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[thelotterynetwork]

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Kuroshitsuji Musical ~ 寄宿学校の秘密 (Secrets of the Boarding School) 2024 ~ VERA’S REVIEW!

Yes you read that right! I’ve had the most fateful chance to watch the very first performance of the newest Kuromyu in Hyogo last Saturday, so I figured I’ll eternalize some of my best memories here.

Before we begin: the LIVE STREAMING is available for the LAST PERFORMANCE, September 29th 2024, HERE! For only 3800 yen, you’ll get to watch it live at home, or watch it later for up to 1 week (October 6th)! Apparently you need a Japanese VPN though, if anyone knows how to navigate the site, please do share.

A few disclaimers from me:

*Anti-shippers DNI. This post barely has any shipping content at all but I don’t like people who harass others over fictional preferences. I’m a shipper, I can’t help being biased for my OTPs.

**Since photos were prohibited in the venue, I’ve included stage pictures featured in official news websites or accounts.

***This is by no means a critical review but merely a fangirl’s ramblings, and I often drew comparisons to the original stage play Kuroshitsuji Musical: Secrets of the Boarding School (2021). For reference, I suggest you watch it first! I intentionally avoided rewatching the 2021 version close to the airing date though, so my memories may not be accurate. Also my Japanese is mediocre so I apologize if there were important dialogues I didn’t catch.

Introduction

I know, sorry for the dilly-dally intro. But I’d like to first stress that ever since I started following Kuroshitsuji in my first year of university (like 9 years ago now lmao), I’ve ALWAYS dreamed to watch the stage musical live in person. When 2024’s performance was announced immediately after the last episode of the anime, I was overjoyed to see that our old cast was coming back.

And it was fate that gave me the opportunity - my scheduled work program this year was set to be in Kyoto AND during September! Needless to say, I had the Kuromyu ticket bought and reserved first, before my confirmation with the Kyoto office or my visa and plane ticket. Priorities, right?

Quick remark on the ticket process: I hit a snag right in the beginning because the ticket reservation website Eplus required a Japanese phone number to sign up. I contacted multiple people (middle school friend whose brother used to work in Japan, another who was quarter-Japanese, several dealer websites with high rate exchanges), until I settled on my roommate’s friend from high school who was currently working there. Many thanks to her and my roommate for the help!

She took care of registration for me - even so the advance sales was a LOTTERY ticket! We fortunately got the lucky draw - I saw many Japanese fans on X who were not so lucky, while others bought in bulk to sell later. Then, I used the online barcode to exchange for a paper ticket when I arrived in Japan on September 1st. That’s when I get to know my seat number - 3rd floor, 2nd row B. A very far position from the stage, but it’s alright because we’re here for the atmosphere anyway!

The performances for the first 2 days were set in Hyogo Performing Arts Center, KOBELCO grand hall. I’ve honestly never been to any kind of music performance (or even concerts) in my life, so I was blown away by the sheer size of the venue.

By 10 AM, the audience was trickling in. I was in awe of the fact that you can tell who was coming in to watch kuromyu - beautiful women dressed in black-and-white tones, many even sporting gothic lolita bows and dresses to keep up with the Victorian England theme. In fact, it felt like the whole of Ikebukuro were gathered here in this very building!

We were ushered into the hall entrance at 11 AM and let me tell you, the crowd was suffocating! In front of the theater, there was a goods section for Kuromyu merch. I’m so glad I took the time to queue up because it seems some of the merch were starting to sell out by the second day. The booth clerk looked perplex to see a non-Japanese customer here though. Here’s how the line looked like, and this was still early before most of the audiences got in:

(We’re not supposed to take any photos but I saw the warning signs too late…Here’s a view from where I was sitting on the third floor.)

I realized then as we were settling in that some ladies around me had binoculars!! Well how was I supposed to know you could bring those here, instead of trying to find those fancy opera glasses!?! Ah well, I was lucky that I’d recently had my prescription glasses updated and the seat to my left was vacant, so I could lean in to see the center better.

The Performance

While it is true that you can barely see the actors’ faces from the balcony seats, it was the grandness of the performance itself that blew me away. For the first time I could see the stage in all its entirety, all the actors dancing in synchronization, and the special effects…oh it had improved A LOT from 3 years prior!

The stage sets for Weston may look a tad “crowded” in the still photo, as compared to the original where they used white backgrounds but in reality, it blended in so prettily with the flashing stage lights. The middle section was a rotating floor and one of my memorable scenes was where Ciel and Sebastian were discussing their plans while crossing the rotating stage, to give the illusion of “strolling across the school grounds.” Sounds like a simple trick but if looked amazing from above.

