#worst witch 98

[pien-art]

killed the cringe cop in my head and drew a self insert character for The Worst Witch (1998) :3 peace and love I had sm fun drawing this. A new art teacher at Cackles and Constance is not rlly having it.

[flamingtoads]

Hecate would've received a perfect score... if only she had written her name on her paper.

[hydr0phius-art]

General Constance Hardbroom, Jedi Knight.

I'm posting unposted art before 2024 hits. Struggled with the gouache on this one but I got there eventually lol.

(There is a fic coming for this)

[meepitydoodle]

Me when I find out that the second season of tww 1998 is American English dubbed on Amazon. Gonna go sob for a bit /hjk

(nothing against America English. I just. Would like the original actors voices please and also I dislike change. Mildred doesn't sound like Mildred and no one sounds right I hate this aaaaaaa)

[hydr0phius]

If I had a dollar for every time a smart, red-eyed blue man made their debut in live action, or finally got their own show and was horrendously let down by the writers that probably didn't look at current canon content and overall did a bad job with their characterisation etc etc, I would have two dollars.

[heathtrash]

new lampbroom chapter for valentine’s day!!!

hope you have as much fun reading as i did writing it!

💖

[flaming-toads]

Y'all are in for it now! My dastardly plans are all coming together!! I have art queued and I have more I'm still working on. Will this lead me to possible burnout? MAYBE! But honestly who cares? I DON'T! The weekend really turned into a very productive art-tastic time!

[woundlingus]

Okay I’ve seen Driven (2020) starring richard Speight Jr and I’ve taken some notes to share with the class;

It is not very cinematic. 98% of the shots are very boring. Obviously it’s a very low budget film and that’s not to rag on low budget because a lot of low budget films become cult classics because they have a charm to them that comes from a movie with little money but a lot of love ie. Blair witch project ($60k), paranormal activity (15k) a lot of horror movie franchises start really low budget and it makes them super campy which is what makes them so beloved. But this is boring cinematically. And they don’t commit to what kind of style they want to go with filming and it jumps from very clear steady shots to shaky hand held footage without much rhyme or reason. I think they could’ve done a lot with very little and just the car by incorporating the fact that she’s an “Uber” driver through use of security footage found footage style. Viewing the story from a rear view reversing camera, a passenger camera- those kinds of things and it would’ve given a more visually interesting angle than smack bang in the middle of the dash board and never moving. In a movie that’s comprised 97% of shots of the two of them sitting in a car dialoguing there’s a distinct lack in dynamic shots to spice up the monotony.

Personally I would’ve liked to have seen more of the story happening in the background of things, I think it would’ve been visually fun to see her driving around in The beginning and viewing the oncoming disaster through her windows while she’s distracted with her own personal problems, a little like Shaun of the Dead if you’ve seen that, it’s got this great scene where it’s a one take where he just strolls through town with havoc going on in the background while he’s so self obsessed he doesn’t notice, then we could be part of the journey opposed to getting a lot of information dialogued at us.

The plot is very nonsensical and feels like it was given about 10% of the love and attention for what makes up 90% of the movie while the rest of the care was put into the bantering- which is very good. I will give them that the bantering between the two of them was VERY funny, though I think sometimes they need to know when to let a joke go (toilet spoon).

The two leads aren’t bad actors though, and sometimes that’s really all you need to make something watchable is if the people you’re watching are capable of making a dull script and character interesting to watch, they bounce off of each other with a very natural chemistry on a set where everyone else im going to assume is getting their first big break (no shame, everyone has to start somewhere) because they’re NOT good. Especially Jess who stands there dead eyed and delivers her lines like she’s reading off a teleprompter… that was the worst part of the whole movie, she’s unwatchable it was terrible. It’s a pivotal part of the film, the emotional crux of Emerson coming to terms with needing to self realise that she’s what’s holding her back and Rodger is a dick but his words cut because they’re true. And she’s crying on one side of the car and her ex girlfriend is just “😐 you didn’t… fight for us😐 you sit 😐 in the car of our relationship😐”

It’s very typecast of RSJ to play this kind of guy who’s a little awkward but very flirty and quippy- sassy, I suppose. And he does it VERY well like not just being a Gabriel girlie I always find his joke telling very compelling, but there’s the big emotional climax of the movie where he turns on a dime and snaps at Emerson and it’s MEAN. And I think he’s quite capable of branching out into a more serious type of character role and I’m not sure why he doesn’t, maybe he just likes to play the funny guy and that’s fine but he’s very good at being a little bit crazy and sadistic and I think he could play a good bad guy at some point if he wanted, I think he’s capable of portraying that kind of emotional depth.

