#Traci Elaine Lee

[randomsufff]

Ok fuck it- I keep seeing the Great Gatsby pop up (thanks Gravity Falls lmao) and recently saw The Great Gatsby on Broadway and I need to spill out my thoughts on this musical

I’ll hold off my grips with it compared to the book till the very end- since I know a lot of argument around this musical is that it’s an adaptation and the adaptors are liable for taking creative liberties. Which- yeah! That’s valid! But I’d argue that in order to adapt something successfully, if you’re gonna make huge (and I mean HUGE) changes to the source material, it’s gotta somewhat follow some reason that makes sense for the characters and/or adds some layer or depth to the story or else you get something like HBOs Velma. But more on that in either an entirely other post or later depending on how long this gets

Read bellow if you want a really fucking long, detailed description of the show and what I think it did right and very, very wrong.

I will say- as a TLDR rn- I thought the show was just…ok. Like- “yeah that show sure was a musical.” kind of ok. The good songs and amazing spectacle of a few of the numbers kinda cancel out the bad pacing and really questionable narrative choices the show made. Also- hearing Eva Noblezada sing live changed my life.

OK- so I’ll start out by saying- I believe we had basically all the original current cast except for Jordan Baker was played by Traci Elaine Lee (who was absolutely phenomenal so I’m not too sad about missing Samantha Pauly)

I really thought the show was ok. Like I don’t hate it vehemently but I don’t love it either. I feel like the only reason it’s so famous is because of its two powerhouse leads (Hot take? Maybe.) Anyways, I don’t know how to go about this so we’ll go list form

1) PACING WAS ATROCIOUS

Again, not even comparing it to the novel- the pacing felt really off and didn’t even make much sense story wise. Like we would rush past certain information and then linger on scenes that didn’t really need to be lingered on? At least to me, I felt like there was other stuff the show should have prioritized showing- CAUSE THATS THE THING WITH THIS SHOW- is that they TELL not SHOW a LOT of information- so it kinda just feels like you’re being tossed plot without experiencing it.

For example, literally as soon as the show starts, Nick and party goers just throw all the information about Gatsbys party and being mysterious at the beginning by telling us and not showing, like he never shown to be cryptically hanging around in the first like 20 minutes of the show (at least that I remember- there was a lot happening in the opening number 😭) . Which sucks because they did this REALLY COOL thing right before the show started where Gatsby was standing there and was immediately gone as soon as a screen passed. LIKE YOU COULDN’T HAVE THAT HAPPEN AGAIN WHEN THEYRE ACTUALLY TALKING ABOUT HIM???

(Also- recently saw a rehearsal (?) video where Gatsby like actually opened the opening song “Roaring On”, and that would have been great if they kept that! Because looking back, I felt like Gatsby had the least amount of stage time. Which probably I sn’t actually true, but it really felt like it. Like where is the main guy??? His first appearance (after his little disappearing act) is like, 20 minutes into the show. Idk for something that’s called “The Great Gatsby” he sure wasn’t on stage a lot. )

Then a couple scene later, Gatsby reveals to Nick- a man he JUST MET FACE TO FACE- that he’s in deep love with his married cousin and asks him TO HIS FACE that he wants him to set up a meeting with her. And then they move on. Like???

If you watched the show, maybe this’ll make sence to you, maybe this won’t, but it feel like they rushed past everything in the original source material, and only expanded and talked at length the aspects they wrote in.

Also the ending was so. Incredibly. Rushed. Like we don’t even get to see Daisys reaction to killing/hitting Myrtle. As soon as the fight at the Plaza ends everything else happens in like 15 minutes. Are you kidding me. WE DONT GET TO SEE DAISY ACTUALLY HIT MYRTLE. They did the ol’ “Bright lights get shined at the audience as character pretends to get hit” but that’s it! Literally THE REASON why Gatsby is killed and we don’t get to see it or their reactions in the moment. They just… tell us what happened instead of showing it to us. (“Daisy tried to swerve to the next lane but there was a car coming- and then… she just peeled off. She’s packing now…” YOU COULDN’T SHOW THIS TO US???) No idea of how Daisy or Gatsby reacted immediately after, only the next day. No rambled and frightened dialogue of their game plan, no glimpse into Daisys psyche where it’s shown she’s not going to choose Gatsby after all. Nothing.

Oh! And guess how long Gatsbys funeral was? Like a minute long. Just Nick sitting next to a casket in the background while party goers, Jordan and Wolfsheim dismiss Gatsby with a throwaway line. Like bro… that’s your main lead character… shouldn’t you give him, idk , at least more than a minute on stage when he dies? And like yeah I get that that’s the point that he’s forgotten, but I thought it was going to be more prominent than that! Give me Nick standing solemnly next to a casket thats dead center on a completely empty stage while he narrates how no one showed up. How despite the riches and infamy, no one, not even Jays own father (cause literally no one was by the casket on stage but Nick) showed up for his funeral. Instead of weirdly dismissing it like it’s not important?

2) NICK AND JORDENS “RELATIONSHIP”

Nah this actually pisses me off because there’s literally no point in this being so highlighted when it literally goes fucking nowhere.

So their relationship arc goes like this: Jorden says relationships sucks because she wants to be an independent woman in the 20s. Nicks like, I am not looking for a relationship but if we were in one I’d let you do all those things. They flirt, almost kiss, flirt more, do kiss, Nick says “let’s get married /j” Jorden says “yeah let’s get married /srs”, they get ENGAGED, they fight after discussing if they inadvertently caused Myrtle’s death (Jorden intentionally let Myrtle know where they were going that night), break up, and never speak to each other the rest of the show.

HELLO? What the actual fuck was the point of this then? If you wanted to expand Jorden to be the independent, feminist, girlboss *cough lesbian cough* that she is, just let her stay single?? She doesn’t need to be with Nick if you want her to be a part of the main cast.

The main problem I have with this is that the musical put wayyyy too much emphasis on it. And it’s so funny because there’s this big, dramatic, movie-esc pause Nick does after he says “I don’t want to marry you”, and sorry to the people who genuinely gasped, but be fr, are we surprised??? Jordan has been saying from literally her first line that men/marriage sucks, and that she would never do that willingly- then when she get married to a guy she knows for, at most? 1-2 weeks (idk how long the musical take place over), I’m supposed to take that relationship seriously????

In fact, I felt like their relationship often overshadowed Gatsby and Daisys, which shouldn’t happen, because the whole fucking shows about Gatsby.

For example, they steamrolled Gatsby and Daisys reunion with a budding Jordan and Nick plotline, for some reason??? Like they literally show Gatsby and Daisy seeing each other, have them say a few sentences wistfully reminiscing their first meeting, then have them go inside the house while their silhouettes are shown talking while the audience stays with Nick and Jorden OUTSIDE as they joke and almost kiss each other. HUH??? How are you going to literally push your years-long, slow burn yearning MAIN ROMANCE reunion to the side for a budding relationship that came out of nowhere and frankly dosent need to exist? And since we’re not going book accurate, you can actually SHOW how Gatsby and Daisy fall back into each others orbit, how their conversation went. But no.

It got so bad that I honestly can’t tell if one of the themes of this musical is something about marriage because of how much they pushed the “married/ people in a relationship” dynamic. Like what are you trying to tell me? All marriages are doomed??? I don’t even know (mayhaps just me being aroace)

What grips me the most is that they don’t even get any closure. Like they literally never speak to each other after that night Myrtle is killed. (Mostly cause the show ends literally 5 minutes later). The whole show they put these two together, build up their romance, show them having cute and funny moments together… all for what? For nothing?

AND I DID LIKE THEM. They were a cute couple, and their chemistry and jokes together were funny and charming. Their dynamic was interesting too, with Jordan wearing the pants, so to speak, and insisting she maintain her freedom while in marriage/ a relationship which wasn’t heard of in the 20s. But for all that to end because Jorden didn’t want to tell the cops Gatsby and Daisy possible ran her over/they’re partially responsible??? Like they INVESTED. SO. MUCH. in this relationship (to the point where they got ENGAGED???) that it feels so stupid and dumb for it to end like “wow you’re heartless :c I don’t want to marry you anymore :ccc” “well too bad, L, you’re guilty too asshole. Bye.”

AND what really grinds my gears is that if they cut this whole shit out, or at least made it more in the background, it would give more time to flesh out the few other problems I have with this show

3) SONG… EFFICIENCY (?)

Ok last point that’s not as much of a complaint as the others, but it was still something that bothered me. Some of the songs just say nothing/ repeat stuff we already know. Mainly thinking of (and sorry to people who like these songs- I’m not saying they’re bad! They’re just not a lot of info there) “For Her”, “Go”, or “Shady”

Like “For Her”, he’s just saying “I did [list of things involved with his fame/money] for her” for 4 minutes and you don’t even know who “her” is until like, the last line. Like this could have been a perfect opportunity to deep dive into Gastbys upbringing/ past, but the most the musical goes into Gatsby’s past is that he was in the war. Like you don’t get the sense that this man worked his way literally from the ground up for this woman. It’s just so repetitive that, even though it was Jeremy Jordon, I was getting bored halfway through.

AGAIN, this is not slandering Jeremy Jordan (JJ stans please spare me), you could have the most amazing Broadway singer sing with the best technique, but if it’s a dull, repetitive song, PERSONALLY, I’d be bored. They could have just combined this with another song, or as I suggested, add more purpose to the song and maybe put it later in the musical.

Similarly, “Go” (and, AGAIN, love Jeremy and Eva) was super repetitive and could have just been reduced to dialogue.

