#I am glad I played it

[minweber]

Well, thank you, Veilguard, for supplying me, for the next few years, with something over which to agonize how great it could have been if just about everything about it was different - or, as it is better known, The Essential Dragon Age Experience.

[kiisaes]

apple of my eye 🔪

[fluffyartbl0g]

Everytime I go into the Zosopp tag, I just see people SCREAMING CRYING SOBBING about the lack of posts IN the Zosopp tag. THE ZOSOPP ECONOMY IS IN SHAMBLES

[hinamie]

summer is coming so i'm giving them the beach day they deserve

[roscolate]

I’M LEGIT TEARING UP RIGHT NOW 🥹🥹🥹😭😭😭

MY BOIS ARE BACK THE MARIO AND LUIGI RPGS ARE BACK OMG I CAN’T BELIEVE THIS RN 😭😭😭

[kaiserouo]

New raid mechanic just dropped guardians go back to your math class

disgusting stuff below.

ykw if the warlock remembered just enough about the relation of fourier series with function inner product space he can indeed do that in his head.

we define our function inner product space C[0, 2π] with a set of functions continuous in range [0, 2π], and the inner product of two functions in this space f, g ∈ C[0, 2π] is defined as ∫f(x)g(x)dx (integrated in [0, 2π]). note that the functions in set S = {cos(nπ) | ∀ n∈ ℕ} ∪ {sin(nπ) | ∀ n∈ ℕ} are orthogonal to each other in this space, and all of them has squared norm π, so you can just match the terms with the same function and sum them up. in this case only 6cos3x on the left and 5cos3x on the right can match, along with the divide by π, the final answer is 6 × 5 = 30. another example is ∫ (3cos(x) + 4cos(2x) + 6cos(3x))(-cos(x) + 5cos(3x) + 18cos(5x)) dx (integrated in [0, 2π]) = (6 × 5 + 3 × (-1))π = 27π.

don't actually do that tho it's just a trivia.

[blueskittlesart]

rediscovered girldad sherlock holmes recently so im going to be way more insufferable than usual

[rosalie-starfall]

Saturday Night - 2024

October 11th 1975

Gilda: "You get to be the hot one." Laraine: "Jane's the hot one." Jane: "I'm the mom... The still fuckable mom."

[fisheito]

before mirage of scales: I NEED YAKUYA EVENT

after mirage of scales: ah. um. i . i don't need yakuya event so much, anymo.re... hah..a...

[humming-fly]

Inktober Day 25 - Alpha Gaming

Today I thought I'd go ahead and hunt down that new hedgehog game everyone’s so excited about, since I had a target giftcard and it's been a hot sec since I played one of these - was fully planning to hop on that cool winged shadow trend for the inktober to commemorate my success, but that changed 15 seconds into the first stage when I remembered I actually suck shit at sonic games 👍

[vaggieslefteye]

ᴍᴀᴋᴇ ᴍᴇ ᴄʜᴏᴏꜱᴇ ↳ anonymous asked: HUSK and ALASTOR or angel and valentino?

[dragonsareawesome123]

Every time Pond and Winny have a scene together in this show, I get reminded that they were originally supposed be a pairing.

[seagreenlaurin]

Reed the flame shadow

[ingravinoveritas]

This past week, I traveled to London to see Macbeth. Everything I had heard and seen about David, Cush Jumbo, and the overall production convinced me that it was not to be missed, and so I took the crazy chance of purchasing a ticket months ago, and it was the first time I've ever gone to another country just for a play.

Ever since I was a kid, I have been going to Broadway shows, and the experience of live theatre has always been something incomparable and incredibly meaningful to me. Seeing something beyond Broadway, however, never felt possible until now. This opportunity arose at a moment when I was finally able to seize it, and now that I have attended the play not once, but twice (thanks to a lovely person who was able to help me obtain a £25 day ticket), I can say that Macbeth was, without question, the most amazing thing that I have ever seen on stage.

What follows is my review/thoughts on the production, and I will try my best to avoid spoilers (though fair warning that one or two may arise, so proceed with caution).

In high school, Shakespeare was something we were taught. It was an assumed part of the curriculum, labeled as a classic. Yet it seemed to exist in a time capsule--a product of its era, and of an English language barely proximate to the one we speak today. We learned Macbeth on the page, in annotations and themes and meter, rather than something pulsing, beating, living. Something that makes us feel. And for nearly two hours in a beautiful Victorian theatre in a little corner of the West End, all I did was exactly that.

I felt. And after seeing this play, I am not the same person on a molecular level that I was before.

Everything about this play--from David's mesmerizing portrayal of Macbeth to Cush Jumbo's wrenching turn as Lady Macbeth to the entire ensemble cast to the staging choices (light, sound, and so on)--is extraordinary. It is breathtakingly ruinous. It is so fully immersive that by the end you somehow feel bruised, viscerally disgusted and wrung out in equally beautiful measure.