The best part is obviously the bi4bi energy going on in this car. They’re both quite awkward and the “my ex girlfriend” rolled off the tongue like it was a very normal thing to say. You know sometimes you watch something and there’s a tense beat and then it’s like “my… girlfriend,” and you’re supposed to go ooooh this is hard for you :( there was none of that. She just spat that out like she was shooting the breeze with someone chill who would just get that, and later brought up an ex boyfriend and there was no needless discussion about bisexuality we’re just expected to get it in the way that Rodger literally could not give less of a fuck about it you know? Cool you’re bisexual, can we get back to hunting demons??? There was no awkward straight guyness to it. He didn’t go “oh? Oh!” Or ask crude details about girl on girl action- you know, the usual stuff. He instead shared his own personal love life strife or lack there of. Bi4bi energy. And chaotic. Love a good bi4bi chaotic duo. Their relationship was the best part of the movie I enjoyed watching them start tense and awkward and quickly bloom into a friendship BECAUSE they’re tense and awkward, it’s fun! There wasn’t a change in character, no suaveness, she does standup comedy it’s dorky it’s cute I think they’re perfect.

And those are all my thoughts, I’d give it a 4/10 just for the distinct amount of missed opportunities they skate on by but it’s not unwatchable, I just certainly would never recommend it to anyone

[windvexer]

I've been overthinking correspondences lately, i try to do something like a spell for money but i get caught up thinking about whether to use actual cash in the ritual, and if different denominations would be better, and then i get tripped up thinking about whether i personally associate bay leaves with wishing or if I'm just parroting it from other peoples practices XD do you have any advice for choosing good correspondences?

Here is my advice:

Answer these questions for yourself and address any answers which create undue burden for yourself:

Is your personal association for what correspondences mean more important than any "inherent" meanings? Do you even believe in inherent meanings? What is the worst case scenario if you end up using a correspondence that you later on realize is a weak personal association for you?

When you set up your spellcasting space, how much of it matters? Does the cleanliness of the table matter? Does the species of wood the table was built out of matter?

How do you draw the line between which aspects of your spell matter and which do not?

What is the worst case scenario for using unideal correspondences? For you, is it better to cast a money spell with 50% ideal correspondences, or is it better to never cast it until you can reach 97-98%?

Do you think there is value in experimenting with a wide variety of correspondences and noting the outcome? Do you think there is value in experimenting with correspondences you are unsure of or do not have faith in?

Do you practice a style of magic where your personal belief in the outcome is totally vital? Is it possible for you, personally (as it is certainly possible for others), to manifest spells successfully even if you experience doubt or uncertainty during spellcasting?

When considering these questions, if you come on any answer which makes you think, "that's it - that's the reason I can't choose correspondences,"

Change your magical practice, why not? 🦞

Try telling yourself, "look - I'm going to put a pin in what I believe right now. I'll save this version of my practice in a nice file-folder, as a backup. But for the time being I'm going to choose to believe that magic works differently. After all, there are a lot of valid ways to work up a successful spell. There is no reason for me to stick with these hindering beliefs."

I would like to focus on this bit:

How do you draw the line between which aspects of your spell matter and which do not?

I suspect from your ask that you have found yourself in a situation where literally everything matters, not just that you should have money but the number correspondences of the denomination; not just the bay leaf but your subconscious anxieties about bay leaves; and so on.

If you like, consider this concept of spellwork, which is highly theoretical and which I am not pushing as a literal cosmology:

There is the Physical (hello! I'm here, currently) and sort of on top of and around the physical is an astral, ethereal layer we're going to call the Spiritual.

The Spiritual is a dreamworld that resembles the physical in many ways, but the biggest difference is that only things filled with spiritual power become solid in the Spiritual.

