#and then any musical Carrie

[put-a-banana-inyourear]

I think Carrie White and Sweeney Todd would be a great father-daughter duo. They could get their revenge together.

[sukibenders]

It's annoying how many Glinda fans, specifically a certain type, act condescending towards people criticizing Glinda's actions and her as a character, calling her out for how she operates in a way that benefits her by saying "Oh, these people don't know anything, they haven't seen Act II or read the books." But when they are told that both forms of media have been seen, they still get in their feelings, especially towards black and other poc fans who, when discussing Glinda, talk about how she feels very reflective of white feminism, respectability politics and performance activism (which she is), something that they know probably what it's like to be around people like that from personal experience. Just because you like a character, especially one who does bad things, doesn't mean you get to be rude to others or downplay their intelligence when they call these actions out. Glinda is often infantilized a lot in this fandom, from what I've gathered, even though (speaking from a movie standpoint) she literally sings about how she understands the way her society works and how she uses those rules to her advantage. There are many things that Glinda does that are fake and catty, and there's nothing wrong with calling that out. Also, another thing, yes some people haven't seen the musical (in person or in full) whether it not being available or just lack of interest, but there are ways to still learn about Act II before the second half of the movie comes out, whether through a quick Google search or just watching bootleg recordings of the musical on YouTube, people can learn, but you acting pretentious and downright hostile probably makes them want to avoid this fandom as a whole. Then you wonder why no one wants to engage with Wicked. You can like her as a character, all good and well as even I can find myself drawn to her, but let's not let your enjoyment of her cloud your judgment and having you lash out at people, because that's really uncalled for.

[the-godly-beef]

Obito dirty basement metal band au!!

For @obito-week 2024 and heavily inspired by @badninken 's moldy basement metal au

[faaun]

ive talked to a lot of ppl who have taken vyvanse now and i think ik a bit more on how i need to live on it

[purecommemasolitude]

There’ve been criticisms about Darry being too mean or too cruel in the musical, and I get where those people are coming from, but — and speaking as someone who hasn’t seen or listened to it but has listened to the soundtrack and follows the information account like the paper — I think this phenomenon stems from two things

First, on the side of the discussers, a lack of exposure to the musical as an actual piece of material instead of (occasionally very out of context) lines or screenshots. Obviously seeing the musical, even if one lived in New York, would be expensive as all get out, and even audios and boots are pretty hard to find for this show, but there are many details and contexts that change how lines on the page should be interpreted that simply cannot be gleaned through, well, lines on the page. As someone who has dabbled in acting & directing, and has spent time analyzing play texts in depth, delivery and direction can change everything. The entire sentiment of a line can be the opposite of what you’d expect if you took the line at face value, and unless that’s explicit in the stage directions, it can go unrealized if one is merely reading the script (which, as an aside, is exactly why I find analyzing play excerpts tricky — because without a performance or direction, scripts are often so ambiguous and versatile that they could go any way). And honestly, despite also being someone who unfortunately does not benefit from first hand knowledge of the musical, I feel like this is very evident in discussion of Darry in the show. For example, none of his lines in, say, Runs in the Family (Reprise) should be taken at face value, because if you’ve even listened to the song you can tell he’s completely spiralling and hitting a breaking point. This is a state that, historically, causes people to say things they’d never believe in real life. We’re not meant to believe Darry would ever walk out on his brothers, we’re meant to hear him talk about it and understand how deep of a breakdown he is having. As a less obvious example, from what people online have said, Darry spends the last twenty or so minutes of the musical in tears. Again, the things he says here aren’t necessarily the things he believes, or things that he’s expressing coolly or off-handedly because they line up 1:1 with his worldview, they’re things he says when he’s desperate and struggling and has no idea what the correct path is when his brother & responsibility has effectively been comatose since the deaths

Which brings me to my next point!