It's almost misleading to say that we the audience are simply watching the play, because thanks to the binaural audio design (headphones), we are in Macbeth and Lady Macbeth's minds, and become accomplices to the characters' wicked deeds. When the porter (Jatinder Singh Randhawa) comes on to provide comic relief at exactly the perfect moment, it soon becomes clear that it is a distraction from our own discomfort at what has just happened. But it is a short-lived respite, as we are soon plunged back into the action and the characters' spiraling descent into madness.

In terms of David specifically, seeing him on television or on any screen profoundly pales to seeing him on the stage. In much the same way that the stage is Michael's natural habitat, it is also David's. The way he moves, the way he holds himself when he's not even speaking--which I got to see up close when he knelt directly in front of me on several occasions--is meticulous. David becomes the character he is playing, down into the pit of his soul. He disappears so thoroughly that I very quickly forgot that I was even watching him.

So many people can recite Shakespeare, but there is a marked difference between recitation and what David does. Together, David and Cush make Macbeth and Lady Macbeth feel like the Bonnie and Clyde of the Elizabethan age (only hornier). And the themes the play invokes--greed, fear, jealousy, power--are shown to be themes not of a particular era, but of humanity. David especially is so preternaturally good at making all of that unbearably real. He not only makes Shakespeare accessible to the modern world--an already difficult feat on its own--he makes it timeless.

For the last ten minutes of the play, I felt like I stopped breathing. The evil that Macbeth perpetrates, and the realization that he has not become like this, but rather that this is who he has always been, hits full force. As much as this play is very definitely an ensemble piece, David is the standout. He commands the stage, and at no point is he more powerful than when Macbeth is falling apart near the end.

(On a purely aesthetic level, this is also when David looks most beautiful--the wild hair, the form-fitting shirt heaving with the rise and fall of his greyhound lean chest, and the majestic sweep of the kilt with every frenzied movement. The complete erosion of the line between sanity and insanity, but also showing us how tenuous that line was to begin with. And he is utterly gorgeous while doing so.)

It's also at this moment in the play that we see how skillfully David has manipulated the audience. Where Michael uses a character's emotions much more overtly and aggressively--sniffing the audience out, stalking around the stage, feeling as if he's about to pull you up with him--David is far more controlled. He draws you in slowly, carefully, and it's only when we see the depths of Macbeth's depravity (notably killing Young Siward) that we realize the truth:

He got us. He made us the witnesses to Macbeth's malice, made sure we couldn't look away. And now we are complicit.

If I had to pinpoint any negatives about the play (which is extremely difficult to do), it's that there is only a brief moment where the pacing lags just slightly, and it's because David is off stage for a considerable period of time. The cast is absolutely incredible, bar none, but the energy doesn't quite maintain that high level when he is not there.

Also, from a sensory standpoint, this is very much not a sensory-friendly production. There are several instances of sudden loud noises in the headphones (which I found especially jarring), as well as the use of flashing lights, and considerable use of smoke at multiple points. All of these were more acute because I was sitting in the Stalls (second row), so I can only speak to it from that vantage, rather than from other locations in the theatre. But for anyone who is autistic (as I am) or has sensory-processing challenges, be advised that this play is definitely inaccessible in those respects.

When I left the Harold Pinter Theatre that night, I felt as though my entire central nervous system had been rearranged. There genuinely is no way to be normal about this play, because it is not a normal play. It takes apart everything you know about Macbeth and puts it back together in the most unexpected, electrifying way. It is the beauty of destruction, and no one embodies that more perfectly than David. Even days later, I can still feel the buzzing of my skin, the blood rushing through me, fingertips tingling from some heady combination of arousal and fear. (Or as Dr. Frank N. Furter once put it: "A mental mind fuck can be quite nice...")

The moment the lights went to black, every single person in that theatre was on their feet in a standing ovation. The applause was thunderous, and seemed even louder in the wake of the complete silence that preceded it.

I had sat in that silence--awestruck, captivated--and thought to myself that I could watch this production forever. And I would go back and do it all over again right now if I could. If you have the means, the opportunity, it is an experience I cannot recommend highly enough.

David is truly a master of his craft, and yet performs without a hint of ego. He gives everything he has and leaves it all on the stage. And what he and this team of people have come together to give us is something I will remember for the rest of my life.

(Pictures taken on 10/12/2024.)

[mulders-too-large-shirt]

thinking about how mulder loves to get scully a gift, usually terribly heartfelt, even if disguised as something flippant:

the superbowl vhs tape he brings her when she wakes up from her coma in one breath (and her deadpan "i knew there was a reason to live")

tickets for a football game to watch together in irresistible

bringing her flowers to the hospital in memento mori (he lies, saying he stole them from a guy with broken legs to make her laugh)

the birthday keychain in tempus fugit (and when she finds a meaning to it, he claims "i just thought it was a pretty cool keychain")

that is a man who is always thinking about her.

[cobaltfluff]

so i started playing persona 4

where are the QoL features