I Have Created The Ultimate Explanation Of Gender, Relatively Short And Covers Most Bases. Here It Is:

I have created the ultimate explanation of gender, relatively short and covers most bases. Here it is:

People don't understand gender, it's not what you think it is. People assume that gender is a strict progression of male to female but actually from a non-linear non-subjective viewpoint it's more like a big ball of wibbly-wobbly, gendery-wendery stuff.

Foreigner's God - Hozier

ATTENTION

If you see this you are OBLIGATED to reblog w/ the song currently stuck in your head :)

Thanks for the tag! We have:

1. Hayloft by Mother Mother

2. Ancient Dreams In A Modern Land by Marina

3. Devil Town by Cavetown

4. Discord by The Living Tombstone and Eurobeat Brony

5. The Family Jewels by Marina

6. Problems by Mother Mother

7. Thumbs by Sabrina Carpenter

8. Sex With A Ghost by Teddy Hyde

9. Oh No! By Marina

10. Who Is She? By I Monster

I'm too afraid of annoying anyone to tag people so-

was tagged by @thestarkillers <33 ty g <3

shuffle your ‘on repeat’ playlist and list the first 10 songs that play, then tag 10 people

your drugs on computers by coconut cream

last resort by sobs

drive me by torres

sweetheart by long beard

my heart your heart by bad bad hats

jump rope gazers by the beths

highlight reel by julien baker

as tradition by maple glider

moments in between by mini trees

vessels by julien baker

no pressure tagging @watchingthecredits @rabbitsinwonderland @someoctober @roachmattea @doshwashing @rainedroptalks @mack-anthology-mp3 @vitamin-zeeth @buticanfixhernoreallyican @allthetorturedpoets

how to draw arms ? ? 

for whom good omens is being written

Hey maggots and the rest of the fandom, it's the Good Omens Mascot here. Today I read a post about this tweet:

The accompanying video genuinely made me cry. And I've been thinking about this for a long while, as far back as February, when I saw a lot of conflicting opinions on what people wanted from the third season. It really is true that no matter what you do, some people will be dissatisfied. But what matters is that Neil is writing this for Terry.

And I was reminded of some paragraphs from the Good Omens TV Companion, which I'd read in Amazon's sample excerpt of the book. I know this is a long post, but I really truly do think you all need to read these, I've done my best to select only the most important parts. Here you go:

'His Alzheimer's started progressing harder and faster than either of us had expected,' says Neil, referring to a period in which Terry recognized that despite everything he could no longer write. 'We had been friends for over thirty years, and during that time he had never asked me for anything. Then, out of the blue, I received an email from him with a special request. It read: “Listen, I know how busy you are. I know you don't have time to do this, but I want you to write the script for Good Omens. You are the only human being on this planet who has the passion, love and understanding for the old girl that I do. You have to do this for me so that I can see it." And I thought, “OK, if you put it like that then I'll do it."

'I had adapted my own work in the past, writing scripts for Death: The High Cost of Living and Sandman, but not a lot else was seen. I'd also written two episodes of Doctor Who, and so I felt like I knew what I was doing. Usually, having written something once I'd rather start something new, but having a very sick co-author saying I had to do this?' Neil spreads his hands as if the answer is clear to see. 'I had to step up to the plate.' A pause, then: 'All this took place in autumn 2014, around the time that the BBC radio adaptation of Good Omens was happening,' he continues, referring to the production scripted and co-directed by Dirk Maggs and starring Peter Serafinowicz and Mark Heap. ‘Terry had talked me into writing the TV adaptation, and I thought OK, I have a few years. Only I didn't have a few years,' he says. 'Terry was unconscious by December and dead by March.'

He pauses again. 'His passing took all of us by surprise,' Neil remembers. 'About a week later, I started writing, and it was very sad. The moments Terry felt closest to me were the moments I would get stuck during the writing process. In the old days, when we wrote the novel, I would send him what I'd done or phone him up. And he would say, "Aahh, the problem, Grasshopper, is in the way you phrase the question," and I would reply, "Just tell me what to do!" which somehow always started a conversation. 'In writing the script, there were times I'd really want to talk to Terry, and also places where I'd figure something out and do something really clever, and I would want to share it with him. So, instead, I would text Terry's former personal assistant, Rob Wilkins, now his representative on Earth. It was the nearest thing I had.'

(...) As Neil himself recognizes, this is an adaptation built upon the confidence that comes from three decades of writing for page and screen. But for all the wisdom of experience, he found that above all one factor guided him throughout the process. 'Terry isn't here, which leaves me as the guardian of the soul of the story,' he explains. 'It's funny because sometimes I found myself defending Terry's bits harder or more passionately than I would defend my own bits. Take Agnes Nutter,' he says, referring to what has become a key scene in the adaptation in which the seventeenth-century author of the book of prophecies foretelling the coming of the Antichrist is burned at the stake. ‘It was a huge, complicated and incredibly expensive shoot, with bonfires built and primed to explode as well as huge crowds in costume. It had to feel just like an English village in the 1640s, and of course everyone asked if there was a cheap way of doing it. 'One suggestion was that we could tell the story using old-fashioned woodcuts and have the narrator take us through what happened, but I just thought, “No”. Because I had brought aspects of the story like Crowley and the baby swap along to the mix, and Terry created Agnes Nutter. So, if I had cut out Agnes then I wouldn't be doing right by the person who gave me this job. Terry would've rolled over in his grave.'

And, finally, this paragraph:

"Once again, Neil cites the absence of his co-writer as his drive to ensure that Good Omens translated to the screen and remained true to the original vision. 'Terry's last request to me was to make this something he would be proud of. And so that has been my job.'"

I think that's so heartwrenchingly beautiful, and so I wanted you all to read this, too, just in case you (like me) don't have the Good Omens TV Companion. It adds another layer of depth and emotion to this already complex and amazing story that we all know and love.

Share this post, if you can, please, so that more people can read these excerpts :")

Tagging @neil-gaiman, @fuckyeahgoodomens and @orpiknight, even if you've definitely read these before :)

"Us Against All Of Them"

Days can be torture, roads can be long

But when you closer, my world's still and calm

We could start a fire, burning down the walls

Walking on a wire, I would risk it all

All for you

I would

Lyrics from "Risk It All" by Jim Yosef

----------<3

I've had this song playing over and over again while drawing. The lyrics fits the scene as well so I had to write it down below it.

I'm a fan of epic moments that will give me goosebumps so I had a lot of fun drawing this. Hope we'll see some in S3. Until then I have this picture (soon as a print on my wall).

The title of the artwork suggests where I get the idea from. But I can't exactly tell how my brain had made this up. Some weeks ago I was riding bus home, thinking about nothing and suddenly my brain presented me this picture - and I needed to draw it.

PS: I've made a slightly different second version of this picture. I'll post it within the next few days.