As a witch practitioner, of course your job is to make a very solid spell in the Spiritual.

And you, Anon, as a practitioner of sympathetic magic (which is what we're all doing when we use correspondences), have chosen to make a spell by collecting various spiritual powers that correspond to physical objects you have gathered.

Or, in other words:

You are not using the power of the dollar bill.

The dollar bill has no power. It does not exist on the Spiritual.

You are using the dollar bill as a gateway or focus point to channel or evoke the actual energy you want.

And you, as the practitioner, get to choose which energies are drawn up into the Spiritual.

When you are working with the dollar bill, you can choose to channel various energies: money, greed, the number correspondence.

You are not (or should not be) empowering the entire bill and every single association it's ever had, ever - nor should you be actively empowering your own anxieties (this bay leaf also corresponds with doubt) or worries (this dollar bill has the wrong number correspondence).

Yes, you should be choosing to the best of your abilities which aspects matter for this spell. And then you should literally raise, channel, draw in, evoke, or summon those relevant aspects into the Spiritual.

Again - it is not the object with its complete and total history and full set of correspondences that matters to your spell. It is only the energies that you draw into the Spiritual, made easier by virtue of having a strong correspondence to open the roads and ease the way.

Anon, when you actually sit down to raise metaphysical energy, are you shoving as much raw energy as you can into these items? Are you addressing the items as complete beings without directing their focus?

Consider for example our good friend Basil, who among other things can protect very well, and draw in a lot of money.

When you call Basil on the Spiritual phone, do you say, "I need you for a protection spell," (or, do you specifically focus and channel protective energies)? Or do you just call Basil and say, "help - I'm sure you'll figure out the context when you get here?"

It's the same for Bay Laurel. "Bay Laurel, arrive and do every single thing which I personally associate you with." Or, "Bay Laurel, arrive and grant wishes?"

Bay Laurel grants wishes for some people. That aspect exists. You can ask for it, or channel/evoke it, or whatever, whether or not you also have a personal association with self-doubt.

And because that particular desiccated little commercially farmed leaf bought in a megachain grocery store has no spiritual power at all, the only thing arriving in the Spiritual are those aspects you are calling on and working to make arrive.

NOW I WILL SAY,

Despite all the words spent on it, this is a grossly oversimplified philosophy. Energies and powers do have various flavors, after all. Getting a wish granted by Bay Laurel is not much like getting a wish granted by Old Scratch. And what about objects already filled with a certain power?

But, I think overall that you should consider that you have much more power over what is going on inside of your own spells than you think you do.

[rosie-love98]

"The Great Gatsby" As A Miniseries:

As much as I adore the adaptions (specifically the '74 version), I can't help but think that a faithful adaption would be better as a miniseries (be it theatrical like the "Dune" films or on TV like the '98 "Worst Witch", or "Box Of Delights"). Granted, the book is not very long but there's a lot that's often left out in the adaptions.

There's the Finnish maid Nick had throughout the story (would've been nice to have more time with her along with the others servants like the butler Gatsby still kept around at the end), along with the stress that Nick had felt due to being a bondsman (which didn't seem to pay much if he considered himself "too poor" to marry. Even Gatsby brought this up to him.), along with his "distortion" and dissociation (most likely due to being a WWI vet).

There's even the passage in Ch.3 where Nick looks around New York and brought up his attempts at romance (a secretary he fancied but broke off due to her brother giving Nick bad looks, and a girl back home he sent letters to before moving on to Jordan). With this in mind, you'd understand why Nick valued Gatsby despite not really liking him much before the incident with Myrtle. They were Westerners, war vets and their struggle with money/social classes left them stuck. They were lonely and wanted to marry, but wealth got in the way. Gatsby did/tried what Nick, himself, couldn't. From this, Nick found a brother in Gatsby and denied the latter's actual wrong-doings llike how Catherine denied Myrtle's actual affairs.

Still, that's just my thoughts. What say you; woul you rather "Gatsby" be a miniseries or just one film?

[room-on-broom]

ho ho ho, its me with some seasonal femslash

[tathrin]

#yeah kiss my entire ass cormac mccarthy What's up with Cormac Mccarthy? I've only seen some of the movies based on his books. Are his westerns hollow or something?

