prettypumpum

[crossdressingdeath]

Actually one thing that really bothers me with the whole "No one hated you for being the son of Hades, you just pushed everyone away" thing is that... well, first off as I've said before we know it isn't true because every single POV character we've had since Titan's Curse who's interacted with Nico except Hazel comments on how creepy Nico is for being the son of Hades so it doesn't work even slightly, but also. I mean. Nico spends so much time being told "This thing that you are and cannot stop being is wrong and evil. It's wrong and evil because we've decided it is. Your father, the one adult in your life you can even sort of depend on? He's bad because he's the god of the dead. No, no, it's nothing he's done exactly, in fact when we accused him of a crime before it turned out he was actually a victim in said crime, he didn't do anything; it's what he is and how that's caused him to distance himself from the people who vocally hate him and don't want him around that makes him untrustworthy, and you should also know better than to trust him. He's Hades after all. That makes him bad," with the subtext that Nico very clearly picks up on being "and you're bad because you're like him". Now, if you think about that, you may pick up on a little bit of applicability in there for the story of a kid struggling with internalized homophobia! Just a teensy bit! It was a perfect way of getting into how awful it is to have people you like and care about openly think something about you that you can't change makes you wrong even if they don't realize they're doing it and even if they really do love you (and in fact how in a lot of ways it's worse when you know beyond a shadow of a doubt that they do love you aside from That Part) without having to make any characters actually homophobic (thinking the Underworld's creepy is significantly more sympathetic and easier to justify and get characters to work through in a fictional setting than them being real-world bigots would be, after all), and Rick fumbled the ball at the finish line!

If you're reading the whole "Hades and Underworld stuff is Bad And Creepy so Nico is Bad And Creepy" thing as being a metaphor for homophobia (or honestly any other kind of bigotry, but given Nico's problems homophobia fits best) as is really easy to do even before he's revealed to be gay the way that plot point gets dropped in favour of "Well actually it was fine the whole time and Nico just decided that everyone hated him with no evidence other than every POV character except his sister openly thinking he's creepy and at least one person telling him to his face that he shouldn't have trusted his own father who up to that point as far as we know had never lied to him solely because his father is the god of the dead but never mind that, it was all in his head!" kind of feels like Rick's going "Oh, it's not that serious" when uh. incorrect. Which I'm sure wasn't his intention, Rick does try to be sensitive about these things, but it is very much a thing that insisting that a character (whose arc features a huge aspect of overcoming internalized homophobia developed by growing up in the 1930s) saying in no uncertain terms that he's been made to feel unwelcome because of who his father is when we know from the other POV characters' views of him and responses to him that his view of it is correct doesn't need to be taken seriously because "Oh it's all in his head" is... a little uncomfortable! And made worse by the fact that while Will learning to see that the Underworld isn't an inherently awful place is an excellent subplot and we love to see the character growth (and I still firmly believe that Will is infinitely better about it than basically any other character for the primary reason that at least he has a specific reason for thinking the way he does, being in the Underworld is literally killing him and also he's the only character who does learn he was wrong to think that way, so no one start shit about it on this post) he hasn't had that character development at the end of HoO, and the fact that we hear this "You pushed yourself away" viewpoint from someone who also has issues with the Underworld and it's still allowed to stand without argument makes it so much worse. Rick, there's an entire subplot in TSatS about how Nico does in fact still hear even people who genuinely and deeply love him and hate the thought of doing anything to harm him talk shit about his home and how that hurts him and they need to learn to do better. Why are you still trying to say it's all in Nico's head when you keep hammering home that it isn't?

[krysmcscience]

I have some questions about karaoke night, Alex Hirsch. Very Important Questions. Which I will happily scream at a poor hapless baby triangle who can have no answers for me, and possibly also does not have object permanence yet.

Follow-up that is I guess suggestive, but let's be real here, Bill's a fucking triangle:

Dude slipped right into his birthday suit, lmao

this is so stupid :D

Anyway, I don't care what anyone says, this brilliant individual knows what's up - Bill is absolutely way more of a monsterfucker than Ford could or ever will be, full stop.