On to the story itself - the execution actually barely changed from the 2021 rendition, which for me, was a relief! Now I know, some would argue a rerun should add in different elements, because who would want to see the same thing twice right? From past experiences with Kuromyu, the reruns tend to be hit or miss - different actors, different song remixes, voice changes, and so on. For this performance, I could barely tell that the cast (apart from Ciel, Sebastian and Undertaker) were all new members. Everyone got into character flawlessly!

The story of course followed the entirety of the Public School Arc. The script and choreography was almost identical to the 2021 stage musical version. If you would remember, this Kuroshitsuji arc was the first to be portrayed on stage before the anime adaptation - same as previously, they seemed to take inspiration from the manga only rather than the anime.

Some key moments from the play:

The opening sequence was again a recap of the previous arcs - Jack the Ripper (Lycoris that Blazed the Earth), Book of Circus (Noah’s Ark Circus), Book of the Atlantic (Tango on the Campania). I’ve always loved this part because you could tell they slipped in iconic themes from the past musicals.

Perfect Black: the main theme, and my favorite from this stage! I’m so happy to have heard it live! *swoons* Thank god they didn’t do anything weird to remix it. The whole cast dancing together was beautiful! However I thought 2021 did it better with the dramatic light focus on Sebastian during the chorus drop.

Ciel’s Earl of Phantomhive outfit was changed from the glittery blue suit to a blue-green checkered coat this year. (I’d have bought his Earl photoshoot set if I knew it beforehand) Yana-sensei later tweeted that she was the one to re-design it, to better match Eito. Then Eito Konishi himself replied, saying he was honored to play as Ciel Phantomhive, to which Yana-sensei praised his singing and called him “Eito-bocchan” …boy was he fanboying hard over that. He’s one of us!!

Arrival at Weston: I don’t have a comment on the P4 in particular, they were all straightforward from the manga. I think I like Redmond’s character the most here, he looked very pretty with the side-ponytail and while he was a show-off still, he wasn’t as annoying or arrogant as I somehow expected.

A notable interaction: Violet forcing Greenhill to pose for him at the swan gazebo. Greenhill’s actor really looked strained trying to keep an upside down bridge pose (Edward was supporting his back, but kept getting distracted). When he broke the pose and got up, Violet hit him over the head with his sketchbook so hard that the thump echoed through the hall.

As for the Prefect’s Fags: Edward and Cheslock were giving off some suspiciously gay rivals-to-lovers vibes over here. Which I kinda vibed with, I hope they kept the energy into the Blue Cult Arc!

One important thing: they kept the ALL the Fag lines! Which in Japanese accent also kinda sounded like them repeatedly calling each other “Fućk”. Oh how I wish the anime had kept those!

Soma Asman Kadar: now this guy deserves an ovation just for himself. Not only did he kill the role, he was also the funniest! Soma’s song was greatly improved and lengthened with catchier music and dancing - when his troupe “arrived” at Weston, he even dragged Ciel and Clayton to join in. I can’t do it justice, you have GOT to see those two English gentlemen crack the Indian dance moves! His pestering of Maurice Cole was hilarious and he kept exasperating Ciel out of his character, their chemistry was wonderful. I really didn’t expect to get hooked by Soma in this arc out of all people! Too bad Agni wasn’t here.

Maurice Cole’s miniarc - Flawless. Sometimes I wonder if he was an easy character to play just because his character trait is so extremely over-the-top lol.

The library kabedon scene and sebaciel burning Purple House scene didn’t exist. Another scene cut off from the last musical was where Clayton and the Blue House kids were congratulating Ciel on his fag duties and Sebastian took the chance to blend in with them. Sadly that was one of my favorite adlibs.

Ciel’s dream sequence: this was originally in the 2021 musical. After a talk with Macmillain made him revisit his past trauma, Ciel “dreamed” of the cultists, and Sebastian’s close call with Undertaker in BotA. I actually forgot about this part when I watched it in theater - the highlight was sebaciel reenacting the scene in BotA where they reached for each other, the enactment surprisingly gave me the impression of Ciel’s “worry” over Sebastian’s “vulnerability” here. Unlike the 2021 version though, Undertaker didn’t pull Ciel into a bridal carry or referenced the R!Ciel wake-up scene as clearly.

The second half after the break was the long-awaited Cricket Match. Like the previous version, there was no scene of Ciel jumping into Master Michaelis’ arms, but I think they just couldn’t fit that one into the sequence. The cricket songs were mostly the same as the original - with an improvement being them cutting out Red House’s random beauty pageant contest. It actually felt like the cricket match went by faster this time, which was a win in my book. I’ve heard people complain of Kuromyu 2021 being a “Prince of Cricket” musical, hence the bad reviews back then.

The laxative meat pie scene was hilarious. From Sebastian faking it as a student complete with Red House’s uniform, to the team’s diarrhea horrors. Redmond stole the show again, as he was going to help Harcourt in the middle of the field, but tragedy struck which made him deadpan: “Oh. Someone get Harcourt.” Then immediately left the stage lol. The Blue House kids lifted Harcourt out.

