#In fact it’s actually very shallow

[bpsimple]

its ok

[mymarifae]

hsr's a great game it's like "hey here's this guy who's a cyborg cowboy of all things isn't that fun. look at how wild and flamboyant and entertaining he is! an automatic censor was installed into his universal translator when he got his rockin robot bod so he can't swear anymore and this is especially funny in the cn and jp text of the game because his swears are replaced with things like sweetie, baby, and cutie."

"also his entire homeland was wiped out by the intergalactic capitalistic monolith that's been cruelly siphoning valuable resources from countless planets with little to absolutely no regard for the residents. they spared nothing once their boss gave them the go ahead to use military force. not even his baby daughter, who had just barely learned how to walk."

"he never got the chance to erect a grave for her. or the other loved ones he lost."

[bayetea]

I don't like the judo flip in moa as much as the next guy but in my eyes it's largely the result of rick not taking female violence half as seriously as male violence (a result of viewing women as weaker and inferior to men such that their acts of violence don't need to be taken as seriously) and not so much anything about annabeth herself. like I do genuinely feel that annabeth is a complex heroine and definitely one of the better ones in the realm of ya action-adventure fiction produced in the past 25 years but she is still a girl being written by a man and all I'm saying is that her writing clearly reflects that sometimes (more in tags)

[jellydragons]

May the whole sky fall, may it all come down, waste it all for the truth, for the fool in her wedding gown

[transmechanicus]

I feel like you’re giving me a warped impression of what 40k is like.

Is this because of the adorable catboy dark angels? Do you hate me bc i like it when my power armored kittens yell "REPENT FOR TOMORROW YOU DIE"?

[callixton]

can i say as a self confessed enjoyer of ‘dark academia’ books i think it is fucking stupid to refer to it as a genre rather than like. a trait

[feathered-moths-ablaze]

I have a question about CBF

I swear in the videos one of them said that she could bring 'Insanity' if she was touched (and was implied that was how Jimmy got into Ghost?????) Was that actually said or did my brain manage to mix up words from different videos?

[vullcanica]

WHAT KIND OF ART WOULD SOMEONE MAKE ABOUT YOU?

paintings

everything you do is a work of art. you are beautiful without even trying, simply lounging around looks like you’re posing and waiting for someone to sketch you. you come off as light and easy but you are often misunderstood. people don’t tend to see you for who you really are, and focus too much on how effortlessly you appear to navigate the world. there's some kind of darkness behind your eyes that only some can see under all the layers of paint.

Tagged by: @vilestblood kiss !!

Tagging: @dionidai (vratis), @vhgr (muse of choice), @s4ints (todd), @demonstigma

[mihai-florescu]

I’M SO GLAD YOU’RE READING MAHOYAKU BECAUSE I KNEW IT WOULD CHANGE YOU FOREVER Honestly I think the things you love about Enstars and Idolish7’s writing are baked directly into Mahoyaku and I was hoping you’d give it more of a chance. It is SO incredible

Im sooo normaaaal about itttt *insert the distressed charlie kelly pepe silvia meme* and i knew i was going to love it for years ive been looking at out of context quotes and stuff but i wasnt able to focus on really giving the story the attention it deserves before. I dont particularly have time now either, i dont know why the stars aligned like this, but im having so much fun i dont even mind...

[rawliverandgoronspice]

.

help I'm having a case of "game got out, many complicated feelings, beer in a dingey hotel room by the highway on my own", we'll get through it but I might cry about it a little bit at some point

[unproduciblesmackdown]

meanwhile, some quotes about the material:

The "musical within a musical" is about a ramshackle theater troupe haphazardly putting on a show destined for Broadway in exchange for doing chores around the farm. People fall in and out of love throughout the process, all while the city folk comically struggle with the country life. Emmy-winning writer Cheri Steinkellner was given one mandate, however: "No tractor," she laughed on the phone just weeks before the show was set to begin previews. "They were adamant about that. And there's a tractor in the movie. There's a tractor in almost every scene. It's in many ways about a tractor. But I was told absolutely no tractor." [...] "We're all working on this like we're on an actual summer stock schedule. Art imitates life imitates art. It's just go, go, go. And I couldn't be prouder of our cast, and our Jane and Joe," Steinkellner, who is also a Golden Globe winner, said. Her writing partner also happens to be her husband Bill. "Our 'Summer Stock' is more 'inspired by' than adaptation. There are four songs included from the original film that you can't not do. But the new songs are the best of the old songs. The secret sauce was the great American Songbook." She said "It Had To Be You" is one of the classics audiences can expect.  