[inkskinned]

so one of the things that's so horrifying about birth control is that you have to, like, navigate this incredibly personal choice about your body and yet also face the epitome of misogyny. like, someone in the comments will say it wasn't that bad for me, and you'll be utterly silenced. like, everyone treats birth control like something that's super dirty. like, you have no fucking information or control over this thing because certain powerful people find it icky.

first it was the oral contraceptives. you went on those young, mostly for reasons unrelated to birth control - even your dermatologist suggested them to control your acne. the list of side effects was longer than your arm, and you just stared at it, horrified.

it made you so mentally ill, but you just heard that this was adulthood. that, yes, there are of course side effects, what did you expect. one day you looked up yasmin makes me depressed because surely this was far too intense, and you discovered that over 12,000 lawsuits had been successfully filed against the brand. it remains commonly prescribed on the open market. you switched brands a few times before oral contraceptives stopped being in any way effective. your doctor just, like, shrugged and said you could try a different brand again.

and the thing is that you're a feminist. you know from your own experience that birth control can be lifesaving, and that even when used for birth control - it is necessary healthcare. you have seen it save so many people from such bad situations, yourself included. it is critical that any person has access to birth control, and you would never suggest that we just get rid of all of it.

you were a little skeeved out by the implant (heard too many bad stories about it) and figured - okay, iud. it was some of the worst pain you've ever fucking experienced, and you did it with a small number of tylenol in your system (3), like you were getting your bikini line waxed instead of something practically sewn into your body.

and what's wild is that because sometimes it isn't a painful insertion process, it is vanishingly rare to find a doctor that will actually numb the area. while your doctor was talking to you about which brand to choose, you were thinking about the other ways you've been injured in your life. you thought about how you had a suspicious mole frozen off - something so small and easy - and how they'd numbed a huge area. you thought about when you broke your wrist and didn't actually notice, because you'd thought it was a sprain.

your understanding of pain is that how the human body responds to injury doesn't always relate to the actual pain tolerance of the person - it's more about how lucky that person is physically. maybe they broke it in a perfect way. maybe they happened to get hurt in a place without a lot of nerve endings. some people can handle a broken femur but crumble under a sore tooth. there's no true way to predict how "much" something actually hurts.

in no other situation would it be appropriate for doctors to ignore pain. just because someone can break their wrist and not feel it doesn't mean no one should receive pain meds for a broken wrist. it just means that particular person was lucky about it. it should not define treatment.

in the comments of videos about IUDs, literally thousands of people report agony. blinding, nauseating, soul-crushing agony. they say things like i had 2 kids and this was the worst thing i ever experienced or i literally have a tattoo on my ribs and it felt like a tickle. this thing almost killed me or would rather run into traffic than ever feel that again.

so it's either true that every single person who reports severe pain is exaggerating. or it's true that it's far more likely you will experience pain, rather than "just a pinch." and yet - there's nothing fucking been done about it. it kind of feels like a shrug is layered on top of everything - since technically it's elective, isn't it kind of your fault for agreeing to select it? stop being fearmongering. stop being defensive.

you fucking needed yours. you are almost weirdly protective of it. yours was so important for your physical and mental health. it helped you off hormonal birth control and even started helping some of your symptoms. it still fucking hurt for no fucking reason.

once while recovering from surgery, they offered you like 15 days of vicodin. you only took 2 of them. you've been offered oxy for tonsillitis. you turned down opioids while recovering from your wisdom tooth extraction. everything else has the option. you fucking drove yourself home after it, shocked and quietly weeping, feeling like something very bad had just happened. the nurse that held your hand during the experience looked down at you, tears in her eyes, and said - i know. this is cruelty in action.

and it's fucked up because the conversation is never just "hey, so the way we are doing this is fucking barbaric and doctors should be required to offer serious pain meds" - it's usually something around the lines of "well, it didn't kill you, did it?"

you just found out that removing that little bitch will hurt just as bad. a little pinch like how oral contraceptives have "some" serious symptoms. like your life and pain are expendable or not really important. like maybe we are all hysterical about it?

hysteria comes from the latin word for uterus, which is great!

you stand here at a crossroads. like - this thing is so important. did they really have to make it so fucking dangerous. and why is it that if you make a complaint, you're told - i didn't even want you to have this in the first place. we're told be careful what you wish for. we're told that it's our fault for wanting something so illict; we could simply choose not to need medication. that maybe if we don't like the scraps, we should get ready to starve.

we have been saying for so long - "i'm not asking you to remove the option, i'm asking you to reconsider the risk." this entire time we hear: well, this is what you wanted, isn't it?

[jadewritesficshere]

Thinking about Eddie Munson who was complaining to the rest of the band about his shoulders and neck hurting post show. One of them convinces him to go for a massage.

