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@vermilionink.bsky.social

"Everything you see, I owe to spaghetti."—Sophia Loren

From the ancient Polyphemus to Jimothy, people have spun stories about real & imagined beings to define the parameters of "normal." Here's an excerpt from HUMANS: A MONSTROUS HISTORY, a history of the category of the human from antiquity to the present, told through the idea of the monster.

Humans and monsters | Folger Shakespeare Library

Folger Shakespeare Library is the world's largest Shakespeare collection, the ultimate resource for exploring Shakespeare and his world. Shakespeare belongs to you. His world is vast. Come explore. Jo...

folger.edu

Half this book has me like, “Wow what an astute observation of human social dynamics, how lovely,” and the other half is just biting me my thumb and internally screaming.

🎵 Ah ! ça ira, ça ira, ça ira ! Les aristocrates à la lanterne. Ah ! ça ira, ça ira, ça ira ! Les aristocrates on les pendra. Si on n’les pend pas On les rompra Si on n’ les rompt pas On les brûlera. 🎵 -- Revolutionary anthem (still very much in use), first heard 1790 (English below)

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ALSO TODAY: @annaleen.bsky.social asks what “living in the future” means now. “By training our attention on ‘the future,’ even rhetorically, we create a psychological barrier between ourselves and what’s actually happening. We endlessly defer action.” flaminghydra.com/the-wave-of-...

The Wave of the Present

We’re living in the future I’ll tell you how I know I read it in the paper fifteen years ago – John Prine 1.  Billboards and billionaires solemnly inform us that we are “living in the future.” You...

flaminghydra.com

I had this same professor and he insisted that we only “write what we know” but then was disappointed when what I knew was not cocaine-addled prep school parties or broken families with addictions. My life was clearly too boring to be a writer, and his class made me stop writing.

Tea Berry-Blue@teaberryblue.net · last mo.

My creative writing teacher in college insisted that 1) stories needed to have interpersonal conflict 2) every character had a dark secret 3) the dark secret should be either that they were gay or had been abused as a child, or both.

A $3 @mta.info subway fare and some good Q train timing can buy you one hell of a view of the July 4th fireworks and the Brooklyn Bridge light show! Huge shoutout to the train operator for slow rolling over the Manhattan Bridge and the conductor for announcing it.

I've decided to compile a definitive thread of photos of the best sheep I've photographed during my walks in the countryside, together with supporting biographical information. I will put the vital story associated with each sheep in the alt text, since some of it is a little long to fit in a post.

A nihilistic sheep, who, like so many other sheep, just wants to watch the world burn, staring at me insouciantly, moments after it has set fire to a large portion of the United Kingdom.

Shin Godzilla's theme of a stuffy political old guard being both unprepared and unwilling to handle apocalyptic disaster and effectively forcing a proactive new group to take the reins is, ummm, pretty timely.

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There’s a rough stage in design that’s crucial where you simply work with the bones of what you’re trying to express. The simpler it is the clearer those bones are, and if you invest too much detail at this stage you will get distracted by final-looking polish and can miss key fundamentals.

Chris Farnell@thebrainofchris.bsky.social · last mo.

Also this one. I absolutely believe that the final look of Knives Out is better for having this crude stick drawing to work from rather than a photorealistic slop image that would just end up being made from Game of Thrones publicity shots.