The Green vs Purple house battle was the same as last time. I always felt bad to see Cheslock being the only Purple kid doing his best because without any support member cast while Violet was sitting in the grass. But this time, he gave Cheslock a tree sculpture of his bust as a good-job reward! Good for them.

Lastly Green vs Blue. They incorporated the rotating stage again in the last batting when Greenhill accidentally hit Ciel. The end of the match cut straight to the Thames Boat Ride, then they did the Blue House cheering scene after. Sebastian finally got to do his signature bridal carry, awww.

Midnight tea party: the setting was even more beautiful than last time. Undertaker letting his hair fall from his hat was iconic as usual. I was impressed with Master Agares’ fight scenes because his actor looked quite older than his 2021 predecessor. I always liked how they did Derrick Arden’s death in the musical, it felt more anguished from the P4 POV while in the anime, it just felt like a gruesome horror scene.

Final musical number was Ciel-Sebastian-Undertaker chorus during their fight in the garden. Music and choreography seemed to be similar, EXCEPT they somehow changed the iconic “Your life is my priority” scene!!! 2021’s version had me hold my breath as Sebastian had his arm possessively hooked around Ciel and took off his glove with his teeth (seriously, you have to see it yourself). This time they had Sebastian and Ciel reenact the scene on the highest stage instead of front and center, and I didn’t feel as much suspense nor was there any glove-removal from what I could see. It was also a weird placement because they were so far away, and Undertaker should’ve been the one on the top as he did his goodbye pose holding the moon.

We end the story with Sebastian recapping the aftermath with Weston’s students, and finally sebaciel’s conversation back at the manor. Again, Ciel reiterates that Sebastian is the only one who could never lie nor betray his trust. Perfect Black came on as an outro, and I got chills when Sebastian ended the last verse on a raised note!

The curtain call was the experience I’d waited for. Somehow I only realized just then that the actors would do the full call during their finale performance, which was what we got to see in the recordings! That day, after the cast bowed twice, the exit announcement immediately came on but guess what? The audience, including myself, kept clapping all the way through the announcement, it went for so long that the cast actually came out to take another bow! As they returned on stage, most of us also stood up for a standing ovation - according to twitter this doesn’t seem to be a regular occurrence outside of the finale. It felt like a truly wholesome “welcome back” for the troupe and for Kuromyu, especially after the rather harsh criticisms from the previous stage (due to major cast and style changes, even I took a while to bring myself to watch it) and the long break due to the COVID years.

Overall summary

Kuroshitsuji Musical 2024 was a faithful rerun of its predecessor. They succeeded with the musical numbers, new cast, overall adaptation of the story. The settings, props and special effects were wonderfully upgraded. The original cast carried the show: Eito Konishi’s singing felt greatly improved and I thought he carried himself as more mature than his last performance as Ciel. Sebastian’s Toshiki Tateishi had a mesmerizing voice the more I listened to him, he never went out of breath even while dancing or fighting - truly vocals fit for the troupe leader. Kandai Ueda did well as his own Undertaker too, even with Undertaker’s peculiar accent.

My few complaints: I felt like the P4 cast (bar Redmond) could do to have more distinction in their tones and movements. It felt hard to distinguish who was talking at times. The performance seemed to have a faster pacing this time around, and you get less absorbed in certain conversations between the characters, so I wished they’d added in slow scenes here and there. And of course I miss the signature sebaciel moments that I’ve mentioned - granted, this manga arc had always been my least favored because of the lack of sebaciel interactions anyway! So I’d say they did the best with the source material.

While I enjoyed seeing my favorite production performed live with the music blasting through my eardrums, it was the atmosphere that truly made the experience for me. Sitting in the 4-storeys grand hall full of some 2000 Kuroshitsuji fans really pulled me back in time, especially during the standing ovation. I’m so happy to see my favorite series so loved after all these years. I’m sure Yana-sensei could feel it too.

I wish a successful performance for the cast going forward to Tokyo, and hopeful for many more musicals to come!

[toujokaname]

Mischief / Episode 1

Characters: Rinne, HiMERU, Kohaku, Niki

"But it's kinda creepy... Bein' loved or hated by folks I don't even know, in places I ain't never heard of. Guess that's just what bein' an idol's all about, huh?"

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[ Read on my site for a better viewing experience using Ois~su ♪ ]

Season: Spring

Location: Café Cinnamon

Rinne: Yo, yo~♪

Still as cozy as ever, huh? You PBB lovebirds! Shoutout to the most lovey-dovey couple of the year! Gyahahahaha! ☆

HiMERU: It's really quite the talent how you've mastered the art of making others feel so uncomfortable the instant you open your mouth.

