#because she did it so often

[stevenrogered]

best parts of ant-man imo: jonathan majors and michelle pfeiffer, easily. im so glad they gave janet more to do and jonathan majors is so great

honorable mention: david dastmalchia as veb the goo who loves holes (hes incredible lmao)

worst part: this is just MY opinion but kathryn newton was hands down the worst part of the movie. cassie was never annoying and she made her very, very annoying

[biggest-gaudiest-patronuses]

main take aways from Halloween (1978) rewatch:

michael myers is canonically 21??? this bitch should be at the club

*sees tiddies* ***MURDEROUS RAMPAGE NOISES***

that's it that's the movie

outside of the fact that everyone who has sex is murdered by the narrative, this is a surprisingly chill portrayal of female sexuality? these teen girls are horny and actively enjoying Getting It On with their boytoys. no pushy boyfriends sneaking in through their bedroom windows--these ladies are taking the initiative to sneak out and GET SOME. one of them gets laid and then immediately orders her boyfriend to get her a beer. (yes she gets Slashered soon afterward, but so does the boyfriend so honestly, gender equality.) yes the Final Girl is the only one not having sex, but she's not bullied for that, nor are her friends slut shamed except possibly by being murdered by the narrative

actually the only character who is shown being morally condemned on-screen is michael myers. specifically FOR his violent overreaction to other people's sex lives. (people he is spying on). metaphorically, the villain is American Puritanism sticking its judgy nose into other people's business.

aka Michael Myers Is A Republican

but actually the real villain is the doctor. guy's a judgemental, shaming, pathologizing asshole. and he's been in charge of michael's care since he was SIX YEARS OLD? kid never had a chance. i'd go on a killing spree too

also the parents. where are the parents? it's halloween night and all the teenage girls are home babysitting their younger siblings? come to think of it, michael's first victim was his own older sister, whom he killed while she was babysitting him. teen girls are really shouldering a labour burden here. maybe parentification is the true villain

side note: mike commits his first murder wearing a clown costume...which is never referenced again? his 'iconic' costume is a generic mask and wig and jumpsuit, when we coulda had a Killer Clown Michael Myers??? travesty

i like how the Final Girl and her friend casually smoke weed in her car. yeah she's an honor student and her friend is the sheriff's daughter. yeah they smoke weed. so what it's 1978

(to reiterate, mike is 21 and should be at the club. im not saying he shouldn't be rampaging, im saying it's sad that he broke out, tasted freedom for the first time in his life, and immediately snuck back into his childhood home to go rampaging. let's have a remake where he goes to a nightclub and has a few beers. maybe some slutty dancing. then rampage)

oh no he's hot

[demigods-posts]

percy doing better than annabeth in college is one my favorite developments in the rrverse. if we reflect on percy and annabeth's academic upbringing. annabeth living at camp allowed her to receive accommodations for her adhd and dyslexia and surround herself with like-minded campers who had the same limitations. whereas percy was ridiculed, belittled, and routinely humiliated because of his adhd and dyslexia. even more so, percy's friends and family leave him out of the loop on so many important issue (no chb orientation film, no information about the great prophecy) which perpetuates his subpar confidence and self-esteem in his skills as a student and a demigod. but going to college at NRU changes his mindset because he receives the accommodations he should have gotten years ago and fucking thrives to the point of getting higher grades than annabeth — a person he deems way smarter and more prepared than him in every way. the most important thing percy is learning now is that a supportive environment makes all the difference, and he is more capable than he initially thought.

[fuumiku]

It was Maid Day today yesterday a week ago so I got struck by inspiration to draw the worsties, and it ran away from me into a whole AU where they’re coworkers at a maid cafe. She’s a med student & this is just a part time job, and this is his depression job while he gets his life back together. He needs something he can be workaholic about to forget what it’s like having a personal life and personal issues. He’s actually the accountant, but the new hire janitor (Izutsumi) doesn’t show up for half her shifts and is a sloppy worker, so he gets the extra work of doing her job on top of his because he’s undervalued and overworked. Of course, janitors also have an uniform to keep the aesthetic cohesion as they go about cleaning the place, of course.

Senshi’s the part time cook you only see slivers off, he’s kind and warm when you do see him and have a chat but most shifts he’s in and out the kitchen without a trace. Laios and Falin are regulars because Falin and Marcille are besties & in the same med school, Laios accompanies Falin as she visits her friend at work and gets hooked on the food. Chilchuck has to remind Marcille to work instead of chatting with Falin for an hour, and next thing he knows she’s distracting him from work too. That’s it that’s the AU. Inspired by this idol AU fanart a bit <3

This was not meant to be birthday gift but well…… Happy bday Chil!!!

