#but overall i thought it was a nice show!

[creative1writings]

A/n; I apologize I wasn't too sure how to end this. All characters are 18+

Warnings: panty sniffing, mentions of watching. Overall filthy. MDNI

Perverted Toge not a man of many words but many thoughts, dirty filthy nasty thoughts, and you were the star of the show. He couldn't help it especially when you wore that short skirt and tight top that hugged everything so deliciously. In other eyes it was a normal outfit but to Toge it was the thing that made him throb and wet the front of his pants with precum. Why did his innocent dumb sweet girlfriend have to wear something like that.

Perverted Toge who adjusted his hard on slightly, hoping it wasn't noticeable, as you bend over to pick up the thing Toge 'accidentally dropped', a flash of light pink panties peaking out as the skirt rode up slightly.

Perverted Toge who had your face pressed against the door of the janitors closet, his finger laced in your hair to keep you in place as his lips attacked your neck in wet kisses, he dry humped his hard member in-between your cheeks, with your skirt pushed up and your panties to the side, it snuggled so nicely there. Soft gasps leaving you causing you to bite down on your lower lip to keep from making any more noise.

Perverted Toge who came in his pants the second he felt you cum, wetting the front of his boxers.

Perverted Toge who later snuck those same panties into his pocket when he waited for you as you shower, your discarded clothes laying outside the bathroom door.

Perverted Toge who had those same dirty panties held against his nose, as he fisted his cock, the sweet aroma of your release still stained the fabric, he came the moment his tongue tasted your arousal on the panties.

Perverted Toge who felt ashamed of himself for doing so but would he stop (no).

Perverted Toge, snuck pictures of you in vulnerable positions, some nude and some just simply of you being cute.

Perverted Toge who got off to those same pictures later.

Perverted Toge who's eyes dance across your features as he watches you touch yourself, the way your fingers slide through your wet folds before plunging back in with a squelch causes drool to form at the corner of his lips, his cock leaking, staining the front of his boxers as he hears his name slide from your lips.

Perverted Toge who replaces your fingers with his own, catching you by surprise a yelp caught in your throat, molding into a moan as he curls his fingers just right, Toge brings his nose close to your core inhaling deeply, unashamed, your face heats up, screwing your eyes shut too in euphoria to be embarrassed for long.

Perverted Toge who later takes you out for ice cream cause you were the perfect adorable girlfriend he could ever ask for.

[johnnycakesswitch]

Ok show thoughts

Absolutely wonderful. First time seeing the entire obc all together! The only cover was Henry on for Sean but all the principles were on today. I haven’t seen Brody since July and I forgot how much I truly love his voice! I love seeing and hearing the differences in how each actor plays the characters, the little differences between his and Josh’s Ponyboys are so interesting to me.

Being in the front row was insane. Daryl Tofa absolutely smothered me in gravel during hoods turned heroes 😭 it was wonderful though. I loved getting to hear the little side convos that the characters have that you can only rly hear up close. And seeing everyone’s facial expressions, god- special shout out to SarahGrace and Brody, their acting was just 10/10 today. SG looked so distraught and torn during justice for Tulsa and Brody’s face after he realized Johnny killed Bob… just insane. They’re outstanding. Jason was so giggly during grease got a hold, it was so cute. And ik I mentioned it last time, but Brent getting emotional at the end of the show always does it for me, truly a star.

Stage door, not a ton of people came out, Melody, Brent, kwp, and Daryl did, and also Trevor!! Even though he was in the booth today he came to sd and I got to meet him for the first time. He’s such a sweetheart. I took pics w everyone except Trevor bc he had some family/friends waiting for him but we had a super nice convo about how all the actors portray the characters in their own unique way and we both gushed over Josh Strobl lmao. He told me that I have to see Josh’s Johnny and I said that I heard Josh’s Johnny and his Ponyboy was a duo to see and he got all bashful it was so sweet. He was so wonderful, as was everyone else. I ran into kwp again on my way home and thanked him again and he said thank you for coming. I don’t blame everyone else for not coming out whatsoever bc it is getting very cold out in New York! I also met some sweet girls at the show from Canada seeing the show for the first time!! Overall it was a great day and the show was wonderful as always. I’ll maybe post sd pics later once I put something to cover my face!

[starsfic]

The Week After, Chapter 4: Day 3 and 4

The next two days passed in silence.

Morgan did the tax plus additional employment paperwork in the office, secretly glad that they thought to bring their social security card with them, just in case. Frankie stayed in the office as well, mumbling to himself as he tapped on a laptop. It was a ridiculous sight, considering how tall he was and how small the laptop was, but they swallowed back a laugh and focused on the paperwork.