Rinne: Haah? I'm praising you, so rejoice, will ya? Thanks to you two, Crazy:B's having a once-in-a-lifetime jackpot streak!

C'mon, look at my phone! The notifications just won't stop dinging!

HiMERU: Is it because you're getting canceled again?

Rinne: No waaay, I've already been locked outta all my accounts 'cause I kept getting canceled.

These notifs? They're job offers for us.

People're begging for Crazy:B to show up on their shows, movies, interviews, photoshoots—

The offers are rollin' in like cha-ching, cha-ching, cha-chiiing!

Kohaku: Wow, sounds just like one of those pachinko machines.

Rinne: Pretty much what it feels like! It's not every day you get to cash in this big, right?

Though honestly, part of me's thinking, "What's goin' on all of a sudden? This is creepy as hell."

Not so long ago, everyone was like, "Crazy:B's gotta die!" Hated our guts, wouldn't give us any gigs—remember?

Niki: Nom, nom, nom... Maybe the public's finally recognizing all the hard work we put in last year?

Kohaku: I was wonderin' why you'd been so quiet after comin' in with Rinne-han. You're eatin' again, Niki-han...?

Niki: I've gotta eat all the time! Or I'll die!

Kohaku: So you've already got the lifestyle of an insect or somethin'.

Niki: Anyway, I don't really get it, but isn't more work a good thing? Maybe it's 'cause our latest Matrix got good reviews?

Rinne: They haven't even aired all the episodes yet. The reviews aren't bad, but y'know, people keep saying, "Well, considering it's Akan-san’s project..." It's basically just like that.

Niki: Hmm... We worked our butts off for that, so I hope it ends up with a good rep. It'd make our struggles feel a little more rewarded.

Rinne: Well, it's rare for stuff like karmic retribution to happen in society. It's always been the case that ill weeds grow apace, while good people get screwed over. Life's a piece of shit like that.

HiMERU: Those words carry a certain weight coming from you, Amagi.

Rinne: So yeah, this time around, it's best to think of it as just dumb luck.

HiMERU: Meaning?

Rinne: Meaning that it ain't like we worked our asses off, poured blood, sweat and tears into doing our best, and got rewarded for being earnest.

It's like tripping over a winning lottery ticket.

If you start seeing causality in that, next thing you know, you'll end up like me—acting all unnaturally nice to everyone before hitting the pachinko parlor, and creeping people out.

That's just me tryna stack up some good karma, hoping for a fat payoff in return.

It ain't like I got reincarnated as a kind-hearted, good person.

Niki: Wow, I don't get it when you use pachinko analogies! Sooo, toss in a food metaphor for me to chew on instead!

Rinne: Mm, but if we start on food, we'll get sidetracked. Y'know how when you're feeling happy, food often tastes better? There's a sort of cause-and-effect relationship, yeah?

HiMERU: —In short, what you're trying to say is, "this is just a fluke, so don't get too carried away."

Rinne: Yup, bingo! ♪ Maaan, it's always a relief how good at comprehension you are, Merumeru!

HiMERU: That's because there's always a very incomprehensible person nearby. Constantly.

However, it seems like this PBB thing really has become a big deal...

Since it's all happening online, it's easy to feel like it doesn't actually affect reality.

Rinne: Well, it ain't like the internet's some kinda isekai, y'know. It's connected to reality, no doubt about it.

And aren't there a lotta people these days who feel like the internet's more real than reality?

Kohaku: Uh. So, we're talkin' about how Crazy:B's gettin' a buncha jobs, and it's all 'cause of this PBB thing?

Rinne: I dunno what else could've caused it. All the requests are like, "we want HiMERU-kun and Oukawa-kun, the super popular PBB, on our show," and stuff like that.

Kohaku: We're really that popular... Me and HiMERU-han, huh...

Hmm, I guess that... I'm right pleased folks love me and all, but not knowin' why makes me kinda uneasy.

Niki: Not gonna lie, it's none of my business, so I don't really care~♪

Rinne: Me neither~♪

Kohaku: These guys... Well, I guess if we're gettin' more work and it's all good stuff, I don't really got any complaints.

But it's kinda creepy... Bein' loved or hated by folks I don't even know, in places I ain't never heard of.

Guess that's just what bein' an idol's all about, huh?

[ ☆ ]

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[droughtofapathy]

how do you see so many shows so often? I want to start seeing more shows but I don’t know where to find really cheap tickets

This is my favorite question and the answer is actually not rush or lottery. I never pay full-price for anything unless it's a very rare circumstance (like the Follies concert where I didn't care what I paid so long as I was in that room).

