#Broadway Showcase

[sparkoflena]

SCREAMING. CRYING. THROWING UP.

[slashingdisneypasta]

Professor Callahan x Fem!Student!Reader || Drabble

Plot: Callahan gets vicious, defending you in front of the whole damn class.

Inspired by Ezra using his power as a teacher in this scene of Pretty Little Liars for gross personal reasons with Aria. (Start at .57)

Warnings: Teacher/student affair themes. Fight, bad romance and sexual references.

You could not believe what you were hearing; Callahan was tearing into a student- which was not entirely out of the ordinary. But this wasn't him smug and mean, this was him pissed off. Because of you.

Half the class was watching in fear, afraid the professor was just in a bad mood and they could be next, but you felt like the other half were looking directly at you; at the back of your head. At the side of your face, searching for a reaction.

Knowing something is wrong here. Knowing what you've done.

You didn't know what to do. You were frozen in place; your knuckles white wrapped around eachother in your lap as you fight not to say anything.

All the guy did was oppose your opinion in a debate- like he was supposed to. It was a simple one, but the guy got personal; he got too heated and he called you a dumbass (You didn't care, you were getting heated, too- it was hard not to in a class like this, and you weren't a fan of his opinions. You could still feel the word 'idiot' at the tip of your own tongue.), and Cal immediately spoke before you could- his razer fast wit clicking into place faster then you could have de-escalated the argument. He went from sitting back half-on his desk, one calf folded casually over the other, to ram-rod straight, as close to the guy as he could get without wading in between the desks. Cal's eyes glued to him while he took the poor guy down 30-something pegs, humiliating the guy in front of the whole class until he had his head bowed pathetically and nothing to say.

It wasn't fair. Callahan was completely abusing his power and everyone in the room knew it.

Which wasn't entirely out of character- but you were afraid that they would see through him. Or you. And they'd see how bad this instance was, how gross. That he was abusing his power to defend the student he was currently fucking.

The interaction lasted less then a minute, but Callahan got his point across, and continued to stare down the guy for further torturous moments, while the rest of the room was crickets. You refused to even move, eyes on him hoping he would glance over and see you and come to his goddamn senses. But he didn't.

... The horrible scene ended when Callahan finally shifted and looked up at the clock, before rolling his shoulders of any stress and heading back to his desk like nothing at all happened. "Alright everyone, class's over, get out."

Everyone did as they were told as fast as possible, especially the guy- he barely stuck around to unplug his laptop before shooting out of the classroom. He certainly didn't wait around to ask questions about the homework. The classroom was empty in a minute.

Then it was just the two of you. He knew you were there, but he didn't look around or acknowledge you, the dick; just peacefully flipped through a book on his desk as if he wasn't an insane person. Didnt he think him coming to your defence like that was going to cause suspicions?? If not, then he's not nearly as smart as you thought.

...

You cant stay quiet. "What the hell was that??" You finally ask, slamming your books down on your desk as you get up out of your seat.

"... the hell are you talking about?" He asks, playing dumb which you absolutely don't care for. No.

You round the desk so he can see how pissed off you are, and you can see his face too. See how nonchalant he really is- which is not at all. He looks pent up and frustrated. "What the hell is wrong with you??"

"Oh, so I guess you liked the way he was talking to you??" He smirks, shrugging. "My bad. Next time I'll encourage that." He sneers, sarcasm dripping off his sharp tongue.

Narrowing your eyes, you fight not to leave right that moment. Leave, transfer classes, and never see him again. This isn't worth the risk, whatever this is isn't worth your education. How could you have been so dumb?? "Ugh, you're being impossible. You know that was dumb. What if people are suspicious now?? What if someone tells- I dunno, another faculty member?? Someone with more power then you?? You could be fired for fraternising with a student."

"Thanks for the tip. I had no idea." Still, with the nasty quippy sarcasm. You roll your eyes, and move away from the desk with the intent to gather your things and leave.

"I'm out of here."

Before you can even reach your things though, Callahan turns around and grabs you by the wrist. "Oh no you're not." He drags you back, right into his body this time. "If you ask me, you're at fault here- you're the one who couldn't handle herself in a simple debate."

NOW you're pissed. "What!?" You were holding your own! Its not your fault the guy went out of line and Callahan felt the need to jump in- you didn't ask him to do that! He wouldn't have, for anyone else in that class.

"If you could handle that, if you could control your emotions in the classroom, I wouldn't have noticed your distress and felt the need to defend you- be a grown up and not a silly girl, and this wont happen again."

Instead of engaging him in that ridiculous line of accusation (Suddenly you're a child?? You weren't too young to have been in his bed, last night, were you?), you stop everything. You make yourself calm. Then you lean into him, and v e r y c a l m l y say "You're an asshole." Then wrench yourself free of his hold and storm to your desk. Furiously you stuff everything into your bag and throw it over your shoulder, turning to stride out of the old classroom when Callahan follows you and corners you against the door before you can open it. "Fuck!- " You curse, glaring hard at him. "Let me out!"

When he grabs your jaw and pulls you suddenly into a deep heated kiss, you're shocked and outraged; you drop your bag heavily to the floor. Let him force you between the door and his body. When he pulls back, you glare even more harshly at him. "... was that supposed to do something??" You ask breathlessly. "I'm still just as pissed off at you."

"Yeah, well I don't care. Get on your knees." He tells you gruffly, breathing heavily from the fight.

You gape, stunned. "You get on your knees!" You snap back, beyond pissed off that he would dare-

That he has the balls to- To try, and-

Right now!???

You're furious with him!

But your heart falls in utter surprise that almost takes all the fight right out of you, when he shrugs his shoulders in that perfectly tailored blazer, a spiteful-shitty-smug look on his face, and goes down. Eyes wide, you stare at him (This old man) down there on his knees fully prepared to eat you out amidst being pissed off, in shock and... a little bit of desire. Sometimes you hate this man-- but he looks so good on his knees. Even with that narcissistic smirk on his face.

"... fuck you."

"Thats the idea."

[biggoldbelt]

Disney Entertainment Showcases Unrivaled Storytelling Power on Opening Night of D23: The Ultimate Disney Fan Event

THE UNMATCHED POWER OF DISNEY STORYTELLING ON DISPLAYFROM DISNEY ENTERTAINMENT ON NIGHT ONE OFD23: THE ULTIMATE DISNEY FAN EVENT Exclusive First Looks from Highly Anticipated Releases, Major Casting and Title Announcements, and Star-Studded Performances Electrify Sold-Out Arena Earlier at the Anaheim Convention Center, Guests were Dazzled by Panels, Presentations and Immersive Experiences from…

[tfbsafeageappropriatedance]

Can’t we appreciate THE BIG FACT that this was danced in 100% character shoes?

