World broken, heart broken. I could write essays but I prefer drawing
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@terytery24601
World broken, heart broken. I could write essays but I prefer drawing

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How Good Omens lost its heart (and didn’t even fight to get it back)
I distanced myself from the Good Omens fandom lately, and i’m sure this is not a surprise to many of you reading this post. i want to be very clear: neil gaiman had a lot to do with it. I didn’t want to show my support for a show made by an abuser. And yes, i see and hear people claiming Good Omens belonged to the people and the fans, but realistically the rights and royalties belong to ng, and participating in the promotion of it all just felt wrong to me. So, my choice was to love my favorite characters of all time from afar, and for free: reading and writing and engaging with fanworks.
That being said: I really fucking hated the fuckass movie. I wish i didn’t see it, i wish the show stopped at season 1, and if you liked it, good for you. I did not, and I want to tell you why. Feel free to ignore me.
Is that a hole in your plot?
The writing was bad. Content aside, what I wanted for this characters aside, my feelings on ng and the other writers begrudgingly aside, it was a badly written piece of television. I counted too many plot holes in the first thirty minutes aside, but i will point out what felt the biggest to me.
The opening flashback: it was hot, and that was it. Where does it fit in the timeline we already know about? It doesn’t fit with their first meeting as angels, nor with their first meeting on the wall. Why keep rewriting the first time they met? We already know how they met, twice, and besides the sexual tension, what did this new flashback bring to the story? Arguably, nothing; another case of bad wigs, maybe, nothing more. Perhaps, another instance of contradicting the book and the first ever episode: “it starts, as it will end, with a garden.” Well, apparently not.
Skipping all that nonsense in the middle (Aziraphale leaving crowley in the alley? Jesus having two lines after being promoted as the main focus of the season? The book of life burning not immediately snapping aziraphale and crowley away? Crowley having no reaction to Aziraphale confessing undying devotion to him?) let’s get to the very end. The decision the main characters come to is to erase themselves and all traces of their universe to create a new, fresh universe where angels and demons do not exist, and free will reigns above all. Two minutes after, the movie presents us two human versions of said characters meeting again, 13 something billion of years later, falling in love and all that good stuff. What we are supposed to take away from this is: they were destined to meet and fall in love in every universe, no matter the circumstances. Where is the free will in a soulmate trope? Where is the free will in this condoning of predeterminism? If they were meant to be, then free will isn’t ruling this universe. Fate is. Was it all for nothing then?
Who are these characters?
The characters fell flat. The side characters were useless at best, annoying at worst. Michael going rogue was predictable, Jesus was a nothingburger, the entire Whickber Street ensemble was just… not relevant. And the main characters were subjected to the worst character assasination my eyes have ever seen. The worst of it? That entire scene with God and Satan: Crowley never once looking at Aziraphale, not even at the most heartwrenching confession; Aziraphale talking about Crowley being amazing in the past tense; Crowley choosing something that’s not Aziraphale, after his whole entire monologue and character arc in season 2; Aziraphale accepting complete erasure after fighting 3 years in heaven against it, just because lobotomized Crowley wanted it. What the fuck?
Also, Asa and Anthony. They were cute. Adorable, really. Two cute old men (with bad hair, but i’m willing to move past this) falling in love and getting married. Cute cute cute. Who the fuck were they? They were not Aziraphale and Crowley: they were an English librarian and a Scottish professor, not the angel and demon I loved and yearned and was obsessed with for years. And again, if it were them, why weren’t they recognizable at all? In all the human AUs i enjoyed the characters were perfectly recognizable: Crowley was still moody and a bit rough around the edges, yet soft and almost overwhelming in his loveliness; Aziraphale was still witty and smart and a bit (or a lot) of a snob, yet kind and warm and loving to a fault. These two human beings were cute, but they weren’t them. Who are these characters?
The winner takes it all, the loser has to fall
The loser, in this case, being queer people everywhere. Put your daggers down and let me tell you this: it is not acephobic to think a kiss was needed in this finale.
You’re right when you say that physicality is not needed to show love and connection; in this case, however, physicality between them was already a given – they already kissed. Out of desperation, out of despair, out of sadness, but they kissed. They crossed that bridge and their relationship jumped to the other side of strictly platonic and now, for a simple rule of balance and equity in pieces of media, the ‘ugly kiss’ desperately (pardon the repetition) needed a ‘good kiss’. The finger thing could have been cute, but it lacked the depth and emotional weight to carry the conclusion of a third act.
If that was all the goobye we are going to get, it is simply not enough: they wrapped up 6000 years of history (a history they previously spend two seasons fighting tooth and nail to not erase, mind you) with a finger kiss and an awkward smile. Am i supposed to say it was good?