Eddie shows up day of and is told to strip to level of comfort and get under the sheets laying on his back, his masseuse will knock before coming in. Eddie has not an ounce of care or shame, strips completely naked. Scars and tattoos on full display. He climbs between the sheets and waits. After knocking and hearing a "come in", his masseuse enters and-

The most handsome man he's ever seen walks in. A bit of stubble on his defined jaw, soft pale lips Eddie wants to kiss, big brown eyes Eddie wants to get lost in, slutty little waist and an ass Eddie could-

He introduces himself as Steve. Verifies where Eddie had said his tension was on the form he hastily filled out. Then it starts.

And maybe, maybe, Eddie is a bit touch starved. He could have anyone he wants, but they don't want him just his fame. Pushes them all away. Only gets close to his band, but they all are busy and have their own people outside of work.

And Steve is just touching him. Rubbing smooth circles into his temple, down his cheekbones towards his jaw. Pressing on parts of Eddie's face he didn't even realize were tense. It's relaxing.

And Eddie regrets not leaving at least his boxers on to help hide that he's becoming hard. Kind of embarrassing, which makes his dick harder- which, that's a lot to unpack right now-

"Hey, relax man," Steve says, laying a gentle hand on his shoulder. Eddie can see Steve's eyes dart towards the obvious situation," It's natural. Happens to the best of us." "Does it happen to you?" Eddie blurts out. Eddie wants to shove his face in one of these soft plush pillows and scream, but Steve just snorts a laugh and shakes his head at him. Doesn't even respond as he continues the massage.

Eddie tries to hold back his groans as Steve turns his head to the side and rubs his neck into his shoulders. He can feel the tension leave his body slowly. Feel the knots in his muscles release.

Eddie can't, however, hold back the noise he makes when Steve grabs a hold of his hair and tugs it. Eddie's eyes pop open and he stares into Steve's face, who has started blushing. Steve just clears his throat and let's Eddie's hair go before continuing the massage.

[epickiya722]

It's so funny seeing people either convert or just now going "BkDk is so gay" after, what, a decade of its run.

Because now?? Now you're admitting something deep is there? Romantic and/or platonic?

Maybe it was just me but I clocked that tension in the beginning, even when I wasn't into the ship like that (as in it wasn't a ship I thought about given where I started with the anime and manga).

When Midoriya called Bakugou "Kacchan" and not once did Bakugou not tell him to not call him that, that's when I knew "oh... y'all got something... to be worked out there."

[imminent-danger-came]

I am seeing some of the WORST takes about tdp season 4. Sweet, sweet tumblr users. This season was a lot of set up, not everything was supposed to be explained or resolved, or even "should" have been. Season 4 had to do the heavy leg work of re-establishing characters and arcs and the plot moving foreword. It just needs a little time to be able to act on everything it's now established. It did a good job building off of arc 1, and now we are fully indoctrinated into arc 2!

[mourn-and-watch]

no but essek's abnormal behaviours in the last arc and especially in episode 140 are my roman empire. which is ironic because aeor is something of a roman empire itself. but in all seriousness, it was the episode that made me realise i love essek and his development so much and it kinda summarised it even before caleb's epilogue.

and i mean the "it's not fair" scene specifically. it's like, an epitome of his whole character progression from a person who put An Objectively Important Goal above all else without hesitation to someone who can't help but care for people around even more than his goal, no matter how big and relevant it is.

the mighty nein - and he alongside them - pretty much saved the world and freed an ancient city from thousand-year-long suffering. they defeated nine extremely powerful menacing entities who managed to stay out of everyone's sight for years and were so close to achieving their goal and dooming exandria in the process. they did the impossible and became heroes and somehow, they survived, even though they had bidden farewells a couple of hours ago because they had already understood what they had been facing. and nevertheless. they made it.

and none of them was celebrating.

mighty nein are basically essek's only friends. he knew them to be very unusual people, to put it lightly, loud and stubborn and completely inescapable once they consider you to be one of their own. and they showed him so much kindness and put so much faith in him, they were here playing the most atrocious music ever and digging clay in his backyard for a spell they invented just to help one of theirs and asking him if he could bring them pastries the day after they found out he was lying to them and had started a war. they were chaotic and weird and sometimes unbearable but most importantly they were carrying so much hope with them all this time - a hope they could end the war, a hope they could stop the angel of irons cult, a hope they could get better, a hope he could get better, and now, finally, that they could save their lost friend.

and that hope shattered, just like that, the moments after they'd already made the impossible. they saved so many souls - and then could not get back just that one.