Here's what you need to do:

TDF: $35 yearly membership fee (first year only, after that it's $40) for the best discounts across NYC theatre. Tickets cost between ~$11-$60, depending on the class, and seats are assigned by the box office. I've been able to sit prime orchestra in seats costing hundreds for about $60. It's gotten a little pricier over the years (used to be $54 for a Broadway musical back in 2019, now it's $63, including fees). Membership is closed to specific groups/communities, but nearly everyone is eligible. It pays for itself within a show or two, so it's worth it.

Age-based discounts: the non-profit Broadway companies all have some sort of "30 under X" discount for young theatergoers. Many off-Broadway companies have really great student/under 30 deals too if you just do some searching before you buy.

Second Stage is "30 under 30" and I've found that by buying the season subscription (five shows for $150, so same price as single ticket sales), I get access to much better seating choices. Can be ordered online or at box office (sans fees). The shows are a mix of two Broadway, and two or three off-Broadway, and possibly a small fringe show thrown in depending on the season. Last season it was two Broadway and three off.

MTC is "30 under 35" and consistently has great shows. Can be ordered online or at box office (sans fees). The MTC's theatre (Friedman) has the most comfortable mezzanine seats in all of Broadway. Plush, high back, wide. It's luxury. And the side seating has pretty good sightlines, so there's not a bad seat.

Roundabout has the most generous one at "30 under 40" with their HipTix program, and this also eschews any fees even when ordering online. It's the easiest out of the three, though slightly more restrictive in what seats are offered. Never sit in the rear mezzanine of either the Todd Haimes or Studio 54 theatres. Bad times for very different reasons. Go side orchestra every time.

All three of these programs allow two tickets per show, though some won't allow guests of any age and some will.

Comp Tickets: There are a few paid programs you can join to get access to free (with a $5 per-show ticket fee) tickets. Last year I did TheatremaniaGold for $80, and this year WillCallClub for $15. Neither are really worth it, if you ask me. Most of the shows are the weird little fringe things that aren't selling, and while that may be fun, it doesn't really end up being great if you want to see Broadway unless it's a Big Flop. The Broadway shows I've seen listed include: Bad Cinderella, The Shark is Broken, and Lempicka, to name a few.

I'm also somehow on some comp lists where I get emails every now and then to see shows for free. I cannot tell you how to get on these lists, because I didn't do anything. It just happened. That's how I got to see Kimberly Akimbo so many times for free.

In-Person Box Office: If I have to get a ticket outside of these avenues, I always go to the box office to save on the online fees, which can be anywhere from $9 to $17, and that's money I want for me, not the predatory sites like telecharge and ticketmaster.

NYU ScholasTix: As an NYU alumnus, I get access to the school's discount program, but I've found the tickets aren't that discounted, and the seats are bad. And also you have to go all the way downtown to the NYU box office at Skirball Center to pick them up instead of going to the theatre box office before showtime. I hate it, and it's inaccessible, and the accessibility service is garbage, so I don't do this unless there are no other options (i.e. really popular Broadway play that won't ever be on TDF). Many city schools have similar programs, and you should definitely check because they don't advertise well.

Rush/Lottery: Every now and then, I'll do a digital lottery or rush. I don't do it in person because I just can't with my knees. Also, I have an adult job and can't just stand around the box office at ten in the morning. Shubert Broadway shows use the telecharge rush system. Jujamcyn/Ambassador use Lucky Seat for lottery only. Nederlander shows use Broadway Direct. Then there's the off-Broadway companies and non-profits that use the TodayTix app, and that one's a bitch to win, but hey, it's possible.

Seatplan: If you're like me and see too much Broadway, you can start uploading seat pictures to SeatPlan to earn rewards points. Every 4,400 points, and you get a free $50 telecharge gift card. Depending on how many points you earn per show (between 40-120), you can get a card every 36-50 shows, so that's easily one a year for me.

Other programs I don't use include:

The Theatr app, which is a new thing where people can sell tickets their not using either at cost or discounted, so it's never a situation where resellers profit. Anyone trying to sell fraudulently is immediately removed, and their customer service is pretty quick on the trigger.

TKTS booths at Times Square and at Lincoln Center. Those are day-of tickets usually going for 30-70% off depending on the show. I've gotten tickets through them before, but I don't stand in lines anymore. It's decent for the tourists though.

[goagamesclub]

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2023/04/23 Blog post by Wakana 久しぶりのネットサイン会☆〜見守りニッパーくん〜 

❗This is Fan Club EXCLUSIVE content❗ ❗PERSONAL USE ONLY❗ Do ❗NOT SHARE❗ on other sites ❗Join her FAN CLUB! Check out my detailed TUTORIAL ❗

First Online Sign Event in a While☆〜Nipper-kun is Watching Over Me〜

The other day, I finally started doing my first interviews for the upcoming album😊 After hearing some of the album impressions from the interviewers, I feel an immense joy that people are finally getting to listen to it. I can’t wait to hear from all of you soon!