Also, implying that people wanted some physical intimacy between two queer characters (after it was already established) just to satisfy some sort of fetish is too disrespectful to even comment about.
A straight couple would have gotten a teary goodbye, an explicit I love you and a kiss before turning to dust. The gays get buried — or erased from existence, in this case.
Human incarnate, or the lack of it
All in all, the finale felt cheap, flat, soulless. A comedy desperately grasping onto the physycality of it but not really committing to the bit, a love story relying on the chemistry between the mains without letting them have a single meaningful conversation, a show about humanity reducing human beings to comedic reliefs, over-the-top antagonists and afterthoughts easy to erase with a snap of two fingers.
And no, no one got a second chance: Adam rewrote the universe for nothing, Aziraphale tried to fix Heaven for nothing, Crowley asked questions for nothing. It was all erased anyway, and the ones who get to live simply aren’t them. Some version of them that was paradoxically destined to meet, going against the free will they gave up everything for.
Good Omens was always about knowing your fate, and choosing your own anyway. Loving despite, loving because of, loving even if. The love between to immortal beings being what kept everything together. The characters I knew and loved would have kept choosing each other and their world, not another new one, despite everything, because of history, and even if it was the hardest thing.
They loved their world, their Earth, and deserved to live in it. On their own side. Just the two of them.
So I really didn’t like the movie, and the message it sent. I did not find it bittersweet, just bleak. And this is why.
Going forward, I’ll finish every fic I started. After, I don’t know. It may take me a while.
Thanks for reading. Fuck Neil Gaiman and all abusers. Protect and believe victims.
love shakespeare. did a hamlet run tonight, looked someone dead in the eye to say “am i a coward?” during a speech and the fucker shrugged and nodded
we literally ruined society when we invented the fourth wall. let’s bring back call and response. heckling, even. fuck you hamlet you dumb piece of shit kill your uncle or shut up
"When we took Shakespeare’s “Measure for Measure” into a maximum security woman’s prison on the West Side… there’s a scene there where a young woman is told by a very powerful official that “If you sleep with me, I will pardon your brother. And if you don’t sleep with me, I’ll execute him.” And he leaves the stage. And this character, Isabel, turned out to the audience and said: “To whom should I complain?” And a woman in the audience shouted: “The Police!” And then she looked right at that woman and said: “If I did relate this, who would believe me?” And the woman answered back, “No one, girl.”
And it was astonishing because not only was it an amazing sense of connection between the audience and the actress, but you also realized that this was a kind of an historical lesson in theater reception. That’s what must have happened at The Globe. These soliloquies were not simply monologues that people spoke, they were call and response to the audience. And you realized that vibrancy, that that sense of connectedness is not only what makes theater great in prisons, it’s what makes theater great, period."
Oskar Eustis on ArtBeat Nation
I was in the front row of a Hamlet performance where the "Am I a coward?" was directed at me and I, being a no-impulse-control gremlin, hollered back "Yes!!" (they'd primed us ahead of time that audience interaction was encouraged). Hamlet got right up in my face as he kept talking and just kept going until I gently pushed him back; I forget what line it was on when it happened but he took the direction of the push and reeled away across the stage.
This meant that I had marked myself as someone willing to be fucked with, and so during the graveyard scene later he approached me again. "Here hung those lips that I have kissed--" he booped my mouth with the skull's "-- I know not how oft."
I have stories related to me from those at Blackfriars, the American Shakespeare Center (they play in a replica of the original Blackfriars, with modern safety conventions like lightbulbs in the chandeliers, but a great dedication to the way structure shaped the original work in the original Blackfriars. Their house is only about 45 ft deep (roughly 15 m I think), which is about the max distance two sighted people can be from each other and still make eye contact. They play with the stage and house equally lit, they talk to the audience, they enter from the audience, they whip up crowds from within the audience. It’s fantastic. But anyway, on to the stories.)
Hamlet. There’s a scene where Hamlet sees Claudius praying and debates whether to kill him now or wait (because if Claudius dies praying he will automatically go to heaven). The actor playing Hamlet was genuinely asking the audience the questions in the speech, and when he got to “and should I kill him now?” someone in the audience shouted “YES KILL HIM HE NEEDS TO DIE!” Hamlet took the entire rest of the monologue to that person, enumerating his reservations so persuasively that they started to nod in agreement.
Romeo and Juliet. In this production, the fight between Mercutio and Tybalt happens in several rounds, of which Mercutio won the first. Mercutio’s actor made the choice, upon his victory, to run down the audience with his hand out for high-fives. He decided this in rehearsal, so he had time to plan for the three responses people would probably give him: a) a high-five back; b) being stunned and not reacting; and c) the old “oops too slow.” What this Mercutio did not prepare for was the audience member who panicked and deposited their handful of M&Ms into his open palm. The way I heard it, Mercutio was still processing this when Benvolio came up beside him and stole the M&Ms out of his hand to eat them.