The last step was to send the paperwork by scanning a QR code on the back. Morgan raised a brow but raised their phone up and scanned it. A link popped up and they clicked it. There was a soft ding, and a little animation of Frankie dancing popped up, with a message overhead saying that they were done.

With that done, Morgan stood up. They still had stuff to unpack and figure out where to put in the studio apartment that the break room now was. Their phone gave a second ding and they checked the screen.

“Holy fuck.”

“Language, my dear!” Frankie said, turning his head. “What is it?”

“I just got paid for this season,” they said, rubbing their eyes to make sure they didn’t mistake the number that had popped up. “That…it’s a lot.” It wasn’t five million dollars, but it was a lot, enough that it felt like more of a bribe than a paycheck. It was also more than they ever got from the stupid retail job or even gambling on the show, so Morgan was more than happy to accept the bribe.

“How much?”

That wasn’t Frankie’s voice. Morgan looked up to see two men walking up, both dressed in overalls and work clothes. They felt their body tense instinctively at the sight. “Who are you?”

“They’re here for me,” Frankie said, patting their shoulder.

“Yep, here for the updates,” the older of the two said, looking Frankie up and down. “It was a surprise when we got the order, but hey. Upgrades had to happen eventually.”

That felt like he was talking about something else. Frankie felt it, based on how his grip on their shoulder tightened. Then he released, patting their back. “Well, let’s go, shall we?” he said, stepping around them. “We don’t want to waste any of your time, do we?”

“Yep. Come on…”

The younger guy stayed back. His gaze didn’t seem angry, they realized- he looked awestruck. “So, how much?” he said. “I heard you agreed to do double or nothing.”

Morgan rattled out a number.

“Wow. That’s almost as much as the animators get paid.”

Huh. “The animators get paid a decent salary?” That raised several questions

The maintenance man chuckled. “Mostly because the boss is terrified of them, especially the director.” He leaned forward into a stage whisper. “From what I heard, he trusts her to manage his animations, and the last time he even thought of decreasing the pay, she made him regret it.” Morgan stifled a chuckle at the thought of Cartoon Frankie being terrified. From the few interactions they had, he had felt like he knew he was in charge and made sure you knew it.

“MITCHELL!” the older man boomed. “GET OFF YOUR ASS AND COME HELP ME!”

Mitchell jumped. “SORRY SWANSEA! COMING!” He turned back to them and smiled. “It was nice to meet you, though! Hope you don’t die next season!”

More questions rose up as he rushed away from them.

[wizardsix]

ok... so I have finally finished veilguard after about 90 painful hours (two playthroughs). im not gonna write an actual review about all of my detailed thoughts bc it'll actually take days, this is just to at least get my general thoughts out and see if anyone else feels the same or if ive actually lost it.

overall it is the weakest dragon age game story-wise, and I'd give it a nice lukewarm 4/10.

(i wrote this post right after I finished the game on the weekend so maybe I sound a bit harsh, I tried to edit it to be more reasonable lol but I didn't really want to delete this since I do still stand by a lot of this)

I really tried to go in with an open mind, bc I always want to experience media in full before making any kind of judgement, but about a few hours in I had this horrible feeling that once again this was another soulless, rushed game, and I still don't feel any different after finishing the game.

what stuck out to me was that there's no sense of urgency despite what the plot is, serious topics are not treated with care as the writing overall is shallow, and the gods as well as any other enemy you encounter are just cartoon villains (and apparently the lore retconning, but I'm not well-versed enough to dissect that so I won't).

I can't take this plot seriously when it feels so disjointed and forced and lazy. and I see no point in caring about anything when choices literally don't matter. no say in who you recruit, no say in the relationships with them and they have almost no awareness of rook, definitely doesn't matter if you have allies or not bc they show up anyway, and only four companions are locked into unavoidable decisions where one of them bites the dust no matter what (which is strange bc why are harding and davrin forced to die no matter if they're at hero status while bellara and neve can literally survive blight if they're at hero status), so it's impossible to try to strategize for better (or worse) outcomes with all the people you've gathered when there's only one right answer that the game pretty much tells you instead of letting you think for yourself (and side note this game does an incredible amount of hand holding). the game actively tries to trick you into thinking your choices matter with the onscreen notifications, but nothing matters bc the devs clearly had only one story in mind and for some reason lied that it had "complex choices".

also rook in general wasn't interesting as a protagonist bc they were written to be perfect. they always know what to say and are so supportive of everyone. they never struggle with anything. not even with leadership beyond "man leading a team is hard :/" but it doesn't actually show how hard it is by having actual volatile conflict between the companions* or showing how their plans sometimes fail. which, if we actually had choices that mattered, would have helped develop that struggle. also? what's with everyone being so friendly? I'm not gonna get into that but everyone is so eerily nice and it's been said a lot but yeah, the world is extremely sanitized and devoid of any real conflict aside from the gods I guess.