As a classic jazz dance and dance history buff, this rendition to Michael Buble’s cover of “Feeling Good” from The Roar of the Greasepaint - the Smell of the Crowd is PERFECTION!

And I don’t have to mention that to my brain, many dance competition renditions remind me of those FOLLOWING GIFs:

[hotvintagepoll]

Do you have any opinions on modern (post-1970s) movies that you feel capture the essence (in a good way) of Old Movies?

No, unfortunately. That doesn't mean I don't like modern movies or that modern movies aren't good, but modern movies—and here I'm really using modern to mean post-2010, so contemporary movies—have different standards for pacing, characterization, budget, and production that make it harder (or impossible) to capture some of the magic of old movies. Even when modern movies clearly try to emulate that old-movie feeling—I'm thinking of La La Land, The Artist, The Shape of Water, In the Heights—they play the homage too broadly, or they ignore crucial components that make the original films work.

There's kind of too much to go into here without writing a full essay, but essentially, the Old Hollywood system—ugly, failed beast as she was—made some movies simply more accessible to make, due to the ongoing storage of props, sets, master craftsmen, crew, and onscreen talent that could move from one movie to the next without pause. If you needed a dancer, he was already on staff. If you needed a fancy bed, it was already in the warehouse. That kind of longterm storage is invaluable if you want to crank out movies quickly and cheaply because it saves so much time on individual negotiation and sourcing. Modern production companies have to work out individual contracts for every actor on every film; crew members have to negotiate rental contracts and source pieces from scratch; if you need someone with specialist skills, you have to contract them specially at a high rate, which a lot of small companies can't (or won't) budget to do. There's sand in the wheels where there needn't be any. It's wasteful, and costly, but that's the system modern movies are made with.

Which all means that even if the modern movie system wanted to make a classic movie musical just like the old ones, they couldn't, because the talent isn't already there—it hasn't been trained up enough, and there's not that breadth of knowledge you can only get from people who have been allowed to work in the same department in the same place for decades. Movies like La La Land fail, for me, because they present themselves as descendants of Fred Astaire or Busby Berkley movies, while missing the bit where Fred Astaire was a master of his craft. When you watch Fred Astaire dance—or Moira Shearer, or the Nicholas Brothers, or Ann Miller—you are watching a true artist at work, purposely showcased by the studios because they already have them on contract. Modern movies, on the other hand, tend to take people who already have star talent (as actors) and try to convert them into dancers/singers—or they pull dancers/singers off of Broadway, but then they don't have the star power built in. You end up with lackluster musicals where no one truly knows what they're doing, or they do but they're not built up enough by the studios to sell. And that's me discussing just on-screen talent for musicals—there is a huge loss behind the scenes, as well, for all kinds of movies, where roles that would have been filled by union crew who moved continuously from one job to the next have been swapped for freelance labor who live with immense turnover, financial insecurity, and knowledge loss. You could hand me the budget and I could try to make an old movie, but the industry itself has changed so much it's impossible to recapture that charm of steady, niche talent, the amazing possibilities of bonkers set design, and the ability to take a risk on a smaller movie because the other films being produced by the same studio can help balance the budget.

I've talked way, way too much about all of this! Sorry, I just have a lot of thoughts—and the one above is just one of them; the talent loss and storage issues are only facets of a much bigger problem that extends to how we watch movies today, how we market them, what we expect of them, and what's allowed in them. It's a crying shame because the talent is still there, but times change and so does the industry, for better or for worse. (And, just again to clarify, I don't think modern movies are bad—they're just missing a lot of the juice old movies got to play with, even if there's more talent available than ever before.)

[marybeatriceofmodena]

What did Andrew Lloyd Webber do to make Patti Lupone upset? Sorry, saw your tags and i was curious

Oh.

Oh honey.

You sweet child.

Anyway, get ready for one of the most infamous showdowns in all musical theatre history, with the guy who writes the straightest musicals on Broadway (derogatory) and the one and only, the matriarch, the queen, two three-time Tony award winner Patti LuPone.

So, Andrew Lloyd Webber was basically kind of a boy genius in his prime - he met his future collaborator Tim Rice when they were 17 and 20 respectively, he wrote his first big hit, Jesus Christ Superstar, at 22, with Tim Rice writing the lyrics. And it was kind of a big deal at the time because the topic was controversial (you know, the Passion with rock music), but also because Broadway wasn't that far off from its golden age and let's just say the music and style were very different from, say, My Fair Lady. Or The Sound of Music. Or Funny Girl. It was basically the Rent/Hamilton of its time. (Yeah, Stephen Sondheim was around at that time, he worked on West Side Story which was revolutionary in of itself, but he's kind of an oddball in this case. You'll understand why later.)

Their real follow up (I'm not counting Joseph and the Amazing Technicolor Dreamcoat for a variety of reasons) was a little musical called Evita, which you might know mainly because of a song called Don't Cry For Me Argentina. Or at least, your mom has probably heard it once at the very least. It's that song that's oversung from a musical while being out of context along with I Dreamed a Dream for Les Misérables. Or Memory from Cats.

Evita tells the story of Eva Peron, the wife of an Argentinian dictator, who basically screws her way to the top and ends up becoming the mistress of Juan Peron and the most beloved woman in her country through guile and deceit. Yes, I know the historical accuracy is very much debated but I know jackshit about Argentina's history except the bare basics so don't come at me. It was first produced in the West End in London, with Elaine Paige in the role, but because of Equity issues, she couldn't reprise her role for the Broadway production. So a Julliard graduate who was mostly starring in David Mamet plays got the part instead, and that was Patti LuPone.

Patti... did not have a good time during Evita, because the part is basically the kind of score where you can tell the composer is used to writing male parts, but most female singers have a two-octave range (yes, you got Julie Andrews who used to have a three-octave range, and many others, but they're exceptions), so she struggled a lot. That being said, if you listen to live recordings of her, you wouldn't be able to tell, and it got a lot easier later on. But she had this to say:

"Evita was the worst experience of my life. I was screaming my way through a part that could only have been written by a man who hates women. And I had no support from the producers, who wanted a star performance onstage but treated me as an unknown backstage. It was like Beirut, and I fought like a banshee."

This is from Patti's autobiography, which she wrote in 2007 - 8 years after shit with ALW went down. With all that said, she won a Tony Award for Evita, and she pretty much became a musical theatre household name from then on. She played Fantine in Les Misérables, Nancy in Oliver!, Reno Sweeney in Anything Goes. Meanwhile, ALW's next big hits were Cats (I'm not even kidding, Cats was a hit), and, you guessed it, The Phantom of the Opera, which he wrote in part to showcase his then wife Sarah Brightman's triple threat talents.

