#good for you if you're still reading this lmao

[sonik-kun]

Why are Jiang Cheng antis unable to accept JC's canon positive traits whilst completely denying all of Wei Wuxian's canon negatives? Lmao.

WWX is canonically reckless. In his first life, he made stupid decisions and made enemies on his own which even he acknowledges.

JC did correctly predict WWX's downfall. He warns him about walking the crooked path, and WWX just laughs and shrugs him off.

JC also correctly predicted that if he stood with the Wen, the rest of the world would turn against WWX, and JC wouldn't be able to protect him.

The whole thing about JC is that he is pragmatic. He is politically savvy, and he is very perceptive. We see this in the Wen indoctrination camp also, when JC warns WWX not to draw attention to himself or anger the Wen. We all know that he does draw attention to himself (even if doing so saved the lives of all the sect heirs at the camp) and not long after, the Jiang were targeted next after the Lans, with the Wens determined to shame WWX for his "insolence."

We also see that JC is more socially aware of the political situation. He is street smart and a realist. WWX, on the other hand, was more of an optimist, believing he can save everyone, even political enemies, and somehow, no one would bat an eye.

Now, no one is saying that WWX is wrong to speak out against the injustices of the world. On the contrary. Everyone in this fandom is very much on his side and agrees with him because he is correct to call them out and challenge the sect leaders. But that doesn't mean his methods were right, nor were they considerate. They were still reckless and still endangered many lives. His decisions often only thought about the short term and never the long term.

You also seem to forget that his DC also made him rather reckless and irritational. JC didn't only warn him of this, but LWJ, too. His actions via the use of DC lead to the deaths of JZX and JYL, not to mention the many disciples that were present at Nightless City.

WWX's actions, although pure and noble, put JC into a very difficult situation, and ultimately, they took away the last immediate family JC had left (JYL). That is a fact. It's not even a fanon headcannon. I don't know why I'm seeing antis insisting that we're completely ass pulling all of this. It's literally there in the book.

To conclude, no one is making up JC's canon good traits. You just refuse to see them because you're blinded by WWX's protagonist halo. So much so that you can't even see his own canonical flaws. Talk about hypocritical, much?

Also, no. MXTX doesn't care what JC fans think or even what JC antis think. She's moved on from this story years ago. It hardly crosses her mind anymore. (Even then, she was baffled by the hate JC got and claimed that he isn't a bad person. It's there in the interviews if you want to read them, straight from the authors mouth!). But sure. Pop off. Keep on justifying being vile, nasty haters. Let's see where that gets you. 👋

[haveyouseenthisskeleton]

How would the skeletons react to a selective mute S/O?

Main 10 plz

Undertale Sans - He doesn't mind at all. He's not great at talking either, he's really fine just signing with you if you want to. Sans is a fast learner and he likes to think of it like a special language you both have that no one else can understand. Well, except for some other people, like Frisk he realized after the kid ran to tell Toriel and Papyrus that Sans is in love lmao.

Undertale Papyrus - He's very patient and gives you time to focus on your words when he sees you really want to say something to him. Other than that, he's fine signing with you. He's good at reading people's so most of the time you don't even have to sign for him to understand what you want. He's covering you up when you're outside. Don't worry, he can talk for the two of you, he's fine at that.

Underswap Sans - Honey was a selectively mute child so he's used to it. It amazes you how fast he adapted to you. Blue is a very comforting guy to start with and makes sure you feel safe around him so you can talk if you want. He can be mad easily if people are mocking you as well. He struggled his entire childhood with Honey and failed to protect him from all of this, but not anymore. It feels like a second chance.

Underswap Papyrus - Oh he understands it very well. Honey was selectively mute as a child, and he still is in some situations, even though he worked a lot on this growing up. He could never blame you for not having enough strength to talk as he knows how much strength it takes to talk to people. You're actually trying to help the other with their anxiety, and you try to get better with it. You're quite the pair.

Underfell Sans - It will take a little time to adapt and Red accidentally being a jerk to you a few times for him finally getting how you work. He still messes up from time to time, but now that you're in a relationship, you know he's not doing it on purpose. He's just really bad at socializing, a bit like you, but on another level. Red doesn't know why you're so nice to him and forgiving him every time, but at least, he's learning and tries to be better. Being a natural chatterbox, he's protecting you from unwanted interactions, usually by insulting people until they leave. He feels useful like this, so you don't have the heart to tell him to stop.

Underfell Papyrus - He bought you a notepad and a special hoodie with answers to common questions so you can just point the answer to you when he's talking. Edge adapts really fast, he's good at it, and he tries to find original ways to help you communicate. He could give the whole world to his S/O, being selective mute is not a problem at all.

Horrortale Sans - He's not a big talker himself because talking takes him a lot of energy. He didn't know selective mutism was a thing, and now he's kinda mimicking you, learning how to sign and not forcing himself to talk anymore if he doesn't want to. You actually opened his eyes to a lot of things and he feels a little more confident now that he has other ways to communicate.

Horrortale Papyrus - He used to do this with his brother and the people in the retirement home so it's no big deal. Who knows, maybe he can pretend to a world record if he keeps doing that. Willow is naturally kind and empathetic, and he doesn't have high self-esteem himself, so he can perfectly understand being scared of the people around him, as not all of them are nice and patient. He still hopes you can feel safe enough to talk freely around him someday.

Swapfell Sans - A part of his job is to adapt to people so he's adapting pretty fine. He knows sign language and he's very observant so it's not difficult to understand when you need his attention. Nox is very careful and always makes sure you're comfortable with things before proceeding. He usually divert people's attention on him when it's clear you don't want to interact and he doesn't hesitate to bring you home in the middle of a social event if he notices you're too overwhelmed.

Swapfell Papyrus - It's a bit complicated for him as respecting boundaries is not his biggest quality. Rus is going to need a few try and errors to test the limit of what he can and can't do with you. It doesn't help he doesn't really know how to apologize to you. That's going to be a complex first few months, but he's learning, more or less!

Fellswap Gold Sans - He's still adjusting. Wine is very vocal and dramatic, so he's still a bit unsure how to act around you since you're not expressing much. He's not the nicest person around and can sometimes make you a bit uncomfortable with his spicy side. However, since Coffee is a selective mute as well, he knows when he goes too far and tries to adjust his behavior to not make you distressed. He's as protective with you as he is with Coffee though, which can be suffocating.

Fellswap Gold Papyrus - He never thought humans could be like he is and it's so disturbing it's stressing him out the first few weeks. After that, he calms down and you two start to find your own ways to communicate. You even created your own sign language and love language so you both can retreat if it gets too overwhelming.

[midnight-els]

my friend told me it was really important to her that everyone was getting a +1 to her wedding but my invite doesn't have one so apparently I'm just so chronically, haplessly single that it's assumed I won't use it lmao thx 💀

[romance-rambles]

[modern] cael | red dress, white dress

After Cael picks up a new hobby relating to your latest work, the two of you discuss weddings and wedding dresses. It ends with a proposal, from you to him.

1.8k, set after qixi [+ some spoilers for his whisper], romantic fluff + super self-indulgent, reader is mc, sequel to this cael fic [but you don't have to read it in order], series: none

IN THE TIME SINCE THE night of the QIxi festival, Cael has discovered an amusing new hobby with which to occupy himself with, when he's with you.

The words that the painter and the spirit speak—particularly towards end of your oneshot—are, evidently, not unrelated to your relationship with him. That much is obvious. And it'd be rather difficult to claim otherwise, given the faces they wear.

You haven't tried to, either.

Between the two of you, there is an acknowledgment, implicit, that they are a reflection of your innermost thoughts and desires. That they are the kind of daydreams that even someone eloquent as him would find difficult to describe, domestic and loving—just tumultuous enough to describe their standing, with the sort of fairytale ending most would wish for. That they are memories, transformed only in setting and time—only this time, they are not newly acquainted or on a time limit.

He thinks of the quaint little moment where the painter promises to make sure that no one will bother his lover. Had he not done the same for you, once, long ago?

He remembers the casual affection the spirit showers upon her love too, the way she finds herself with her head on his lap underneath the wisterias, and if that ever stops feeling familiar, it must be because he's lost his mind.

After all, you've always been an affectionate person. How can he miss it when the evidence remains in the lingering heat left by your touch? Through the way you so easily take his hand, or throw your arms around him—

When your lovesick gaze isn't boring holes into his body, that is.

He's no better in that regard. In some ways, he thinks he might be worse, with the way his loving gaze seems incapable of following anyone but you. But you might turn it into a competition if he brings it up, so Cael—well aware it won't end well for him—keeps his mouth shut.

Still, it's clear that you never expected him to start quoting your dialogue back at you.

It reminds him of one of the first times he'd properly let his mask down. The way the gears turned in your head, your deer-in-headlights expression betraying your panic before he'd clarified his joke. You'd stared at him—half-relieved, half-surprised, sitting in the silence a bit longer before you laughed.

Today, when you stare at him, there is a hint of defiance peeking through from underneath your flustered mien.

You're dressed casually, in a yoga pants and an oversized t-shirt with one of your favorite cartoon characters. Jagged lines run across the drawing, signaling its age. Some parts of the design have entirely vanished, but it remains one of your most faithful companions still.

With your head on his lap and legs thrown over the armrest, you're sprawled across the couch. In your hand is your phone, and before he dropped his line of the day on you, you'd been showing him a red dress that you really liked—one you intended to buy with your next paycheck.

"Thank you." The effect of your haughty tone is greatly lessened by the scarlet hue painting your cheeks. You clear your throat. "Does that mean you'd like to see me in a red dress?"

Cael chuckles, brushing your hair gently. "To me, it seems like you're the one who wants to be seen in a red dress."

"Of course, I do," you reply, your hand reaching out to play with his hair. "But red or white, it's not the dress that matters. As long as there's a certain someone waiting for me at the end."

For a moment, his quick-thinking mind betrays him, offering him nothing but static. He puts down the book in his hand down and carefully adjust the bookmark until it looks neat. His attention had left its crisp pages when you'd sat down beside him, but it remained in his hand still.

Occasionally, he would flip to the next page, then remember that he had absorbed none of the words on the previous page. So, he would go back, a fact that had not escaped your keen gaze—you'd teased him plenty for it, and who was he to stop you?

"I wonder who that certain someone is," he murmurs.

"I think he knows who he is," you answer, holding onto the end of his now braided strands. After a moment of digging around in your pockets, and the sofa as well, you managed to find a hair tie. "Or, he should, by this point."

"Indeed," Cael says, earning himself a wry smile from you. "It would be difficult to miss."

Enamored by your smile, he sifts through his memories, searching for the line that had left every single reader in desperate search of their own painter.

You'd been rather pleased when you went scrolling through the comments, with a smile so big it bordered on evil. So pleased, in fact, that you made sure to show him every such comment. The underlying meaning to your words was clear—you'd already found your painter, after all.

You'd have a big ego if you were dating someone so pretty too, you'd said, when he'd commented offhandedly on it.

He remembers responding with:

Then I'm certain I have the biggest ego out of anyone.

Though, his words ended up only disarming you for a brief second. It wasn't long before you were throwing your arms around him and calling him a liar ". But for the time being, the comment section was forgotten, and it was just you and him—and Beanie, watching you both from his favorite spot underneath the round table in the corner, seemingly miffed at being excluded.

He had snuck in a few extra treats for him.

Then, all was well in their relationship once more.

"'If that day ever comes, no matter what you want—'" Cael smiles helplessly, remembering the way you'd so easily captured his expression on the painter's face. "'I'll do everything in my power to bring you the most elegant wedding in the entire world.' Though you said the dress itself doesn't matter..."

You inhale sharply, seemingly forgetting—for a moment—that you're in the middle of braiding another section of his hair. When you look back at him, having looked away, your eyes are shining with poorly-disguised affection and your voice is painfully soft.

"When," you correct. "When that day comes. That's what I should've written down."

Letting go of his hair, you pull yourself off his lap and draw your knees closer to your chest. You rest your head on his shoulder. And as loose dark hair begins to tickle his cheek, his hand seeks out yours, pinky finger brushing against the back of your hand.

"When that day comes, we'll get married."

His gaze softens when he looks at you, in the midst of murmuring his agreement. Your wedding is something he's thought about often—his own is not. But now, the groom at the altar is no longer a blurry figure, devoid of any recognizable qualities and having only an aura of happiness that befits a day so celebrated.

It is something he'll ponder over until the day comes, all so that you're the happiest bride to ever live, whether on Earth or any other world.

"Good." You squeeze his hand gently. "Consider it a proposal then."

"It's the first time I've ever been proposed to," he comments offhandedly.

"Really?" For some reason, you sound surprised. And though your words sound like they could pass for a joke, the thoughtful note to them makes it clear that they are not. "Alright, I'm taking it back. I'll make sure to come back with a ring next time."

Cael smiles helplessly at you. "I'm not sure if you can take something like that back so easily."

His breath catches in his throat when you lift your head slightly to meet his gaze. Because in that moment, you're smiling at him brightly, It is blinding. While he's distracted, you lean in close and steal a quick kiss from his lips.

"Temporary measure," you respond, squinting at him in faux annoyance. "You're not getting rid of me so easily."

In a voice so soft that he's half certain you'll miss it, he says, sincerely, "I would never dream of it."

Judging by the way your smile widens into a grin, you don't miss it at all.

+extra

"YOU KNOW, YOU MISSED IT BEFORE," you point out unexpectedly, long after they've moved on from the topic of weddings and wedding dresses.

Cael catches onto the context immediately.

It's past dinner time now. The dirty dishes in the sink wait for you and your yellow rubber gloves patiently for their turn. He'd been the one to make dinner, something quick and easy, per your request. Your wish for the day had been "a lazy day together", so your initial intention was to order to takeout.

But halfway through the day, you began to crave his cooking.

Once he'd made sure the ingredients were there, getting them both out of a trip to the supermarket, you had no reason to refuse his offer. So you'd scrapped your plans and followed him into the kitchen to help.

"I'm not sure it would've been very appropriate to point out," he says, from where he sits at the dining table.

He'd expected nothing to come out of it, so he simply never brought it up. There were more important things to worry about at the time—your presence in Godheim, and all that came after that. His heart aches at the memory of your tears, particularly because he'd been the one to cause them.

They'd never properly spoken of it—of the day Peter Pan understood, but could not bring himself to make peace with, the fact that Wendy would have to leave him one day.

"After all, you were a teenager," Cael adds, remembering what he'd told your friend Natalie. "It would be no different than taking advantage of you."

His words, however, go in one ear and go out the other. You're rather specific about what you choose to pick out from his words, your next words discarding all but the subtext.

"So, you did know about my crush on you."

Though your words are undeniably a conclusion, a statement and not a question, they carry with them an expectation of a response. You crane your neck to fix him with an equally expectant stare, as if the weight behind your words isn't enough.

"Yes, I knew about your crush on me," Cael admits wryly. A helpless sigh accompanies his words. "What brought this on?"

You hum strainedly, returning to your dishes. "Nothing."

For the time being, he leaves it at that.

It is only when the two of you happen to encounter Lars while on a date that he discovers the truth, after some coaxing on his part. That you'd been under the impression that your crush on him was a secret kept carefully under wraps. That it'd been Lars who'd guessed otherwise—after some advice on how to handle Cael's new hobby—and subsequently been proven correct, leaving you to sulk on your own.

Unsurprisingly, Cael does not manage to stifle his laughter before you notice.

[flying-cat]

It was crazy watching bkdk go from the most hated ship to the most popular ship in the fandom

[altruistic-meme]

if you could... describe aftg in 5 words

oh this is not as easy a question to answer as it should be akfhsdkf bc like. i could describe its plot, or my thoughts on it as a fan, or how it makes me feel, or just make a joke, or or or and bc idk why you're asking it makes it harder :'))

but let's see...

plot: gay sports mafia found family.

fan: drama, familiarity, trauma, comedy, home

feelings: love, understanding, chaos, joy, comfort

joke: you know, i get it-

(as you can see, i couldn't pick which one to go with, so choose whichever 5 words you want lmao)

[vounoura]

oh I didn't notice the siphoning strikes change either dbjhjbngdf

[bunnihearted]

‧₊˚🕷‧₊˚

[autistic-shaiapouf]

Might accidentally get absolutely jacked bc in a sheer desperate effort to artificially raise norepinephrine levels in the absence of an actual snri, might start doing cardio at the gym again

[sskk-manifesto]

\\

[volivolition]

[guy with chronic pain voice] i should draw pain threshold

[the-physicality]

.

[unproduciblesmackdown]

more info, via a couple of reviews:

"Is this the best, most exhilarating, most close-to-perpetual dancing ever to grace the Goodspeed Opera House stage?

It certainly could be.

The new stage adaptation of “Summer Stock” at the East Haddam theater has plenty to recommend it in terms of the canny script and the hummable songs. But it’s the dancing that leaves the biggest impression.

The show is jam-packed with choreography from Donna Feore, who also directs, that is thrillingly executed by the cast.

We’re talking: Gravity-defying kicks. Head-spinning turns. Male dancers lifting and tossing and catching the female ones. It runs the gamut from Cossack-dance athleticism to soft shoe grace, tap precision to Lindy hop energy.

How the cast manages to sing after executing these (literally) breathtaking numbers, I have no idea.

And how do they make it through two performances on some days? Amazing.

Also amazing: the fact that they do all this on Goodspeed’s small stage without making the space feel cramped.

So, yes, the dancing is phenomenal. But there’s more to the show than that.

This stage version of “Summer Stock” — which is enjoying its world premiere at Goodspeed — is inspired by the 1950 MGM movie starring Judy Garland and Gene Kelly. Writer Cheri Steinkellner, though, has reimagined the piece in many ways, making it better, stronger and propelled by a more modern sensibility. (Steinkellner’s writing credits range from “Cheers” to the Broadway adaptation of “Sister Act.”)

The foundational story, though, remains the same: A no-nonsense young woman named Jane is trying to save her family farm. Her actress sister (named Gloria in the version at Goodspeed) brings her compatriots to the farm to rehearse a show. Jane first spars with and then starts falling for Gloria’s beau Joe, the production’s director.

Steinkellner has also changed up the score, to great effect. While some tunes from the movie remain, she has pulled others that are in the public domain (such as “Accentuate the Positive,” “Paper Moon” and “It Had to Be You”), and she has woven them perfectly into various plot points and important emotional moments.

As director, Feore makes sure the whole enterprise has a dynamic spirit. It’s a story and a production that brims with optimism and cheerfulness.

Leading the cast is Corbin Bleu, who became famous with his work in “High School Musical” and has gone on to star in several Broadway shows, as Joe. Bleu is a true, and truly talented, triple-threat. He has a warm, welcoming presence as an actor; he also brings an authority to Joe so you believe he’s someone the actors respect and will follow. Bleu’s singing is strong and lustrous, and his dancing — particularly his tremendous tap ability — is … wow.

Arguably the biggest scene-stealer here is Veanne Cox, as the wealthy, snooty owner of huge property surrounding Jane’s. The way she trills dialogue can turn anything into a punchline. She can wave her arms about as her character repeats “l’amour” and generate audience laughs. When her character falls for the egoistic actor Montgomery Leach (played by J. Anthony Crane with Barrymore flair), Cox burbles with girlish romantic giddiness.

Danielle Wade does her own take on the Judy Garland role. She gives Jane a swagger and a tough façade that reveals a more human self during the course of the story. Wade’s most important feature is her voice, which is potent whether she’s finessing a ballad or powering through a big number. While she can’t compete with Garland’s renowned version of “Get Happy” (who could?), Wade does a good job in the number — choreographed and costumed in an homage to the original — that serves as the culmination of the production.

Arianna Rosario gets to play an interesting arc at Gloria. At first, Gloria seems to be a blithe, self-centered actress, but she later shows that she is quite the problem-solving producer. Rosario makes the transformation believable, as if Gloria is finally letting her real self come through.

The scenic design by Wilson Chin suggests the various elements of a Connecticut River Valley farm in the 1950s while still allowing room for the cast to burst into all of those big dance numbers. And the costume design by Tina McCartney provides a fun and functional take on country clothing of the era.

I will say that the second act could be tightened up (we don’t need to see so many beats of the rehearsal process), but, in total, this “Summer Stock” is sensational." [source]

(hooray for most directly explaining gloria's overall arc)

and the next review:

"A throwback to the golden age of Broadway and movie musicals, "Summer Stock" is a timeless, inspiring song-and-dance tale of good deeds, fairy tale showbiz, classic romance and backstage intrigue played out to such dazzling effect, you want to freeze frame it, take it home with you and watch it over and over again for pure fun and a let's-put-a-smile-on-your-face endorsement. This is Goodspeed Musicals at its best - old-fashioned musical entertainment designed to deliver by the bucket's load, stir the senses, rhythmically intoxicate you and dance up a continual storm of good cheer that's guaranteed to leave you breathless.

Animated. Airborne. Magical. Sweet-natured. Fresh-faced. Dance happy. It's all here, wrapped up in shiny gold ribbons and signature colors that complement and complete the picture with a technicolor flourish, a big bang and an internal logic that flows with appropriate style, stamina, full command and intent.

Adapted to the stage by Cheri Steinkellner, "Summer Stock" replays that popular let's- put-on-a-show conceit where everything rests of the big opening night, the box-office intake, the big kiss between the leading man and the leading lady and how a complete unknown saves the day right before the final fadeout. Here, struggling Connecticut farmer Jane Falbury decides to let her actress sister Abigail and her actor friends from New York use the family barn as a rehearsal space for their brand-new Broadway bound musical in exchange for doing the daily farm chores to raise enough money to keep the business from going completely under. One slight problem. During rehearsals, Jane finds herself falling for the show's handsome director, Joe Ross, who, happens to be engaged to the show's leading lady - her sister Abigail.

Staging "Summer Stock," director Donna Feore ("Chicago," "Billy Elliot," "A Chorus Line"), who doubles as choreographer, creates a loveable, intoxicating show that reels you in, grabs hold of you until the final curtain and lets you fall in love with every little detail, surprise, plot twist, joke, visual gag, one-liner and tilt of her jolly agenda while she articulates every element of this musical story with thrust, warmth, spin and splendid articulation. Directorially, she pulls it off spectacularly. No wrong moves here as "Summer Stock" catches fire with a spark, a gusto, a shine and a 1950s mentality infused with plenty of imagination, originality, style and flair.  More importantly, the production never loses sight of its origins, its functional plotting and its love of musicals of yesteryear despite well-intentioned doses of kitsch, takeaway humor, giddy backchat and story arcs right out of the MGM library of backlot moviemaking.  Feore, free spirit that she is, fuels the musical with a sharpened wit and sentiment that works especially well as does her decision to let "Summer Stock" remain rooted in the period from whence it came in terms of staging, development, expression and interaction. 

Moving from screen to stage," "Summer Stock" retains only four songs from the 1950 MGM musical. The addition of several new songs to the original version of the score turns the two-act musical into more of a showstopping event and adds clarity, luster and vintage spin to its already proven material, its let's launch into another song and dance routine blueprint and its firm grasp on characterization, story evolution and its happily ever after conclusion. At Goodspeed, there are 28 important, recognizable, smartly placed musical numbers. They are:  "Get Happy," "Happy Days Are Here Again/I Want to Be Happy," "Accentuate the Positive," "I'm Always Chasing Rainbows," "Always," "Always (reprise)," "It's Only a Paper Moon," "The Best Things in Life Are Free," "Dig for Your Dinner," "Me and My Shadow," "Howdy Neighbor, Happy Harvest," "Red Hot Mama," " 'Til We Meet Again," "You Wonderful You," "June Night," "Some of These Days," "Joe's Dance," "I'm Always Chasing Rainbows (reprise)," "It All Depends on You," "Always (reprise)," "Everybody Step," "Lucky Day," "How Ya Gonna Keep 'Em Down on the Farm," "Hinky-Dinky Parlez Vouz," "It Had to Be You," "Get Happy (reprise)" and "You Wonderful You (Finale)."

Musical director Adam Souza ("42nd Street," "Cabaret," "Next to Normal," "A Grand Night for Singing," "Because of Winn Dixie," "Rags") grabs hold of the "Summer Stock" score and allows it to breathe, gesticulate, excite, envelop and rhapsodize with the golden age sentimentality of MGM movie musicals and the timeless, larger-than-life spirit of old Broadway. Here, every song matters. Every song is important. Every song travels down memory lane. Every song is tuned to the max with sweet, centered, warm-heartedness. Every song fulfills its intended purpose. All of this is complemented by the strong, flavorful sound of Souza's orchestral team, all of whom share his tremendous sense of theatricality, musical interlude, impassioned communication and delight of the actual musical itself.  They are: David Uhl (bass), Sal Ranniello (percussion), Liz Baker Smith (reed 1), Andrew Studenski (reed II), Travis Higgins III (trumpet) and Matthew Russo (trombone). As with other Goodspeed musicals, Souza doubles as conductor and keyboardist. As "Summer Stock" zings and pops, pretty music every song unfolds with a contagious orchestral musical glow, matched by the splendid musicality of the entire cast who address the catchy, homespun music and lyrics with perfect harmony, rhythm, phrasing and nostalgic commitment. These elements heighten the on-stage mode of the production, its progression from Act I to Act II, its send offs, its pastiche and its electrifying, barn-raising influence and thwack.

As with any big stage musical, choreography is key to a production's success, its fluidity of form, its artistic expression and its accompanying dance routines. Here, Feore, as choreographer, gives "Summer Stock" a highly personal touch of invigoration and speedy excitement that is tipped and generated with wonderfully elongated inspiration, stamina and determination. This is star quality choreography that peaks, shines and tilts with clever build ups, catchy dance steps and bold, concentrated rhythms, moves and beats that joyfully celebrate 1950's musicals in all their technicolor glory.   As storyteller and dance interpreter, she brings great dimension and scope to the piece using techniques, styles, descriptions and an enriched canvas of thoughts and ideas that make their mark most engagingly. Everything that happens on the Goodspeed Musicals stage has been beautifully blocked, rehearsed and staged with such thrust and individuality, no two dance numbers are alike. In fact, once "Summer Stock" catches fire, there's no stopping it.  Creating a freshly minted fusion of moods, tableaus, lifts, twirls and swirls, Feore pays homage to the actual vintage look and mindset of the musical, its dance-friendly art form and its free-flowing feel of excitement and exhilaration. Hands pop. Arms move heavenward. Dancers smile and glisten as they passionately ignite into joyful visions of sweetness, passion, frenzy and syncopation. Everyone is lost in the moment illustrating the traditions, the conscience and the power of musical theatre, giving and getting the most out of Feore's phenomenal, ovation-worthy choreography. Trained, drilled and confident, they each get a chance to shine - and shine they do - all making strong impressions that will live long in memory.

Making his Goodspeed Musicals debut, Corbin Bleu, as Joe Ross, a character originated by Gene Kelly in the 1950 film version, creates a "Wow!" song-and-dance-man factor chock full of charm, personality, self-confidence and full-beam, champagne delightness that astounds, cajoles and sparkles with leading man gait and luxury like no other. No matter what he does, he's a proverbial triple-threat (i.e., a player who excels at acting, singing and dancing) who makes everything that happens on stage feel fresh, spontaneous, real, raw and very much in the moment. It's in his eyes. It's in his moves. It's in his expressions. Exhibiting a sweet, contagious rapport that extends far beyond the footlights, it's the performance of the year and one that Bleu exudes with a Gene Kelly/Fred Astaire aura of showbiz savvy, knockabout whimsy, graceful athleticism and sterling encapsulation. "Joe's Dance," a solo dance number in Act II performed by Bleu only furthers that notion.

In the role of Jane Falbury, a role made famous by Judy Garland in the original "Summer Stock" MGM musical, Danielle Wade lights up the Goodspeed Musicals stage with a breezy, intuitive musical comedy performance of real warmth and spirit that is a constant joy to watch. Veanne Cox, cast in the role of the wickedly devious Connecticut farming magnate Margaret Wingate, is jaw-dropping brilliant, using humor, music, dance and melodrama in divinely daft and glorious ways that prompt applause and laughter whenever she's in the limelight. It's a scene-stealing performance so seamlessly entrenched in glee and fiery abandon, Cox, would be the ideal choice to play narcissistic Broadway diva Dee Dee Allen in the 2024 summer presentation of "The Prom" at Playhouse in Park in West Hartford. I'll personally deliver the contract. Other memorable performances are delivered by Arianna Rosario (Gloria Falbury), Stephen Lee Anderson (Henry "Pop" Falbury), Gilbert L. Bailey II (Phil Filmore), Will Roland (Orville Wingate) and J. Anthony Crane (Montgomery Leach). A musical escape brimming with delightful songs, engaging performances and full-beam dance numbers, "Summer Stock" is not only a bubbly tonic for theatergoers of all ages, but one that kicks nostalgia into high gear with uncomplicated bliss, fizz and vintage sparkle. It sings. It dances. It pops. It dazzles. Like "42nd Street" which played Goodspeed Musicals last season, it overflows with Kelly/Astaire lightness, punch and precision, sunny vibes and well-played exactitude. The energy displayed here is fast and furious with first-night exhilaration and thrill paired especially well with Corbin Bleu's charming star turn, Danielle Wade's joyous "Get Happy" abandon and Veanne Cox's well-prepped, icy cool villain. This is musical theatre of the highest order - infectious, irresistible, glorious. Its leave-your-troubles-at-the-door/Let's-put-on-a-show mentality accelerates with sparkle and cherry pie goodness. And boy, do we need it now!" [source]

(the reference to jane's sister abigail uses the film's names: abigail becomes gloria in this production, which is the name of abigail's actor in the film, which also mirrors how the role of herb is now phil, also the name of herb's actor in the film)

(also shoutout to providing A Full, Chronological List Of Songs. noting that according to another interview, intermission would be between "you wonderful you" and "june night")

[maddy-ferguson]

sometimes a post by a mutual will make me want to unfollow but i'll be like let's wait a few days/weeks i don't want them to know what my last straw was and then i'll forget and months later find myself in the exact same situation (with them posting something that makes me want to unfollow them)

[taexual]

hey not to sound rude or anything it’s just a critic that i would like to share with you bc i feel like you write too much detail about other things that aren’t really how do i say it not important to the storyline. for example you wrote almost a whole chapter of jk and his friends doing absolutely nothing other than bicker for 30mins while drinking beer and what not so while it’s cool and very important for us readers to know about some details and information about the characters in the story it’s just too much and you did it again in chapter 7 too it’s like we never get to see him interact with oc more than 5 mins and the next moment he’s with his friends or idk she has to work on this and that like i get it she has to work but i don’t need to know the equipments. again im not trying to be rude or discredit you i love your story it’s very interesting i just want to let you know what you might do better next time if you would allow us to criticize you :)

hii, thank you so much for your insight!! i really appreciate it, although i am sorry those scenes felt excessive for you. they're meant to visualise the atmosphere, introduce you to the characters, build on their personalities, and strengthen the storyline, so it isn't just two-dimensional cardboard cut-outs interacting with each other in a vacuum. i'm hoping for full immersion into this universe with the way i write, but i understand if you're mainly interested in the two main characters interacting -- that's obviously totally fine! thank you for reading so far, anyway! 🥰❤️

[redcallisto]

hello hello! I would like to ask, what does it take to draw a face? More precisely, how to determine where the eyes, mouth, nose, etc. are? (I know that you are not a teacher, but unfortunately I knocked on your door with such questions eh)(°▽°)/

Hi! Is it bad to say that I wing it for the most part? LMAO I do have a set of rules I follow when it comes to drawing the features, but for placement of the face, well,

This is a basic shape I start with for the entire head. the circle is just a starting point. The line indicates where I would place the eyes, but it's very sketchy and could move around slightly depending on who i'm drawing. from the structure of the face, the eyes should be slightly above halfway on the face to have room for the rest of the features. The nose and lips also vary depending on size

Here's some basic features. The eyes aren't on the corner of the face, but a little inward, so there should be some of the head peeking through from the sides. The distance between them is the width of the nose and a little more. The nose length varies depending on character, ofc, but I usually place the nose around the start of the inner dip of the face. for the placement of the lips, it comes directly under the nose. From the profile view it juts out immediately from the nose dip, though it's harder to tell from the unshaded front. That said, the eyebrow area(?) also juts out a bit, which is something to keep in mind!

something that helped me place ears better is to figure out a good alignment. A natural placement of the ears should be around the length of the nose, starting from anywhere around the eyes to ending with the nose. when it comes to how far the ears should be on the face, you should take into account how far the face should jut out with room for the neck. That little indent that leads up to the ear is always further back from the neck line I hope this helps you out! As you said I'm not a teacher lol but it's easy to remember stuff if you have something to compare with. I'm pretty easygoing with myself and don't keep myself to guidelines often since I got used to anatomy (also because characters features vary and I'd rather not same-face everyone) But as a starting point it's fine! Also another random thing I hold myself too; the size of a hand should start from the characters chin and end around their eyebrow/forehead. That's how i scale hands to characters haha And for any beginners, tracing is fine. If you post it anywhere, you 100% have to credit the original artist, though. Tracing other art as a kid is what got the fundamentals down for me, which helped me develop my own skills