Hello, this is Wakana (0￣▽￣0)／

May 31st is still a long way to go. Until then, please try to be patient while fantasising about the "Imaginary Album Sono Saki he"!🥺✨

Well, last Sunday, I did an online sign event for the first time in a long while, it was for everyone who pre-ordered my original 3rd album "Sono Saki eh"! It's been such a long time since I've done a session like that. Thankfully, a lot of people were able to participate, I ended up signing autographs and talking for nearly 3 hours＼(^o^)／Overall, this is my third online sign session, so I tried to devise a method based on the experience from the previous events. First of all, I noticed that I will always make mistakes if I write your name while talking so this time, I tried to make sure to finish a certain amount of sheets before taking a break to talk with you. Essentially, I completely separated the writing and chatting time! \\\\٩( 'ω' )و //// This strategy worked very well, and the number of errors decreased dramatically! Also, once we had reached the halfway point we decided to include a brief intermission of about 8 minutes. During that time, I we were playing video snippets of the Christmas concert which is included as bonus content on the A version of my album. We also showed a past MV☺️ I was trying my best to look through everyone's comments, it was so much fun that the the whole event went by in the blink of an eye😍Thank you very much to everyone who participated 🤗💕 If you weren’t able to watch it in real-time, the archived video is still available until the end of today! Please take a look! https://www.youtube.com/watch?v=XoTGVkjFxB4

When I started watching it just now, I couldn't stop laughing it was pretty funny 😂And cute little Nipper-kun was watching over me from beginning to end🐕I didn't even realize he was there until the end🤣🤣 Oi, Nipper-kun! Why didn’t you tell me you were there earlier??! 😊The silent pressure of him watching got quite bad.

The second online sign ession will be held on May 13th (Sat) at 17:00❗️See you again on the Official Victor YouTube Channel⭐️

And yesterday, the advanced fan club lottery has started for my "Wakana Billboard Live 2023 ~Sono Saki he~"! This time, I will be performing together with Satoshi Takebe on piano, Tetsuro Toyama on guitar, and Yugo Maeda on manipulator! I want you to enjoy this new album in a lovely acoustic manner among the special Billboard Live atmosphere🥰 Please come and see me on July 6th at Billboard Live Yokohama and July 20th at Billboard Live Osaka😆

Well, I shall leave it at that☆See you soon☆( *'▽'*)/

＊＊＊Wakana＊＊＊

[denimbex1986]

'“Why did this face come back?” Though that question is asked throughout “The Star Beast,” it goes unanswered thus far. But Doctor Who’s very fun, delightful, nostalgia-filled, cinematic, and, at times, funny first 60th anniversary special, featuring brilliant performances by David Tennant and Catherine Tate as The Doctor (yes, Fourteen feels very much like Ten) and Donna Noble again does solve one major problem.

At times, it feels like Tennant and Tate never left and The Doctor and Donna never parted — especially during a moment involving his sonic screwdriver (used in impressive ways). As Donna says near the end, “it’s like the old days.” But there’s the matter of aliens running around and, as The Doctor and Donna recap somewhat awkwardly for viewers to open the episode, the fact that she saved the universe by taking the power of a Time Lord into her mind, which resulted in her having to forget him and their travels together — or she’d die (“Journey’s End”).

Everything’s drawing them together in “The Star Beast,” starting with The Doctor going to help someone he sees carrying a tower of boxes only to realize it’s her (“Oi, do you mind?” she calls after him when he re-stacks the boxes and begins walking away). “What?” he asks (and it feels like this special was designed with making Tennant ask just that as many times as possible) when she then calls for Rose — her daughter (Yasmin Finney, who would be so much fun as a companion), not Billie Piper‘s character. Continuing the thread from their original run in Season 4, Donna completely misses the spaceship crashing because she’s turned away, dealing with the boxes. And in true Donna fashion, she leaves The Doctor with, “Nice to meet you, skinny man. Word of advice: You can wear a suit that tight up to the age of 35 — and no further.”

When Donna’s husband Shaun (Karl Collins) calls out to his family, The Doctor intercepts him and has the cab driver take him (“Allons-y!” — it had to happen) to the crash site. (“Catch up,” he tells the psychic paper identifying him as Grandmistress instead of Grandmaster.) He pretends to be a friend of Nerys (How is she? “She’s fine.” After the accident? “She’s not fine.” It was her fault. “She’s been fine.”) and learns that Donna gave away all the money she won with the lottery ticket The Doctor gave her (through her mother and grandfather) on the wedding day.