So, you need to understand before I continue that ALW, from my perspective, has always had a bit of an inferiority complex. He's basically associated to writing these commercially successful musicals that show a big spectacle but aren't ultimately substantial. I'm not sure I entirely agree with that, but I do think that if he didn't have Hal Prince, Maria Bjornson, Charles Hart and Gillian Lynne backing him up for Phantom, it would have probably been a Rocky Horror Picture Show knockoff people would have forgotten about pretty quickly. This is what I mean:

Yep, that was Phantom before any of the people I mentioned above (and Michael Crawford) were really involved.

Remember how I said Stephen Sondheim was an oddball? The thing with him is that his musicals weren't always commercially successful, but in general, in part thanks to being Leonard Bernstein's protégé, he was generally pretty well-respected and it was considered that his work was bringing musicals to a whole other level. Without Sondheim, you wouldn't have Jonathan Larson, and you wouldn't have Lin-Manuel Miranda. I am convinced ALW is resentful of that, and when you stop and think about it for more than 10 seconds, it's so obvious he REALLY wants to be Sondheim or at least command the same level of respect, but that's a story for another day.

So, after Phantom, ALW had other musicals that followed that either got a meh reception or outright flopped. Then there was Sunset Boulevard, which is based on the movie of the same name with Gloria Swanson. Despite all of her griefs for Evita, Patti LuPone agreed to partake in the musical as Norma Desmond, for its production in London, with the promise that she would transfer to Broadway once that production would open. And overall, after a string of flops, Sunset was actually doing pretty well.

HOWEVER. One day, while reading the gossip column of a newspaper, Patti found out that contrary to what she was promised, Glenn Close, who was meanwhile starring as Norma in the Los Angeles production, was to play Norma on Broadway. That was a complete surprise for her since no one on the production team had bothered to tell her it was happening - and keep in mind that for the news to come up the way it did in a gossip column, it probably would have necessitated a delay of a few weeks between the producers and the newspaper, which would have given them plenty of time to break the news to Patti. And Patti kind of needed the leg up because she was pretty bitter that a) Madonna was cast in the Evita adaptation instead of her; b) they actually lowered the key to fit Madonna's voice range, and she still had to expand her own to be able to sing the (lowered) score. And trust me, Patti is mad about it to this day.

So of course, she trashed her dressing room, the cast and crew weren't even mad about it because they were as shocked and angered as she was by the news. Patti sued Andrew Lloyd Webber for breach of contract, namely for 1 MILLION DOLLARS (yup, those are the real numbers), won, used the money she got from the lawsuit to get a swimming pool, which she called (and I SHIT YOU NOT) the Andrew Lloyd Webber Memorial Pool. Since then, Webber is dead to her, to the point rumor has it she had part of a building blocked during an event so she could get out of it without coming across Webber, because she hates him so flipping much she doesn't even want to be in the same building as the guy.

(There's also drama that happened with Faye Dunaway who was supposed to replace Glenn Close after she went from Los Angeles to Broadway, except they abruptly closed the show down after Close left, but that's a story for another day)

So with all the bad press, and with ALW forced to pay 1 million dollars for Patti's lawsuit, that led Sunset's productions to close earlier than expected. ALW has stayed around since, with... mitigated output, so to say. The lowest point for a lot of people is Love Never Dies, the sequel to Phantom, which some people love, and that's fine, but it didn't do well with either critics nor fans of the original show, which ALW is EXTREMELY BUTTHURT ABOUT. And like, there are so many stories I could tell about LND alone, but I will share my own crack theory about it, since it does relate to the ask.

Anyway, buckle up.

So. There have been jokes going around for years that the Phantom in LND is basically ALW's self-insert, where he displays to the world that he's totally not over Sarah Brightman leaving him (in part because making Phantom kinda ruined their marriage lmao), despite, you know, having married since. (Aaaaaakward.) So LND basically becomes this really uncomfortable therapy session where a man writes a self-insert musical about how his ex-wife made a big mistake of leaving a sensitive artistic soul such as himself. The characters from Phantom who appear in LND are all more or less unrecognizable as a result, and one who gets it worse (in my humble opinion) is Meg Giry, who was basically Christine's sweet and loyal ballerina friend who basically went into the Phantom's lair on her own to save her friend despite the danger. In LND, she's basically a bitter hag (because ALW hates women, guess Patti was right about that), who really likes the swim and even has a stripping vaudeville number about it, written in universe by the Phantom, no less.

For comparison, here's Don Juan Triumphant (the Phantom's opera in the original):

And here's Bathing Beauty (the vaudeville number):

Yeah, so... do you see why people hate LND already?

And that's not the only thing with Meg! She's also pining for the Phantom to pay attention to her and threatens to drown the Phantom and Christine's secret love child when he makes it clear that he's gonna love Christine for EVA AND EVA.

So, with everything we learned today about ALW, would someone like him view someone like Patti LuPone as some sort of crazy, bitter diva who's obsessed with him for whatever reason? Absolutely. Would he be petty enough to insert Patti LuPone into his self-insert musical, which gave us the version of Meg Giry we got in LND? Of course. Why does Meg love to swim so much and why does she drag Gustave out ostensibly for a swim? Is it a dig at Patti's Andrew Lloyd Webber Memorial Pool? Maybe.

I kind of hope we find out one day if that theory is true. And maybe start a kickstarter so Patti can add this painting from the 2004 movie in her collection.

Fun fact: during the process of casting for the 2004 movie adaptation of POTO, ALW allegedly suggested Patti LuPone to play Carlotta... only for Joel Schumacher to have to awkwardly remind him that they were not on speaking terms. The idea was therefore promptly dropped.

[averagecygnet-blog]

one thing I absolutely adore about tgwdlm is how completely and irrevocably a stage musical it is. it HAS to be a stage musical - the medium is so deeply baked into the story that it truly would not translate to another medium.

some reasons why:

the musical style is old-fashioned in a way that screams classic broadway. you can't get away from it, especially in songs like "lah dee dah dah day" and "show stoppin number". and it's not just the music, it's the dancing too - have you ever seen a kickline in a movie musical, once, ever? or jazz hands? gimme a break

along similar lines - all the broadway references! hamilton of course, but also wicked and mamma mia and jekyll & hyde

all the attention deliberately brought to the lighting and set! the performers in "la dee dah dah day" loudly saying "lights down!" when it's over; ted, paul, and emma striking the stage after "show stoppin number"; the lighting panels used as sirens, TVs, showcasing hudgins' alexa, and more; ted wheeling the big meteor prop off the stage after "let it out". they don't let you forget that we're in a theater.

