This Is Your Daily Reminder That Sans The Skeleton Canonically Loves Eating Cigarettes.

girls will say "he's just like me fr" and he is a space demon who's deeply traumatized and lashes out and drowns out his problems and is literally so awful that there is none but a single being in the entire multiverse who is willing to help him

what girls do at 1:38 am

My brain provided me with

"Fordsy was a pain in the backside even when I didn't have one."

I like the idea of Bill horrendously mishmashing flatland and Gravity Falls sayings.

(Also I like to headcanon that the Bill code we see in the Journal is plain Flatlandese script and Bill got such a chicken scratch handwriting he's automatically a doctor)

I've got a line coming up like "Would you stop walking around at night without turning the light on? It freaks everyone out." "And do you also want me to start doing a peace cry so I can't sneak up and stab you in the back too??" so Bill sprinkling in some Flatlandisms is a go.

Since the code in the Journal would be impossible to write/read in Flatland and since we also see variations on it being used by Ford and being used by aliens in Lost Legends, I assume that it's a common multiversal alphabet, or at least is commonly used in the Nightmare Realm.

For any writing system to be useful in Flatland it would have to visually present as a straight line, since that's all they can see at a time—so I headcanon their native writing system looks kinda like Morse code written out, all dots and dashes. My version of it also uses two different colors/tones, to introduce another element besides just dots & dashes to differentiate each letter.

The somewhat tragic upshot of this is that by headcanoning "no, that code ISN'T Bill's native writing system," it means we've seen him using multiple different writing systems & ciphers but we've never once seen him share anything about his own language. And that's sad! 🎉✨

storyboard bill is everything to me

this took forever. i can’t stop drawing this au, i don’t know what’s happenign to me

thinking about this bit again

ALEX: i’m trying to think of this—it’s a hard question cause it’s like, there’s this weird thing, like, in fan communities where they just- they really desperately want to turn everything into benedict cumberbatch or jack skellington. like... you draw a dog and they’re like “what if that dog was dressed in a top hat and tails and was seducing somebody and had high cheekbones and looked like hannibal” and it’s like it doesn’t matter-

DANA: who is also half a deer. for some reason

ALEX: yeah it’s like, whether it’s a man or a woman or a circle or a square or a piece of paper or a log, people will be like “how can we make it fuckable?” and so like everyone wants bill, who’s just this obnoxious little dork, to be somehow just like this suave and handsome dream lothario, which is totally in no way connected to his personality whatsoever. so like, you know, that stuff.... when i see it i’m like “sure go nuts have fun” but when people are like “is this it?? is this bill?” i’m like.. it’s not.. it’s not the bill i created. it’s your own original character. so go nuts. so like, when i try to think of human bill it’s just so bizarre to me because.... the whole joke is that he’s this dumb little illuminati triangle with a top hat and like mr. peanut arms and legs

Edward Weston | Cholula Costume, circa 1926

Catalogue Essay:

