#but that close-up of him smiling?

[pharawee]

"May I sit with you?"

[starry-bi-sky]

on a completely separate note; shizun luo binghe with a disciple shen yuan who fell into the abyss??? *thinks about LBH canonically stealing SQQ's corpse for 5 years* he'd hallucinate i think. like, like visual and audial hallucinations.

Keeps thinking he's seeing SQQ in the corner of his eyes, or wandering between the trees, amongst a group of disciples. Thinks he hears him calling for him, but its just the wind or another disciple.

Gets Xiu Ya reforged but patently fucking refuses to make a sword mound. Because his disciple Is Not Dead :))) There was No Body. He's Not Dead. And If You keep Insisting That He Is, He's Gonna Skewer You :). He's holding onto Xiu Ya so he can return his most favored disciple's sword when he returns. It's on his hip right next to Zheng Yang where it's supposed to be.

Also this motherfucker?? does not sleep btw. He has the image of SQQ, wide eyed and hysterical and standing at the mouth of the abyss burned into his fucking eyelids. Can't use the dreamscape to escape it either because he keeps trying to save him and either he does and it's an incredibly cruel trick to wake up to, or he doesn't and he gets his heart broken in several different pieces again.

There is no convincing this man that Shen Qingqiu is dead. Absolutely nothing at all. He is buried so deep in denial that moles would be jealous of how deep he is. He keeps making tea for two in the bamboo house only to remember that it's just him. SQQ's fans are hiding everywhere, little reminders of his presence. He goes to wake up SQQ on the mornings he sleeps in-- only to find the room empty.

[kenneth-black]

Just thinking about Evan Buckley with a baby 🙃

[bittasol]

smile, iruma! | hey ive been here before

[jerswayman]

LOVE THY GOALIE. GIVE THY GOOD BOY HEAD PATS.

[unriding]

me n moze say good morning to the world !!! ᕙ( •̀ ᗜ •́ )ᕗ

art by @rabbbitseason of course <3

[tsuchinokoroyale]

Happy new years… let’s stay hydrated together ✨

[lokimobius]

"Listen. That wasn’t tactical. I lost it." LOKI S02E02 “Breaking Brad”

[patt-is-cool]

some rdr2 doodles lol god i gotta figure out how draw them

[eternity-death]

Okay guys now it’s time to consider…

Sunday being in love with Reader… but being unable to act on his feelings because The Dream Master disapproves of it…

The yearning in this would be INSAAAAAANNNE.

[theotherbuckley]

Okay but Tommy drops out of high school — he told his father he was gay and he told him he could either be homeless or go to military school. He goes to military school and joins the army and he likes flying the helicopters because it means he doesn’t have to do any of the killing himself. And he makes some friends.

There's one guy who's like the squad leader who's a few years old and built like a Greek god and Tommy's young and a little bit in love. And they're friends maybe even family because this whole group of people spend every waking (and sleeping) moment together. And they all talk like a family and they all say they love each other and tease each other and it's nice. And one night it's just the two of them trading a flask of some sort of alcohol that Tommy doesn't know the name of and the man asks Tommy why he joined the army and where he wants to be in five years and Tommy trusts this man. He's half way in love with him so he doesn't even think twice before he tells the story about the time he came out to his family and his father nearly beat him to death before sending him here. And the conversation tapers off after that and he doesn’t register the change in the air but when he wakes up the next morning he’s being dishonourably discharged because he poses “unacceptable risk to the high standards of morale, good order and discipline, and unit cohesion that are the essence of military capability”. He knows what that means.

Tommy joins the fire department because he doesn’t know what else to do. He represses anything regarding his sexuality because he knows now that it’s wrong. He almost feels like he has a family again because his captain seems to like him and some of the guys are cool even if they say things he doesn’t agree with. And then he starts agreeing because maybe they’re right and he’s wrong and he’s just inherently wrong. So he follows their leads and is just straight racist because that’s how he can fit in.

And then a black lesbian woman joins and says she’s a black lesbian woman and Tommy doesn’t understand that either because you can’t be queer you just can’t be because it’s wrong.

But he nearly dies and and an Asian man saves his life and a black lesbian woman comes up with a better idea than any of them had and she tells them she’s no different and she is just as capable. So he improves himself he does and he tries to be better but he still can’t be who he is because the last 2 times he was honest about that he was betrayed.

Tommy leaves the 118 and “don’t ask, don’t tell” is lifted and he meets this guy he likes who likes him back and the 217 don’t seem to have a problem with the gender neutral pronouns and he slowly but surely lets himself open up again and be who he is and when the thing with that guy doesn’t work out because he’s moving to New York and Tommy’s not sure he’s ready to leave, it’s okay because his crew is there and they support him and he can still be himself.

[umemiyan]

good morning, i'm thinking about snow leopard/kitty hybrid gojo laying on your back after he cums inside, purring and licking you almost as if he can groom you (and also because he likes the taste of your skin), rubbing his cheek all over you because you're so warm and he's so happy... (and he still hasn't pulled out btw)

[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

[averlym]

litany of the martyrs (click for better resolution!)

[littlemagicalstardust]

It was so good to see him smiling. <3

[crustyfloor]

The way Till looked genuinely pissed off because of Ivan but he’s not mean about it. Just thinking. The fact that he didn’t just say fuck off right then and there when Ivan asked him for a kiss, but he instead worked around it, as if after realizing Ivan was actually serious he said this as an attempt to pacify Ivan. because even though we get the irony here, it does look like Till trying to ‘let him down easy.’

Even his internal dialogue is harsh, but he doesn’t voice it.

And when Ivan starts whining and getting in his space again, Till doesn’t bother pressing it and just lets Ivan sulk, as if he’s simply handling a pouty child. Like he’s used to it and just letting it be, it doesn’t mean he liked it but Till really wasn’t trying to hurt Ivan.

(even more unsurprising how no punches were thrown, again. Till can only be provoked into acting that way, had this been Ivan’s perspective I’m sure this situation would have looked a lot more narrow-minded)