueing created for this production by Arturo Lyons and Omari Wiles, sometimes blended with throwbacks to Lynne’s classical style, is instead perfectly tailored to its milieu, and thrilling besides.

I should say at this point that, no, I haven’t turned into a fan of the show itself, the one you can see at your community theater or license for your high school. I don’t believe musicals should need whisker consultants. But as happens occasionally, the right idea can transform the wrong material. If “Cats: The Jellicle Ball” has managed a Grizabella turn, reincarnating itself in fabulousness, do not expect an 18-year run or, pardon me, copycat productions. It’s a lightning strike: not now and forever but now and once.

(Honestly, I'd respect this guy more if he came out and said 'I'm taking money to pretend to review the new show but actually am just regurgitating 40 years of The Smart, Cultured Critics Hate CATS.')

[transannabeth]

whats ur take on musicals that are adaptations? im sick of them and want more original stuff but idk how popular that is

this is such a difficult question because i know exactly where you're coming from and i have definitely complained about this to friends before but i guess this is where i personally fall:

a lot of musicals are adaptations of or heavily inspired by something else something else

sweeney todd is from penny dreadfuls

phantom of the opera is adapted from a book

west side story is a romeo and juliet adaptation

wicked is adapted from a book

les misérables is adapted from a book

billy elliot is based on a movie

cats is based on poems from "old possum's book of practical cats"

oaklahoma is based on a play

kinky boots is based on a movie

there's also so many really really incredible original musicals out there, but also a lot of the most popular musicals are technically adaptations! the lion king musical is super popular and generally beloved and obviously, it's a movie adaptation

on the other hand, i do know what you're talking about because it does feel like there's been an awful lot of movie adaptations in the past like six or so years, and they continue to be announced

generally? for musicals i have to judge them on a case by case basis. i love anastasia the musical! i do not like moulin rouge! the musical.

but i believe i have figured out where my frustration with particularly musical adaptations of movies comes from: the prevalence of remakes, live actions, sequels, and prequels in hollywood

i think the majority of people are fed up with the remake, sequel, prequel, live action cycle that we've been seeing more and more in the last several years, especially because they sometimes feel like just a cash grab. and i think that's where at least my annoyance stems from when i hear about another movie adaptation

so tl;dr i think adaptations are very normal for the world of musical theater. i think the amount and quality of them is up for discussion. and ultimately, the problem is, as always, capitalism

[bluepenguinstories]

Fear and Self-Loathing in Las Vegas

Roll the dice strike out, snake eyes cash it out or blow it all I rolled up at Sunset and blew up in the first act. Somehow I bet on white when my prospects were pitch black I’ve wasted my life and all my now my bank account’s run dry.

So another quarter in the slot but none of them would line up. A quarter of a tank of gas, lit a match and crashed my car on the intersection while telling myself, “I’m gone for good.” But I always walk it back like I’m at a hotel another state away.

Now I’m penniless and there’s nothing left to save me. All my earnings were made with a bad hand. I bet on the house, because I know how it goes only for the house to crumble under unstable foundations. I’ll drink away every last winning I make until this dusk brings stars once again.

As long as I don’t shoot over 21 there might be a chance to save me if I don’t throw up everything I put down there might just be a way to turn things around. Downing uppers; shaking hands, another shotgun wedding, licked the frog, tried out mescaline.

Don’t put any stock in me, baby my net’s already worthless. Full of holes, just like every confession. I prayed to every god and goddess above but I’ve blacked out at the crucial moment now Florence can’t stop the bleeding I’m coughing up every last connection I made and I want to pop the question out of my veins but I already know the answer -

She won’t take me away from this place! Every time I’m in a wreck, I’m repaired while teetering off the edge. If it was for you, I’d get clean instead of wandering into this dirty place again and again and if Lady Luck will have my hand I’ll be out of this rut but Lady Luck is just as stuck as I am. Lady Luck can’t break the glass ceiling to save me.

[anythingredfox]

This was remade mainly because it hasn’t accumulated much views though it has been 2 years, lol XD So I wondered if it was due to the lack of comic panels. Also because I feel the comedic quality of my recent comics have decreased, so I wanted to show one of my old funny comics again. 😅

The only thing remade about this are the added comic panels and the Pokemon comic logo, haha.