*(like off the top of my head cassandra fighting with varric and accusing him of not being on their side or how the inquisitor can literally punch dorian and solas if approval is low enough or fenris and anders bordering on killing each other is not the same as lucanis and davrin distrusting each other or people being uncomfortable with emmrich's necromancy. it just scratches the surface of conflict and never goes anywhere)

and let me say real quick again, there's nothing wrong if they wanted to make a more rigid story about being a hero. it's been done a million times and it can be executed well, but if you do that you need to make sure you 1) don't lie to people and 2) actually flesh out your (especially main) characters and plot to give people a reason to care. look at dragon age 2. hawke is a fixed protagonist with their own life front and center. they ultimately only have two choices (siding with mages or templars), but it works bc the game took time to build up the conflict straight from act 1 so by the time chaos happens in act 2 and 3 you understand why bc it's Been brewing the whole time. it just makes sense. the villains as well have sound reasons and feel real instead of being evil just bc. the story is more grounded, yet you have choices. you decide if hawke ends up alone or not. you decide how they approach situations with force or diplomacy. there's none of that in veilguard. a game that supposedly took 10 years to make. when dragon age 2 took almost 16 months (yes I know da2 also has problems like the fact that the templars are always proven right but this isn't the place to dissect that).

I want to be fair though and I do want to restate what I enjoyed about the game. the cc (though would it kill them to have more variety in face textures like age and body types beyond average.. also no colour wheel... especially since they claimed their cc was so good), the map progression/visuals/exploration (how certain places become more blighted overtime), the factions (though I feel there should have been more content for your faction, and helping them or not should have mattered more), the combat (did not feel like a slog, pretty fun and mindless), the companions (bellara, davrin, emmrich, harding, and lucanis had solid personalities and stories despite my complaints. neve was not memorable and I just feel sad for taash's bad writing), certain parts of the story were good, the intro and the point of no return sequences were solid, and the ending didn't feel rushed or boring compared to inquisition. and yes, I do appreciate that rook can be trans, I just think a little more subtly and care would've been nice.

another thing I did like and predicted was that varric died at the beginning of veilguard, and for a second I actually enjoyed that because i thought we were finally (a bit too late tho) getting some depth to rook and their own struggles of accepting his death and carrying this weight without him. and while I do think maybe they should've taken more time to establish the mentor/mentee relationship so we really feel rooks regret, I still think it was at least the right direction where in their grief they still see him, giving advice and narrating their journey.....but then it turned out to just be solas manipulating them the whole time, immediately destroying any emotional weight this reveal had.

whenever bioware has good ideas they shoot themselves in the foot and make it about solas. it's like nothing in the world exists without solas being involved somehow, and that is just incredibly boring and uninspired to me. not to mention solas just being an insufferable ass the whole time, which is fine, but it's not even in a compelling way like he used to be. he became so ugly by the end and the fact that the devs consider redeeming him the "good ending" and not giving him what he deserves is very telling and once again shows their own bias is king over good storytelling (solas' feelings should not come into play here, whether you/your companions live or die should determine good/bad ending since solas is trapped no matter what, only difference is who is trapped with him. idk but I personally think different endings actually means different outcomes). i will not go into the bs of the secret post credit scene, bc frankly I'm fed up with bioware's shitty writing and I won't be playing their next world ending space aliens game (unless they miraculously pull a good story out of their ass but lbr).

overall the bad outweighs the good for me. it's fun to play as a game, it's a decent fantasy game, but the story just doesn't do anything for me. sometimes I wonder if dreadwolf was a completely different game and was scrapped for veilguard last minute. maybe this was yet another inevitable industry fuck up and maybe there was a good story planned at one point. idk. all I know is bioware lied. respect and credit to the poor devs and writers who actually cared and to those who were kicked from the project, but in the end bioware promised too much and delivered too little.

[mazojo]

Anyways XO Kitty love interests summarized

Dae

Min Ho

Yuri

[chibigalaxies]

Fancy Man!