King Lear. Edmund has a speech in which he asks whether he should marry “Goneril? Regan? Both? Neither?” Again, the actor was legitimately asking the audience, and again he’d prepared for the audience to respond in favor of any of those choices. What makes it even cooler was that the next line is “Neither can be enjoyed while both remain alive,” which works as a response to any of those options. One night, though, Edmund got his answer as “KILL THEM BOTH AND TAKE THEIR MONEY!” To which he gleefully agreed, “Neither can be enjoyed while both remain alive!!”
#Oh I have SO many stories from peak audience moments at the American shakespeare center#I have been to plays there that legit felt more like rock concerts#And I don't even mean the parts of the show where the cast is also a live band and they play#Covers of songs relating to the show#Fair maid of the west with Ginna Hoben#We were all SO on her side we absolutely lost our whole shit any time she even entered or exited#Knight of the burning pestle where Rick would pick a random audience member to be his lady love he was fighting for every night#And one time (I saw it thrice) he picked an older lady#And there's a part of the show where iirc he like gets almost defeated?#And he calls out to his lady love to like inspire him to keep fighting smth like that#And she Got Up Out Of Her Seat and went over to him and kissed him on the cheek#And no one was expecting that least of all Rick#And we all lost our shit whooping and hollering#They did a hamlet where...I forget who was polonius that year but there's a line where he's like 'what was I gonna say again'#And he paused SO long on that line you were legit unsure if he the actor had actually forgotten it#And once someone in the audience called out the next line and he was like 'oh that's right' and carried on#It was scripted though there were other nights no one said anything and we all sat there#In wonderful horrid awkward silence#Until he resumed#Please go if you get a chance#And sit stateside (via @rootingformephistopheles)
I was in a production of Hamlet in a small black box theatre, when a drunk guy came in from from outside, wandered onstage and started singing "We built this city on rock and roll." The guy playing Hamlet just went with it until the stage manager and crew could usher the drunk guy back outside. Then Hamlet continued with his next line, which was (no joke) "Now I am alone." Brought the house down.
#shakespeare#this is the kind of shit that gets me hyper#I love it so much#best production of hamlet I’ve seen to date was in an historic home where the actors guided you through a house built in the gilded era#and the basement was entirely marble for cooling purposes because it was pre-refrigeration obvs#and the way Hanlet’s howling ECHOED#when he realized Ophelia was dead#it was primal#it made people take a step back#and also you had to stand and watch Ophelia drown in a claw foot tub as she reached out to you offering flowers#it was fucking insane#I loved it#I’m giddy just thinking about it @thebibliosphere please please please say more about this!!!
I was actually scrolling my blog to see if I’d talked about it before but I can’t find it, which is shocking because it was truly one of the best performances I’ve ever seen.
I forget what year it was, but the play took place in the historic James J Hill House here in St Paul. Hill was a railway tycoon during the gilded age, with all the disparity of wealth and privilege that implies. He was so successful and obscenely wealthy he became known as The Empire Builder and the grandness of his home reflected that. The walls in the dining room are literally gold. It’s breathtaking. It’s obscene. It’s perfect for the kind of corruption and rot that takes place in Hamlet under a gilded veneer.
The play started in the viewing gallery, with actors walking through the literal gilded halls of the mansion, the leather wallpaper stamped with gold filigree glittering in the gaslamp—the perfect setting for the wedding scene. As the opening progressed the lights were dimmed until only Hamlet was visible illuminated from the upper gallery by harsh modern lights above, just this chillingly beautiful cold light after all the warmth of the gaslamp and gold.
As the play progressed we were led further through the house, witnessing Hamlet talk to the ghost of his father on the grand staircase—the stairs further used to show hierarchy among the characters with Hamlet spiraling ever lower until we were invited to descend into the bowels of the house through the servants quarters, an area just as vast as the rest of the house but infinitely colder and utterly devoid of the opulent grandeur above.
The space is also nearly entirely marble, which leeches the warmth from the air, so even huddled together the audience grew colder and colder the longer we were down there.
It also meant the echo was amazing, and listening to Ophelia sing forlornly as she descends into madness was absolutely bone chilling. Watching her climb into a claw foot tub that had been placed in the center of the long hallway was also hair raising. She just kept singing, strewing flowers around the empty floor as we stood around her in a circle, helpless to stop her as she purposefully slipped under the water, holding her hands above the lip of the tub even as her head slipped under the water and the last echoes of her singing faded.
It made the Queen’s account of how Ophelia died just so… the lie of it. Like we were still standing there, she was still in the tub (head now above the water) and we’d witnessed the truth of it, and there was Gertrude telling any one of us in the circle who would listen how the poor maid “fell.” Anything to absolve themselves of the sin of her suicide.