for essek "my intentions were never good they were important" thelyss it just. shouldn't have mattered. they won. it could have been worse. people die and when they die they rarely come back. they should've been happy everyone else barely made it alive.

but for some reason, mighty nein being so defeated after they saved the world exposed him to that overwhelming feeling of injustice and unfairness. and i mean, there were many things essek considered to be unfair, but when i watched his first appearance and his interactions with mighty nein later on til their reunion in aeor arc, i wouldn't dare to guess that one of the things on that list would be something that personal. and personal not even to him.

the thing is, essek didn't even know who that guy was. why mighty nein cared about him so much. he had an idea, i guess, that he was their friend once, or someone in that body was. it was also a person who wanted to unleash a terrifying horrific aberration onto the material plane. it was a person very dedicated to killing essek and his friends - and they still didn't take any pleasure in fighting him. essek didn't feel strongly about lucien or molly, because he never knew them.

i don't think he mourned his death and failed resurrection. he mourned mighty nein's hope, the one they put in him when they had no reason to, the one they offered yasha in the cathedral and the one they kept after the spell for veth failed and the one they carried til the very end because they wanted it to reach molly. they had saved people with this hope. they had saved nations. they had saved the world. but they ended up feeling like it hadn't even been worth anything.

how desperate would it feel, witnessing people who for some reason always saw good in you when they absolutely shouldn't, who made literal miracles out of nothing, who ended wars and fought gods and tricked the hags and freed cities from horrors beyond anyone's comprehension purely because they thought it was the right thing to do and also loved their friends this much, silently crying over a dead body they couldn't bring back to life? how desperate would it feel to realise that with all your knowledge about time you dedicated your life to and threw away any principles for, you can't undo this? no one can. some things are left to fate alone and this time it wasn't kind to them. no matter how much good they did, they still got slapped in the face.

and it was, i think, such a genuine moment of empathy. like, essek is the character who prefers to put up a facade and act distant and self-composed but this time he just. walked away unable to watch this. the could only say to fjord that it wasn't fair. even when he was caught off guard in nicodranas he was able to explain himself and his motives to an extent even though he was a nervous wreck whose extra important plan went to hell the second the only people he cared about appeared. this time he had nothing to elaborate on. it just wasn't fair. it wasn't fair his friends didn't get what they wanted the most. it wasn't fair he couldn't do anything to make it right.

it is such a sad and beautiful and even cathartic scene because it is about person who started a war that destroyed so many lives - and then met this ragtag group of weirdos who saw a lonely stand-offish guy and said "hey, let's be friends!" and didn't even wait for him to answer. he saw them being serious and calculated and he saw them being ridiculous and extremely stupid, he saw their mistrust to outsiders and their loyalty to each other, he made spells with them and paid a visit to their hot tub, he ate their stale pastries and drank their hot chocolate mixed with whiskey, he was welcomed amongst them and in their wonderful home, both in xhorhas before they even found out what he had done and in the tower when they already knew - and then, he saw them mourning their loss, defeated and helpless, and he, a person who believed there were things more important than whole nations, let alone just one life, couldn't help but share the pain they felt. a pure display of compassion from someone who detached himself from it, who didn't believe he could grow into a better person capable of it again, but became one nonetheless without even realising it

[ffcrazy15]

"Oh so when James Kirk refuses to believe in no-win scenarios it's 'changing the conditions of the test' and 'commendable original thinking,' but when I, Bradward Boimler, can't accept the possibility of failure and retake the Kobiyashi Maru sixteen times–"

[backpackingspace]

I am once again thinking about how odysseus who witnessed the horrors that the captured women went through (one of his main duties in the iliad was taking the women back home and making sure they were as comfortable as possible and safe because he was the only one trusted not to violate them further due to his devotion to penelope. And in the odyssey part of the reason circe sent him to the underworld was so that he'd have to listen to all these women's stories (before he could talk to the prophet) ). Who was one of the few that saw women as people and respected their space and opinions. And was then put in those exact same situations. I don't have the motivation right now to do a full literary analysis of this (I'll site the sources too) but oh man one day I'm going to write a full essay on this.

[c6jpg]

JADEITE REDOLENCE ❖ favorite chenyu vale overworld tracks

[cyellolemon]

Emi having fun with its freaky boyfriend :)

[codenamesazanka]

Shigaraki/Tenko wanting to destroy the false sense of peace All Might and Heroes created

.⬇️.