Ohhh ha ha ha so. This may not even be entirely his fault? I don't actually know enough about him and his writing to say for sure, because the one book of his that I did read filled me with so much rage that I would sooner set myself on fire than read another.

I was in college (art school, majoring in comic books) and I took all the writing classes that I could squeeze into my schedule because I love writing too (storytelling is where my heart lies, and I thought I would do that with pictures at first, but turns out I actually like writing prose more, oops). Well, my Creative Writing professor had clearly ended up at the wrong school somehow and was deeply frustrated about it — because let us just say that most of the kids at this school were not in my boat re: love of writing, and they only took classes like these because they needed a few non-art credits to graduate.

So the level of interest/talent he got out of his students was mediocre at best. (They weren't there to write, they were there to draw or sculpt or design. Of course 98% of them were half-assing or less their non-art classes.) So he was really excited to have someone who liked writing and was good at it and was excited to be there...!

But. he liked Literature. And only Literature. And I used the Capital L there on purpose, because he was one of those folks where you can just HEAR the sneer when he says "gen-re fic-tion," you know? Looked waaaaaay down his nose at all the stuff that I would consider actually good and interesting books in favor of Boring Person In Boring Life Does Boring Thing That Changes Nothing About Boring World, Wow What A Commentary On The Human Condition That Was! So Deep! Much Thought! etc type books.

(So you can see what I thought of the stuff he liked, too.)

So here I am, turning in all these stories with spaceships and witches and robots and shit and it's the best writing he's gotten from one of his students in years. He's thrilled! ...and so distressed because Why Won't I Write Real Stories? I could be Such A Great Writer if I would just get over my interest in this Genre Stuff! Woe! Alas! Weeping! etc. Someday I'll Grow Out Of It, Surely, Because I'm So Talented! All that jazz.

He wasn't a dick about it; he was actually a very nice fellow. We were COMPLETELY incompatible, but he was nice and so I tried to be nice in turn even as I gave my very honest opinions about all the boring-af shit he had us reading lmao.

So, I'm being A Good Sport about it every time he assigns his Boring-AF Projects where I'm not allowed to put in rayguns and magic swords and alien species and all the stuff that makes writing fun. But I still put in effort, and turn in good (if boring-af) pieces, and participate in class (and argue very politely for The Merits Of Genre Fiction), etc etc. He's delighted to have me, and I have no doubt that I was one of his favorite students ever, even though I had Shit Taste In Books. So he decides he's going to give me a treat! He's going to make our next assigned book a Genre Book! I'm going to be Delighted!

He assigns us Cormac McCarthy's The Road. I don't know if you've ever read it, but: don't. It was intolerable. Second-worst book I've ever read. It's a Post-Apocalypse story about some dude and his kid walking across the world to...idk. Walk? Be a Metaphor? I don't fucking know. Nobody has a name because That's Deep. And because we're being extra deep, we're going to Write Badly On Purpose because it symbolizes the Breakdown Of Society!

And by "written badly on purpose," I mean we're throwing out the entire concept of Writing So Your Shit Can Be Read By Human Eyes.

Apostrophes no longer exist! Commas hardly do either! Or sentences! Or quote marks! Or any form of useful punctuation whatsoever! Just a bunch of either fragments or endless run-ons trudging away into the abyss until you're ready to throw your soul down there with them just to fucking escape. Paragraph breaks only happen when a scene changes! Your eyes skitter-off the page as though it was coated with teflon, your energy sinking into a bleak grey misery that isn't even alert enough to qualify as despair. Every section leaves you a little less alive than before. This is drudgery, the very concept of dullness distilled into ink and printed out for all to read and suffer. I give you an except, but I don't suggest you actually read it because I'm not that cruel:

Oh my gods it was unreadable. I think my eyes actually bled. And to make it even more of a slog, it was clearly written by some dumb-fuck who'd never actually read any post-apocalyptic stories, and thought that he was Far Too Clever to need to do any actual research on the genre that he was "elevating" with his "literary style" or what-the-fuck-ever, because every character in it was so bum-fucking stupid that there was NO WAY any of them would have lived five minutes in an actual fucking wasteland. Also every single Wasteland Cliche that you can imagine, without a drop of originality or subversion or even lampshading or clever commentary or anything. It was all just...there. In the shallowest, blandest way possible.