all the hokey ass miming and special effects???? charlotte and hudgins having their guts ripped out is flashy and fun onstage because of the intestine props. emma and ted having blood capsules in their mouths. paul, emma, and zoey violently shaking when pantomiming being in a helicopter. ted running in place, moving forward or back to suggest movement across the road. it's all so fun and consistently reminds you that this is a stage

double-casting as intentional obstruction of the truth. we're used to seeing one actor play several roles in a musical, so when a familiar face shows up in a new costume we assume it's a new character. but it was zoey flying the helicopter to clivesdale, and I think it was zoey in the hospital at the end as well. you couldn't pull that shit in a movie because movies don't double-cast.

the role of the audience, the laughter and gasps and reactions and applause, especially the applause at the end when emma is begging the audience members to let her use their phone and demanding to know why they're clapping; sure movies have audiences too but the presence of the audience as part of the story makes a point about societal ideals as something we all have a part in that a movie just couldn't make in the same way

on a related note - emma's sudden awareness of the stage and the audience as the horror trope where the person realizes they're trapped and will imminently die. she knows she can't escape because it's just a fuckin loop. she knows no one will save her because they're all clapping. you couldn't do that in a movie because in a movie there is a fourth wall, whereas on a stage there's nowhere for the characters to run away. on a stage the characters can look you, the audience, directly in the eye, with no camera or screen between you

I will literally never shut up about that curtain call

god damn what I wouldn't give to watch this show performed live

[solanasreality]

†⠀⠀ㅤֺ⠀ INTRO 2 DESIRED REALITY : FAME DESIRED REALITY .

﹒MARIJOSIE YURI LANE — a burst of color on the hollywood scene, she is everything you’d expect in a modern-day serpentine and more, a mesmerizing blend of mystery, allure, and unapologetic individuality.

﹒physical characteristics — with the delicate sharpness of a sculptured dream, her face mirrors the haunting delicates of twilight, as if painted by the softest brushstrokes of shadow and light.

── AND ACTION!

﹒marijosie got her start on the broadway film of annie (released in 2004), the groundbreaking production that reimagined the classic story with a urban twist. as part of this trailblazing moment in cinema, marijosie brought a luminous depth to her role, standing out with a presence that was equal parts raw and magnetic.

﹒in 2012, we had the chance to catch her again, starring as herself in a comedy skit on the cult-favorite show loiter squad. known for its offbeat humor and unpredictable antics, the series provided a glimpse into marijosie’s playful side, showcasing an ability to cloud her bucket of humor behind an ethereal mystique with sharp comedic timing.

﹒by 2019, marijosie had fully cemented herself as not just a performer but as a visionary artist, stepping into both starring and directing roles with the release of K-12. the fantastical, dreamlike musical film showcased her ability to weave surreal visuals with poignant storytelling, tackling themes of self-expression, individuality, and societal critique.

﹒at the age of 29, she appeared on the stage, firmly establishing herself as one of hollywood’s most compelling talents with her portrayal of claudia in interview with the vampire. she brought a rare intensity to the role, effortlessly balancing the character’s youthful appearance with her centuries old wisdom and turmoil. with this role, marijosie once again demonstrated her versatility, proving she can command both the screen and the audience with every nuanced gesture.

﹒in 2024, marijosie took on the iconic role of elphaba in the highly anticipated wicked film adaptation. with her undeniable presence and captivating vocal ability, she brought a new dimension to the beloved character, imbuing elphaba with a mix of fierce independence and vulnerability that deeply resonated with the audience.

── DISCOGRAPHY.

﹒ marijosie’s musical journey began in 2011 when she joined the provocative and genre-defying collective odd future. her entry into the group marked the beginning of a career that would never conform to traditional expectations. that same year, she released Z, a debut album that immediately turned heads with its blend of ethereal vocals, experimental beats, and raw, emotionally charged lyrics. Z was a captivating exploration of self-discovery and introspection, setting the tone for marijosie’s distinct sound—a blend of haunting melodies, intricate production, and deep, often surreal storytelling.

﹒ in 2012, she released speak for yourself, an album that propelled her further into the spotlight. with this sophomore effort, marijosie began to refine her unique style, weaving themes of defiance, independence, and vulnerability into tracks that resonated deeply with fans. the album’s raw energy and poignant lyrics showcased her growth as both a vocalist and a composer, with standout tracks that blurred the lines between soul, indie, and alternative rock, further establishing her as a trailblazer in the music world.

﹒ after a few years of experimentation and self-reflection, she returned in 2015 with crybaby, an album marked by a darker, more melancholic tone. the project explored themes of heartache, emotional turmoil, and personal transformation, with a gritty edge that was both haunting and cathartic. crybaby cemented her status as a bold, uncompromising artist, pushing boundaries with its raw emotion and unapologetic approach to vulnerability. the album was praised for its lyrical depth and sonic complexity, capturing the chaos of personal upheaval while embracing the beauty of the struggle.

﹒ in 2019, marijosie released K-12, a groundbreaking album that tied into her film of the same name. with this album, she fully embraced her vision as both a performer and a director, creating a concept album that was as cinematic as it was sonically diverse. K-12 became more than just an album—it was an artistic statement, blending surreal, dreamlike soundscapes with poignant, socially conscious lyrics.

﹒ in 2021, marijosie released preacher’s daughter, an album that delved deep into the conflict between spirituality and rebellion. Infused with religious imagery and a sense of existential reckoning, preacher’s daughter was a personal exploration of faith, family, and the search for truth. with a more stripped-down sound, the album highlighted her vocal prowess, while the lyrics explored the complex relationship between divine love and personal autonomy, striking a balance between vulnerability and empowerment.

﹒ her latest album, alligator bites never heal, released in 2024, marks another evolution in her musical journey. the production itself mirrors the album’s themes—lush, unpredictable, and occasionally jarring—echoing the internal chaos of a woman trying to navigate her pain while asserting her power. it’s a sonic tapestry that feels as jagged as it does beautiful, reflecting marijosie’s growth as an artist who refuses to fit into any one box. the project is at once a battle cry and a healing mantra, blending dark, moody undertones with glimmers of hope.

── AND, YOUR PEN NAME?

﹒ another aspect of her artistry lies in her writing. an author of three books, her prose mirrors her music—haunting, poetic, and deeply evocative. her debut novel, a haunting tale of a teenager navigating war, burdened by the past, a god that feeds on grief, and a country’s fate tied to the history she’s running from, has cemented her place as a rising star in the literary world. with a TV adaptation (by yours truly) in the works, she’s poised to step into yet another creative realm, embodying the characters and world she’s crafted with perfect authenticity.

[anachronic-cobra]

Okay I'm kind of losing my shit over well-written one-off lines in Starkid, because I'm self-studying a bit about musical theater structure before I start my theatre arts degree next year.

