#but either which is adorable

[catsharky]

Presenting: King Sidon, his wife Queen Yona and his boyfriend Link.

Yona is very supportive of everything except Sidon forgetting his ceremony cues.

(I had an atrocious week and TotK has been coming in clutch for keeping me sane.)

[cerealbishh]

"Good job, Aerith!" "It was nothing compared to you!" // "I'm so glad you're all okay!" "Right back atcha."

[tyttetardis]

Finally managed to record a bit of David at curtain call 😍

Brilliant seeing this incredible production once again - and getting to see what's different and what isn't 🥹🥰

(Please don't repost ☺️)

[julijbee]

girlbossing too close to the sun.

[j3yb1rd]

guys look at the way kwazii looks at barnacles and how they're standing in the same pose 😭😭😭😭

[cinamun]

With story updates out of the way, I got some casual gameplay in and did a little remodeling over at the Carruthers'.

The Queen Mother™ did all the laundry then stopped by the kitchen to play with some clay and play peekaboo with Jayde who hated it.

The end.

[vitrall]

I don't think Jayce and Viktor literally died. They were kind of pulled into another dimension/astral plane/whatever you call it. We see older Viktor, and while it could be another Viktor, I think it would be more meaningful if it was our Viktor, finally free from the arcane, going through the universe with Jayce, fixing timelines together. Kind of like a cosmic mission.

[brionysea]

I'm trying really hard not to just be The Complainer because that's an energy I don't want to bring here when I love (present tense; I rewatch it like 5 times a day) arcane season 1 so much but does anyone remember when powder was taken in by silco and being raised by this very utilitarian merciless 'the ends justify the means' type character made jinx turn out violent and merciless as well. and vi was horrified by her and the lanes were terrified of her and piltover was falling over itself trying to scapegoat her as the one bad apple of the undercity to kid themselves into believing that everyone else was perfectly fine with being treated as less than. and that contrasts vi after vander etc. died because she was raised by him and internalised the idea that no one wins in war and fighting back against systemic oppression isn't worth the damage it causes to your own community which is why she ended up working with cait and the council like vander worked with grayson. the people who raised them shaped them into who they are today but then in season 2 jinx has a daughter and she's suddenly completely normal and well adjusted and her attachment style isn't digging her nails in until she draws blood at all. like What. what happened. didn't things used to mean something

[catlover4536]

Coming here to say masc presenting Julie is one of my favorite Julie ideas out there and that, of course, I needed to make a femme presenting Frank to compliment @cyanwyrmy and their wonderful Julie!

[loubetcha]

everyone always talks about how they love the “person a hates everyone except person b” trope but what about “person a treats person b differently than everyone else and is the only person/friend who treats person b like a human being” trope hm?

[starleska]

just some thoughts re: Dale Dimmadome's potential redemption arc

(cw for mentions of abuse and neglect) i see a lot of folks hoping that Dale Dimmadome gets some kind of redemption arc - and i'd love to see that too! the writers would do an excellent job as they're doing with all of FOPANW... ...but at the same time, i almost hope that that doesn't happen. FOPANW is noticeably less cynical than the OG series, with a great deal more optimism and less pain: especially with Hazel being such a bright protagonist and having wonderful, loving parents. but Dev and the relationship with his father feels like something straight out of the original show.

i think it's one of the things that made the original Fairly Oddparents so beloved - lots of us could really relate to Timmy and other characters who were routinely mistreated by the adults in their lives, even in a cartoonish way. i think Dale's abuse and neglect of Dev is in line with the more emotionally sensitive writing we're seeing out of kid's cartoons now: it feels very real, and it's so nice to see that type of pain validated by giving Dev a fairy godparent 💖 i'm very curious as to which direction they'll go in. if they do give Dale a redemption arc, i wonder if they'll go through a whole Dimmadome lineage thing and also address Dale's past history at the lemonade sweatshop. it feels like, compared to the original, they're bringing up this topic in a much more nuanced and real way, which is why so many people are comparing Dale to Clay Puppington: a sinister combo of neglect and manipulation which, if this were a more adult show, could become very dark. i think either outcome could be very satisfying. if Dale gets a redemption arc and learns to love his son, treat him better, and let go of his trauma, that would be brilliant - and i think more likely. however, if the writers choose to go for a very real 'you don't need to seek approval from people who harm you' message, i think they'll do it an age-appropriate way, and with a lot of skill 🔥🔥🔥

[gaylactic-fire]

I will thank HTTYD live action for one thing, and that's reviving my interest in this franchise like jumper cables to the heart.

Anyway, my controversial HTTYD take is that the second movie feels more emotionally mature, and it continues to resonate more with me the more I've grown into adulthood. It's the cautious optimism... It's the fact that you can't change everyone's perspective, and sometimes you need to fight for what you believe in... It's the fear of adult responsibilities that feel larger than life, only to realise that instead of running you have to try... It's the knowledge that the world may try and strike you down, but the bonds you've created will bring you strength in an uncertain future... do you feel me?

[maximura]

[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

[casualavocados]

@grapejuicegay pointed out to me that chen yi, who hates sweets, always celebrated his and ai di's birthday with cake bc ai di would get them cake. even after chen yi broke their tradition for 4 years he still brought a cake to prison the next time for ai di. who. ftr would not have been able to eat it because of. you know the whole prison thing. & glass separating them.

also just the implications behind chen yi, who also hates spicy food, running a garage called "cayenne auto shop"? that's all chen yi's. ai di runs the bar not the shop. so now i cant stop thinking about that. insane behavior. especially for a 17 year old being handed over the controls to a division of a gang. chen yi loves ai di so much hes so cute im gonna-

[pretty-toru]

Gojo's idea of getting your attention when you're a new teacher at Tokyo Tech is committing the crime of eating your bento box that you packed for lunch and stored in the fridge in the lounge. You can't believe when you went to retrieve it only to find it completely missing and nowhere to be found. This left a really bad impression of the annoying idiot who stole your entire lunch—Seriously, who even does that?? And you were adamant at getting down to the bottom of it so you wrote a note to the Bento Box Thief and stuck it on the fridge.

After the back and forth exchange throughout the afternoon, which became exceedingly clear that it's nothing more than a game from the culprits' end, you had a really strong desire to punch him in the face when you find him out. The last note Gojo writes to you is the time and address to a fancy restaurant as a way of making it up to you, and you almost want to stand him up but you couldn't possibly miss the chance to meet him and decide on your sweet revenge.