And “Shady”, though also a really good song, frankly could have been cut out. For some reason the musical really wanted Wolfsheim to be a main antagonist/prominent character and gave him this song- but there’s nothing in it that wasn’t already implied in the first Act and it really has nothing to do with any of the other characters, other then a vague “Jay and Daisy” gotta keep their affair secret (which… yeah I think we know that, but also to compare that to… hiding dead bodies and minding your own business- it’s???? Idk what they were going for)

(Tbh- I conversed with my dad who also mainly wanted to see the show for Jermey Jordan and Eva Noblezada and he said that none of JJ songs were that memorable, which I kinda agree with. He’s a great singer, a very talented man, but the songs he was made to sing in this show were not it. Just nothing of substance or catchiness. Which SUCKS. Because how are you going to get someone like Jeremy Jordan and not have him sing an absolute banger? But weirdly, none of his songs (maybe except “Only Tea” which I really liked) stood out which I’m so disappointed about.)

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Ok that’s all just as it’s own thing (mostly) NOW MY FUCKING PROBLEMS WITH IT COMPARED TO THE BOOK

1.B) NICK AND GATSBY’S FRIENDSHIP

THIS IS THE BIGGEST ONE- Nick and Gatsby friendship is so fucking integral to the original, and it feels like it didn’t even exist in the musical.

Like regardless on whether you ship them or see them as friends- Nick was Jays only fucking friend. He was the ONLY ONE who truly cared about him and went to his funeral when no one else did. In the book, Nick did So. Much. just because he wanted to for Gatsby. Gatsby had to ask Jorden to ask Nick to set up his tea meeting, he attempts to charm and lavish him in trips, and even tries to pay the man to get him to agree. But Nick refuses and is even offended that Gatsby would pay him money for such a thing and immediately accepts the night he finds out. And they actually hung out! Like a lot! At least before Jay asks him for the tea request. And though it could been because he wanted to make it easier for Nick to say yes, they were friendly with each other, and felt like actual pals. Nick genuinely was worried about Gatsby at the end, and even tried to warn him about what he was attempting to do multiple times.

In the musical that bond is just… not there. They rush past meeting each other, they never hang out one on one, and any interaction between them seemed slightly aggressive or politely concerned, like one would be to a stranger, which they technically are!!! The only reason he agrees to Gatsbys plan is basically petty revenge against Tom for punching Myrtle and being an asshole to Daisy/ in general. (Which- I feel like a move thats so out of character for Book!Nick cause he also dislikes Daisy.) Like Nick never learns Gatsbys backstory here (I don’t think he ever tells it, not even to the audience).

The “ you can’t repeat the past” line seemed more aggressively exasperated in delivery then the more soft concern for a close friend I initially read it as. And the “you’re worth more then whole rotten crowd put together” line didn’t really hit as hard because they don’t feel like close friends and nowhere in the show has Nick expresses this pedestal he puts Gatsby on like in the book.

Literally the only times they’re together alone is their initial meeting, and setting up for tea at Nicks. Every other time either Gatsby is with Daisy or Nicks with Jorden. They could have at least put together a cool ass montage of them hanging together, using those moving panels, going through diffrent activities as Jay introduces himself with his Oxford and army line, instead of dumping it all on him on their literal first meeting in his study.

(Also noted that they made it so Gastby owns the property Nick lives on and is renting it out for the man. Idk why they did this- to make it so Nick is indebted to Gatsby??? Also Gatsby vaguely threatens/ says something with a condescending/threatening aura (???) before Nick leaves after Jay ASKS A MAN .5 SECONDS AFTER MEETING HIM FOR THE FIRST TIME FACE TO FACE for the tea set up. Like there was a moment where he held onto Nicks hand as they shake goodbye, held his eye and said a line (I forgor) and kinda stood there staring him down before Nick awkwardly left. LIKE WHAT WAS THAT???? WHO ARE YOU???? WHY??? Literally doing everything to make sure no one can ship them)

2.B) THEY STRAIGHT-IFIED MY BOY.

NICK WHAT DID THEY DO TO YOU. It felt like they wanted to take away any whiff of an implication that this man is gay. Like literally no build up to Jay and Nicks friendship, no meaningful scenes between the two, going head first and completely committing to Jordan, AND THE MR MCKEE SCENE BEING LIKE THAT.

AND MR MCKEE, IM SO, SO SORRY WHAT THEY’VE DONE TO YOU. They made him to be some predator who harasses Nick the whole party scene. And this could have been so. easy. to fit into the queer lens if the actor who plays Nick (Noah J Ricketts, fucking what a talented man) acted interested in Mr.McKee but was actively restraining himself and trying not to engage in order to save face in front of Tom and Co. (Please, please, please- making a prayer circle and manifesting that one of the later actors does this down the line) But noooooo, Nick is shown to be mildly uncomfortable while McKee follows him around (in an unfortunately a banger of a song) EVEN THOUGH IN THE BOOK NICK ACTIVELY ENGAGES WITH HIM IN HOMOEROTIC DIALOGUE AND EVEN GOES TO BED WITHBNANJSBSJB

3.B) Jordan’s Purpose

Already touch this before but what the hell was the point of Jordan here. I love the “cool independent woman in the 20s” angle they were going for, but then why the hell would you immediately shackle her to a romantic relationship with Nick when that goes against literally everything she stands for. And I’m not saying she can’t get in relationships, but the speed in which SHE of ALL PEOPLE, was like “Yes I want to get married to you for real” make me…

Sure it was said in the novel that Nick and Jorden were together, but he was always flighty about her; saying he was attracted to her but also hated some of her qualities (dishonesty and heartlessness). It wasn’t the main focus like it was here (I can’t even remember much of their relationship in the book tbh) and they didn’t invest so much in it as they did in the musical that it didn’t feel out of nowhere or too much of a big deal when they broke up. Like it fr felt like the musical held up a “Gasp Now” sign when Nick said he doesn’t want to get married to her cause they wanted that moment to hit so hard for some reason???

AND. There was an ACTUAL PURPOSE to Jordan relationship with Nick in the book (a representation of the wealth he was attracted to then repulsed by [*cough* also contributing the “Nick is Queer” lens *cough*]) they… kinda? did it in the musical? And it would have been boosted by Nicks new naivety in the musical, but it falls short because they never speak again, or really explain Jordan’s value on wealth and herself is why it went wrong other then a “you’re heartless” line that feels out of nowhere. (Idk maybe I was too focused on how pointless that relationship felt that I failed to noticed if Nick had a Big RevelationTM here on Wealth and Jordan)

4.B) Character Differences

Some of them are great, like there’s more dimensions to some, but some character choices, I’m like- that goes against everything they’re supposed to represent in the book.

Like I found it so weird how willing Daisy was to run away with Gatsby in the musical when in the book it was more obvious, at least I read it so, that she was holding back a bit and was never going to run with Gatsby that far. Like wdym Gatsby could have had it all if he just ran with Daisy then, WDYM HE SAID NO BECAUSE OF HIS PRIDE???? HUH? WHERE did this priority of PRIDE come from???? When Daisy’s RIGHT. THERE. Like she was sobbing, begging him to run with her. In what universe would Gatsby turn that down???

Like many people say, this seems like it’s supposed to be a love story between Gatsby and Daisy, but in the book it’s pretty obvious how Daisy isn’t as committed to Gatsby then she is Tom cause of their Old vs New money.

And Myrtle? Why did she suddenly turn back to George? I felt like the only reason why that happened is cause the creators wanted shock and tragedy factor. Like “aw she finally found peace in where she is but oops now she’s dead”

And it would have been good if they actually showed why she thought this beyond the 3 minute song, cause that’s not enough time for someone who only chased after money to do a 180. Like, sure she figured Tom would just move on from her (YES EVERYONE CHEERED, GREAT CHARACTER MOMENT) but George isn’t shown to be that great either in his last moments with her. I mean he locked her in the house? Bathroom? and was pretty violent towards her. Sure we learn earlier that he’s doing a lot for her but we never SEE it. He sings to US the audience about his dream to move them out and live a nice life but not to HER which could have been a cute point of connection but nooooooo.

They also made Nick like, kinda naive. Like he really likes Daisy and Jorden and I guess Gastby (though it’s not shown) compared to his counterpart who know how money corrupts and kinda hates everyone (even Gatsby at points). Any I feel like they could have done well with making him naive to that fact, to really make this a tragedy (like Hadestown esc) but they fell short somehow. I think it’s cause the ending was so rushed. Like there wasn’t enough time to show the consequences of everyone’s actions and how hurt and changed he is. It all flys by in like 7 minutes.

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Ok now we’re done being cynical- here are the good things I liked

1.C) The woman are 3-Dimensional yay/ Nicks also here

Myrtle’s song (Second-Hand Suit) is phenomenal. Great way to introduce more character and backstory to someone who originally had none.

Also, again, loved Jordan’s independence angle (if only they WENT SOMEWHERE WITH IT) and I lowkey loved the “well Tom cheats why can’t you” line and Daisy’s whole attitude as she one ups Tom in the dinner table scene. Also Daisy was already kinda complex in the book, but it really shows how turmoiled she is here and that’s interesting,

And despite how I kinda ragged on it, I really did like Nicks personality throughout the musical. He was sooo humorous in a way he wasn’t in the book. Also, thinking about it, his nativity is an interesting spin on his character that I really would have liked if it was executed properly.

2.C) The songs fucking slap

I can’t lie, most of these songs are bangers. I have half of the songs on loop. Not to mention the actors who sing them are absolutely incredible. I won’t lie, I was mostly interested in this musical cause of Jeremey and Eva; and Eva, holy shit, is an absolute powerhouse to witness live. I was So. Surprised by how effortlessly she sang notes and how clear and crisp they were (“Absolute Rose” was… idk what it was about that song, but I’m obsessed with how she sang that song, [except the “open” part? Idk it grates me for some reason???] even though it’s not my favorite song) Like she truly embodies Daisy Fay and it was incredible to see that in person.

