the thing about art is that it was always supposed to be about us, about the human-ness of us, the impossible and beautiful reality that we (for centuries) have stood still, transfixed by music. that we can close our eyes and cry about the same book passage; the events of which aren't real and never happened. theatre in shakespeare's time was as real as it is now; we all laugh at the same cue (pursued by bear), separated hundreds of years apart.
three years ago my housemates were jamming outdoors, just messing around with their instruments, mostly just making noise. our neighbors - shy, cautious, a little sheepish - sat down and started playing. i don't really know how it happened; i was somehow in charge of dancing, barefoot and laughing - but i looked up, and our yard was full of people. kids stacked on the shoulders of parents. old couples holding hands. someone had brought sidewalk chalk; our front walk became a riot of color. someone ran in with a flute and played the most astounding solo i've ever heard in my life, upright and wiggling, skipping as she did so. she only paused because the violin player was kicking his heels up and she was laughing too hard to continue.
two weeks ago my friend and i met in the basement of her apartment complex so she could work out a piece of choreography. we have a language barrier - i'm not as good at ASL as i'd like to be (i'm still learning!) so we communicate mostly through the notes app and this strange secret language of dancers - we have the same movement vocabulary. the two of us cracking jokes at each other, giggling. there were kids in the basement too, who had been playing soccer until we took up the far corner of the room. one by one they made their slow way over like feral cats - they laid down, belly-flat against the floor, just watching. my friend and i were not in tutus - we were in slouchy shirts and leggings and socks. nothing fancy. but when i asked the kids would you like to dance too? they were immediately on their feet and spinning. i love when people dance with abandon, the wild and leggy fervor of childhood. i think it is gorgeous.
their adults showed up eventually, and a few of them said hey, let's not bother the nice ladies. but they weren't bothering us, they were just having fun - so. a few of the adults started dancing awkwardly along, and then most of the adults. someone brought down a better sound system. someone opened a watermelon and started handing out slices. it was 8 PM on a tuesday and nothing about that day was particularly special; we might as well party.
one time i hosted a free "paint along party" and about 20 adults worked quietly while i taught them how to paint nessie. one time i taught community dance classes and so many people showed up we had to move the whole thing outside. we used chairs and coatracks to balance. one time i showed up to a random band playing in a random location, and the whole thing got packed so quickly we had to open every door and window in the place.
i don't think i can tell you how much people want to be making art and engaging with art. they want to, desperately. so many people would be stunning artists, but they are lied to and told from a very young age that art only matters if it is planned, purposeful, beautiful. that if you have an idea, you need to be able to express it perfectly. this is not true. you don't get only 1 chance to communicate. you can spend a lifetime trying to display exactly 1 thing you can never quite language. you can just express the "!!??!!!"-ing-ness of being alive; that is something none of us really have a full grasp on creating. and even when we can't make what we want - god, it feels fucking good to try. and even just enjoying other artists - art inherently rewards the act of participating.
i wasn't raised wealthy. whenever i make a post about art, someone inevitably says something along the lines of well some of us aren't that lucky. i am not lucky; i am dedicated. i have a chronic condition, my hands are constantly in pain. i am not neurotypical, nor was i raised safe. i worked 5-7 jobs while some of these memories happened. i chose art because it mattered to me more than anything on this fucking planet - i would work 80 hours a week just so i could afford to write in 3 of them.
and i am still telling you - if you are called to make art, you are called to the part of you that is human. you do not have to be good at it. you do not have to have enormous amounts of privilege. you can just... give yourself permission. you can just say i'm going to make something now and then - go out and make it. raquel it won't be good though that is okay, i don't make good things every time either. besides. who decides what good even is?
you weren't called to make something because you wanted it to be good, you were called to make something because it is a basic instinct. you were taught to judge its worth and over-value perfection. you are doing something impossible. a god's ability: from nothing springs creation.
a few months ago i found a piece of sidewalk chalk and started drawing. within an hour i had somehow collected a small classroom of young children. their adults often brought their own chalk. i looked up and about fifteen families had joined me from around the block. we drew scrangly unicorns and messed up flowers and one girl asked me to draw charizard. i am not good at drawing. i basically drew an orb with wings. you would have thought i drew her the mona lisa. she dragged her mother over and pointed and said look! look what she drew for me and, in the moment, i admit i flinched (sorry, i don't -). but the mother just grinned at me. he's beautiful. and then she sat down and started drawing.
someone took a picture of it. it was in the local newspaper. the summary underneath said joyful and spontaneous artwork from local artists springs up in public gallery. in the picture, a little girl covered in chalk dust has her head thrown back, delighted. laughing.