When Broadway first started, the curtain went up at 8:45pm, so most shows would start leading into the end around 11pm. As the show's plot wrapped up, composers would have a big "showstopping number" around then so the lead could showcase their abilities, so this is called both a "showstopper" and an "11 o'clock number".

In "The Guy Who Didn't Like Musicals", around this time in the show, Professor Hidgens announces "this is humanity's 11th hour", which essentially means the last possible moment to fix anything and the last chance to change plans. Immediately after, he performs "Show-Stopping Number".

"Show-Stopping Number" is the 11 o'clock showstopper played at humanity's 11th hour. That's such good fucking writing to play with that trope

[intuitively-her]

What career fits you best?

Pile 1-(6 of wands, The Star, The Moon, The Magician, 6 of swords rx, 6 of cups rx, 8 of cups, 2 of wands, The Devil rx, 5 of wands rx, Knight of wands, King of pentacles, 10 of cups)

You need to be in the spotlight!📸 Someone here wants to be an actor/actress. Or maybe you like to perform in theatre? Burlesque dancer? For someone specific, this is something you wanted to do since you were a kid. Your confidence is out of this world! It needs to be showcased on a stage somewhere.🤩 More people should know your name. Get into some acting classes if you can. For someone specific, you should get into a dance class. Someone here needs to take an etiquette class. Or something related to speech and communication. For some of you, this will require you to move somewhere new. Atlanta, Texas, or California could be significant.🌍 Something about this career could be unconventional. Performing naked/half dressed? Idk I keep getting a sexual theme here. This career will bring in endless abundance for you.📈 You possess many skills. It's like one day you're playing an extra in some movie, and then the next you're doing a big show on Broadway. You shouldn't limit yourself with your creativity in your line of work. There's nothing you can't do pile 1!🌠

🎶channeled songs: R.I.P by playboi carti & Cameras by drake

Pile 2-(4 of swords, The Hermit, Knight of swords, Page of cups, The Moon rx, Death, The World, Wheel of fortune, 9 of pentacles)

This is my artistic pile.🎨 Someone here could be into graphic design? Or clothing design. Your style of art is unpredictable. You set the trends. Realism art? Someone here could be into mural art. Your art could have a morbid nature to it. If so, people love this. You might primarily work from home. In your own little sanctuary.🏡 You could like to create art that "speaks" to people. Or you like to create art that evokes emotion from the audience. Someone here likes to draw cartoons? Reflect on your childhood for better inspiration. Maybe something you used to draw as a kid? A childhood t.v. show? You wanna contribute to the public and give back to people through "art". You're a very down to earth person in general and can get along with just about anyone. Use that skill to network with others in your field. It would be very beneficial for you.

Pile 3-(The Empress, The Hierophant, 4 of wands, 10 of cups, 5 of pentacles, Knight of swords, 3 of pentacles rx, Ace of cups, Wheel of fortune)

You would make an amazing teacher!🏫 For someone specific, you should look into spiritual teaching. Or maybe working in the church? You could be in the middle of a career change right now. Someone here wants to run a daycare? Or teach small children. You make others feel comfortable. People love how you're easily vulnerable with them.🫶🏽 You're an open book to most. Someone here would make a great therapist. People might've seen you cry before. Or you're often a shoulder to cry on for others. You're very good at consoling others. It pretty much comes natural to you. You're the type of mother that others wish they had growing up. Someone here could be newly pregnant or nursing.🤱🏽 For someone specific, your cooking is the best! There's no one that compares to you in the kitchen.🤣 Someone here could be in a feminist organization? Or you should try one. Many would describe you as a "godsend". You make others feel at home, always. You always know what to say at the right time. Your advice makes people see the bigger picture. It makes everyone around you want to be a better person.💫

[ghostlypawn]

i can understand why someone may look at the material of great comet and decide that a modern direction is the way to go, i mean, the anachronisms are literally written into the score. even in the original broadway production the modern elements are visually present. so to set great comet in a modern seedy club isnt completely dissonant. the difference to me, however, is that those anachronistic elements have thematic purpose and by changing them you ultimately dull a lot of moments. having a modern set could be utilised as moscow being a modern unknown world that natasha has yet to explore, its a world anatole is familiar with which is reflective in his gaudy electronic musical motifs whilst natasha's sweeter classical motifs clash with the visuals of a gritty stage. in a similar way, this is also true of pierre who feels distant from moscow society. what i think changes about this though is that, for natasha, it makes moscow seem like a bigger spectacle than anatole (and i think its important for natasha's motives that anatole is the bigger spectacle). natasha goes to moscow and lives with her older traditional aunt. she goes and visits her traditional fiancés family. its only when she sees anatole for the first time does she experience the excitement of something new, something shes never experienced before. its only at anatoles arrival do the modern electronic beats fuse with the traditional/classical sounds we've grown used to, a refreshing excitement for both the audience and natasha. and so imo it makes sense for the set to reflect that disruption of tradition with anatoles entrance rather than have the traditional elegance be absent from the beginning. in the original production i think this was actually showcased with the lighting; the show had a candlelit feel with chandeliers and table lamps only for the audience to get flashbanged with LED lights as anatole makes his entrance and for the audience to get overwhelmed with flashing rave lights as we follow his character in the next scene, it's the same weirdly intoxicating feeling natasha felt, you try to look away but you cant stop looking. its also why i prefer the comet to circle back to that traditional lighting, as anatole leaves moscow he takes his electronic aura with him and the chandelier glows as if a natural order has been restored.

thats not to say i dont think a modern set would never work or couldnt be thematically interesting. if i were to take a modernist approach i would evoke the feeling described above through costumes instead. having natashas costumes start very traditional/period-accurate and slowly fusing with modern clothing would echo anatoles corruption of her and how natasha forces herself to be what he wants. similar to most of their scenes, anatole/dolokhov/balaga/helene lend themselves to modern visuals. i think by making all the costumes glaringly modern you lose the contrast of natashas two worlds, the contrast of andrei and anatole. (in the original production its really the ensemble who wear the modern elements which i think plays into that idea of moscow feeling overworldly and unusual to natasha.)

i think the people who really suffer with modern costuming are pierre/sonya/marya. sonya/marya exist as a reminder of who natasha was before anatole and eventually their role is to try to ground natasha back into the real world they live. the modern elements are almost fantastical in nature, theyre a dream natasha's lost in. traditional costume is realistic and thus brings natasha back into the real world. pierre, to me, can exist somewhere in the between. andrei is the past, anatole is the present, pierre is the future. he is also the person who connects andrei and anatole, he is a perfect middle ground and i think his costume could reflect this. it makes sense for him to dress more traditional as he doesnt fit in with the kuragins/moscow society. i could see some modern elements being incorporated into his costume to suggest that he has a place in that world more than he believes. but i dont think it works if he's entirely modern because to an extent, he's right, he doesnt fit in with that world musically at all and he's the one to rid moscow of its electronic sound (by banishing anatole). he's the one who restores the balance because he has experience with both worlds. the bolkonskys also suffer with modern costuming re: andrei being the past and his family need to reflect that old stuffy dusty feeling natasha has become dulled by. because of all this, if a production has a modernised set AND costumes, i think the first 20 minutes (until the opera) can feel a bit discordant and almost confusing.