Shigaraki/Tenko wanting to destroy everything that lead to the existence of that house, which he conceptualizes as the embodiment of rejection and injustice in the world. Be a Hero for the Villains.

.⬇️.

AFO basically literally created that house

.⬇️.

Shigaraki/Tenko helps defeat AFO

.⬇️.

Deku telling him 'you already destroyed it' is... apparently Shigaraki/Tenko having finally gotten rid of the true cause of (his) rejection and injustice? main antagonist's big problem that represents an overarching major issue of the story/in-universe society... solved? (main antagonist's big problem that represents an overarching major issue of the story/in-universe society not actually being the problem he thought it was but now also solved?)

.⬇️.

No longer a need for there to be a Hero for the Villains, Shigaraki/Tenko dies.

.⬇️.

Heroes not to be blamed in the first place. also fuck everyone else and all other 'actual' outcasts I guess.

[lightningidle]

Fig's line "I don't think I'm an artist, I think I'm just a good friend" has not left my head at all. Just...

You're Fig Faeth and your horns came in over the summer and you pick up the bard class as a form of adolescent rock 'n' roll rebellion, and it works! It's exactly the outlet you need! You give a guy you just met drumsticks and you start a band and it's good enough that within a year and a half you're touring. You are, in every sense, good at being a bard.

And then, finally, your junior year, you start to take it seriously. Your art goes from an outlet and a form of rebellion to a practice. A discipline. (Can rebellion exist within a discipline?) Your classmates know what they want to do with their work. They all have a thesis statement. And yeah, there's cohesion in the music you make, but you've never had to think about why you make it. You've never sat down and dissected what it is about bass that speaks to you. You've never poured over your lyrics to pick at any deeper meaning. Why should you? You don't play music for a grand design, you do it to... huh, why do you do it?

(Your art is the one form of self-expression that feels as safe as Disguise Self does, because even if you're pouring your heart onto the page and then screaming it in front of thousands of people, it's not like you're really making yourself known. You can sing I'm lonely, I'm scared, I'm furious, and your fans will sing it right back, and there will still be the distance between performer and audience to keep your heart safe.)

Now you're being asked to look inward to explain the artistic choices you're making, and you can't help but recoil at that, because you'd rather do anything than look inward. Meanwhile, your classmates have no problem with it, so you start to wonder if you're a real artist at all. Can your art be authentic if it only exists to bolster a thesis statement? Has your art been unauthentic this whole time because you've never really thought about a thesis statement before? Is that what makes it art, and not just the next track on somebody's teen angst playlist?

You can't think about yourself— acknowledging your own existence makes you want to puke. So if your music is an extension of yourself, (and it is, even if it's just because the spotlight reveals only what you want it to,) you can't think about your music. You can't. You have to. Your grade depends on it.

You're Fig Faeth, and you keep multiclassing because you'd rather be a good friend than a great artist. If introspection is what great art demands, then fuck it. You must not be a bard at all.

[rat-rosemary]

Okay so have you'll considered that the reason Grumbot isn't clingy towards Grian in the way he is to Mumbo is because no Grumbot ever existed in a world were Grian is not nearby?

Every single time, Grian is always the first person Grumbot sees when he gets online, so he has never missed him, because he's always there. There was never a moment in any of Grumbots' lives where he could not call out to one of his dads

[totallyboatless]

It is time, friends, for another Pip's Weed Essay game. The rules: I'm about to take an edible and start writing a mini-essay in one sitting. I edit a tiny bit as I go, but for the most part this is on the fly. I've thought about this topic a lot, but haven't outlined it. I'll let you know when the edible hits, but there's a chance you'll realize it before I do. (PIRATE FRIENDS STICK AROUND - this is Pip from the future, I get pretty high in this, but anyway I'm here to tell you that this goes in a very unintended OFMD direction that i'm still reeling from. Anyway back to Past Pip)

Edible ingestion commencing, time: 7:37pm Mountain Time

I polled my followers for the topic, so today we're going to talk about:

Fixing the Puck Problem

I've read and seen A Midsummer Night's Dream more than any other Shakespeare play. At this point I don't know if I've seen it so much because it's my favorite, or enough opportunities for me to see it have lined up that it's become my favorite by default. It's easily the Shakespeare play I know best. I haven't seen a staging that I fully disliked, but there are two elements of this show that I feel like are rarely handled the way I want them to be.