[source: ‘High School Musical’s’ Corbin Bleu makes his Goodspeed debut in ‘Summer Stock’]

So, how different is the musical Summer Stock from the movie? It feels like a whole new animal, even though we’ve borrowed some elements from the movie. It is still, first and foremost, a love letter to the theater; it’s about this group of players who come to a farm to put on a show. So many numbers are how they get into farming through performance! We also still focus on how Joe and his partner Phil [played by Gilbert L. Bailey II] fight to get the show on its feet, and how Joe helps his eventual love interest Jane [played by Danielle Wade] find her inner performer. But a lot has changed from the film, including some of the relationships. We have a brilliant new writer, Cheri Steinkellner, who has dropped in a lot of nods to why we love musical theater. We have Veanne Cox as Orville’s mother, who is the new “villain” of the piece. And we’ve added a lot of music, such as “It Had to Be You” and “It’s Only a Paper Moon,” and we’ve switched around who’s singing some of the film’s songs, such as “Dig, Dig, Dig” and “Happy Harvest.” But the most important thing is that while we’re still in the late 1940s, there are two Black actors playing the male leads – me and Gilbert Bailey as Phil – and it is definitely not color-blind casting; it’s color-conscious. That means we’re dealing with an interracial love affair, for instance. The racial element is an additional driving force, which I think is necessary, but the main story isn’t about the struggle for racial equality. In the end, it’s still a feel-good MGM-like affair. You’ve previously stepped into the figurative shoes of Gene Kelly, who originated the role of Joe in the movie, as well as Fred Astaire. How does that feel? I am always aware these golden age icons from MGM have such a specific style and that they make what they do look easy. Of course, I want to bring that to Joe. But in the tap dance sequence, for instance, we also have a bit of Gregory Hines, even though I’m no Gregory Hines. And at the end of the day, it’s me on stage, and I work hardest on finding my own characterization of these roles. This is your first time working with Donna Feore, who is one of Canada’s leading directors and choreographers. Tell me about your experience with her? Donna is wonderful to work with, both as director and choreographer. I think the best thing about her handling both roles is we don’t have to get everyone on the same page, because she is the same page. She’s also really hands-on with the music; she fought to have a drummer in the room during rehearsals so we could find those beats while we created the choreography, not just insert them later. As she directs, she considers the movement of every scene, but also the story that we’re telling through that movement! It’s not movement for movement’s sake, and I appreciate that! Goodspeed isn’t the easiest place to do a dance-oriented show, is it? Yes, we’re dealing with the confines of a very small stage, it’s like dancing on a Chiclet. I am so impressed how vibrantly our cast can move on this stage. We’re on top of each other!  I think we’d look great on a bigger stage, which is just one reason why everyone is focused on moving this show to New York.

[source: Interview: Corbin Bleu Talks About the New Musical Summer Stock and the Fourth Season of HSMTMTS]