alls to say, i dont think a production of great comet having a minimalist set is inherently abysmal and harrowing. i mean take a look at the australian production, there were very few qualms about that. (they did however stick with semi-traditional costuming as some characters had clear 1800s inspired dress or russian-feeling elements to their costumes.) im interested to see if i can find a visual story with the all-modern clothes in the west end production and at the end of the day i would watch a bunch of strangers in jeans perform this show in a parking lot and still have good time so ¯\_(ツ)_/¯ we live to love another day

[destinedstarlet]

Well, it’s official—I’ve finally unpacked everything, and my office is starting to feel like home! I’m particularly proud of the gallery wall I’ve created, featuring all my favorite Playbills. It’s truly a statement piece, and if you ask nicely, I might even give you a little tour. I believe in surrounding myself with inspiration for my peers and my students alike, and what better way than to showcase the productions that shaped me into the star I am today?

For those of you who don’t know me yet—though I can’t imagine there are many—I’m Rachel Barbara Berry✩, a proud alumna of PSU and now one of your amazing new Performing Arts professors. I’ve spent years on the Broadway stage, honing my craft and living my dream, and now I’m here to help all of you do the same. My journey has been filled with triumphs, challenges, and a few Tony nominations, and I’m excited to bring all of that experience to the classroom.

On another note, does anyone know of a good vegan-friendly coffee place around here? I’m devastated to report that my favorite spot from my student days is no longer around. It’s a tragedy, really. I’m on a quest to find a new place that understands the art of a perfect soy latte, so any recommendations would be greatly appreciated!

I’m eager to get to know all of you and hear about your own passions and ambitions. Feel free to stop by my office anytime—for advice, a chat about musical theater, or just to admire my Playbill collection. Let’s make this semester one for the books!!

[man-down-in-hatchet-town]

Hey, you!

Yeah, you!

Do you crave more ✨canon queer stories✨ in your fandom experience? Are you begging for more major character representation that you don’t have to headcanon for yourself?

Then have I got the kickstarter for you!

The Tin Can Bros (a comedy trio and makers of live theatre, digital sketches, webseries, you name it! You might know them from all the work they’ve done with Starkid—founding Tin Can Brothers Joey and Brian played Ron and Quirrell in A Very Potter Musical) are launching a brand new season of projects, most of which contain QUEER MAJOR CHARACTERS AND THEMES. These guys have got gays, they’ve got lesbians, they’ve got trans and gnc characters, they’ve got wholesome first love and Hannigram levels of fucked-up toxicity. It’s a whole cornucopia!! They’re planning to produce work in Los Angeles, NYC, London, Edinburgh, and Adelaide, but there will be digital tickets so you can watch where ever you are!

We’ve got:

-Two Rocky Horror-style concerts of the cult-hit, spy-movie parody musical Spies Are Forever. Gay protagonist who will sear himself into your heart! Seriously, his relationship with fellow spy Owen will emotionally destroy you for at least seven years.

-A concert of the developing musical This Could Be on Broadway, which follows a group of high school kids putting on a production of The Matrix: The Musical (not a show in real life) in their theatre department. A bunch of the central kids are canonically some flavor of queer, and there’s a central, very sweet lesbian romance that includes a trans character. She’s played trans actress Esther Fallick, who also worked with TCB as a consultant to make the character and show as authentic as possible. Seriously, if you want to see a trans teen thriving in their own skin, this is the show for you.

-An Edinburgh Fringe Fest production of The Solve It Squad Returns, a Scooby-Doo parody that follows the parodic versions of the Scooby Gang when they reunite as fucked-up adults to finally confront the almost-twenty-years-past traumatic murder of their dog Cluebert. I promise it’s funnier than it sounds. Esther, the Velma-esque super genius, is gender non-conforming and identifies with they/them pronouns. They also have a girlfriend WITH a boyfriend!

-A workshop reading of the QUEER SCI-FI TELEVISION COMEDY PILOT Intelligent Life. Unlike the other projects I’ve mentioned, this one is new to the TCB fans, but will follow a pair of ex-boyfriends forced to survive together in an extra-terrestrial colony. From the sound of it, there will be plenty of queer supporting characters as well. This frankly sounds like it could be tumblr’s dream show, and it’d be great to support its development.

-The Great Debate—a live comedy game show where comedians debate silly things. While this obviously won’t have narrative gay rep like the other projects, it will showcase gay talent (at the very least, Tin Can Brother Corey will participate in every show) and may include debates involving queer topics.

-Gross Prophets, in which three wannabe gurus/cult leaders lead a seminar on the path to enlightenment. This is a completely new stage musical so I honestly don’t know if it will contain any queer characters or themes. But the TCB queer track record is pretty good!

Guys, I’m so genuinely so excited by this season. But all this awesome queer art won’t happen unless we get their kickstarter funded. And they need our help! So let’s get fundraising!!

TLDR; Comedy group Tin Can Bros are attempting to fund a season positively filled with queer stories and characters, and they need help! If you want to support the creation of queer theatre and the development of queer TV, consider checking them out and giving to the kickstarter!

[girlactionfigure]

Hanukkah on Broadway | “Tomorrow” Reimagined Featuring Julie Benko and Cantor Azi Schwartz

Celebrate the spirit of Hanukkah with this new arrangement of "Tomorrow" from ANNIE. Featuring Broadway star Julie Benko, internationally renowned cantor Azi Schwartz, and a choir of over 50 voices from the Jewish Broadway community, this one-of-a-kind music video captures the themes of hope, resilience, and light that define the Festival of Lights. Filmed in the heart of New York City, this video showcases a spectacular takeover of Times Square billboards, uniting Broadway magic with Jewish tradition.

[lifeofmarvvel]

One thing I love about the show-within-the-show aspect of the Hatchetfield shows is that makes all the songs associated with them diegetic no matter what.