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🖼️ Check out the rest of my POKEMON fanarts, in the “POKEMON” folder at my deviantART gallery for easier browsing! 🌸❗🎇🌅🌃🏞️🌇🌁🌆🏝️🌉🌄💖⭐🎆🏜️ I currently have uploaded 108 Pokemon fanarts, and 51 Funny Comics, Memes, Poems or Mini-Stories!

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Title: Eevee’s Bed 2021 Comic Meme Remake Originally drawn on 29th September 2021

[onceler12]

Introduction post!

I drew myself using my actual photo as reference so trust me, this is very accurate to how I'm looking irl. I'm also showing you my photo in this outfit (not this one used for reference) which is showing me and my pillow! On second photo is me and my guitar and I noticed that in movie is similar frame so I made comparison. I hope you like it!

As for introduction at first I should say that I'm 19 yrs old (20 on 1st October) and I'm extremaly similar to Once-ler, we have same personality and interests and this is very problematic to me because people are often thinking that I'm roleplaying when I'm just being myself so you should remember that this isn't roleplay and I'm desciribing my actual self!

So when you know it then ofc I want show you few examples of those similarities. First, I'm very interested in business, I have many ideas for my own businesses even if they are just dreams. I can be very passionate about that and talk so much about it. By example I was writing speech of opening of Thneed factory even if this business is just a dream but I'm just too passionate so I can't let my energy get wasted and I remaked lyrics to song ,,Everybody needs a Thneed" - I mostly changed uses and I done it because I love that business so I was thinking that maybe I should try make few Thneeds in real life and I sewn one but that was Thneed from random material for practice so it's not so good but it have shape just like in movie and I didn't saw any so-called Thneed in this shape before because indeed this shape is very difficult so probably I'm the first who actually did it.

Currently I'm struggling to find better material but when I would find it, I hope that I can make Thneed that is very close to this movie one! Also I'm very good at defending deforestation and telling why it's not that bad and telling about how business in movie could not get bankrupt even after cutting whole forest! I'm also aware than my mindset it's unique and that I can show others different perspective on those things.

I also very good at making pancakes and I'm eating them with marhsmallows and it was my idea because I know that's not common mix and I made it by myself (btw on one photo here there is small picture in photo frame in background which is me with plate of pancakes so you have proof) and baking - mostly cupcakes. I like drawing, writing books and I even wrote few poems but the most I like writing about things I'm passionate about. I love music and I'm learning to play on electric guitar but I can't play on it yet. I also love cats, I have three of them.

I really like movie ,,The Lorax" but when I would making it then of course I would make Thneed business better and bigger and it wouldn't get bankrupt! I also have some ideas of another companies which are involving Truffula trees and obviously there would be more scenes with Once-ler because he deserve it. Anyways this movie isn't making sense very often but this is environmental propaganda so what do you expecting? Like what's wrong with destroying just one forest? I have arguments that even shows Lorax as the villain (this is some example of my unique mindset because no way that I'd say that chopping trees is bad so I'm taking serious when defending this business) but I won't write my arguments here because I already wrote too much and I don't want to bore you (but when you are in fandom then you probably want to hear about it..?) so that's all for now!

If you are interested in meeting person like me and if you want to talk about business, Thneeds or something else related to movie then don't hesitate to interact with me, I'd be happy to met Once-ler fans!

[bittersweetresilience]

i wrote this for my birthday a few years ago and it turned out to be the most félix poem i ever made. posting it in his honor now. formatting may not work on mobile!

JULY

In ancient myth, the ouroboros represents the perpetual dissolution and recreation of a world eternally in motion. Similarly, we deconstruct and remake ourselves, recycling old ingredients into new forms and calling it rebirth. The snake swallows its own tail. I devour myself, reaching through my lungs in search of answers. Between blood and viscera I find your teeth— hungry, always hungry. Canine devotion                                                             and all that. I think a lot about hands. How they hold,             how they take. I think if I could I would capture the quicksilver violence of you, snatch it right out of the sky. I don’t know what to do with myself. I can only love one thing at a time. Does the grief love the vessel?                                     Does the bird love the cage? Redefinition comes in three parts: reflection, disintegration, tapestry. I broke my bathroom mirror when I realized you were staring at me from the other side. Why do we become the people who hurt us? Where did the glass go when the polythene monster of me began to claw through my skin? Sometimes I wonder if I am a person or a container. Sometimes I wonder if I am a boy or an ache.