Read from left to right

[divorcedwife]

the murder sisters

[sevenines]

i saw this tweet and found it interesting for two reasons. one is that some people base how good cartoon network would be to toh by how it treated su, and despite the fact that su’s treatment by the network was considered poor at the time, now its thought to be exceptionally good in comparison to modern shows.

two is how exactly su got impacted by a limited budget. a common criticism is how characters like connie, peridot, and lapis are left out of missions. but balancing a lot of characters is not only hard but also costly (extra animation, extra voices—it’s been revealed that the show is limited to a set number of characters per episode otherwise they’re over budget). animation mistakes are not uncommon since retakes cost extra. the entire reason the original show got cut short was due to loss of funding!

[lastoneout]

I do agree with the people calling Somerton out for his misogyny and lesbophobia but I do want to remind everyone that him treating Becky Albertalli like that was an explicit act of biphobia. Like there is something very transparent about him insisting that lesbians have it easier than gay men only to turn to a bisexual woman and refuse to accept that she's queer at all. That was biphobia in it's purest form. It doesn't make the rest okay by any means and I'm not trying to minimize it, but as a bisexual woman I think it's important for everyone to recognize that he did not just treat her like that because she's a woman who happens to like women, he did that because she's bisexual and he clearly doesn't think bisexual women are queer at all.

Also don't gloss over the transphobia around ignoring ND Stephenson and Rebecca Sugar's gender identities as well. He's not just a misogynist and a lesbophobe, he's biphobic and transphobic too. Acknowledge all of it.

[scoriarose]

She came up with a new activity

[edwinisms]

i get such a sense of primal envy when looking at edwin’s clothes up close because god you can just tell his coat is real wool and made to last and not cheap flimsy mass produced garbage and auggagghhhh that was just STANDARD in his time. by no means am i saying i was #borninthewronggeneration because i like having vaccines and household appliances but. man. to have a personally-tailored coat like that that’d last for years and years……. and fabrics of fine thread-dense quality………. if only

[yashley]

Did she keep you trapped?

[myokk]

soft🥹

[ialwaysknewyouwerepunk]

the loneliness and sadness that creeps into you in a way that only growing up queer can cause. your parents can accept you and still make you feel like an outsider. your parents can love you and still reject parts of you. that old-fashioned kind of love where they think trying to mold you, make you tough, is better for you. or that quiet status quo where you just don't talk. and where everyone is accepted, though some are more than others. generations and generations it's just been easier to let it slide. to let it be. not cause a fuss. but then we sit there with a knot in our chests all our lives wondering how it got there

[fickleartdump]

came back wrong

[tyttetardis]

Macbeth Q&A 18th Jan 2024 Part 1

Was lucky enough to get a ticket for the Member's Event at the Donmar Warehouse that took place on the 18th...with the price of the patronages I sure never thought I'd have gotten the chance, but luckily, they also let in some non-members 🥹❤️

The brilliant performance of Macbeth was followed by a very quick cleaning of the stage - thought for sure it would've taken them longer to remove the blood than like 5 minutes - followed by a lovely, little Q&A session.

The Q&A was led by Craig Gilbert (Literary manager) who talked to Annie Grace and Alasdair Macrae (Musicians and part of the acting ensemble) as well as Cush Jumbo and David Tennant.

Anyway, just gonna write down some of the stuff they talked about :) sorry if it's a bit messy! Might be spoilery if you haven't seen it yet but are going to!

To begin with Craig remarked that he didn't think he'd ever seen that many people staying behind for a Q&A before (While I was just wondering why some people even left!? Stressful!).

David introduced himself with "My real name is David "Thane of Paisely" Tennant - while Cush introduced herself with "I´m Cush Jumbo - there's only one of me".

First question was Craig asking them what it was that brought them to the Donmar to do Macbeth - to which David pretty much just replied that 1. It's the Donmar! 2. It's Macbeth! One of the greatest plays of all time in an amazingly intimate space - and that the theatre is famous for its quality of work. So he found it quite hard to think of a reason not to do it!

Cush said she'd worked there before and loves the theatre, how it's so intimate but also a great workspace. Followed by her saying she said yes because David asked her. She talked about how important it was for this play to do it together with the right actor playing opposite you.

David says Max Webster asked him about a year ago if he wanted to do the play - he gave him the dates - and since there weren't any obstacles in the way, David didn't have any excuse not to do it.

He then said that he had slightly avoided Macbeth - there sorta being the assumption that if you're Scottish and has done some Shakespeare plays before you have to do Macbeth. Which he joked was a bit odd since it's not like every Italian has to play Romeo. Then he mentioned that Macbeth is probably a bit more of a jock than he is - that it seemed more like a part for big, burly actors.

Max had laid out his initial ideas to David, a lot of which are in the final production, and David thought he seemed lovely, bright and clever and inventive plus it being the Donmar Warehouse! To which joked that he had last worked there 20 years ago - when he was 8 years old! "It's just one of those spaces" - friendly and epic at the same time where it's such a pleasure to be on the stage.