Problem one:

Puck will never be as funny as Bottom

It's common to consider Puck to be the main character of A Midsummer Night's Dream. He's at the very least the most famous character in the play. Puck is a dream role, and obviously with his being a fairy, he's usually directed to be weird and whimsical--and a lot of the time, playing for laughs. It makes sense, he's a trickster, it's built into his nature.

But in modern day, his lines and actions don't translate as well as Bottom's. In all of the times that I've seen A Midsummer Night's Dream, I've *never* seen a production where Bottom fails to steal the entire show away from Puck. I've had multiple experiences where I could feel the director wanting me to laugh at Puck; I could see the reasons for the direction, but it just wouldn't hit. In those same productions, I've laughed so hard at the Bottom scenes that I cried.

I'm thinking particularly of the 2010 production with Judy Dench reprising Titania (honestly still in shock over seeing that lolol) and the 2019 Bridge Theatre production (which you can find streaming, it's *incredible*).

In the 2010 show, the Puck actor kept doing what honestly felt like a Woody the Woodpecker impression lol. He would pause for laughs and they just...wouldn't happen. Meanwhile, Bottom was set up with the kind of success that let him steal at least one scene from fucking Judy Dench.

In the 2019 Bridge Theatre production, I genuinely like the direction they gave Puck--he's a weird little twitchy Irish punk doing fucking aerial silk shit. But even with a unique vibe and a fun performance, it's still not enough to outshine Bottom.

Basically my thing is that I want to get to the end of A Midsummer Night's Dream and feel more connected to Puck. I *want* him to be my favorite. And there's just absolutely no way to make him my favorite if his core purpose is to be funny. Puck is supposed to be a larger-than-life being--the audience is never going to buy that when he's not even the largest character on the stage.

The second problem is smaller, and in fixing it there's also a fun chance to fix the Puck problem:

Problem two:

The audience usually doesn't understand why Titania and Oberon are fighting.

If you've gotten this far you're probably already a nerd who knows this, but gonna pose the question like I've done for other people I've seen the show with: Why are Titania and Oberon fighting? What's the core reason?

Bc you're a fucking nerd you probably yelled CHANGELING! Which yes, good for you, if I had become the Shakespeare professor I wanted to be but didn't have the money to become, you would be in my class and I would throw a snickers at you for a reward.

But the thing is, a *lot* of people who only know the play casually don't know. And most productions don't assist them in knowing.

Elaboration for non-nerds: Titania had a "and they were roommates" totally not at all lesbian relationship with a human women who was pregnant. The women dies in childbirth and Titania takes the child to raise, and she cherishes him more than anything, which is an extremely straight thing to do. In the play, the character is only referred to as the changeling. Oberon gets super jealous of this kid and wants to steal him away and make him join the Wild Hunt so that he can have Titania's full attention back, because he's got that issue creepy men get when they have kids and then are like "I'm jealous of my son because he's making it less likely for me to fuck my wife" and it's like "dude calm down with this projection of an Oedipal complex."

If you're not a coward and read Titania as in love with the changeling's mom, then Oberon's issues are maybe slightly less creepy, but like not really

So that's it really. Titania loves this kid of her sapphic lover that died. Oberon is jealous about it. He decides to play a trick on Titania both as a way to get revenge, and also as a distraction so he can steal the kid.

But the issue is that 1.) all of this is communicated in a long and kind of boring speech, and 2.) the changeling literally never has a line and also no stage directions

The 2010 production had a hot dude chained up and writhing on stage in a kind of hot dance snake movement thing when Titania talks about him, but most productions never even have an actor cast as the changeling. I was really shocked they didn't have anyone for the 2019 production, given how much I love most of the rest of their choices.

OKAY SO. We now have the two problems: Puck isn't the fan favorite even though he should be; and most people in the audience have no fucking idea about the changeling.

(THIS IS HIGH PIP FROM THE FUTURE I FORGOT SOMETHING VERY IMPORTANT TO THIS PROBLEM: If you do know about the changeling/follow along with that plot, it's *very* hard to root for Titania and Oberon when they reconcile. Which can be fun and cool and a little hot even maybe if you're going all dark, but thIS IS A PLAY ABOUT HORNY FAERIES HAVING A GOOD TIME so I won't be having that. I want this play to make me like that Titania forgives Oberon so easily. Okay Past Pip, take it away)

lol okay yeah weed friend has landed, I just wandered away for a minute with a desperate need to put taquitos in the air fryer. Time stamp: 8:16.