However, the rest of the cast was so incredible too, ESPECIALLY MYRTLE (Chilina Kennedy). Holy Fuck is that woman amazing at singing. Her two songs she sang absolutely ate, like I’m obsessed with her voice. Wolfsheim (Eric Anderson) and George (Paul Whitty) also had amazing voices.

Also NICK??! Holy shit, I’m so sorry you’re not in like any promotional stuff cause you fucking killed it. The way I’m obsessed with how he sings “If only I’d knew then, that I would never be the same” in “Roaring On” and how he sings “The Met” is amazing

3.C) Visuals- kinda

Some of the visuals were ok tbh- kinda boring- but the ones that went big, WENT BIG. Of course “New Money”, “Roaring On” and “The Met” are the ones that stand out the most in my mind. “New Money” and “Roaring On” are exactly what you probably think it is, big dance numbers with sparks and huge lights. But I loved “The Met” cause the furniture slid around and literally moved around Nick while people drifted in and out of the room. It was just great to watch visually.

4.C) THE ENDING NUMBER HOLY SHIT

I. Love. Love. LOVE. How they brought back the opening number, and the theme of party goers going on from party to party to show how unimportant Gatsby was to the world, and how everyone moved on.

Like, Nick stood in the center of the stage, reciting the end of the book, in tears and voice cracking, as the ensemble in the back slowly get revealed and are just having a grand ol time looking for the next party. Just- chills. It was amazing conceptually and they pulled it off so well.

If the musical got nothing else in terms of structure going for it- at least they got the last minute right cause omg, I love when media has opposing moods in the same scene, and they did so well here.

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Overall, yeah. Not horrible but I don’t love it. The lack in plot and nonsense relationships and complete disregard of the book didn’t totally ruin the musical cause I had a good time and liked the songs and such but I would not go back and re watch it.

I think of you know nothing about the book or anything about The Great Gatsby other then there’s a guy named Gatsby and he’s great and you just want a nice sounding show, you’ll probably like this, but people who are burdened by the knowledge of the book will be hung up on a lot of things I mentioned here.

Always, long ass post, congrats to anyone who actually read this real informal review. I haven’t gone into how this is a pretty bad adaptation, but I’ll have to do that in another post (if people want to see that) and another time cause this took my literal hours to type out.

(Tbh I might just do the adaptation essay anyways, cause I’ve written at least 4 papers on adaptation in media [and how Groundhog Day the musicals the best Movie to Musicals adaptation] and I love that shit)

[belle-keys]

The Ultimate Dark Academia Book Recommendation Guide Ever

The title of this post is clickbait. I, unfortunately, have not read every book ever. Not all of these books are particularly “dark” either. However, these are my recommendations for your dark academia fix. The quality of each of these books varies. I have limited this list to books that are directly linked to the world of academia and/or which have a vaguely academic setting.

Dark Academia staples:

The Secret History by Donna Tartt

If We Were Villains by M.L. Rio

Dead Poets Society by Nancy H. Kleinbaum

Vita Nostra by Maryna Dyachenko

Dark academia litfic or contemporary:

Bunny by Mona Awad

The Idiot by Elif Batuman

These Violent Delights by Micah Nemerever

White Ivy by Susie Yang

The Cloisters by Katy Hays

Never Let Me Go by Kazuo Ishiguro

The Lake of Dead Languages by Carol Goodman

A Separate Peace by John Knowles

Black Chalk by Christopher J. Yates

Attribution by Linda Moore

Dark academia thrillers or horror:

In My Dreams I Hold a Knife by Ashley Winstead

The Maidens by Alex Michaelides

Ghosts of Harvard by Francesca Serritella

Catherine House by Elisabeth Thomas

Plain Bad Heroines by Emily M. Danforth

They Never Learn by Layne Fargo

The It Girl by Ruth Ware

Never Saw Me Coming by Vera Kurian

Dark academia fantasy/sci-fi:

Babel: An Arcane History by R.F. Kuang

The Atlas Six by Olivie Blake

Ninth House by Leigh Bardugo

A Lesson in Vengeance by Victoria Lee

The Starless Sea by Erin Morgenstern

Vicious by V.E. Schwab

A Discovery of Witches by Deborah Harkness

The Betrayals by Bridget Collins

Dark academia romance:

Gothikana by RuNyx

Alone With You in the Ether by Olivie Blake

Dark academia YA or MG:

Truly Devious by Maureen Johnson

A Deadly Education by Naomi Novik

Ace of Spades by Faridah Àbíké-Íyímídé

The Raven Boys by Maggie Stiefvater

Legendborn by Tracy Deonn

Crave by Tracy Wolff

Wilder Girls by Rory Power

The Harry Potter series by J.K. Rowling

Dark academia miscellaneous:

My Dark Vanessa by Kate Elizabeth Russell

Disorientation by Elaine Hsieh Chou

Alphabet of Thorn by Patricia A. McKillip

[notebookmusical]

books read in 2023

hi, hello! inspired by a few mutuals, i decided to do a reading thread of 2023! you can find my goodreads here, and my bookstagram here! as always, askbox + dms are open if have any questions or would like to chat about books!

january

book lovers by emily henry (reread; ★★★★★)

convenience store woman by sayaka murata + translated by ginny tapley takemori (★★★☆☆)

a wish in the dark by christina soontornvat (★★★★★)

so you want to talk about race by ijeoma oluo (audiobook; ★★★★★)

highly suspicious and unfairly cute by talia hibbert (★★★★☆)

the seven husbands of evelyn hugo by taylor jenkins reid (reread; (★★★★☆)

if not, winter by sappho + translated by anne carson (★★★★★)

when you wish upon a lantern by gloria chao (ARC; ★★★☆☆)

this time it's real by ann liang (ARC; ★★★★★)

love, theoretically by ali hazelwood (ARC; ★★☆☆☆)

hell bent by leigh bardugo (★★★★☆)

everything i know about love by dolly alderton (reread; ★★★★★)

the fraud squad by kyla zhao (★★★☆☆)

masters of death by olivie blake (★★★★☆)

enter the body by joy mccullough (★★★★☆)

the stranger by albert camus (reread; ★★★★★)

you'd be mine by erin hahn (★☆☆☆☆)

a hundred other girls by iman hariri-kia (★☆☆☆☆)

bloodmarked by tracy deonn (audiobook; ★★★☆☆)

fearless by mandy gonazales (★★★★☆)

february

the roommate by rosie danan (★★☆☆☆)

wuthering heights by emily brontë (book club pick; ★★★★☆)

the nanny by lana ferguson (ARC; ★★☆☆☆)

the writing retreat by julia bartz (ARC; ★★☆☆☆)

exes and o's by amy lea (★★★☆☆)

not here to stay friends by kaitlyn hill (ARC; ★★★★☆)

chloe and the kaishao boys by mae coyiuto (ARC; ★★★★☆)

isha, unscripted by sajni patel (gifted; ★★☆☆☆)

conversations on love by natasha lunn (★★★★★)

meet me at the lake by carley fortune (ARC; ★★★★☆)

emily wilde's encyclopedia of faeries by heather fawcett (★★★☆☆)

where echoes die by courtney gould (ARC; ★★★☆☆)

vintage contemporaries by dan kois (gifted; ★★☆☆☆)

how to be perfect: the correct answer to every moral question by michael schur (audiobook; ★★★★★)

half a soul by olivia atwater (★★★★★)

ten thousand stitches by olivia atwater (★★★★☆)

longshadow by olivia atwater (★★★★★)

between the world and me by ta-nehisi coates (audiobook; ★★★★★)

infamous by lex croucher (ARC; ★★☆☆☆)

the lord sorcier by olivia atwater (★★★★☆)

the latch key by olivia atwater (★★★★★)

made of stars by jenna voris (ARC; ★★★★☆)

march

when broadway was black: the triumphant story of the all-black musical that changed the world by caseen gaines (audiobook; ★★★★★)

leave it to the march sisters by annie sereno (ARC; ★★★☆☆)

once more with feeling by elissa sussman (ARC; ★☆☆☆☆)

moorewood family rules by helenkay dimon (ARC; ★★☆☆☆)

fleabag: the scriptures by phoebe waller-bridge (★★★★★)

fake dates and mooncakes by sher lee (ARC; ★☆☆☆☆)

vera wong's unsolicited advice for murderers by jesse q. sutanto (gifted; ★★★★☆)

emma of 83rd street by audrey bellezza and emily harding (ARC; ★★☆☆☆)

how to read now by elaine castillo (★★★★★)

constellations by nick payne (reread; ★★★★☆)

ching chong chinaman by lauren yee

devil in winter by lisa kleypas (★★★★☆)

the passing playbook by isaac fitzsimons ( ★★★★★)

infinite jest by david foster wallace

our wives under the sea by julia armfield (★★★★☆)

mrs. nash's ashes by sarah adler (ARC; ★★★★☆)

study break: 11 college tales from orientation to graduation edited by aashna avachat (★★★☆☆)

the love match by priyanka taslim (★★★★☆)

a lady for a duke by alexis hall (★★★★☆)

love and other consolation prizes by jamie ford (★★★☆☆)

april

spoiler alert by olivia dade (★★☆☆☆)

all the feels by olivia dade (★★☆☆☆)

ship wrecked by olivia dade (★★☆☆☆)

float plan by trish doller (★★★★☆)

yellowface by r.f. kuang

the ex hex by erin sterling (★★☆☆☆)

the kiss curse by erin sterling (★★★☆☆)

siren queen by nghi vo (audiobook; ★★★☆☆)

chloe and the kaishao boys by mae coyiuto (reread; ★★★★★)

wandering souls by cecile pin (gifted; ★★★★★)

heavy vinyl, vol. 1: riot on the radio by nina vakueva & carly usdin (★★★★☆)