(He also never actually defined or even hinted at What Happened, I presume because he was too dumb to figure out a backstory this was Literature and not Genre and thus Proper World Building Wasn't Necessary Because This Was A Metaphor Or Something idk fuck it. Like...sometimes there were gas-masks? but also people didn't need them? and there didn't seem to be radiation in a way that hurt anybody, but there also seemed to be Radiation Aesthetics going on...? It was just. so badly done.)

And our protagonists were SO stupidly incompetent. Just, complete idiocy, countered with Incredibly Convenient Random Happenstances (you would not believe how many Untouched But Easily Accessible Stashes Of Food these fuckers stumbled over oh my gods) to save their asses from their self-inflicted imminent death over and over and over again. An absolute travesty of a book, written in the worst fashion possible.

Needless to say, the essay I turned in on the book tore it about seven new ones. I SHREDDED it from first word to closing paragraph. Did not find one single redeeming or enjoyable thing about that clusterfuck of a "story" (and I use the term loosely) and I made sure everyone knew it. I wasn't shy about my opinion of the arrogant asshole who wrote it, either, and what I thought of the choices he'd made in writing that way, and the lack of talent and intelligence he'd demonstrated throughout.

My poor professor was devastated. He'd thought this would be my favorite book of the whole class! He picked it especially for me, as a treat! And I LOATHED it. (I hadn't realized it was supposed to be a gift to before I wrote the essay, or I probably would have been gentler in my disassembling of it. But I only discovered that when he handed the essay back. Poor man. I did feel a little bad about that. But oh my gods the book was horrible.)

So I have no idea what kind of author Cormac McCarthy is in general, or whether he's more tolerable (or even hypothetically enjoyable, I suppose) when he's writing whatever he does usually. This may be a complete outlier: an attempt to try something new (that failed abysmally) from a guy who normally writes Just Fine. I don't know! And I'm not interested in finding out, because to me he will always be the egotistical shithead who wrote the most spirit-draining, eye-torturing travesty of a book ever printed called The Road and he will not be forgiven for that crime.

[samwitch05]

The re-appearance of Heckitty Broomhead had not only opened those wounds again, but had set them bleeding so much that it just wouldn't stop, spilling over and tainting everything she had worked so hard for. Once more she found herself running again. Only this time there had been no light at the end of the tunnel and no one to come and save her.

Thanka @seonaid2014I am currently in the middle of editing the first 8 ( something I've been meaning to do for a while lol ) and simultaneously working on ch9. (Btw, I gouged my finger with a knife this evening when cutting a pepper, and as a result, I can currently only use one of my thumbs to type/text this so sorry if it's not too perfect 🙈 ) ** Chapter 1 of What You've Left Behind ** This is the moment where Constance is at the riverbank, once again watching the school ( something she's done a few hundred times since fleeing!) Its already been revealed that she left and because of who, but that bit reveals a tiny bit more of 'why'? She's already lost and broken in that moment, although in nowhere near as dark a place as when the fic progresses. She's always been made to feel unwanted, with her troubled upbringing and what not, and she finally finds a stability when she comes to Cackle's; there's always been something missing before, and now at last she feels complete. Honestly, part of her has been in such a content place ( in her mind at least -she doesn't realise how obvious the opposite is ) that she has forgotten for half a minute that BH even existed. The news of Heckitty's impending visit absolutely throws her, all the memories come flooding back, and it's more than she can bear. ** Pick any passage 500 words or less from any fanfic I’ve written and I’ll give the equivalent of DVD commentary on it *

[hydr0phius]

Hardbroom from the books: I will teleport into a freezing ocean if it means I get to swim past a group of rowdy students and give them the biggest death glare of the century.

Hecate and Constance: Me? Let students see my shins, feet and forearms on a trip to the beach? You must be ill. There shall be none of that unless Miss Cackle orders me to "chill out."

[the-ravensclaws]

⚠minor language

Song Boss B*tech by Doja Cat