[nightskyfoxyy]

Turns out snapping turtles are super hard to draw. Oh well

(Extremely lose "lore" thoughts in tags i guess lol)

[twpsyn-who]

The Rookie really been trying to make the Nolan/Lucy relationship thing work huh

[h0ney8ee]

i went to a cat expo today and saw so many cute cats and got sooo many freebies, my girlies are going to have a new treat and toy to try every week for months 🥺

[t-u-i-t-c]

so i really like geats :)

[jakeperalta]

truly did not expect to cry through so much of sex education s4 I'm

[loverboybrightsideghost]

the more time passes since i first watched it, the more i like good omens season 2

[quietwingsinthesky]

please give more usher thoughts as you progress through the show ive been hyperfixated on the horrors since i watched with my bf

my friend, i really don’t want to disappoint, but i am very much not enjoying this show alsjdkfksi. i’m gonna finish it in hopes that it gets better, but so far, i’m really not seeing why this show is about the fall of the house of usher.

the masque of the red death section obviously had a little more ties to the original poe story, both in the imagery and the themes, even if i think it’s a little bit weird to have the adaptation story about the rich people avoiding the plague and partying it up not even mention Covid once. Not that that’s required, it’s just a bit of an odd choice. A subversion of expectation, maybe, to burn them all with acid instead? I was vibing with it up until that point, and the scene itself is nicely horrifying, but I don’t know.

I’m on episode 3 now (Murders in the Rue Morgue 😬 dear god, please let this not carry the racist undertones of the original story forward, please let them address and/or change that or something.) and so far my thoughts are: this is like succession if succession was boring and sometimes flashed a ghost on the screen to make you jump.

(oh one last thought. the framing device, roderick narrating everything. I’ll admit I was soured on this beforehand because I’m fond of the fall of the house of usher’s narrator and his quest to save roderick that ultimately fails as he is drawn into the web of paranoia and ruin, so having the relationship between roderick and auguste be instead antagonistic threw me off, but that’s besides the point. That bit still works fine enough for the story that’s being told here.

What I don’t like is how we’ll be pulled back to the framing device out of nowhere sometimes, completely deflating the tension of the story to stop and have roderick give a monologue and then go back to the story. It’s not adding anything, really, nothing that couldn’t be inferred from what we see on the screen or could have been worked into the story instead without being so jarring. It also just ends up reminding you that, oh right, this is supposed to be something roderick is telling someone else, but obviously what we see is full of details he couldn’t possibly know about. which, without being yanked back to remind us he’s the one telling it, would be easier to suspend disbelief about.

I do like the ghosts standing just behind Auguste, though. that’s a nice touch. i wish even less attention was called to them. i really wish there would be less fucking jumpscares overall in this show.)

[unproduciblesmackdown]

meanwhile, some quotes about the material:

The "musical within a musical" is about a ramshackle theater troupe haphazardly putting on a show destined for Broadway in exchange for doing chores around the farm. People fall in and out of love throughout the process, all while the city folk comically struggle with the country life. Emmy-winning writer Cheri Steinkellner was given one mandate, however: "No tractor," she laughed on the phone just weeks before the show was set to begin previews. "They were adamant about that. And there's a tractor in the movie. There's a tractor in almost every scene. It's in many ways about a tractor. But I was told absolutely no tractor." [...] "We're all working on this like we're on an actual summer stock schedule. Art imitates life imitates art. It's just go, go, go. And I couldn't be prouder of our cast, and our Jane and Joe," Steinkellner, who is also a Golden Globe winner, said. Her writing partner also happens to be her husband Bill. "Our 'Summer Stock' is more 'inspired by' than adaptation. There are four songs included from the original film that you can't not do. But the new songs are the best of the old songs. The secret sauce was the great American Songbook." She said "It Had To Be You" is one of the classics audiences can expect.  

[source: ‘High School Musical’s’ Corbin Bleu makes his Goodspeed debut in ‘Summer Stock’]