Tgwdlm is entirely diegetic, so that's a given. Deck the Halls of Northville HS ends up being a movie that's playing at that moment. Just For Once perfectly showcases Ruth's feelings at the moment but is also shown to be from the Barbecue Monologues and is actually the main indication of what that show is like and is the only thing to include names of characters

It's just. So fun for me. There's a chance that some Hatchetfield middle schooler was going around singing DtHoNHS before everything with Wiggly went down because they thought it was a cool high school story. Just for Once is a Broadway song within npmd and will be sung at the actual production of the school play, too. It was probably Ruth's favorite song in the show and that's why she picked it to sing

Just. The little details it adds. It's so cool

[atinystraynstay]

Steal The Show - Jung Hoseok

Synopsis: He was amazed by her. He knew how hard she'd worked for this moment, so being able to see her do her thing made him feel complete. She outshined the sun.

There was just one thing left he had to do.

Pairing: idol! Jung Hoseok x idol! fem reader

Genre: fluff, tiny bit of angst, friends to lovers

Word Count: 2.8k

——————————————————————————————————————————————————————————————————————————————————

"J-hope! J-hope! J-hope!" The sound of cheers made Hoseok's heart shake with excitement. If there's any place he loved the most, it was being on stage.

Hoseok was wearing a pair of baggy jeans, an olive green tee-shirt, a black hoodie, and a black and white bomber jacket. Tonight, he was performing on the street (with J. Cole) for the first time. He was excited to showcase this stage for not just for Army, but for everyone. Especially for you.

You initially met Hoseok when you both were at an all-intensive dance class in New York City. He was shooting a music video, and you were attending university for dance. He was impressed with your dancing abilities, stepping back to watch just you when it wasn't his turn to dance. You moved as if you were made out of water, very fluid yet so in control of your body. He was amazed.

At the end of the lesson, Hoseok asked if you wanted to grab lunch. To be honest, you didn't really hear of BTS before meeting Hoseok. You figured he was your average guy from Queens who loved to dance. However, watching the dance practice videos he showed you at the cafe next door, you were amazed.

You didn't think the K-pop industry was for you though. You originally were trying to make it on Broadway, that's why you decided to attend school in the city. You wanted to network and make connections, wanted to go to auditions when you had free time. The politics involved in the Western music industry turned you off completely.

When JYP announced they were doing auditions across America, you decided to take the jump. It also helped that Hoseok pushed you to just try out.

"I'm not saying I want you to become an idol. I'm not saying I want you to move here to Korea. Even though I'd love living in the same part of the world as you," he said over FaceTime, laughing. "But it doesn't hurt to audition! Worse case, the audition is good experience for the next one you do."

He was right there. You just needed to put yourself out there. You've only done a few casting calls for ensembles, but you wanted a challenge. You wanted to attempt to go for a lead. And to an extent, auditioning for a music company was a challenge. It was out of your wheelhouse, but Hoseok reassured you that the k-pop industry drew people from all over the world from all sorts of backgrounds.

And somehow, you made it past the first audition. You sang "Fast Car" to showcase your singing abilities, even though you come from a dancing background. You were then asked to freestyle a dance, which honestly was the easiest part of the audition. It probably was easy considering you and Hoseok often freestyled with each other over FaceTime when you were in your own respective dance studios.

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"Hoseok?"

He looked over his shoulder, a smile immediately on his face. He knew that voice anywhere.

"Y/n." You were wearing a light blue dress. There was a cutout in the shape of a heart surrounded by silver rhinestones. hugged around your thighs, showing off the white fishnet stocks. You wore a matching pair of white block-heeled boots that stopped short of reaching your knee. Your hair was down in curls, framing your face. You looked divine.

Before he knew it, you walked right up to him and hugged him tightly. He immediately wrapped his arms around you, holding you close to him. He got a smell of your perfume, something that he's grown very fondly over. It smelled like cherries and vanilla. A scent he favored resonated with you.

"I've been looking for you all over," you giggled. His heart swelled at the thought of you searching for him.

"Well know you've found me," he winked. "You ready to go kill it out there?" "And know that you're watching me? Of course."

Hoseok wasn't sure what the line-up was. He only knew that he was geared towards the end of the showcase. He always loved watching what other artists and groups came up with, sometimes making their usual performances extra special. Hoseok also liked being the one to watch smaller acts, giving them a source of encouragement as they were just at the start of their careers.

He also strategically placed himself here, right at the side of the stage, so he could watch you. Not only did he want to watch you perform, but he wanted to be the first and last person you saw before and after being on stage. He wanted to cement himself as your biggest supporter, in more ways than one. "Y/n, five minutes. Let's get you into position," one of the backstage crew announced.

That's how it always goes when it comes to performances like this. It was hectic all over. People were running around, making sure the appropriate stages were in place and artists were ready to go. It was one after the other, no real break until the last performance.

You looked up at him, a slight frown tugging onto your lips. You were hoping to have more time to catch up with Hoseok before taking to the stage.

"Promise to be here when I get back?" "Angel, I'm not going anywhere."

This time, he kissed you on your cheek before moving his lips to your ear. He could feel the eyes on him, not wanting to tell him to hurry up but also getting a bit antsy. Hoseok was a gentleman, so he could be quick.

"I'm always going to be here. Go rock that stage so you can return back to me."

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I feel so much lighter like a feather with you out my life With you out my life

The crowd screamed as you were twirled around the stage. If anyone was born to be on stage, it was you. You were smiling wide during the instrumental part of your song, your backup singers the harmonies.

You were done by the stage extender, interacting with your fans. Truth be told, you were surprised people were that responsive to you. You felt like you were at the start of your career, still trying to build a name for yourself. Of course, you took nothing for granted.

Hoseok wasn't surprised. He has seen your rise to fame happen both in person and online. People were captivated by you, but he wanted to make sure you knew he was front of the line.

Right now, you were performing a song you had written to your ex-boyfriend. Hoseok remembered that night so vividly. He had never seen anyone write a song that quickly besides Yoongi. You used all your anger to channel into this particular song. Your ex doubted that you could make it, he didn't see your potential.

But Hoseok did. He knew you were a shining star. You just needed the right support system to boost your confidence and help you pursue you dreams.

And you were blessed to have someone like Hoseok in your life. Not even someone, a man like Hoseok. He made it easy for you to forget your ex boyfriend. He was the one who reassured you, uplifted you, and showed you love. You weren't sure if there was a chance of you two getting together, but you were a wishful thinker.

it feels so good not carin' where you are tonight And it feels so good not pretending to like the wine you like

Your hips were swaying as you strutted back up to the main part of the stage. The crowd went wild for you as you ran your hands through your hair, letting it fall back down to your back.

Once you were center stage, you glanced over your shoulder. You grinned to see Hoseok still to the side of the stage, watching you. You winked at him before looking towards the crowd again.

I slam the door

You kicked up your foot as you were closing the door. You wore a smirk. Here goes nothing. I hit ignore

With your back towards Hoseok, you bent over slightly. The amount of times you ignored texts and calls from your ex were too high too count. You knew one thing for sure though. You would always pickup for Hoseok.