heavy vinyl: y2k-o! by nina vakueva & carly usdin (★★★★☆)

never ever getting back together by sophie gonzales (★★☆☆☆)

book lovers by emily henry (reread; ★★★★★)

miss aldridge regrets by louise hare (gifted; ★★★☆☆)

if the shoe fits by julie murphy (★★★☆☆)

blackmail and bibingka by mia p. manansala (★★★★☆)

murder and mamon by mia p. manansala (ARC; ★★★☆☆)

icebreaker by hannah grace (★☆☆☆☆)

alone with you in the ether by olivie blake (reread; ★★★★★)

may

beautiful country: a memoir of an undocumented childhood by qian julie wang (★★★★★)

the other black girl by zakiya dalila harris (audiobook; ★★★★☆)

check & mate by ali hazelwood (ARC; ★★★☆☆)

if i'm being honest by emily wibberley & austin siegemund-broka (reread; ★★★★★)

always never yours by emily wibberley & austin siegemund-broka (reread; ★★★★★)

do i know you? by emily wibberley & austin siegemund-broka (reread; ★★★★★)

romeo and juliet by william shakespeare (audiobook, reread; ★★★★★)

joan is okay by weike wang (★★★★☆)

technically yours by denise williams (ARC; ★★★☆☆)

first position by melanie hamrick (ARC; ★☆☆☆☆)

the boy from kyiv: alexei ratmansky's life in ballet by marina harss (ARC; ★★★★★)

the boy you always wanted by michelle quach (ARC; ★★★★☆)

woman, eating by claire kohda (★★☆☆☆)

immortal longings by chloe gong (ARC; ★★☆☆☆)

heartburn by nora ephron (★★★☆☆)

a merry little meet cute by julie murphy & sierra simone (★★☆☆☆)

the deal by elle kennedy (★☆☆☆☆)

the mistake by elle kennedy (★☆☆☆☆)

the score by elle kennedy (★☆☆☆☆)

the goal by elle kennedy (★☆☆☆☆)

the legacy by elle kennedy (★☆☆☆☆)

open water by caleb azumah nelson (★★★★★)

painted devils by margaret owen (gifted; ★★★★★)

playing for keeps by kendall ryan (★☆☆☆☆)

june

the final revival of opal and nev by dawnie walton (★★★☆☆)

the missing of clairedelune by christelle dabos (audiobook; ★★★★★)

happy place by emily henry (reread; ★★★★★)

iris kelly doesn't date by ashley herring blake (ARC; ★★★★☆)

ghosts by dolly alderton (★★★★★)

you don't have a shot by racquel marie (gifted; ★★★★☆)

thank you for listening by julia whelan (audiobook; ★★★★★)

if you still recognize me by cynthia so (gifted; ★★☆☆☆)

imogen, obviously by becky albertalli (gifted; ★★★★☆)

for never & always by helena greer (ARC; ★☆☆☆☆)

all the dead lie down by kyrie mccauley (gifted; ★★★★☆)

one hundred days by alice pung (ARC; ★★☆☆☆)

much ado about nada by uzma jalaluddin (★★★★☆)

thieves gambit by kayvion lewis (ARC; ★★★☆☆)

deep in providence by riss m. neilson (★★★☆☆)

the burnout by sophie kinsella (ARC; ★★★★☆)

small worlds by caleb azumah nelson (ARC; ★★★★☆)

we ship it by lauren kay (★☆☆☆☆)

foul heart huntsman by chloe gong (ARC; ★★★☆☆)

the memory of babel by christelle dabos (audiobook; ★★★☆☆)

pride and prejudice and pittsburgh by rachael lippincott (ARC; ★★★☆☆)

a british girl's guide to hurricanes and heartbreak by laura taylor namey (ARC; ★★★★☆)

the reunion by kit frick (ARC; ★★★☆☆)

queer by william s. burroughs

when grumpy met sunshine by charlotte stein (ARC; ★☆☆☆☆)

july

the storm of echoes by christelle dabos (audiobook; ★★★☆☆)

will they or won't they by ava wilder (★★★☆☆)

fiona and jane by jean chen ho (audiobook; ★★☆☆☆)

business or pleasure by rachel lynn solomon (★★★☆☆)

teach the torches to burn: a romeo & juliet remix by caleb roehrig (ARC; ★★★☆☆)

a man called ove by fredrik backman (audiobook; ★★★★☆)

exciting times by naoise dolan (audiobook; ★☆☆☆☆)

the hobbit by j.r.r. tolkien (audiobook; ★★★★★)

the year of magical thinking by joan didion (★★★★★)

such a fun age by kiley reid (audiobook; ★★★☆☆)

tis the damn season by kimi freeman (ARC; ★☆☆☆☆)

august

a very nice girl by imogen crimp (audiobook; ★★☆☆☆)

bliss montage by ling ma (audiobook; ★★★☆☆)

the raven boys by maggie stiefvater (reread; ★★★★★)

freshwater by akwaeke emezi (audiobook; ★★☆☆☆)

the dream thieves by maggie stiefvater (reread; ★★★★★)

i'm not done with you yet by jesse q. sutanto (gifted; ★★☆☆☆)

blue lily, lily blue by maggie stiefvater (reread; ★★★★★)

the raven king by maggie stiefvater (reread; ★★★★★)

bellegarde by jamie lilac (gifted; ★★★☆☆)

red, white & royal blue by casey mcquiston (reread; ★★★★★)

some mistakes were made by kristin dwyer (gifted; ★★★☆☆)

september

beta read (★★★★★)

dogs of summer by andrea abreu lópez (audiobook; ★★☆☆☆)

in these hallowed halls: a dark academia anthology edited by maria o'regan and paul kane (ARC; ★★★☆☆)

together we rot by skyla arndt (★★★★☆)

stay with my heart by tashie bhuiyan (ARC; ★★☆☆☆)

before we say goodbye by toshikazu kawaguchi & translated by geoffrey trousselot (ARC; ★★★★★)

the dead romantics by ashley poston (★★★★☆)

the seven year slip by ashley poston( ★★★★★)

you, again by kate goldbeck (★★☆☆☆)

serpent & dove by shelby mahurin (gifted; ★★★☆☆)

harlem after midnight by louise hare (gifted; ★★★☆☆)

witch of wild things by raquel vasquez gilliland (gifted; ★★★☆☆)

the luis ortega survival club by sonora reyes (gifted; ★★★★☆)

blood & honey by shelby mahurin (audiobook; ★★★☆☆)

the picture of dorian gray by oscar wilde (audiobook; ★★★★★)

for the throne by hannah whitten (audiobook; ★★★☆☆)

the wake-up call by beth o'leary (★★★★★)

the book eaters by sunyi dean (audiobook; ★★★☆☆)

october

the moth keeper by kay o'neill (★★★★☆)

a fragile enchantment by allison saft (ARC; ★★★★☆)

just kids by patti smith (audiobook)

cult classic by sloane crosley (audiobook; ★★★★☆)

the atlas paradox by olivie blake (audiobook; ★★★★☆)

the goodbye cat by hiro arikawa (gifted; ★★★★★)

the appeal by janice hallett ( ★★★★☆)

the twyford code by janice hallett ( ★★★★☆)

wildfire by hannah grace (★★☆☆☆)

the roaring by t. katarina tayler (★★☆☆☆)

curious tides by pascale lacelle (audiobook; ★★★★☆)

the tempest by william shakespeare (audiobook; ★★★★☆)

murder on the orient express by agatha christie (audiobook; ★★★★☆)

canadian boyfriend by jenny holiday (ARC; ★★☆☆☆)

november

better than fiction by alexa martin (★★★☆☆)

the christmas appeal by janice hallett(★★★★☆)

kaikeyi by vaishnavi patel (audiobook; ★★★★☆)

finale: late conversations with stephen sondheim by d.t. max (audiobook; ★★★★☆)

cleopatra and frankenstein by coco mellors (★★★★☆)

the undertaking of hart and mercy by megan bannen (audiobook; ★★★☆☆)

december

how to stop time by matt haig (audioboook; ★★★☆☆)

the wake-up call by beth o'leary (reread; ★★★★★)

the break up tour by emily wibberley & austin siegemund-broka (arc; ★★☆☆☆)

bride by ali hazelwood (arc; ★☆☆☆☆)

the getaway list by emma lord (arc; review withheld due to st. martin's press boycott)

same time next year by tessa bailey (★☆☆☆☆)

the mountains sing by nguyễn phan quế mai (★★★★★)

normal people by sally rooney (audiobook, reread; ★★★★★)

the night circus by erin morgenstern (reread;★★★★★)

funny story by emily henry (arc; ★★★★★)

les misérables by victor hugo (★★★★★)

TOTAL BOOKS READ: 202

[kitkatunicorntheatrekid]

MY 100th Post

i wanted to do something special so here are my signed playbills

Signed by: Rj Higton,Sky lakota-lynch, Jason Schmidt, Dan Berry, Melody Rose, Sarahgrace Mariani, Daryl Tofa, Kevin William Paul, Barton Cowperthwaite, Kevin Csolak, Tilly Evans-Krueger, Renni Anthony Magee, Trevor Wayne

Signed by:( the ones I know for sure) Traci Elaine Lee, Jeremy Jordan, Chilna Kennedy, John Zdrojeski, Eric Anderson( Noah J Ricketts skiped me at the stage door)

[sporadiceagleheart]