While sneaking around the steelworks factory where the spaceship crashed, The Doctor meets UNIT science officer Shirley (Ruth Madeley, who will hopefully recur going forward); she has figured out it actually landed, and he has determined there are two sets of visitors, at war. But, she wonders, why is he hiding? They’re on the same side. “It’s all a bit mad,” he admits. “I don’t know who I am anymore.” He looks like The Doctor. “Exactly, the one in a skinny suit. After that, I wear a bowtie. After that, I’m a Scotsman. After that, I’m a woman,” he explains, and that’s not his future. “I regenerated, and she became me.” What has him worried is Donna, “my best friend in the whole wide universe. I absolutely love her. Oh, do I say things like that now? … I won’t be the one who killed her.” And so of course, soon after, he encounters her again.

When The Doctor tags along with UNIT soldiers, he ends up on her block — just in time to hear her shouting about aliens (“We’ve got a bloody Martian in the shed!”). Rose stumbled across The Meep (voiced by Miriam Margolyes) and tried hiding the alien from her mother in her shed, with the toys she makes and sells online, but failed to do so. Despite the level of concern, it’s comical the way that Donna’s mother Sylvia (Jacqueline King), heeding The Doctor’s warning of what would happen if Donna remembered, tries to continue keeping her in the dark. There’s no such thing as spaceships in the sky. No, Donna doesn’t see The Meep clutching her leg. No, The Doctor — whom Sylvia hits — cannot come in, nor does Donna see him as she tries to hide him behind her.

Donna does wonder why The Doctor is so interested in them, and he doesn’t help matters by asking about her grandfather, Wilf (Bernard Cribbins). When she says he’s not with them anymore, The Doctor thinks he died. “Of course, he wasn’t young. I loved that man. I’m so sorry for your loss,” he offers his condolences, and we can’t help but think of their conversation about death in “The End of Time.” No, Wilf is still alive, in sheltered accommodation, paid for by UNIT’s Kate (Jemma Redgrave, who will appear in these specials). “I know her!” The Doctor exclaims.

He assures the family that he’ll help get The Meep — “My chosen pronoun is the definite article,” the alien says after Rose calls The Doctor out on assuming “he” — home. But soon after The Meep explains the Wrarth Warriors cultivated Meepkind for fur and slaughtered them, the house comes under attack — by the other aliens and UNIT soldiers who were hypnotized after opening the spaceship, fighting each other. The Doctor creates shields using his sonic screwdriver, which he hands to Donna at one point and she takes like the partners in crime they once were, and directs everyone upstairs. But after they crawl through adjacent attics and reach Shaun’s car, The Doctor realizes something’s off.

Away from the action, The Doctor dons a barrister’s wig (we were expecting all the nods we got to previous Doctor Who episodes, but not to Tennant’s role in The Escape Artist), intercepts the Wrarth Warriors’ teleport, and extracts the truth: They’re using stun guns and trying to capture The Meep, mutated into a cruel beast by a living sun gone mad, for despicable crimes. The Meep kills the Warriors and uses the hypnotized UNIT soldiers to take The Doctor (who uses the fact that he, too, has two hearts, as a strategy the alien should want to unpack) and the others as hostages.

On their way to the factory, The Doctor, while dodging questions about his identity, asks Donna why she gave away the lottery money. “Because there are places out there where people are in danger, in pain, in fear, and I could help. It just felt like the sort of thing he would do,” she says. And if that “he” has Sylvia worried, that’s nothing on when Donna, as Shirley helps the group escape (weapons in her wheelchair, of course) and sends The Doctor to stop The Meep and the family to safety, stays behind. “If The Doctor can’t save the city, we’re all going to die. I’ve got to help,” Donna says, and her mother realizes she called him by name.

To be fair, The Doctor does try to keep Donna out of it, even as they’re trapped on The Meep’s ship, the alien is destroying London (and about to kill everyone) to take off, and a glass door divides the room in half, so the Time Lord can only reach half the buttons to stop it. But then, with time running out, he tells her, “You and I can stop this ship, together, but it will kill you.” She agrees because not only is it Rose’s life in danger but also nine million people. “Who cares about me?” she asks. “I do!” he says. “I’m just no one,” Donna argues. “No, you are not!” The Doctor tells her before raging, devastated, “Why does it have to be this?” And with that, resigned, he activates the Time Lord part still in her.

Here is when Donna feels (and sounds) the most like Donna again (other than her reaction to teen boys being awful to her daughter), as she rants about giving away her money because of a subconscious part making her act like him while also saving London and stopping The Meep. But then, with seconds left to live, she collapses. Maybe his face came back “to say goodbye,” she suggests as she dies in his arms … or not? Just as The Meep’s soldiers are about to kill The Doctor (do what you want, he says, “you were beaten by The DoctorDonna!”), someone begins flipping switches, freeing UNIT: Rose!

The Doctor realizes that the metacrisis passed down to Rose, a shared inheritance, and she, too, was activated when Donna was. That’s why Rose chose the name she did. The shed was her memory of the TARDIS, and she remembered the creatures The Doctor and Donna met as toys. While they’re binary, Rose isn’t, because The Doctor is male and female and neither and more.