So, how different is the musical Summer Stock from the movie? It feels like a whole new animal, even though we’ve borrowed some elements from the movie. It is still, first and foremost, a love letter to the theater; it’s about this group of players who come to a farm to put on a show. So many numbers are how they get into farming through performance! We also still focus on how Joe and his partner Phil [played by Gilbert L. Bailey II] fight to get the show on its feet, and how Joe helps his eventual love interest Jane [played by Danielle Wade] find her inner performer. But a lot has changed from the film, including some of the relationships. We have a brilliant new writer, Cheri Steinkellner, who has dropped in a lot of nods to why we love musical theater. We have Veanne Cox as Orville’s mother, who is the new “villain” of the piece. And we’ve added a lot of music, such as “It Had to Be You” and “It’s Only a Paper Moon,” and we’ve switched around who’s singing some of the film’s songs, such as “Dig, Dig, Dig” and “Happy Harvest.” But the most important thing is that while we’re still in the late 1940s, there are two Black actors playing the male leads – me and Gilbert Bailey as Phil – and it is definitely not color-blind casting; it’s color-conscious. That means we’re dealing with an interracial love affair, for instance. The racial element is an additional driving force, which I think is necessary, but the main story isn’t about the struggle for racial equality. In the end, it’s still a feel-good MGM-like affair. You’ve previously stepped into the figurative shoes of Gene Kelly, who originated the role of Joe in the movie, as well as Fred Astaire. How does that feel? I am always aware these golden age icons from MGM have such a specific style and that they make what they do look easy. Of course, I want to bring that to Joe. But in the tap dance sequence, for instance, we also have a bit of Gregory Hines, even though I’m no Gregory Hines. And at the end of the day, it’s me on stage, and I work hardest on finding my own characterization of these roles. This is your first time working with Donna Feore, who is one of Canada’s leading directors and choreographers. Tell me about your experience with her? Donna is wonderful to work with, both as director and choreographer. I think the best thing about her handling both roles is we don’t have to get everyone on the same page, because she is the same page. She’s also really hands-on with the music; she fought to have a drummer in the room during rehearsals so we could find those beats while we created the choreography, not just insert them later. As she directs, she considers the movement of every scene, but also the story that we’re telling through that movement! It’s not movement for movement’s sake, and I appreciate that! Goodspeed isn’t the easiest place to do a dance-oriented show, is it? Yes, we’re dealing with the confines of a very small stage, it’s like dancing on a Chiclet. I am so impressed how vibrantly our cast can move on this stage. We’re on top of each other!  I think we’d look great on a bigger stage, which is just one reason why everyone is focused on moving this show to New York.

[source: Interview: Corbin Bleu Talks About the New Musical Summer Stock and the Fourth Season of HSMTMTS]

“Summer Stock” is right in Corbin Bleu’s wheelhouse. “I feel at home on the stage,” he said. An actor, singer and dancer his whole life, Bleu is appearing in the upcoming stage adaptation of the Hollywood musical beginning July 7 at the Goodspeed Opera House. “I established myself in this particular genre, doing shows associated with Gene Kelly or Fred Astaire,” he said. “I am a bit of an old soul. This is what my voice naturally goes to.” The “High School Musical” star is playing Joe Ross, one of a troupe of actors that descends on a small farming town to turn an old barn into a theater. It appears he was born to play the role originated by Kelly on the big screen. “I grew up as a theater kid,” Bleu said. “I grew up watching old MGM movies. I was a theater nerd and a musical theater fan. My dad kept a storage unit of stuff from our childhood, and he found an old school paper from when I was in elementary school where I’m dreaming of performing in musicals.” [...] Of the four shows, “Holiday Inn” is most similar to “Summer Stock,” which was also adapted from a movie . “Holiday Inn” was a fairly close reworking of the film, but “Summer Stock” takes a few more liberties. “It’s not the exact same story,” Bleu said. “When I watch the movie, I think it could definitely use some updates.” Those updates include a multi-racial cast. “Let’s not skirt the obvious,” Bleu said. “I’m a Black guy doing characters traditionally played by white men, doing things Black men weren’t traditionally able to do easily at the time these shows take place.” [...] “Some parts of the book are still in process,” Bleu said. “Cheri is in the room with us at rehearsals. We want this to feel modern, but we don’t want to shoehorn anything in. “I was also part of the workshop we did in New York a month and a half ago,” he added. “I’m loving seeing it and I’m loving being a part of it. We know this genre. It’s a feel-good musical comedy, a big song and dance show.” Though there is a lot that has been rethought when reshaping “Summer Stock” for the 21st-century stage, those who know it as a Gene Kelly movie will have plenty to latch onto. “We are completely paying our homage to Gene,” Bleu said. “I am not Gene, but I do have a natural tendency to lean into that style. Gregory Hines is also a big inspiration. There’s tap dancing in this. There’s a whole Lindy Hop number. There are a lot of very large dance numbers.”

[source: ‘High School Musical’ star Corbin Bleu is rethinking ‘Summer Stock’ at the Goodspeed Opera House]

[gatheryepens]

Week 1 of exams done now onto week twooooo……💃🏾💃🏾💃🏾💃🏾💃🏾💃🏾💃🏾💃🏾💃🏾💃🏾💃🏾💃🏾💃🏾💃🏾💃🏾💃🏾💃🏾💃🏾

[larrysblooming]

louis smiley and blue bandana for aotv <3333