Monday edit for missing kids and kids died from murder Kim Rae Doss, Tracy Anne King, Gina Dawn Brooks, Mikelle Diane Biggs, Joan Gay Croft, Teekah Latres Lewis, Moira McCall Anderson, Rachel Marie Anderson, Monica Arellano, Amber Nicole Crum, Victor Arellano, Anastacia Marie Argentova-Stevens, Allyson Kathleen Dalton, Athena Sheetz, Thanit Sheetz-Marti, Emily Maria Izykowski, Haleigh Breann Culwell, Bianca Elaine Lebron, Russell "Russie" John Mort, Alexis S. Patterson, Beverly Rose Potts, Jenna Ray Robbins, Rachael Marie Runyan, Eliška “Elsie” Paroubek, Harmony Renee Montgomery, Reachelle Marie Smith, Danyel Lou Sparpana, Brandi Jondell Summers& TIFFANI WISE, Omar Vargas, Darko Stančević, Linda Jane Stillwell, Kimberly Alizee Torres Rodriguez, Vivian Aileen Trout, Rebecca Elizabeth West, Sophia Anabel Larranaga, Fabricio Herman Barajas, Serina "Seri" Victoria Clark, Tammy Alexandra Flores, Diego Flores, Acacia Nicole Duvall,Jon "JP" Pierre Duvall, Sarah Arielle Skiba, Lisa Mae Zaharias,Christopher Zaharias, Azaria Chantel Loren Chamberlain, Tricia J. Kellett, Amy Burney, Diana Belinda Alvarez, Trudy Leann Appleby, Isabella Balajonda-Annibal, Lysbet Balmontez-Fernandez, Jersey Arnett, Carol May Big Tobacco, Karen Lynn Tompkins, Ricky Jean "Jeannie" Bryant, Lorie Lynn Lewis, Ann Marie Burr, Mary Louise Day, Patricia Louise "Patti Lou" Zentner, Athena Strand, Amber Hagerman, Christine Jessop, Debbie Randall, Jessica Gutierrez, Michaela Joy Garecht, Joan D’Alessandro, Cherish Perrywinkle, Audrii Cunningham, April Tinsley, Asifa Bano, JonBenét Ramsey, Elizabeth Shelley, Sharon Lee Gallegos, Sarah H. Foxwell, Opal Jo Dace Jennings,

[kaijuboarcreations]

Into the Andersonverse: A full timeline of events for the confirmed continuity of Gerry Anderson Supermarionation shows (Fireball XL5 to Captain Scarlet and the Mysterons)

(Disclaimer*: i actually opted to follow Thunderbirds are Go canon for ages *don't ask me why it's a process plus the actual ages and birth order for the boys is heavily debated in both the og series and are go so don't at me* Also yes I took a few creative liberties to fill in some blanks they are marked by ** so you know what isn't canon, and yes it doesn't always make sense *aka how Venus is a war orphan if the war ended before she was born* but you can't blame me for that, that's just how it was written)

Anyways yall better love me for this it took me three days to make

1988: Sally "Grandma" Tracy is born (maiden name unknown)

2012: Professor Mathew Matic is born in Britain -Aloysius "Nosey" Parker is born - Jeff Tracy is born in Kansas to Grant and Sally Tracy**

2015: Commander Sam Shore (real name Samuel Arthur)is born in Kansas

2017: Charles Grey (Colonel White) is born in England

2028: European Atomic War and Mass Riots in France

2029: Conrad Turner (Captain Black) is born in Manchester, England

2030: Steve Zodiac is born on Mars -Sam Shore leaves home to join the navy

2031: Edward Wilkie (Dr Fawn) is born in Yalumba, Australia

2033: Professor Matic graduates with 22 degrees in astrophysics, robotic, and astronomy, and becomes a navigator for Zero-X interplanetary missions -Sam Shore is given command of a World Security Service submarine -Bradley Holden (Captain Gray) is born in Chicago

2034: Sam Shore befriends Admiral Jack Denver -Patrick Donaghue (Captain Magenta) is born in Dublin Bay, Ireland -The European Atomic War ends (the war left Venus and Conrad Turner orphaned)

2035: Venus is born in Paris -George Lee "Phones" Sheridan is born in South Carolina -Adam Svenson (Captain Blue) is born in Boston -Richard Fraiser (Captain Ochre) is born in Detroit

2036: Paul Metcalfe (Captain Scarlet) is born in Hampshire, England

2037: Jeff Tracy becomes a Colonel for the US Air Force and later transfers to the Space Agency -Patrick Donaghue and his parents immigrate to the US, living in poverty in Manhattan

2038: Troy Tempest is born in New York City -Jeff Tracy marries Lucielle** -Charles Grey graduates from the University of East Angila -Lady Penelope Creighton-Ward is born to Sir Hugh and Lady Amelia**

2040: War damage fixed -Sam Shore marries Elaine MacDonald -Scott Tracy is born**

-"Brains" is born -The Southeast Asia revolts -Juliette Pontoin (Destiny Angel) is born in Paris

2041: Atlanta Shore is born from Elaine and Sam in California -Seymour Griffiths (Lieutenant Green) is born in Trinidad

2042: John Tracy is born** -The Iceland Dispute -The Panama-Ithsmus rebellion begins -Karen Wainwright (Symphony Angel) is born in Cedar Rapids -Chan Kwan (Harmony Angel) is born in Tokyo

2043: The Panama-Ithsmus rebellion ends -Magnolia Jones (Melody Angel) is born in Atlanta -Dianne Simms (Rhapsody Angel) is born in London

2044: Virgil Tracy is born**

2045: Professor Matic takes the role as a professor for Universe University -Conrad Turner joins the British Air Force

2046: Marina is born -Gordon Tracy is born** -Charles Grey moves up to the rank of 'Captain' -The British Civil War begins (during which Conrad Turner is badly wounded)

2047: Steve Zodiac joints WSP Academy -Tanusha "Kayo" Kyrano/Tintin Kyrano is born** -Britain joins the World Government -Charles Grey becomes Admiral while commanding the World Navy Destroyer fleet -Conrad Turner joins the World Air Force

2048: Charles Grey joins the Universal Secret Service and marries his field partner Elizabeth Sonmers -Edward Wilkie starts medical school in Brisbane

2049: the British sector of the USS is reorganized by Charles Grey

2050: Professor Matic designs and builds the world's first Nutomic Hyperdrive Motor and is given an honorary position as Major while heading the XL project -Alan Tracy is born** -Charles Grey is promoted to the head of the USS British sector

2051: Steve Zodiac becomes an astronaut and sub-lieutenant at Space City -Prototypes of the XL project are debuted including XL1 Alpha -Adam Svenson receives a full ride scholarship to Harvard University at age 16

2052: the Anti-Bereznik Riots (of which Patrick Donaghue was involved where he was later arrested and imprisoned for 90 days)

2053: Steve Zodiac befriends space explorer Jim Ireland who sets off on a 10 year voyage -Seymour Griffiths loses his parents in an air disaster

2054: Richard Fraiser joins the World Government Police Corps after being rejected from university and the Air Force -Bradley Holden graduates from the World Navy Academy in San Diego immediately enlisting in the World Navy submarine service

2055: Steve is promoted to captain and is assigned to co-pilot Fireball XL5 -Conrad Turner joins the World Space Patrol and mans Fireball XL3 -Adam Svenson joins the World Aeronautic Society as a test pilot -Patrick Donaghue finishes his studies and graduates from Yale University with degrees in physics, electrical engineering, and technology and he takes a job as a computer programmer for a firm in Brooklyn but soon quit for a life of crime -Edward Wilkie graduates from Brisbane with degrees in medicine and biology and joins the Australian sector of the World Medical Organization as assistant medical controler. Later that same year he is promoted to health controller of the Scandinavian sector.

2056: Venus joins the World Space Patrol -Colonel Grange suffers a mental breakdown while piloting Fireball XL5 leaving Steve to bring them to safety -Marina's mother dies -Troy Tempest joins the World Navy Academy in San Diego -Lucielle Tracy passes away

2057: All Fireball XL ships are outfitted with the Nutomic Hyperdrive Motor -Paul Metcalfe graduates from Winchester University with degrees in History, Technology, and Mathematics -Adam Svenson is promoted to active field agent for WAS -Patrick Donaghue becomes a kingpin for organized crime in New York due to his leadership over several gangs and hacking abilities -Edward Wilkie revolutionizes the WMO's medical technology through robots which places him in the position of Administrator for Advancements in Medicine and Medical Science -Juliette Pontoin attends University in Rome

2058: Elaine Shore suffers a heart attack and passes away -Phones takes on work as a mercenary -Karen Wainwright attends Yale University at age 16

-Lady Penelope becomes chief operative of the Federal Agents Beareu where she meets Jeff Tracy (wait...... F.A.B..... so that's what that stands for....)