“Summer Stock” is right in Corbin Bleu’s wheelhouse. “I feel at home on the stage,” he said. An actor, singer and dancer his whole life, Bleu is appearing in the upcoming stage adaptation of the Hollywood musical beginning July 7 at the Goodspeed Opera House. “I established myself in this particular genre, doing shows associated with Gene Kelly or Fred Astaire,” he said. “I am a bit of an old soul. This is what my voice naturally goes to.” The “High School Musical” star is playing Joe Ross, one of a troupe of actors that descends on a small farming town to turn an old barn into a theater. It appears he was born to play the role originated by Kelly on the big screen. “I grew up as a theater kid,” Bleu said. “I grew up watching old MGM movies. I was a theater nerd and a musical theater fan. My dad kept a storage unit of stuff from our childhood, and he found an old school paper from when I was in elementary school where I’m dreaming of performing in musicals.” [...] Of the four shows, “Holiday Inn” is most similar to “Summer Stock,” which was also adapted from a movie . “Holiday Inn” was a fairly close reworking of the film, but “Summer Stock” takes a few more liberties. “It’s not the exact same story,” Bleu said. “When I watch the movie, I think it could definitely use some updates.” Those updates include a multi-racial cast. “Let’s not skirt the obvious,” Bleu said. “I’m a Black guy doing characters traditionally played by white men, doing things Black men weren’t traditionally able to do easily at the time these shows take place.” [...] “Some parts of the book are still in process,” Bleu said. “Cheri is in the room with us at rehearsals. We want this to feel modern, but we don’t want to shoehorn anything in. “I was also part of the workshop we did in New York a month and a half ago,” he added. “I’m loving seeing it and I’m loving being a part of it. We know this genre. It’s a feel-good musical comedy, a big song and dance show.” Though there is a lot that has been rethought when reshaping “Summer Stock” for the 21st-century stage, those who know it as a Gene Kelly movie will have plenty to latch onto. “We are completely paying our homage to Gene,” Bleu said. “I am not Gene, but I do have a natural tendency to lean into that style. Gregory Hines is also a big inspiration. There’s tap dancing in this. There’s a whole Lindy Hop number. There are a lot of very large dance numbers.”

[source: ‘High School Musical’ star Corbin Bleu is rethinking ‘Summer Stock’ at the Goodspeed Opera House]

[dual-domination]

Perfect tags by @mostlikelytofangirl  ❤️

[therevengeoffrankenstein]

i really don't think it's helpful to discuss historical figures as being 'actually' ugly or 'actually' beautiful or not.

better phrasing: were they perceived as being ugly or beautiful by others during their time? why? why not? how did this affect them? what does this say about the beauty standards of the context they lived within (time, place, status, etc.)? what might their view of their own beauty or lack thereof say about themself?

[noblereason]

For someone who told Ichigo that he'd murder Rukia with his own hands, the manga sure has a lot of subtly sad drawn panels of Byakuya looking remorseful when he stands at the execution grounds.

[bunjywunjy]

how do manatees even survive as a species if they're way too peaceful. somehow nothing wants to eat them. not gators or sharks or whales

it's quite simple, they're their ecosystem's version of a megafauna grazing mammal! they're simply too large for most predators to bother. they are, in fact, fucking huge.

see, manatees don't actually live out in the open ocean. they live in rivers, estuaries, and shallow seagrass bays like this:

so the thing is, large macropredator sharks and superpredators like killer whales don't go here! they stay out in open deep water, so they never really cross paths with manatees in the first place.

there ARE sharks here, but they're small! adult manatees are completely out of their prey size range, and they're more interested in fish anyway.

alligators do live here also, but even a very large alligator can't really dream of preying on an adult manatee! again, they're simply too big.

so, yeah. this is just another case of "this mammal is able to get away with being a gentle giant by simply growing too large for any predator in its area to touch" and I think that's beautiful.

[gailynovelry]

As as unasked-for addendum, people are also using fanfiction comparisons and “boy I sure hate BookTok / anything I think looks like BookTok (book-shaped things)” to belittle small authors that they have no intention of actually reading. Every time I release a new book, I have to brace us for snarky comments about how it’s probably yucky, plotless fanfiction with the serial numbers filed off.

And then I have to grit my teeth and decide if I should politely explain that my silly fantasy book series is also a painstakingly designed and visceral treatise on my fear of queer genocide.

It’s a little heartbreaking when queer folks from my own community are leveraging the same “this thing that I refuse to read should have never been written or published” commentary as the literal neonazi and smattering of other alt-right trolls who bumped into my work.

AND THEY’RE FUCKING CORRECT