One of the most known things about the musical, even to people who aren’t very familiar with it, is that it goes more in-depth on Darry’s trials and tribulations, so to speak. He gets one solo at status quo, another (mostly) solo when he gets his breakdown, and a (mostly) duet in his own self-described darkest hour during Pony’s absence. All three of these songs go into detail about what his life is like and how much he’s been struggling, and even songs that aren’t about him emphasize this feature of his more than in the book: his description by Ponyboy in Tulsa ’67 & Great Expectations reminding the audience of his life’s path, his verse in GGAH making it clear that his life is a very different one with arguably more severe burdens compared to the other boys. Other than the three most important characters of the original narrative, he is now undoubtedly the most important and developed character — which makes sense in a musical format, because with the story of The Outsiders it would’ve been pretty much impossible to do a true ensemble cast other than the main three while doing any of them justice, especially if they’d kept Steve as a principle (rip king). But I digress. In my opinion, being clearer on Darry’s hardships actually gives the musical space to show him as saying crueller things, to have him make more mistakes and mess up worse. In the book, we’re clearly meant to sympathize with him by the end, but we only get Ponyboy’s infamously flawed and unreliable narration as the lense through which to view him. As such, if we went too hard into Darry messing up, while 3/4 of the book have Ponyboy going “yeah Darry’s a rock and doesn’t love me or anyone”, he ultimately would’ve come across a lot worse and a lot harder to “redeem” in the eyes of the reader (personally I never disliked him, but I’ve seen enough accounts of people who hated him on their first go at the story to know it is not an uncommon sentiment). He already slaps his brother and argues with him all the time; it would’ve been even more legwork to make him liked if he’d also been saying harsher things and making more mistakes. In the musical, however, we get that objective perspective that’s missing in the book. Ponyboy’s not narrating to us the lyrics of Throwing in the Towel, he’s not even present for the events of Throwing in the Towel! It’s a lot easier to understand and forgive mistakes if one is familiar with the psyche behind those mistakes, and the musical delivers that psyche to us at every turn. Because the audience understands Darry Curtis and how hard it is for him to hold on, the audience also has more understanding and forgiveness for when he’s spiralling. It’s also just a more specific proof of his plight — three songs with first-hand, emotionally explicit lyrics penetrate the uninvested understanding a lot easier than a second-party description of circumstances. Due to its nature and promotion of Darry’s importance, the musical simply gets more freedom to show an arguably more realistic version of him.

Also, I do believe that Darry in the musical is just that much closer to the edge than he is in the book, which is a valid character choice in an inherently emotional and transformative medium such as the musical adaptation 🤷🏻‍♀️

[sheepalmighty]

Some more of that Chai joins Vandelay for half a day AU. Or just a picture of a kinda OOC Kale chilling if you wanna gloss over those comics. I'm still not sure if the colours are too garish or not.

These were mostly done with the premise of treating Kale's office like the hideout. I also really like how mundane, or familiar, the interactions between Chai and Kale can be in the game so I wanted to draw some stuff exploring more like that. But also, there's the ulterior motive of shipping so I included an out of context scene because I can't bother drawing the rest of it (though it seems like a huge jump in their relationship as a result. I think they're so big headed that they get stuck in a feedback loop of stroking the other's ego if an excuse comes up to do so)

[dropthecop]

I haven't listened to taz in YEARSSSS at this point, like SO MANY YEARS, but I saw one too many people saying that the new campaign was super reminiscent of all the stuff that made balance so great, and I was already thinking about dnd a lot for unrelated reasons, so I decided to give it a listen and YOU WERE ALL RIGHT. WHY IS IT SO GOOD.

[mewnia]

thank you! i enjoy tales of sunday but i would love to see more oc stuff esp if that's more fun for you too :3

i'd love to ask you some questions about your ocs if you're willing to answer! i've been through the tags but there's definitely more to know about all the characters. one character i didn't see a lot of info on was selah! what's her background like? how did she grow up? what is she getting up to around the time the main story takes place? what's her relationship to the rest of the cast like? her relationship with abriel? what's her general role in the story? any other cool stuff you wanna spill? you can answer as many or as few of these questions as you like! i'd love to read your ramblings :p

Ahhh I love my girl Selah! She’s one of the more straight-forward characters so I often don’t have to draw concepts for her, if that makes sense? I probably should, it would help me connect with her character more!

She’s a very silly girl, at heart. A reference that I usually follow is relating her to Jessie from Toy Story but more farmer-ish rather than cowboy. She definitely follows her gut. Selah and Abriel’s family are farmers of medicinal herbs protected by Autumnest’s royal family. These herbs come in extremely handy to both residents of Autumnest and to researchers in Springland. No one knows how they got these herbs. According to Selah, their plants just one day started having healing properties!