2059: Paul Metcalf begins study at West Point Military University in New York -Richard Fraiser transfers to Chicago and takes on one of the toughest crime syndicates in the country

2060: An attack on his vessel causes Sam Shore to lose use of his legs. He and Atlanta move to Marineville to command the World Aquanaut Security Patrol (which is newly established)

-Gordon Tracy interns with WASP** -Troy Tempest is captured on a failed mission and is rescued by Phones who he convinces to join the navy -Troy Tempest arrives at WASP Marineville -Juliette Pontoin joins the World Army Air Force and is transferred to the Intelligence Corps where she hones her skills as a pilot, leads the Woman's Fighter Squadron

2061: Magnolia Jones joins the World Army Airforce at age 18

-Gordon Tracy suffers an accident while working with a high speed hydrofoil**

2062: the start of the events of Fireball XL5 -Jeff Tracy establishes International Rescue -Seymour Griffiths graduates University in Kingston Jamaica with degrees in telecommunications, technology, and music and joins WASP as a junior hydrophone operator (his brothers followed but were killed in an accident which Seymour transferred as a telecommunications operator at Marineville) -Bradley Holden joins WASP as the Lieutenant commander security chief and takes the role of piloting Stingray in her prototype years -Karen Wainwright becomes a full fledged field agent for Universal Secret Service after several years of training -Magnolia Jones becomes lost while taking the XKF 115 aircraft on a test flight and loses contact with control -Chan Kwan graduates University and is determined to fly solo around the world

2063: Venus earns a degree in Space Psychology -Steve Zodiac is awarded Astronaut of the Year -Paul Metcalfe graduates from West Point and joins the World Air Force -Juliette Pontoin leaves WAAF to start her own pilot contracting firm -Magnolia Jones returns after being lost for almost a year after rebuilding her craft from the wreckage. She shortly leaves to focus on flying and setting up a freelance air taxi service -Dianne Simms meets Lady Penelope and is offered a position in the FAB to train as an agent

2064: Bradley Holden receives a severe back injury taking him out of the line to duty and landing him a desk job at Marineville -Troy Tempest becomes captain of Stingray and takes on Phones as his co-pilot -Chan Kwan attempts her voyage around the world but stops to answer a distress call to rescue a group of men from a burning tanker ship in the Pacific. Six months later she tries again and succeeds

2065: the events of Thunderbirds begins -the Spectrum Organization is established and Charles Grey turns down the position of Supreme Commander of the USS to take on his role as "Colonel White" for Spectrum under the Spectrum Selection Committee -Seymour Griffiths joins Spectrum under the codename "Lieutenant Green" -Conrad Turner joins Spectrum under the codename "Captain Black" and quickly climbs the ranks as Spectrum's top agent -Paul Metcalfe joins Spectrum under the code name "Captain Scarlet" (thanks to recommendation from Conrad) -Adam Svenson joins Spectrum under the code name "Captain Blue" -Patrick Donaghue is pardoned for his crimes and is offered a position as an agent of Spectrum under the code name "Captain Magenta" -Dr Edward Wilkie is approached by Spectrum to become the Supreme Medical Commander of Cloudbase and given the codename "Doctor Fawn" -Juliette Pontoin is approached to join Spectrum's squadron of fighter pilots and is given the codename "Destiny Angel" -Magnolia Jones is selected by Spectrum as a fighter pilot and is given the codename "Melody Angel" -Lady Penelope quits her role in the FAB to focus on her work with International Rescue. The FAB dissolves soon after. -Dianne Simms is forced to leave the FAB and becomes a chief security officer for the Euro-Charter Airline company -Chan Kwan's father dies and she takes over the family air taxi company 2066: Richard Fraiser fakes assassination and joins Spectrum under the code name "Captain Ochre" -Bradley Holden clears a health check under Spectrum and is recruited as an agent under the codename "Captain Gray"

-Karen Wainwright quits her work with the USS to become a pilot full time. Shortly after she passes her exam to join Spectrum and joins the Angel squadron under the codename "Symphony Angel" -Dianne Simms is approached by Spectrum to join the Angel squadron and is given the codename "Rhapsody Angel"

-Chan Kwan is approached by the Spectrum Selection Committee to become an Angel pilot, in which she is accepted and given the codename "Harmony Angel"

2068: the events of Thunderbirds end and the events of Captain Scarlet begin (the Mysterons declare war on Earth after the Zero X Mars expedition comes across their settlement and attacks)

[ulkaralakbarova]

A gangster, Nino, is in the Cash Money Brothers, making a million dollars every week selling crack. A cop, Scotty, discovers that the only way to infiltrate the gang is to become a dealer himself. Credits: TheMovieDb. Film Cast: Nino Brown: Wesley Snipes Scotty Appleton: Ice-T Garald “Gee Money” Welles: Allen Payne Pookie: Chris Rock Stone: Mario Van Peebles Selina: Michael Michele Duh Duh Duh Man: Bill Nunn Park: Russell Wong Old Man: Bill Cobbs Kareem Akbar: Christopher Williams Nick Peretti: Judd Nelson Keisha: Vanessa Williams Uniqua: Tracy Camilla Johns Frankie Needles: Anthony DeSando Reverend Oates: Nick Ashford Prosecuting Attorney Hawkins: Phyllis Yvonne Stickney Police Commissioner: Thalmus Rasulala Don Armeteo: John Aprea Master of Ceremonies: Fab 5 Freddy D.J.: Flavor Flav Frazier: Clebert Ford Prom Queen: Laverne Hart Fat Smitty: Eek-A-Mouse Biff: Gregg Smrz Teacher: Erica McFarquhar Singer at Wedding: Keith Sweat Gigantor: Max Rabinowitz Woman in Hallway: Marcella Lowery Judge: Manuel E. Santiago Prosecuting Attorney: Ben Gotlieb Reporter: Thelma Louise Carter Reporter: Linda Froehlich Bailiff: Christopher Michael Recovering Addict: Kelly Jo Minter Recovering Addict: Tina Lifford Recovering Addict: Erik Kilpatrick Assistant DA: Ron Millkie Kid on Stoop: Harold Baines Kid on Stoop: Sekou Campbell Kid on Stoop: Garvin Holder New Year’s Eve Band – (Guy): Teddy Riley New Year’s Eve Band – (Guy): Aaron Hall New Year’s Eve Band – (Guy): Damion Hall Singers – Spring – (Troop): Rodney Benford Singers – Spring – (Troop): John Harrell Singers – Winter – (Levert): Gerald Levert Singers – Winter – (Levert): Sean Levert Butchie The Doorman: Jimmy Cummings Courtroom Spectator (uncredited): Akosua Busia Prostitute in The Pool (uncredited): Lia Chang Gangster Standing at Bar (uncredited): Jake LaMotta Barber (uncredited): Larry M. Cherry Brides Maid (uncredited): Cynthia Elane Girl in the Window (uncredited): Toni Ann Johnson Connie The Waitress (uncredited): Candece Tarpley C.M.B. Member (uncredited): Chris Thornton Film Crew: Director: Mario Van Peebles Story: Thomas Lee Wright Music Supervisor: Doug McHenry Screenplay: Barry Michael Cooper Casting: Pat Golden Production Design: Charles C. Bennett Director of Photography: Francis Kenny Casting: John McCabe Editor: Steven Kemper Unit Production Manager: Preston L. Holmes Costume Design: Bernard Johnson Original Music Composer: Michel Colombier Music Supervisor: George Jackson Associate Producer: Fab 5 Freddy Associate Producer: Suzanne Broderick Associate Producer: James Bigwood First Assistant Director: Dwight Williams Stunt Coordinator: Jery Hewitt Stunts: Danny Aiello III Stunts: G. A. Aguilar Second Assistant Director: Joseph Ray Production Supervisor: Brent Owens First Assistant Editor: Kevin Stitt Camera Operator: John Newby First Assistant Camera: Gregory Irwin Second Assistant Camera: Myra-Lee Cohen Additional Camera: Ed Hershberger Steadicam Operator: Ted Churchill Production Sound Mixer: Frank Stettner Boom Operator: Keith Gardner Cableman: Rosa Howell-Thornhill Art Direction: Barbra Matis Art Direction: Laura Brock Art Department Coordinator: Roberta J. Holinko Set Decoration: Elaine O’Donnell Script Supervisor: Cornelia ‘Nini’ Rogan Makeup Artist: Diane Hammond Assistant Makeup Artist: Ellie Winslow Hairstylist: Larry M. Cherry Hairstylist: Aaron F. Quarles Wardrobe Supervisor: Barbara Hause Wardrobe Supervisor: Jane E. Myers Wardrobe Assistant: Jill E. Anderson Gaffer: Charles Houston Rigging Gaffer: Martin Andrews Best Boy Electric: Val DeSalvo Key Grip: Robert M. Andres Best Boy Grip: Paul Wachter Dolly Grip: Tom Kudlek Property Master: Octavio Molina Assistant Property Master: Laura Jean West Assistant Property Master: Kevin Ladson Charge Scenic Artist: Jeffrey L. Glave Construction Coordinator: Raymond M. Samitz Special Effects Supervisor: Steven Kirshoff Special Effects Coordinator: Wilfred Caban Second Unit Director: Jeff Lengyel Second Unit Director of Photography: Jacek Laskus Second Unit First Assistant D...

[derekklenadaily]

broadwayevolved: July coming in 🔥🔥🔥

Who gets to work with Sierra Boggess, Grey Henson, Jelani Remy, Derek Klena, Traci Elaine Lee, and Olli Haaskivi on their first day in NYC? Raise your corn! WE DO!!!!!

[5nake-eater]

I hope that Traci Elaine Lee (the current swing for Maizy in Shucked) goes somewhere, whether it’s for the tour or London. Because she was legitimately amazing last night, she played Maizy so earnestly sweet you’d think she wasn’t in a musical that is all about corn. She IS the moment

[sonyclasica]

BRANDY CLARK & SHANE MCANALLY

SHUCKED: ORIGINAL BROADWAY CAST RECORDING

El álbum del musical con 9 nominaciones a los Premios Tony ya disponible en formato digital. Incluye dos bonus tracks “Friends” y “Maybe Love” interpretados por Brandy Clark & Shane McNally.

Consíguelo AQUÍ

Hoy, Sony Masterworks Broadway, junto a los productores Mike Bosner y Jason Owen, estrenan Shucked - Original Broadway Cast Recording.  El álbum, que ya está disponible en formato digital y que saldrá a la venta en CD el 9 de junio, incluye piezas musicales del espectáculo de Broadway, como "Independently Owned," el tema estrella interpretado por Alex Newell; "Somebody Will", una potente balada country interpretada por Andrew Durant; y "Maybe Love", una tierna canción de amor a cargo de Caroline Innerbichler. También se incluye en el álbum de Shucked  los bonus tracks “Friends” y “Maybe Love” interpretados por Brandy Clark y Shane McAnally.