After that, it’s just a matter of Wrarth Warriors taking The Meep into custody, though the alien warns The Doctor before the transport, “I will escape and have my revenge, so you beware, Doctor. Because there’s one more thing. … A creature with two hearts is such a rare thing, just wait until I tell the boss.” And while the metacrisis in Donna and Rose is still troubling, they solve that problem themselves: by just letting it go. (“It’s a shame you’re not a woman anymore because she would’ve understood,” Donna comments, with Rose adding, it’s “something a male-presenting Time Lord will never understand.”)

Then it’s back to the TARDIS for The Doctor, and Donna refuses to let Rose see inside “because something will go wrong and you’ll end up on Mars with Chaucer and a robot shark.” The Doctor does convince Donna to come for one last trip, to see Wilf, now that she remembers. “It’s like the old days, just me and The Doctor, together,” Donna says, happy.

It’s once they’re inside that we see how the TARDIS has changed: sleek, shiny, with lots of ramps for The Doctor to run up and down, which he does, exclaiming, “This is amazing! You clever thing!” He’s delighted in a way he couldn’t have been until now, with Donna back. She, at first, complains it’s still nippy before conceding, “it’s gorgeous!” And it is! Still, she asks about his face coming back. “Does there have to be a reason?” he asks. “We’re stuck with it now.” (We know that’s not the case.)

“I really do remember… every second with you. I’m so glad you’re back because it killed me, Donna. It killed me, it killed me, it killed me,” The Doctor admits, giving her a cup of coffee. She doesn’t see why he can’t stop by to visit with her family after this trip because “you’ve been given a second chance. You could do things different this time, so why don’t you do something completely new and have some friends?” He’s non-committal in his answer. And then Donna, just as she wonders, “What’s going to go wrong?” spills her coffee on the TARDIS console. She did warn him that was how she lost her job… And so the TARDIS takes off, and they “could end up anywhere in time and space,” according to The Doctor.

Since The Doctor might not feel like saying it here, we will, because we can’t wait to see where they land: Allons-y!'

[bluemoonperegrine]

If I had a zillion dollars I'd hire peeps to make a new tumblr.

I haven't even been here a year so I don't quite grasp how much the site has changed. It's clear that long-time users are beyond frustrated.

I do web stuff for a living, so I understand how it's impossible to please everyone. End users, generally speaking, hate change, even change that will improve a site's user experience. It's best to roll out changes gradually if possible. It's worst to roll out horrible changes everyone hates suddenly and expect users to cough up money anyway.

Gonna keep spitballing, so I'll hide the rest behind a cut.

IMO a site like tumblr needs to be effectively a nonprofit. People with way more business chops than I have struggled to make websites/apps profitable. A sensible approach seems to be having a free version with ads, a paid version without ads, and having solid design and functionality and not messing with the latter very often.

There's no need to continually add features. Absolutely no need for tumblr live. There are plenty of other places online to get livestreams of barely clothed women.

tumblr seems to have a huge, loyal user base. Surely their marketing people understand how the majority of users interact with the site. Cater to that. Experiment a little on the side. Don't try to force features that users don't want in an attempt to wring money out of them.

Easier said than done, I'm sure.

Anyway, I'm off to buy a lottery ticket. Wish me luck, everyone!

[sandaimejsoulappreciation]

A “i really wanna go see STARS live” rant

Here’s the deal. Technically I could. Travel isn’t too much of a hassle; I don’t have work currently; With the help of google translate and a lot of patience and research I could probably get second hand tickets with a bearable chunk out of my wallet; And I can binge study japanese to make sure I make it to and through the concert.

But getting the tickets seems like... such an overwhelming task. I am for sure never going to get one the “official way”, because the whole fanclub/lottery system terrifies me. I’m more used to being a casual Westend/ european theatre fan where I can just purchase a ticket online from a straightforward site and go to the venue with said ticket and be surrounded by people who have more or less the same amount of information as me. I have also been a fan of takarazuka for ~4 years by now and I still haven’t been able to see a single show for the same reason.

I also don’t know if I *really* want to see them in real life all by myself. Reading people’s repos of the live already gives me a sort of emotional response, and I don’t know if I will be okay if I was really there and don’t have anyone to talk to afterwards. For some people it might be a dream come true but for me I fear it might be the breaking of a glass wall that I don’t want broken. Maybe it is best I just watch them through the screen. Or very possibly I am just being overly emo about something that won’t even happen lol.

On the other hand. I won’t be missing out on everything because there will be the DVD release, which is a much better way of seeing a 360 degree stage unless you are literally in the front rows imho. But like damn do I want to see them do “kono uchuu no katasumi” and “VII crowns” and especially “Stars” and “Eeny meeny” with my own eyes.

[rohanseoewe]

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