Hoseok's eyes widened as he watched you. That's new. Was that intended for him? Were you responding to what he said to you before you were whisked away to get on stage? He bit his lip gently, a smirk on his lips. He was proud of how far you've come, both in your personal life and professional career. But he couldn't help but feel his ego swore as he thought you were showing off for him.

Well played, y/n.

I'm saying, no, no, no, no more I got you blocked Excited to never talk

You were standing up straight again. You popped your hip slightly. The hand not holding your bedazzled microphone also resting on your hip. You wore a smirk.

I'm so sorry for your loss.

------------------------------------------------------------------------------

The stage lights went dark as you bowed to the crowd. There was a loud roar of cheers, fans begging you to stay. You blew a kiss though before you were escorted off stage. Your mind was in the clouds, overjoyed by the outcome of your performance. That couldn't have gone any better!

There was just one thing left to do to truly make this a night to remember. Someone handed you a water bottle as your chest rose and fell rapidly, your heart racing from the performance and adrenaline rush you were experiencing. You grabbed the water, but kept your eyes locked forward.

From the moment you left the stage, your eyes were locked on Hoseok. You didn't have to go searching for him. He stayed as he promised. He wore a wide smirk as he waited for you, members backstage of the production and your manager checking in with you. "Y/n, we can either stay to watch the rest of the show or head back to the hotel." "I'm staying."

Once you finally were away from the staircase leading to the stage, the crowd around you began to disperse slightly. You passed the water bottle in your hand to your manage before you took off running towards Hoseok.

You weren't thinking straight. All you knew was that you needed to get to him. It was as if something had possessed you because before you knew it, you were jumping into his arms. He caught you easily, the two of you in a fit of laughter. "That was amazing, y/n! You are amazing," he said, grinning. You grinned back at him. Your hands rested on his shoulder as he twirled you around a bit. Everyone around you figured you had a close friendship. A very close one, indeed. But after the exchanges between the two of you, that was going to take a step up. You were sure of it, but just not in the eyes of public.

"Come on, I think we got some talking to do, sweetheart. I got a little bit before going on stage."

Hoseok gently set you back down to your two feet, but had a hand securely on your lower back. People eyed the two of you as you passed by. Artists that you admired, friends, and others congratulated you on a successful stage. All you could do was smile and bow politely, both out of breath but also trying not to stop too long for a conversation. You weren't trying to be rude. You just had other priorities.

His thumb caressed your lower back. You didn't have to question where you were going. You always put all your trust into Hoseok. He has prove time and time again his loyalty and his sincerity towards you. He was a rare find in a world that tended to be more cruel than kind.

After a few moments, mainly with you focusing on the feeling of his touch, you found yourself out of his dressing room. He pushed it open, motioning for you walk through the threshold first.

"Always the gentleman, aren't you, Hobi?"

He chuckled and shrugged, watching as you walked in first. Once he made sure you were safely in the room, he closed the door behind him. He locked in, not wanting to get interrupted again like before.

This time, he let his heart take over rather than his mind. He came up behind you, wrapping his arms around you from behind. You giggled in surprised, letting out a soft gasp as he lifted you up with ease. Wow, he's gotten stronger since the last time you saw him.

Carefully, he had you sit on the counter of the makeup vanity set up. His makeup team from the company already had done the makeup they needed to do earlier. They opt for a more natural look, seeing as this song was personal for Hoseok. And much to your happiness, you got his bare face all to yourself.

Your legs were slightly parted, allowing Hoseok to slip in between them. Biting your lip gently, you gazed up into his eyes. You were trying to cipher what could be going on in his mind. You were getting all the right signals from him to confirm your assumptions, but you wanted to make sure you weren't jumping to conclusions. One of your hands gripped the edge of the counter, the other hand resting on his forearm.

"Y/n, I think I'm done playing games," he murmured. One of his hands rested by yours. Not exactly touching, but your want to feel his skin on yours burned within you. His other hand lifted up to brush the hair out of your face. He tucked a few strands of your hair behind your ear. His hand then gently rested on your cheek.

The confidence you had on stage melted away. You could feel your body warm up, seeing how close you were and how alone you truly now. The chaos outside was white noise. All your attention was on Hoseok without any interruptions. He smirked seeing the shy side of yourself starting to appear once again.

He loved witnessing all the sides of you. While yes, you two were prominent in each other's lives, he wanted to learn more about you.

"I'm not sure I know what you're talking about," you said softly.

He scoffed. "Really? You don't remember that little stunt you pulled on stage? Come on, darling, you trying to tell me something?" "But what about you, Hoseok? What was that you told me earlier?"

He hummed, nodding his head. "That's the games I'm talking about. Why don't we cut to the chase, huh? Stop torturing ourselves?"

This time, you nodded in agreement. You were onboard to full send, to take this friendship into uncharted territory for the two of you. Yes, it was scary to take this friendship into a level that most friends don't go. However, if Hoseok was willing, so were you.

Wanting to take back a bit of control of the situation, you slightly tilted your head. Your lips hovered right underneath his. His breathing seemed to hitch, which caused you to smirk.

Look who is now turning soft.

Truthfully, you made him weak and he thrived off being your weakness. It was as if subconsciously you two always knew you had feelings for each other. Yet, for the sake of the friendship, you oppressed any feelings you had. You were at the point now that you were boiling over and it was all seeping out. Everyone else saw how you two stared at each other with hearts in your eyes. You both were just catching up to speed.

"How do you propose we stop torturing ourselves, huh? Tell me, Hobi. What's been on your mind?" "You're the only thing ever on my mind, y/n," he murmured.

The way his voice dropped an octave made you want to whimper. You felt small with him towering over you. He knew the little things to do to make you weak in the knees.

"I'd just like it if you no longer live in my fantasies and were actually mine. That way I can make every thought I have into a legitimate plan with you." "Then make it happen."

Hoseok's eyebrow raised yet he was intrigued. His hands moved to your hips, pulling you slightly closer to him until you sat right at the edge of the counter. Your legs wrapped around his waist, keeping him close to your as well.

He began lean in, his lips grazing yours. You both sighed in contact. So close yet not quite there.

Before his lips could fully press against yours, there was a knock at the door. "J-hope, 5 minutes!" Dammit! He smirked as he pulled away while your frowned, disappointed to not get to kiss him quite yet. You raised an eyebrow, surprised to see him not more disappointed. "All good things come with time. Just had to get one more game in before winning you over. I'll see you after my set."

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Note: I originally got inspired from listening to Steal the Show by Lauv. since seeing Elemental a few months ago. I also have been obsessed with Sophia Carpenter's performances of Feather while she's been the opening act for Taylor Swift's Eras Tour in South America so my mind got a little creative haha

Hope you enjoyed it!!