Shucked, la nueva comedia musical de Broadway, está nominada a 9 premios Tony: Mejor musical, Mejor guion de un musical (Robert Horn), Mejor banda sonora original (Brandy Clark y Shane McAnally), Mejor interpretación de un actor en un papel principal de musical (Kevin Cahoon, Alex Newell), Mejor diseño escénico (Scott Pask), Mejor diseño de sonido (John Shivers), Mejor dirección (Jack O'Brien) y Mejor orquestación (Jason Howland).

Producida por Jason Howland, Billy Jay Stein, Shane McAnally, y Brandy Clark, la grabación original de Broadway Shucked incluye música y letras originales de Clark y McAnally que, juntos, obtuvieron 3 Premios Grammy® y 18 nominaciones a los mismos premios.

Brandy Clark comentó: "Este reparto original de Broadway es tan especial, y este álbum es una cápsula del tiempo musical para que las generaciones actuales y futuras descubran y vivan la magia que es Cob County y Shucked".

Shane McAnally dijo: "Escuchar a estas increíbles voces y músicos dar vida a estas canciones ha sido uno de los mayores regalos en el proceso de desarrollo de Shucked. Trabajamos mucho para crear una atemporalidad y un contrapunto emocional a la magia visual y la diversión de la versión escénica".

Shucked, con guion del ganador del Premio Tony®  Robert Horn, música y letras de Brandy Clark y Shane McAnally, y dirección de triple ganador del Tony®Jack O’Brien, las estrellas (en orden alfabético) John Behlmann, Kevin Cahoon, Andrew Durand, Tony Award nominee Grey Henson, Caroline Innerbichler, Ashley D. Kelley y Alex Newell.

El conjunto de Shucked incluye a Jimmy Brewer, Audrey Cardwell, Dwayne Clark, Rheaume Crenshaw, Jaygee Macapugay, Scott Stangland, Yasmeen Sulieman, y Quinn VanAntwerp. También participan Miki Abraham, Ken Wulf Clark, Traci Elaine Lee, y Alan Wiggins.

SHUCKED – ORIGINAL BROADWAY CAST RECORDING

TRACKLIST

1              Overture                               

2              Corn                                                      

3              Walls                                                     

4              Walls (Reprise)                                   

5              Travelin’ Song                     

6              Bad                                                        

7              Woman of the World                          

8              Somebody Will                                    

9              Independently Owned                       

10           Holy Shit                                               

11           Maybe Love                                         

12           Corn (Reprise)                                     

13           Entr'acte                               

14           We Love Jesus                                   

15           OK                                                         

16           I Do                       

17           Friends                                                 

18           Best Man Wins                                    

19           Corn Mix                                               

20           Maybe Love (Reprise)                       

21           Friends (Acoustic Worktape - Bonus Track) | Brandy Clark y Shane McAnally

22           Maybe Love (Bonus Track) | Brandy Clark y Shane McAnally

 Fotos de producción del reparto de Broadway disponibles AQUÍ (fotos de Matthew Murphy & Evan Zimmerman) y fotos promocionales del reparto AQUÍ  (fotos de Emilio Madrid) con autorización para uso de prensa y redes sociales.  

¿Qué se consigue al emparejar a un escritor de comedias semineurótico de Nueva York con dos superestrellas de la música de Nashville? Un divertidísimo y audaz musical sobre la única cosa de la que los estadounidenses de todo el mundo no se sacian: el maíz. Shucked es la nueva comedia musical que demuestra que a veces derribar algunos muros, en lugar de hacerlos crecer, es la única forma de preservar nuestro modo de vida. Shucked está a punto de dar la vuelta a Broadway y ofrecer un grano de esperanza a nuestra dividida nación.

Con coreografía de Sarah O’Gleby, y supervisión musical, dirección musical, orquestación y arreglos del nominado al Premio Tony Jason Howland, el equipo de diseño de Shucked incluye al ganador del Premio Tony Scott Pask (diseño escénico), la nominada al Premio Drama Desk®Tilly Grimes (diseño de vestuario), el nominado al Premio Tony Japhy Weideman (diseño de iluminación), el ganador del Premio Tony John Shivers (diseño de sonido), la ganadora del Premio de la Academia® y del Premio Emmy®Mia Neal (diseño de pelucas), y Stephen Kopel, C12 Casting (dirección de casting).

Las entradas ya están a la venta en www.shuckedmusical.com y www.ticketmaster.com.

Shucked cuenta con la producción de Mike Bosner, Jason Owen, AEG Presents/Jay Marciano/Gary Gersh, Jeffrey A. Sine, Richard Smith, Silvia Schmid, Bob Boyett, Jeremiah J. Harris, James L. Nederlander, EST/Emily Tisch, Sony Music Entertainment, DudaAllen, David W. Busch, Karen Fairchild, Horipro Inc., Gordon-Helfner, John Gore Organization, Madison Wells Live, S&Co., Terry Schnuck, Jimi Westbrook, y ZKM Media.

ELOGIOS DE LA CRÍTICA

"una banda sonora  rica en melodías y llena de vida, compuesta por las estrellas de la música  country  Brandy Clark and Shane McAnally”

-WALL STREET JOURNAL

"Las canciones de Brandy Clark y Shane McAnally son inmediatamente pegadizas..."

-DAILY BEAST

"melodías  inolvidables y letras ingeniosas"

-THE NEW YORKER

Sony Music Masterworks es una empresa global de entretenimiento especializada en música grabada y experiencias en directo. Las producciones teatrales y álbumes de reparto publicados a través de su sello Masterworks Broadway incluyen Back to the Future, KPOP, Almost Famous, The Old Man and the Pool, Sing Street, Lempicka, POTUS, Macbeth (Daniel Craig), Flying Over Sunset, The Prom, SpongeBob, Harry Potter, Hello, Dolly! (Bette Midler), Kinky Boots y Once, además de las bandas sonoras de los filmes musicales The Prom, Tick, Tick…Boom!, y Matilda. Para actualizaciones por email y más información, visita www.sonymusicmasterworks.com.

 www.shuckedmusical.com

www.facebook.com/shuckedmusical

www.instagram.com/shuckedmusical

www.tiktok.com/@shuckedmusical

 www.masterworksbroadway.com

www.facebook.com/masterworksbroadway

www.instagram.com/sonybroadway

www.twitter.com/sonybroadway

https://www.tiktok.com/@sonybroadway

https://www.youtube.com/user/masterworksbwayVEVO

[frontmezzjunkies]

safeword. serves up titillation undercooked and awkward

#frontmezzjunkies reviews: #safeword. written and directed by ##SAsherGelman with #JimmyBrooks #MaybeBurke #JoeChisholm #TraciElaineLee #offbroadway #americantheatreofactors #MidnightTheatricals

Top: Joe Chisholm, Jimmy Brooks, Maybe Burke; Bottom: Traci Elaine Lee. Photos by Mati Gelman.

The Review: Midnight Theatricals’ safeword.

By Ross

With a crack of a whip, safeword., the new play written and directed by S. Asher Gelman (Off-Broadway’s Afterglow) dives into the implausible, exploring the BDSM world with four fundamentally different adults colliding in a NYC apartment complex. It’s…

[tommygeraci]

Safeword. is more than a play, it's an experience

Safeword. is more than a play, it’s an experience

If you follow me on social media, you know I was so excited about the new play, ‘Safeword.‘ by Asher Gelman. Asher wrote another play I totally fell in love with, ‘Afterglow‘, so I had high expectations for his latest creation. I am thrilled to report that my expectations were met!

‘Safeword.‘ is more than a play, it’s an experience that allows you to explore your own fantasies and needs. The…

[fuckyeahbeautifulonbroadway]

debockel: My Beautiful loves.

[thecomicon]

Art For Art's Sake # 103 - Giving You The Full Kaluta...

Art For Art’s Sake # 103 – Giving You The Full Kaluta…

In an ever-changing world of misery, torment, hatred, lockdowns, pandemics, and that annoying next-door neighbour who doesn’t get the concept of privacy or that a mask goes over the nose AND the mouth, isn’t it good to have something you can rely on? Folks… it’s the weekly Comicon Art For Art’s Sake… (more…)

[lakecountylibrary]

Asian American and Pacific Islander Heritage Month Book Recs

Adults:

Daughter of the Moon Goddess by Sue Lynn Tan

Disorientation by Elaine Hsieh Chou

To Paradise by Hanya Yanagihara

Fiona and Jane by Jean Chen Ho

The Cartographers by Peng Shepherd

Peach Blossom Spring by Melissa Fu

Kids:

One, Two, Three Dim Sum: A Mandarin-English Counting Book by Rich Lo

Grandpa Grumps by Katrina Moore

No Kimchi for Me! by Aram Kim

Eyes that Kiss in the Corners by Joanna Ho

Amy Wu and the Perfect Bao by Kat Zhang

The Most Beautiful Thing by Kao Kalia Yang

Teens:

Loveboat Reunion by Abigail Hing Wen

A Thousand Steps Into Night by Traci Chee

K-Pop Revolution by Stephan Lee

Once Upon A K-Prom by Kat Cho

This Place is Still Beautiful by XiXi Tian

Almost American Girl: an Illustrated Memoir by Robin Ha

See more of Kelley’s recs

[usuallyapirate]

A short Introduction to the most common Player-Races in Dungeons and Dragons as given by the DnD 5e Players Handbook:

Dwarf

“Yer late,elf!” came the rough edge of a familiar voice. Bruenor Battlehammer walked up the back of his dead foe, disregarding the fact that the heavy monster lay on top of his elven friend. In spite of the added discomfort, the dwarf’s long, pointed, often-broken nose and gray-streaked though still-fiery red beard came as a welcome sight to Drizzt. “Knew I’d find ye in trouble if I came out an' looked for ye!" 