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yes i'm rooting for m*leven breakup because byler is neat but mostly? i'm rooting for m*leven breakup for the sake of el and mike.
to me, their romance was always a puppy love born out of a combination of social pressures, naïve curiosity, and a lack of true understanding regarding intimacy and romantic love and what it really is. it was real in that they do truly, deeply care about each other and they are close friends, maybe even shared an attraction, but a maturing romance is so much more than that. they've grown up and out of being boyfriend/girlfriend, and that's okay! i think television/film needs to show more often that most of us don't have definite "soulmates" or first childhood loves that we spend our whole lives with. it doesn't mean these relationships meant nothing and didn't impact us, it just means they've run their course and that something else is in the cards, and this is part of life!
i've always felt el was at her best and most confident self when broken up with mike, discovering who she was and what she liked alongside another girl her age instead of just relying on mike for mentorship on how to live in the real world. she deserves more of an opportunity to find herself, her autonomy, and her independence, and to love who she is, and she's made it clear she's felt insecure in the relationship with mike because she isn't being loved and understood the way she wants, needs, and deserves from someone who is her partner.
also, it's okay if mike doesn't love her in "the way he should". he is not obligated to love her romantically and stay in a relationship with her just because she's a girl, because she "needed someone", or because he cares about her a lot. he shouldn't be pressured into a romance if it's not truly coming from his heart. he deserves freedom to find out and honour who he is, too, instead of just staying in his non-functional first relationship — one he got into as a child, essentially — and defining himself that way because it's what's expected when a boy and a girl are close. he loves her in some way, yes, but it's okay if he doesn't feel comfortable or secure being her boyfriend anymore, for whatever reason that is. he's felt insecure too, and that's valid and it matters.
they are their own people and are steadily growing and changing every day. they need time to figure out who those people are, and it's become clear (at least in my opinion) that those people aren't meant to be a couple at this stage.
they deserve freedom. they deserve to grow up and be authentic to themselves and not feel like they need to lie for the sake of a relationship. they deserve to move on from this version of their relationship that isn't making them happy and rekindle the best part of their bond: their strong, beautiful friendship. they don't have to be a couple if it doesn't make them stronger and better and happier people.
i think it would be healthy and wonderful for a show, especially one consumed frequently by young adults, to show a relationship starting, progressing, and ending on good terms in this way. sometimes things don't work out, and that is okay.
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Muriel is left at the Cliffs of Insanity to "deal with" the Man in Black once he reaches the top. They might not know the intentions of this mystery man, but why assume the worst? He seems grumpy but nice enough. Muriel doesn't see why Sandalphon insists on killing him, and especially why they have to be the one to do it. Either way, it's always best to lead with a smile!
Crowley is hanging on for dear life. He was built for swinging his slinky hips while he walks, not for clinging to a rockface by his fingertips. Crowley just wants his angel back, for somebody's sake!
more good omens x the princess bride, as promised
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A one piece x satsuriko no tenshi crossover. Where Zoro is Zack and Sanji is Rachel. Other one piece characters occupy the building as God and other angels, but i haven’t yet decided on them. The focus is on zosan and their death pact.
Zoro is terrible at figuring out his way out of the building but is good at fighting. Sanji is the brain of the breaking out operation. He makes a pact with Zoro. “I’ll help you get out of here if you promise to kill me at the end.” And zoro agrees and makes sure Sanji doesn’t get killed by anyone but him. Along the way, they learn to trust each other and Zoro realizes that he likes Sanji too much to kill him. Even after he realizes that Sanji isn’t a sacrifice but an angel himself. Even after he realizes that sanji had killed his father and his brothers (i know. It’s uncharacteristic behavior for sanji but it has to be this way for the crossover to make sense). Zoro finds out that Sanji’s father and brothers have been abusive to him and Sanji is grappling with a lot of self worth issues and thinks he deserves to die for his sins.
Anyway, they finally make it out after the building collapses behind them. And when Sanji asks Zoro to honor their oath and kill him…zoro confesses instead.
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Foolish and Cellbit lore makes me crazy because their characters are very much influenced by the entities they each have chosen, and it comes in to play in key moments. It influences their desires and their actions significantly.
Foolish, who makes sacrifices to the Chaos entity constantly. Who is his usual silly, impulsive self, and then takes it a step further, thinking ‘what would Chaos enjoy?’ Not looking twice before jumping, living and thriving in chaos and unpredictability, even if it is at the cost of his health and well-being. Especially if it’s at the cost of others. He tries to play each side of the conflict, sometimes for whatever will benefit him directly, the rest of the time just by seemingly flipping a coin and going one way or the other for shits and giggles. He starts conflicts and he fans the flames because he wants to see the fallout. He leans into the chaos without a second thought.
Cellbit, who’s a little more subtle, but the effects are still there. He cannot find a single thread on the island without having to find the other end. He takes on the problems and mysteries of everyone else on top of his own. He keeps back to eavesdrop at any opportunity when he says he’s leaving a conversation. He digs his grave as a double agent in the federation, not only to sabotage, but because he cannot stand the idea of a mystery being out there that he can’t figure out. It costs his sanity, it costs his time, it gives him gray hair and puts him in constant danger, it piles on so much work and responsibility on him, it’s a large part of why he feels so alone on the island - and yet he wouldn’t have it any other way. Because who else would know what to do in the face of such puzzles?
The knowledge entity pushes Cellbit to seek that knowledge, damn the cost. His biggest weakness is that he cannot let anything lie - he has to solve whatever is put in front of him, because he has to know, it doesn’t matter what or why in some cases. Just as Foolish is always pushed to leave things to chance, because the unpredictability is exciting, enticing - even when the answer to a problem is obvious and he could easily take action to get the best known outcome.
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