OKAY FOR REAL NOW LET'S GET INTO:

Pip's Most Ideal Staging of A Midsummer Night's Dream Which Fixes the Problems in Theory

The Staging:

First off I want the production to be in the middle of the literal woods where there's pretty lights in all the trees and people are sitting on blankets and have snacks and drinks and drugs and whatever they want, and the whole staging has the actors weaving through the audience. Not just theatre in the round, full immersion

I also want people to not fully know where the production is, just that it's on the outskirts of the forest, and then the actors emerge from the woods at a designated time and bring the audience to the secret stage section. And ideally this would be like a park on the outskirts of woods so that there would also be people there who wouldn't know what the fuck was going on. And ideally some of the fairy actors convince them to come along and the people go having no idea what they're about to get into. That's how A Midsummer Night's Dream is meant to be experienced in its purest form: with actors dressed as fairies trying to seduce unsuspecting strangers to follow them into the woods to an unknown location where they'll probably be offered drugs.

TAQUITO TIME

Taquitos acquired.

Puck's direction and motivation:

When Puck is first introduced, it's by a fairy called Peasblossom who's otherwise not a big part. Peasblossom lets the audience know who Puck/Robin Goodfellow is by basically going stan-mode and being like "holy shit you're famous." PB literally starts listing his greatest hits.

So picture with me: instead of an extremely fairy-like whimsical Puck, I want a Puck that wanders on-stage like a burnt-out rockstar. Cigarette in one hand, beer in another. Probably on a cocktail for faerie super magic mushrooms. Just fully numbed out. In this moment, Puck feels way more human than faerie--and I want the performance to be in a way where that feels off. To have it be communicated in manner and clothing, and the juxtaposition of PB recounting Puck's glory days, that Puck hasn't always been like this. This isn't a faerie trickster in his prime. This is a man who's lost all sense of fun and is going through the motions.

That's what happens, right, when you become just a little too famous?

Puck is the only one of the main characters who gets to the end of the show and is entirely alone.

(my favorite thing about being high is how *good* it makes food taste, these taquitos are not fancy but with the power of the devil's lettuce it's so good--oh my god I have Dr. Pepper)

(I'm back with the Dr. Pepper. I'm having fun, are you guys having fun? If you've made it this far i kiss u)

So Puck is alone at the end of the play while everyone else of import is either with their lover or with their theatre-kid-found-family. And it's largely because Puck lives between worlds. He's not powerful enough to be fey royalty; he's Oberon's right-hand man, but he's not Oberon's peer. But the lower fey court are also not his peers -- they treat him like a celebrity, he can't actually connect with them. He's not allowed to frolic and play with them anymore, not really.

With this interpretation and direction, we now have a Puck whose action in the plot can lead to a happy ending (keep with me), and whose existence isn't just to be quirky and whimsical for the audience. Instead it's a Puck with a motivation: he's lost all joy in his job, he's disconnected from him community, and Oberon only treats him like a fuckbuddy so he's sexually frustrated. (Oh right yeah I was supposed to write about how Puck is in love with Oberon. He is.) That's all fucking sad, bro! And you know from the Pip that traveled into the past that this play is fun and should be fun!

Now for the final part, where we put in the special ingredient to tie this particular Puck direction into the happy ending:

LET'S 👏 GET 👏 GAY 👏

Do you guys (gn) remember the changeling? It was like possibly an hour ago, the time-warp this particular edible always sets me on has fully set in. It's possible this essay is like 5k words long. It's also possible it's only 500 words long. I wish I was lying when I told you I don't know.

Anyway, the changeling. Let's make him a fuller character and let's give him to Puck wrapped up in a sexy, charming bow.

Picture this: The Changeling, from now on capitalized as a character, shown on stage in Titania's court. Locked up like a princess in a tower because Titania is desperate to protect him. And the Changeling is all *sigh and flutter big beautiful princess man eyes* because he wants to explore what's out there. Because he's a man who's grown up and been forced to live between two worlds. He's not fey royalty, he's not Titania's actual kid and she kind of honestly treats him more like a momento of her lesbian lover than an actual adopted kid. He can't be one of the fey court, because he's not fey, and also he's not allowed to frolic and play with them.

That should sound familiar to you if I did it right.

Puck and the Changeling, both feeling the same sort of empty spot. So let's smush them together.