To other characters, Selah is a sibling all-around! Her more focused relationships (besides Abriel) are with Ella and Mel. Selah relates to Ella’s predicament with her father, who is ill, and knows one day Ella will need support to deal with what’s coming. Meanwhile, Selah is so energetic and playful, she’s a breath of fresh air for Ella. With Mel, I’m still playing around with, but the main gist is that Abriel seems to have a really close interest in them. Therefore, Selah wants in, too!

Selah is incredibly close with her twin brother Abriel. She loves having someone there by her side, someone who is both a huge, personal part of her and yet their own person. She loves doing the whole twin-matching thing, and Abriel goes along with it to see her smile. Actually, Abriel is sometimes there for her a little too much, if that makes sense. The siblings try to out-do each other in service to one another often. Apparently for their Quinceañera/Quinceañero, both of them made such tall, towering cakes for the other that they ended up feeding their whole village for days! The twins refuse to say who made the tallest… Local villagers will tell you it was a tie ;P

Mel, Ella, Abriel, and Asher, when going unchecked can get very doom and gloom very quickly as characters. So Selah is here to hopefully lift the party’s, an especially the viewer’s, spirits <3

Here are some other drawings of Selah! One of her for MerMay that I plan to finish in October for OC-tober, and the other from an entry in Asher’s journal — 10 years before the main story. This journal hasn’t been posted on my blog, mainly because I’m embarrassed of my writing skills, haha

Thank you for asking, I don’t mind at all! I meant it when I said I could talk about my OC’s for days. It’s a long post, that’s for sure :P

[mielnah]

Chappel Roan is cool and all but im not fw the comparisons to her being the modern Kate Bush... Kate Bush IS the modern Kate Bush no one could totally replace her. Also sorry they're barely alike at all idk wtf you're talking about

[theboytatu]

uhhh feeling kinda shitty cause i don't wanna be ungrateful or bring in the negativity but this is so underwhelming lmfaoo? 😭 a part of me is like. idk i consistently dislike slow paced and ballad like/cute comebacks for kpop groups so i am well aware i am not the target audience for this. and i can appreciate the song for what it is even though it's not what i personally enjoy or tune into billlie for - even though i have to say trampoline is so much better than this satang song and it's still a slower paced song. but another part of me is like. what were mystic thinking making this the title track? like we waited 18 months for this?

having double title tracks only works when they're distinctive from each other (ie. a fast paced high energy song and a ballad or a dark concept and a bright one). these two songs blend into each other and satang is so much more middle of the road than trampoline so it just feels like a very flat effort 😭

im hoping the bsides make up for it cause this is such an underwhelming comeback - specially for a big ot7 reunion after more than a year. i wish this wasn't the case and that i was genuinely excited for billlie to be back but this just makes it impossible. lol

[lanternlightss]

nameless bard with it/its pronouns …

[vimbry]

"nanobots" the song is this deconstructed view of child development and parenthood where it's like, 'wow have you ever thought about how weird producing offspring is. like, it's weird, right! we make these little people and they quickly grow into their own individual personalities with their own lives and autonomy and I've lost all authority and there's so many and you've gotta be responsible for them all the time, what did I do !!!'

but as well as approaching it with this slightly overwhelmed perspective, there's a sort of affectionate optimism in there, too. that even tho the concept's intimidating, there's a sense of wonder in how humans develop and raising them and watching them grow up. hey this kid thing's fun actually, yeah I wish they'd leave me alone sometimes, but look at how cute and resilient they are look at what they can do. and then "replicant" is like jesus parenting a teenager is hard.

[citrus-circuss]

guys I don't think anything is ever gonna compare to the feeling of listening to Scylla for the first time, watching the animatic on the livestream, still a little drowsy from sleep right after waking up in the middle of the night. Two minutes and fifty-five seconds of an undescribable feeling I'll never get to replicate.

[peanut-butter-and-theatre]

[bmpmp3]

i do think its kinda funny when i see someone in the year of our lord 2024 talk about vocal synth music like its all gone downhill since like 2010 because like dont get me wrong i love a good niconicodouga-ass 2008 ass vocaloid joint BUT also like. the past couple years have had the most fascinatingly creative and expressive uses of vocal synthesizers ive ever heard in my life DJFSKHJDFS dont write it all off just yet!!

[a-little-bit-poss]

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