We were turned around for a bit after that, led to the end of the hallway near the boiler room where the gravediggers leaned on gilded age coal shovels, and Hamlet got to do his bit with Yorick, the echo of the marble hallway dampened by having brought us back toward the stairwell, his voice soft and intimate. Showing his quiet resolve and return to sanity.
Only to pull us back moments later to center as he ran to where Ophelia’s funeral was taking place, and when I tell you, Hamlet’s howl of grief echoed. It reverberated. It was terrifying. It was amazing. People took instinctive steps away from him. It was just raw emotion bouncing off the walls of this cold, dark basement, entire worlds away from where we’d started.
The play ended back in the ballroom, the dead lying strewn amongst the wealth that couldn’t save them with only Horatio illuminated in gold by the lights. When Fortinbrass arrived he looked around the space like it was nothing, like the way we’d looked around the empty void of the basement. The wealth meant nothing to him. It was just another graveyard.
It was brilliant. I keep hoping they’ll host it again. It was such a good way to literally walk us through the story and use the environment to set the atmosphere. It was all I could do not to put billing flier in my mouth and eat it.
Sie irren Professor – Animation
LONDON TV SCREENINGS: Czech commercial broadcaster TV Nova has commissioned a local adaptation of British scripted comedy format Ghosts.
Czech Republic/Czechia is getting their own Ghosts!

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Melouny a kmíky na Sama nefungovaly 😔
Happy north-american valentines day! I've been meaning to find an excuse to share one of my favorite pages from Fumbling The Pizzle, and this is as good as any ⚔️⚔️⚔️
Not that us czechians are under-represented, but now i understand the whole
"OH MY GOD LOOK!
LOOK!
THAT GUY IS ONE OF US!!!"
whenever i see KCD2 art. ESPECIALLY this pairing, like it just has a really special kind of feel to know this was canonically made considering how homophobic the older general populace is, that this relationship route apparently has the most chemistry out of all romance options, and theyre both genuenly sweet to eachother in a czech way. It just feels so nice
Could you or someone else please fill me in on what being sweet in a "czech" way means so that I can implement it into all of my future gay czech art? Genuine question, LOL.
Oh my god HI lmao. Of course. Ill try my best.
In retrospect i wrote this while running on two hours of sleep, so ill admit the exact delirium-filled thoughts are a little blurry, but the best way I can get across the kind of thing i mean i need to go on a bit of a history lesson.
The tldr of this giant yap is: Czechs have a history of being subjugated by stronger political powers, and we respond by mocking said power in our litterature or in every day speech while being tender with one another through our culture: food, singing, dancing, drinking beer, playfighting, making poetry. This also includes the Catholic church due to history reasons. In the KCD context, acting gay (acting, not being, thats important here) in spite of most of the country not being exactly friendly to that is a big thing tied to "rebelling" a power aswell. More on that under the cut.
So like. You basically portray what I mean simply by making these fools be nice to eachother with a czech mindset of having dry and dark humor on the outside, tender in private, while their surroundings are politically unstable.
NOW FOR THE EXTREMELY LONG HISTORICAL TANGENT BELLOW CUT.
Ještě jednou mi nějakej učitel řekne že mám začít používat AI tak vlezu do první důlní šachty co uvidím, najdu nejbližší únik plynu a škrtnu zápalkou.
Czech TV just created an add of baking TV Show which is besically Hansry baking bread together fluff fanfiction and nobody here talks about it????

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god they really dropped the ball with Katherine's character so fucking bad it makes me so mad her and Henry have so much in common down to also being victims of Sigismund's raid on their village and loosing their whole family in a brutal and graphic way but coming out of it kinder and in case of Katherine's taking on a literal caring medical lifekeeping role (and she's a good fucking medic!! she was praised by an internationally educated kings physician!!!!) but where Henry sees his quest for revenge as just and right Katherine is very against any sort of war, not even as a necessary evil she's fully dissolutioned with getting any sort of revenge or attribution (and in my opinion her staying with žižka is precisely to get some sort of role in that revenge, but it doesn't feel as personal for her as it feels for Henry). and despite it all Henry and Katherine not only never talk about it at all Henry is told that by another guy. and then can go and Press A to Have Sex about it immediately after. in public. the fuck
When you're in a freak competition but these two are already winning...
Kingdom Come Delivery
🦇⚰️🩸 Has anyone noticed Henry acting a little different lately? 🎃🌙⭐

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KCD3 or - Kingdome Come Divorce (era) 3
I came with the idea while watching an animated fighting scene made by "fredanimation5" with the song "Let down" by Radiohead Maybe I'll do another divorce era yet again, KCD4