Give the Changeling all of Peasblossom's lines. It makes more sense for a detail I left out before, too--Peasblossom doesn't recognize Puck they see him for the first few lines. Once they do they're all like "omg you're the dude that makes people horny for each other and also some other trickster things." They know all of Puck's stunts, but they don't know what he looks like? It's clearly an exposition device, but it's a weak one (sorry, Shakesy). He's the rockstar of the fey world. You'd have to be living under a rock or, I dunno, locked away like a beautiful man-princess --

(Okay you know where I'm going and I have to stop there because I'm cry laughing, I swear to you -- I swear to fucking god, guys, I wish I was joking -- I thought I was being cute and clever saying "man-princess". Not because of irony. IT'S BECAUSE I FORGOT THERE IS A WORD FOR A PRINCESS WHO IS A MAN AND THAT IS A PRINCE. Okay i should clearly wrap this up lol)

In this staging, the Changeling clearly doesn't want to be locked up. So...he finally finds a way to sneak out. He goes on a romp through the forest and that's when he runs into Puck (this is the scene where we first meet Puck). The Changeling wouldn't recognize Puck, though he's have heard of him. He probably loves stories because what the fuck else does he have to do, so he's asked the fairies to tell him about Puck's adventures over and over. Meanwhile, Puck wouldn't recognize the Changeling because Titania has been keeping him so under lock and key. It allows an opportunity for them to connect on more of a peer basis as they--

Holy fuck. Wait. Hold on. Is the Changeling Stede. Is Puck Ed. What the fuck. Did I write an AU on accident. I don't even like AUs very much (sorry AU writers it's not personal it's just not my thing).n ANYWAY sorry for the pirate aside. God this is properly off the rails now.

They like each other, you get it. And now Puck has someone he wants to impress. There's not a lot of opportunities to give the Changeling more lines, but that doesn't mean he can't appear on stage. He can stay with Puck (hiding from Oberon whenever he's there, leading to some good chances for physical comedy) and go on the nighttime adventure of his dreams.

This leads to a fun, unique choice: having Puck fuck up the love flower juice plan on purpose. So that he can show this hot dude following him around with wide enthusiastic eyes the kind of things he's capable of OH MY GOD THIS IS ED AND STEDE I SWEAR THIS IS NOT ON PURPOSE I AM JUST NOW SEEING THE PARALLEL

Okay we're nearly at the end I promise. We just have one more problem to solve: How are we supposed to root for Titania and Oberon to get together when Oberon literally publicly humiliates her and then steals her adopted son and forces him to join the Wild Hunt even tho Titania REALLY doesn't want him to? Well, the first one is easy, Titania and Oberon are so fucking kinky, and Oberon likes getting cucked (remember he's only jealous of the Changeling, never the lesbian).

The second one is also easy. Make it the Changeling's choice. Leaving Titania and joining Oberon's court means two things: He gets to be with Puck, and joining the Wild Hunt allows him to go on exciting adventures. If Titania saw that the Changeling wanted this with the staging that both Titania and Oberon look over and see Puck and the Changeling making out right after Titania's spell is broken. Then Oberon can jokingly delivers the line about having stolen the Changeling, realizing that the plan worked but in the most ridiculous way possible. And how could Titania not find joy in all of that?

It makes me so much more glad to see them get back together.

Puck's closing soliloquy is his most famous, but I like his last big monologue right before it better. There's a very important line he says that communicates an important shift within the context of his particular staging:

And we fairies, that do run

We.

Puck isn't a lonely, washed-up rockstar anymore. He's part of a "we." Not just the Changeling, but the other fairies, too. Puck and the Changeling act as bridges for each other, to be part of each other's worlds in a way that feels like a whole -- OH MY GOD IT IS ED AND STEDE

Puck being alone on stage isn't so sad anymore, after all that. Because Puck, who starts off the play with so little sense of belonging, now has so much to go back to.

And that's it, that's my ideal staging of this play. Honestly, I really, really want to direct it. I have no experience directing but I have the audacity to think I could do it lol. No resources, tho

OH ONE LAST THING HELENA NEEDS TO BE INTO PUP PLAY

also the lovers are all in a polycule, that's just a given, any other staging is cowardly

alright bbye

[exit]

final time stamp: 9:25 PM, not rereading, just hitting post. We die like Mercutio.

[coffeebanana]

istg half of the post-s5 finale fics i see have some sort of disclaimer in the tags or summary (or i even just saw one in the title!!) saying the fic was written because the show sucks or the finale sucked or they just hated everything about it

and it's frustrating because i probably would have enjoyed a lot of these fics! but now i'm not even going to touch them because i don't want to engage with people shitting on the show