[t4tstarvingdog]

I SURVIVED BEING THIRTEEN YEARS OLD — timothy l.l.s.h.

i don't know the anatomy of mayflies, but an exoskeleton feels an awful lot like an empty shell i imagine

my poetry tag list (ask to be added or removed<3): @gracekisses @callcenterkilljoy @icantleave @hauntedpearl @chaosnatural @raytoroinmybackpack @carveredlund @pinknatural @deanwinchestersfloralwallpaper @obsessionofspn @destielgaysex @gilmorenatural @faithdeans @heartshapedcas @howldean @redwinesupernova @cosmosinfinity23 @impala67-aka-baby @samsrowena @aturnoftheearth @themichaelvan @casbeeminestiel @notreallyaroad @littlebitofdiaz @frogstiel @magdaclaire @babyheller @hellergregoryhouse @saintedcastiel @mayfieldarc @how-the-feathers-have-fallen @cmonprovolone @punishercd

image description below the keep reading

[Image Description: a poem that reads

Scrape me, baby, remake me Like we hold the same heavy weight as Seaweed in the sun;

We’ve got a presence that lingers in the air and I think I’m gonna hang myself with it one day. My Momma never liked the name of chokers because She thought it played into The suicidality of youth but I never knew that those two things Aren’t always synonymous.

Not like they were for me, for my Father, for Momma.

So, I’m walking in the sun and Rotting, and I think she was right because feeling Weight around my throat doesn’t Make me fashionable so much as thrilled that I’m human enough to  Be strangled, if I really tried at it.

They call it fast fashion because We’re like mayflies and We die within a week, no meat on these bones and I don’t think they’ve done enough research to find out if It’s ‘cause we’re hollow or starving.

They don’t tell you when you’re nine years old the  Things you’ll learn are  Synonyms.

—timothy l.l.s.h.

/end description.]

[carpetbug]

WIP reblog game!

thank you for the tag @wehadabondingmoment <3

List the titles your top five priorities for WIP updates (link your fics for new readers!)

An upcoming scene, event, or detail in each fic that you’re looking forward to writing

Bonus: make a poll for your followers to vote on which top 5 WIP they are most excited to see an update on!

Then tag 10 writer friends!

Five Titles (I don’t have very many fics that I update so these are all complete wips/ideas lol)

La Llorona - one shot about emilie trying to drown adrien when he was little :)

I Can’t Help (But Wonder Where You Are) - poem type fic abt marinette thinking about where chat might be at any given moment

Swimming in the Rain - established marichat one shot about swimming when it’s raining (this is a remake of an old fic I wrote)

Seating Arrangement - mariblanc au adrinette get sat together due to the new seating arrangement. marinette is seething. adrien is enjoying marinettes seething.

Bug Breath - chat blanc might have eaten his lady. oopsie

Upcoming

I’ve never really written Emilie before so I’m excited to figure out how to portray her! definitely looking forward to writing her being a really manipulative/gaslighting mom to Adrien while being the ‘loving’ or ‘affectionate’ parent compared to Gabe. I just love the idea of Emilie being an equally horrible parent but in a much different way.

Looking forward to writing a fic in a poem style! Never done that before so i’m interested in seeing if it fits me

Definitely most looking forward to just rewriting an old fic! My writing has changed a lot so it’s gonna be fun to see the difference (when I actually yk. write it)

So excited to write Adrien being the brattiest mf solely to bother Marinette <3

Honestly. Cannibalism as a form of unhealthy love/obsession is just pure gold in writing. I have so much fun writing kinda nitty gritty bloody scenes + I have mad brain worms for chat blanc so I think it’ll be fun!

Poll

I think everyone I know of has been tagged, so if you see this feel free to consider yourself tagged <3