– R.A. Salvatore, The Crysta lShard

Kingdoms rich in ancient grandeur, halls carved into the roots of mountains, the echoing of picks and hammers in deep mines and blazing forges, a commitment to clan and tradition, and a burning hatred of goblins and orcs—these common threads unite all dwarves.

Elf

“I HAVE NEVER IMAGINED SUCH BEAUTY EXISTED,” Goldmoon said softly. The day’s march had been difficult, but the reward at the end was beyond their dreams. The companions stood on a high cliff over the fabled city of Qualinost. Four slender spires rose from the city’s corners like glistening spindles, their brilliant white stone marbled with shining silver. Graceful arches, swooping from spire to spire, soared through the air. Crafted by ancient dwarven metalsmiths, they were strong enough to hold the weight of an army, yet they appeared so delicate that a bird lighting on them might overthrow the balance. These glistening arches were the city’s only boundaries; there was no wall around Qualinost. The elven city opened its arms lovingly to the wilderness.

 – Margaret Weis & Tracy Hickman, Dragons of Autumn Twilight

Elves are a magical people of otherworldly grace, living in the world but not entirely part of it. They live in places of ethereal beauty, in the midst of ancient forests or in silvery spires glittering with faerie light, where soft music drifts through the air and gentle fragrances waft on the breeze. Elves love nature and magic, art and artistry, music and poetry, and the good things of the world.

Halfling

Regis the halfling, the only one of his kind for hundreds of miles in any direction, locked his fingers behind his head and leaned back against the mossy blanket of the tree trunk. Regis was short, even by the standards of his diminutive race, with the fluff of his curly brown locks barely cresting the three-foot mark, but his belly was amply thickened by his love of a good meal, or several, as the opportunities presented themselves. The crooked stick that served as his fishing pole rose up above him, clenched between two of his toes, and hung out over the quiet lake, mirrored perfectly in the glassy surface of Maer Dualdon. 

– R.A. Salvatore, The Crystal Shard

The comforts of home are the goal of most halflings‘ lives: a place to settle in peace and quiet, far from marauding monsters and clashing armies; a blazing fire and a generous meal; fine drink and fine conversation. Though some halflings live out their days in remote agricultural communities, others form nomadic bands that travel constantly, lured by the open road and the wide horizon to discover the wonders of new lands and peoples. But even these wanderers love peace, food, hearth, and home, though home might be a wagon jostling along a dirt road or a raft floating downriver.

Human

These were the stories of a restless people who long ago took to the seas and rivers in longboats, first to pillage and terrorize, then to settle. Yet there was an energy, a love of adventure, that sang from every page. Long into the night Uriel read, lighting candle after precious candle. She'd never given much thought to humans, but these stories fascinated her. In these yellowed pages were tales of bold heroes, strange and fierce animals, mighty primitive gods, and a magic that was part and fabric of that distant land. 

– Elaine Cunningham, Daughter of the Drow

In the reckonings of most worlds, humans are the youngest of the common races, late to arrive on the world scene and short-lived in comparison to dwarves, elves, and dragons. Perhaps it is because of their shorter lives that they strive to achieve as much as they can in the years they are given. Or maybe they feel they have something to prove to the elder races, and that’s why they build their mighty empires on the foundation of conquest and trade. Whatever drives them, humans are the innovators, the achievers, and the pioneers of the worlds.

Dragonborn

Her father stood on the first of the three stairs that led down from the portal, unmoving. The scales of his face had grown paler around the edges, but Clanless Mehen still looked as if he could wrestle down a dire bear himself. His familiar well-worn armor was gone, replaced by violet-tinted scale armor with bright silvery tracings. There was a blazon on his arm as well, the mark of some foreign house. The sword at his back was the same, though, the one he had carried since even before he had found the twins left in swaddling at the gates of Arush Vayem. Father’s face was as kill she'd been fortunate to learn. A human who couldn’t spot the shift of her eyes or Havilar’s would certainly see only the indifference of a dragon in Clanless Mehen’s face. But the shift of scales, the arch of a ridge, the set of his eyes, the gape of his teeth – her father's face spoke volumes. But every scale of it, this time, seemed completely still— the indifference of a dragon, even to Farideh.

– Erin M. Evans, The Adversary

Born of dragons, as their name proclaims, the dragonborn walk proudly through a world that greets them with fearful incomprehension. Shaped by draconic gods or the dragons themselves, dragonborn originally hatched from dragon eggs as a unique race, combining the best attributes of dragons and humanoids. Some dragonborn are faithful servants to true dragons, others form the ranks of soldiers in great wars, and still others find themselves adrift, with no clear calling in life.

Gnome

Skinny and flaxen-haired, his skin walnut brown and his eyes a startling turquoise, Burgell stood half as tall as Aeron climb up on a stool to look out the peephole. Like most habitations in Oeble, that particula tenement had been built for humans, and smaller residents coped with the resulting awkwardness as best they could. But at least the relative largeness of the apartment gave Burgell room to pack in all his gnome-sized gear. The front room was his workshop, and it contained a bewildering miscellany of tools: hammers, chisels, saws, lockpicks, tinted lenses, jeweler's loupes, and jars of powdered and shredded ingredients for casting spells. A fat gray cat, the mage’s familiar, lay curled atop a grimoire. It opened its eyes, gave Aeron a disdainful yellow stare, then appeared to go back to sleep. 

– Richard Lee Byers, The Black Bouquet

A constant hum of busy activity pervades the warrens and neighborhoods where gnomes form their close-knit communities. Louder sounds punctuate the hum: a crunch of grinding gears here, a minor explosion there, a yelp of surprise or triumph, and especially bursts of laughter. Gnomes take delight in life, enjoying every moment of invention, exploration, investigation, creation, and play.

Half-Elf

Flint squinted into the setting sun. He thought he saw the figure of a man striding up the path. Standing, Flint drew back into the shadow of a tall pine to see better. The man's walk was marked by an easy grace – an elvish grace, Flint would have said; yet the man’s body had the thickness and tight muscles of a human, while the facial hair was definitely humankind’s. All the dwarf could see of the man’s face beneath a green hood was tan skin and a brownish-red beard. A longbow was slung over one shoulder and a sword hung at his left side. He was dressed in soft leather, carefully tooled in the intricate designs the elves loved. But no elf in the world of Krynn could grow a beard ... no elf, but...

“Tanis?” said Flint hesitantly as the man neared.

“The same.” The newcomer’s bearded face split in a wide grin. He held open his arms and, before the dwarf could stop him, engulfed Flint in a hug that lifted him off the ground. The dwarf clasped his old friend close for a brief instant, then, remembering his dignity, squirmed and freed himself from the half-elf’s embrace. 

– Margaret Weis and Tracy Hickman, Dragons of Autumn Twilight

Walking in two worlds but truly belonging to neither, half-elves combine what some say are the best qualities of their elf and human parents: human curiosity, inventiveness, and ambition tempered by the refined senses, love of nature, and artistic tastes of the elves. Some half-elves live among humans, set apart by their emotional and physical differences, watching friends and loved ones age while time barely touches them. Others live with the elves, growing restless as they reach adulthood in the timeless elven realms, while their peers continue to live as children. Many half-elves, unable to fit into either society, choose lives of solitary wandering or join with other misfits and outcasts in the adventuring life.

Half-Orc

The warchief Mhurren roused himself from his sleeping-furs and his women and pulled a short hauberk of heavy steel rings over his thick, well-muscled torso. He usually rose before most of his warriors, since he had a strong streak of human blood in him, and he found the daylight less bothersome than most of his tribe did. Among the Bloody Skulls, a warrior was judged by his strength, his fierceness, and his wits. Human ancestry was no blemish against a warrior – provided he was every bit as strong, enduring, and blood thirsty as his full-blooded kin. Half-orcs who were weaker than their orc comrades didn't last long among the Bloody Skulls or any other orc tribe for that matter. But it was often true that a bit of human blood gave a warrior just the right mix of cunning, ambition, and self-discipline to go far indeed, as Mhurren had. He was master of a tribe that could muster two thousand spears, and the strongest chief in Thar. 

– Richard Baker, Swordmage

Whether united under the leadership of a mighty warlock or having fought to a standstill after years of conflict, orc and human tribes sometimes form alliances, joining forces into a larger horde to the terror of civilized lands nearby. When these alliances are sealed by marriages, half-orcs are born. Some half-orcs rise to become proud chiefs of orc tribes, their human blood giving them an edge over their full-blooded orc rivals. Some venture into the world to prove their worth among humans and other more civilized races. Many of these become adventurers, achieving greatness for their mighty deeds and notoriety for their barbaric customs and savage fury.

Tiefling

“But you do see the way people look at you, devil’s child." Those black eyes, cold as a winter storm, were staring right into her heart and the sudden seriousness in his voice jolted her.

“What is it they say?" he asked. “One’s a curiosity, two’s a conspiracy—”

“Three's a curse,” she finished. “You think I haven’t heard that rubbish before?”

“I know you have.” When she glared at him, he added, “It’s not as if I’m plumbing the depths of your mind, dear girl. That is the burden of every tiefling. Some break under it, some make it the millstone around their neck, some revel in it.” He tilted his head again, scrutinizing her, with that wicked glint in hiseyes. “You fight it, don’t you? Like a little wildcat, I wager. Every little jab and comment just sharpens your claws.” 

– Erin M. Evans, Brimstone Angels

To be greeted with stares and whispers, to suffer violence and insult on the street, to see mistrust and fear in every eye: this is the lot of the tiefling. And to twist the knife, tieflings know that this is because a pact struck generations ago infused the essence of Asmodeus – overlord of the Nine Hells – into their bloodline. Their appearance and their nature are not their fault but the result of an ancient sin, for which they and their children and their children’s children will always be held accountable.