Dear Tumblr,
I will tolerate scrolling through one long post that I don't want to read. I can't tolerate clicking view post for the posts I want to see, which is, almost all the posts in my dash.
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btw most universities to my knowledge keep their reading lists behind access barriers (ie. only students enrolled at the institution on the course in question can see them) so i thought i’d just let you all know that durham university has all of its reading lists available online for free without needing student access. do with this information what you will.
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the church in the coptic monastery of the virgin mary in bethlehem, palestine. this unique church is built inside of a cave tunnel which connects it to the nearby church of the nativity. the holy family is said to have passed through it during their stay in bethlehem. saint helena, who established churches across palestine during her time, is said to have established this one as well. the coptic archbishop of jerusalem purchased this and four nearby homes in the 1950s, establishing the monastery and re-establishing the church. today, the site is maintained by two nuns.
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So I was thinking about what it means that Aziraphale is the POV character of all the season 2 flashbacks... until I realized that's not entirely true. Because while Edinburgh is narrated by him and the Blitz scene plays after he's reminded of it, there are two scenes in the Job story that Aziraphale wasn't there for.
First is the cold open with Bildad, but that sequence pretty quickly shifts over to follow Aziraphale, and we see him coming out of the memory.
But the second Job sequence starts more clearly as Crowley's memory:
Zoom into Crowley, zoom into the book.
So why does Crowley get this part? Why not just stick with Aziraphale the whole time? Well, if we follow the idea that the flashbacks are setting up for the decisions these two make at the end, Crowley's part here is small but decisive: This event is one of the big reasons why Crowley is never going back to Heaven. And Aziraphale doesn't get to be there for the biggest signs of it.
This sequence is also the last time Crowley was truly on his own. I think it's significant that whenever Aziraphale isn't there for him to taunt, Crowley is actually pretty cold, a little impatient. It doesn't feel like he's having fun tricking these people, he's just trying to get the job done.
Then we get the first of two unique transitions. It's a sort of shifting over:
My theory is this scene is where we start to switch over to Aziraphale's POV, but we still start out in Crowley's, because...
...we're just as surprised as Crowley is to find the angel here. But during the scene they literally switch sides of the room, and I think along with that we get the POV shift. We as the audience end up on Aziraphale's side as he's trying to believe the best in Crowley, while not really knowing.
What makes me more sure is that this scene ends with a different unique transition, a page turn:
I think here is where Aziraphale gets absorbed in the memory and Crowley leaves. When we get to the bit of the story where Crowley's being nice.
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All of Hell's layout shots from Edwin's journal, in order
Heya! I needed to take some screenshots for reference when writing a fic, so I thought it'd be nice to share :)
(Under the cut I've added everything I could make out in the writtings)
"LAYERS OF HELL" across two pages. These are based on Dante's Inferno, the first part of Divine Comedy, and the nine circles of hell. (Shout out to my friend who helped me with the 10 "rooms" of Fraud <3)
Left page:
- Vestibule (unnumbered, right on top of Limbo, referring to the staircase)
I - Limbo
II - Lust
III - Gluttony
IV - Avarice
V - Wrath
VI - Heresy
VII - Violence
VIII - Fraud
IX - Treachery
- There are 10 "rooms" described between Violence and Fraud, referring to the 10 trenches of the eight circle of hell (Fraud) and numbered as such.
Room I reads: whipped.
Room II reads: covered in excrement.
Room III reads: flipped (?) feet set on fire.
Room IV reads: encased(?) in boiled pitch.
Room V reads: head turned backwards.
Room VI reads: wear lead robes.
Room VII reads: snake(?) pit turn(?) into snake.
Room VIII reads: (?) big flames.
Room IX reads: (?) -> quality is too low to tell; considering the trench of which it is based on, probably along the lines of 'mangled', 'mutilated', 'maimed', etc
Room X reads: leprosy, hungry(?), dark.
Right page:
- Endless staircase
- "UPPER HELL" encompassing layers I to IV.
Beside layers III and IV, read: heavy labour(?), everyone in your way
- "LOWER HELL" encompassing layers V to IX.
Beside layers VI and VII, read: trapped, impaled, submerged in blood. Beside layer VIII, read: snake pit, gain human form by biting other humans. Beside layer IX, read: frozen + stuck + chewed on
Left page:
- LIMBO
Right page:
- "DO NOT RING" is crossed out near a bell. Dashed line points to where the bell is on the room.
Left page:
- Arrow pointing to the claw machine, referencing the passage behind it. Note reads: Back to Doll House. No.
- Circle on the bottom right, just above a door: Wrong way. AVARICE. Everything too heavy.
- GLUTTONY
Right page:
- LUST
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the sunny s7 finale makes me so crazy because its such an interesting delve into every characters thoughts about themself but specifically the way it portrays charlie and mac makes me so unwell. aside from the kid nicknames, and the teasing, and the always being together in the episode, the moment that really gets to me is not nearly the most emotional from the eps. its the scene where adriano is handing the marker to charlie to make fun of him and theres this immediate sense of urgency from mac that wasnt there before. because "theyre adults charlie" theyre safe from this crap now. and in the script of mac running over before charlie even was supposed to smell it like jesus christ. mac looking at adriano with such a genuine anger when he says charlie doesn't have to, almost threatening in his stance before adriano makes fun of him too. the childhood devotion and loyalty is so clear, more than usual, and it makes me so crazy. you can so clearly envision these two in this exact scenario as helpless kids. they were each others escape from the world and first unconditional loving friendship and in that moment you cant help but picture two scared little boys holding hands in the school yard. it really solidifies them holding onto those pieces of still being just ronnie and dirtgrub, small and dirty and hiding from the world together
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