In 1923 at the urging of his friend Roubaix de l’Abrie Richey and their shared lover Tina Modotti, Edward Weston left his family and moved to Mexico where he embarked on a new chapter in his career that would prove influential in directing the course of his photography. Whereas his earlier portraits adhere to many of the classic characteristics of 19th century portraiture- stoic poses, elaborate costumes, accessories reflective of the sitter- his Mexican period, as seen in lots 254, 255 and 257, illustrates his interest in incorporating elements of Modernism and experimenting with alternate methods and approaches to portraiture. In his first portraits in Mexico, Weston abandoned the studio setting and photographed his sitters against the backdrop of an overcast sky. Tightly cropping the images so that their faces dominated the full frame and shooting from a lower vantage point, gave the sitters a weight and monumentality atypical of the classic portrait. Collectively, Weston had come to refer to that body of work as “heads.” The Mexican writer Francisco Monterde Garcia Icazbalceta perceptively described them as “guillotine heads in the noon sun: unreal necks and martyred eyes in harsh, insolent light.” (Conger, n.p. fig 110/1923) By isolating the head from all context, Weston was able to capture uniquely intimate moments, ones that speak to, not only the disposition of the sitters, but even more to Weston’s personal relationships with them. When Weston met Diego Rivera at his first exhibition in Mexico in the fall of 1923, Rivera quickly became a champion of his work, drawn to the Modernist elements echoed in his own works.The two became close friends and Weston would go on to photograph both Rivera and his wife Guadalupe Marin de Rivera during his two years in Mexico. In Diego Rivera, Mexico, 1924 (Lot 255) one can see the admiration and respect that Weston had for his new friend; that Rivera looks down upon Weston with a jovial expression and Weston, in turn, literally looks up to Rivera, suggests a rapport reminiscent of a mentor with his mentee. Similarly, in Guadalupe Marin de Rivera, 1923 (Lot 257) Weston captures her mid-speech with her mouth agape. From Weston’s own writings of Guadalupe, this is perhaps the most appropriate manner for him to depict her as he wrote of his affection for her “strong voice, almost course, dominating.” But neither of these “heads” are quite as revealing as Tina with Tear, 1923 (Lot 254), which shows Modotti with a tear rolling down her cheek. The act of photographing someone, by its very nature, is an intimate act, but to do as that someone expresses vulnerability supposes an undeniable trust between the photographer and sitter. While Weston’s nudes of Modotti are far more intimate in a literal way, their chief concern lies within the formal qualities of her body. Here, by contrast, the camera nearly becomes transparent as we see Modotti not through a lens but through the adoring eye of her lover. In as much as Weston’s “heads” demonstrate his fascination with contemporary icons of Mexican art, such as Rivera and his wife, he was equally interested in the greater history of Mexican culture. In Cholula Costume (lot 256), Weston portrays the dancer and choreographer Rosa Covarrubias in native Mexican attire. In 1930 Rosa married Miguel Covarrubias, the renowned Mexican ethnologist, art historian, painter, caricaturist, and set and costume designer. Rosa and Miguel were close friends of Weston and Modotti, who taught Rosa photography. What Weston captured in his lens is not merely the “woman of great beauty and charm” as described by José Limón in his biography, but also a model of traditional Mexican culture, one that was researched and consequently introduced by Rosa and her husband to create a new era in contemporary Mexican dance.

Ivan: Cowboy, I'm not going to celebrate your satanic holiday, damn it, you're dressing up as some demons and you think I'll treat this as something normal?

Kolyadki

Ivan as a child:

Ivan: Kolyada, kolyada! Open the gates and take out the chests, give us coins, even a ruble (1), even a nickel (5), we will not leave you just like that. Give us a piece of candy, or maybe a coin, don't be a jerk, Christmas Eve is coming soon!

Ivan: On New Year's Eve I wish you an aspen coffin, a stake and a grave, and a sick mare (curse)

_______________________________

Maslenitsa

(Maslenitsa is a pagan holiday still celebrated in Russia. Meaning: people see off winter by burning an effigy symbolizing the Goddess of Winter Morena. People bake crepes. Crepes, at least in Russia, appeared as a funeral food, which is consumed during funerals. At the moment, crepes are a common dish, but crepes are still an important dish for Maslenitsa):

Ivan: Die, Morana (Goddess of Death/Rebirth/Winter.), die, die, die, yes yes yes, die

Ivan Kupala (Kupala Night):

There is very little information in the English wikipedia

The holiday combines two elements: pagan and Christian. Previously, this holiday existed independently, but after the baptism of Russia, the holiday acquired a Christian meaning and elements. The main feature of Kupala night is the cleansing bonfires. Around the fire, people danced, danced, sang Kupala songs, jumped over it: whoever is more successful and jumps higher, he will be happier. Girls jump through the fire "to purify themselves and protect themselves from dumbness, spoilage, conspiracies," and so that "mermaids do not attack and do not come for a year." Evil spirits come to life on this holiday, people performed certain rituals to scare away witches, mermaids and other evil spirits. Also, people wove wreaths of certain flowers, which also carry a magical meaning, women let such wreaths on the water to tell themselves an early wedding or a long life. Also on this holiday it is customary to look for a fern flower, which according to Slavic beliefs, the fern blooms only for a moment, on the night before Ivan Kupala (on June 24 [July 7 in Russia]); it is very difficult to pluck a flower, especially since the evil spirit prevents this in every possible way and intimidates a person, in some cases depriving him of reason, speech, memory. Picking the flower of a fern and keeping it with him acquires unusual possibilities. Man becomes visionary, can understand the language of animals, see all the treasures.

FIRE OF MOSCOW (1812)

Russians of village of Syrskoye, Lipetsky district of Lipetsk region, 1955.