When Craig asked his next question concerning the sound of the play someone asked him to speak louder as she couldn't hear them - to which David joked that they've gotten so used to whispering. But also said sorry, and that they would!

Alasdair explained a bit about the process of the binaural sound - bit I find it a bit difficult to decipher it all correctly, sorry. He did say that a interesting part of it is that it allows them a controlled environment where they can put all the musicians (and even the bagpipes!) behind the soundproof box so "Poor David and Cush" doesn't have to shout over all the racket.

Craig asked David and Cush what their reaction was when they heard about the concept of the binaural soundscape - to which David replied that it didn't quite exist when they first came onboard - Cush joking they were tricked into it. Then she talked about her and David going on a workshop with Max to get a feeling of how it would all work - and get a sense of how it would sound to the audience, as this was one of the few times, they got to hear that side of it. Their experience of the play being completely different to the experience the audience has.

Cush said they can hear some of the sound - like she can hear some of the animal sounds and David can hear some of the stuff from the glass box - but most of their cues and information comes from timing with each other. She said they won't be able to ever hear what the audience hears - to which David joked "We're busy".

It felt like mixing medias - as it all went quite against their natural stagecraft instinct - but Cush found that in the long run it made things very interesting - like they don't have to worry about getting something whispered to each other - as the audience will hear it anyway.

David said the odd thing is that they don't really know what the experience truly is like. He mentioned that to the sides of the stage there's a speaker for them where they will get any cues that they need to hear. Like they can hear the witches - but they can't hear where they are "positioned" - so they have to learn how to place themselves to fit with what the audience hears. They don't hear everything, though. And the audio they hear is quite quiet, so it doesn't disturb what comes through the headphones.

He thinks it's been exciting - that it's a bit like a mix between film and theatre. It's happening live - but it's also like post-production is happening between them and the audience as it's going on. They just have to trust that the audience is hearing what they are supposed to for it all to make sense.

Cush said she thinks in 10 - 20 years, as these technologies has developed, doing theatre like this will feel a lot more normal - not that they will do it ALL the time, but that they will be doing it - whereas now it's still like an experiment. What Cush really like about the concept is that if was done in a much bigger theatre - then people in the cheapest seats would be able to have an experience much more similar to those in the most expensive seats - they'd be a lot more immersed into the action.

David then talks about how it feels extremely counterintuitive to not go on stage and speak loud enough that the people in the back row can also hear you. And usually, if they can't hear you, you aren't doing your job right! But then it felt very liberating. He loves it.

Cush then talked about how it felt odd waiting in the wings for a cue you can't hear - where you traditionally wait backstage and you can hear your cues, you can hear the rythm and know when it's your turn - so it was quite disconcerting to hear silence. So it's basically down to them now knowing the show and each other's timings - like if David is standing at a certain point, she knows how long she has before she needs to say/do something. So you have to watch each other more closely and really focus on what the others are doing.

David asked the musicians if they can hear everything inside the box, to which Annie replied that they get everything except some extra bits in the soundscape. But they can hear the actors on stage. Annie said it's actually a bit of a mystery to all of them what the audience actually experiences - how the big pictures actually look like - they just have to trust that it's there "Is it there?!".

Someone asked if they had had any adverse reactions from audiences to having to wear the headphones. Quite a bit of laughter all around :P then David said "There's the odd person" and something about if someone hadn't gotten the memo before turning up...but not sure how he ended the line. Then once again says that yes, there's the odd person who doesn't like it and that's fair enough.

The same audience member then said he could see the advantage of it in a big theatre where the distance is big, but not in a small place like the Donmar - to which David very quickly, rather passionately replied that it's not about projection, it's about being able to do things you wouldn't normally be able to do live - where they can speak so quietly that they can't even hear each other when standing next to each other. So even in such a small place, people wouldn't be able to hear that. It's about creating a different play - which isn't to everyone's taste and that's fair enough. But for a play that's been done a hundred and seven million times he thinks it's very valid to try and find a new way into the play - even if it's not for everyone.

Part 2

[whenyoulosesmallmind]

Nicklas Bäckström & the Washington Capitals (+ nickeovi) ― Immortality, Clare Harner | insp.

credits: x. x. x. x. x. x. x. x. x. x.

[naamahdarling]

I cannot BELIEVE I am making progress on training Fancy to "sneeze" on command!

It looks sort of like shaking her head no, so I'm not sure what verbal cue to use. Do I use "sneeze" or "achoo!" or do I train it in as potentially part of a funny "dialogue" during a performance? "Ya think?" "*sneezes NO*"

I really like them both!

Here she is looking regal and not like a shop towel, btw: