#he wishes he can be her so bad —

[canisalbus]

i've returned for 2 seconds to tell you that they're not leaving my head. (sort of unrelated but i've been thinking as well. what if vasco died before machete ? what would go down)

.

[eerna]

me explaining why Will/Elizabeth/Jack love triangle was a perfect little one-movie arc that wasn't present in the final movie because it was never about choosing and instead just about dynamics and character development so they all outgrew it by then

[movedtodykedvonte]

The idea that GolBetty is all seeing and inter dimensional and keeping Simon from becoming Ice King again is so *chefs kiss*

It hurts them both: Betty having to watch Simon trying to ruin himself again so he doesn’t have to deal with all the complex feeling of being without her. Simon having the guilt of preferring madness to his mundanity even though she sacrificed her complete humanity for him.

It’s a story of star crossed lovers trapped within Ouroboros and it’s beautifully eternal.

[mssallsunday]

mouthwashing features a mc who rapes and impregnates a woman and then crashes a spaceship full of innocent people to cover that fact up when the news gets out to the ppl she confides in and the captain tells her her assaulter wouldn't do that because he "knows him" and the mc pretends like it never happened as he is haunted by the images of his lies and deceit and cowardice and the image of his unborn child and the sound of a child's cries and the captain who failed to act cannot move himself or feed himself or speak for himself or defend himself when the mc attacks him and berates him and blames him for every lie he's ever told as the captain loses every scrap of autonomy he has left. but yeah it's about fucking. capitalism and yaoi. whatever i guess

[oneluckydragon]

"Suddenly the world was gray and dull and my heart was so heavy I felt like I couldn’t move, let alone make it back to Treasure Town. But because of Echo’s last wish… I was able to keep living.”

--- --- --- --- ---

SORA : (Partner)

Abilities: Justified / Inner Focus

Nature: Gentle / Hardy

Moveset: Aura Sphere / Metal Claw / Poison Jab / Dragon Pulse

[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

[aprito]

sos month day 16: like fire / like water wanted to redraw something from 2015 and remembered how badly i wanted to replay the game this is based on. tldr battle ninja island everyone is alive and cant die for some reason. platonic extremely jaded old man sewercidal sasori x zero nerve no respect for male authority figures teenage brat sakura is too good to pass up. dial that shit up to 200%. basically the worst month ever for the both of them

[dimdiamond]

Started watching The Fairly Oddparents: New Wish and I gotta say I am so impressed by how good it is for a sequel of such beloved childhood cartoon series! Besides the animation and the humour and watching again Cosmo and Wanda, I must say that Hazel is the best choice for a new protagonist as she has no similarities with Timmy and that's what makes for a new, refreshing continuation of the same cartoon!

I saw arguments that Hazel doesn't actually need fairly godparents because she has good parents and I can't emphasize enough how wrong that is and how much she actually does! Yes, her parents care for her and notice her and dote on her and they have a pretty good relationship with their kids but we see since the first episode how Hazel is considered the mature kid from her parents and she takes pride on that. So much to the point of bottling up her emotions and trying to solve things by her own! Even in a later episode she considers herself too mature for her classmates and thinks it's better for her to hang out with her teachers (great episode btw)! I know many kids are like that (heck! I was one like that!) and let me tell you they need the same care and attention as the "immature" kids, the loud ones, the ones with obvious problems, the neglected ones etc. Hazel needs Cosmo and Wanda to learn to rely on others and state clearly her wishes and her emotions! She needs to learn to be a "bother" and "immature" so she can become a better person and with healthier connections to her family and friends! Cosmo and Wanda saw this little girl trying to run away and fix her problem by herself and they were immediately like "Oh, no sweetie, we are here to help you, you're not alone!" and I think this is so imprortant and meaningful for many kids that they will watch it!

I haven't still watched the episodes with Peri and Dev but god I am excited and from the few clips I have watched I can tell their dynamic would be so fun and interesting to watch and for sure I am excited for the humanization of the "spoiled, rich, rude kid" stereotype! Probably I'll add my thoughts on them once I watch the episodes!

[cent-scratchnsniff]

it was just going to be a few warmup doodles but then she infected the rest of the page like the ever eternal and spreading spores. hod!!! hod. hod :)

[aroaceleovaldez]

i would like to say my ideal PJO adaptation (if i was being physically forced against my will to have to pick a live action adaptation over an animated one for some reason) would be a combo like writing of the musical + casting of the show + visuals of the movies

BUT the show actually does have the playwright for the musical as one of the major writers for like three episodes and that did nothing for it. so...

[descendantofthesparrow]

Remember when the Audrey villain leaks came out and then we saw the offical c4 and s3 outfit reveals and saw the c4 on the isle and the s3 in an auradon forest and we all thought there had been some sort of time spell where Audrey twisted time and instead of the c4 coming to Auradon it was the s3 so Audrey stayed with Ben and there was a whole adventue to fix the timeline? no? just me? okay

[iheartbookbran]

Also ngl I kinda love the concept of Debling courting Penelope and Colin getting jealous because of it, not because I ship it (he’s barely a character) or because I’m part of the crowd that wants to see Colin ~suffer (though I’m not opposed to seeing him dramatically yearn), but because the reason Penelope specifically is going after this vegan man is so fascinating to me. Like, she obviously doesn’t love him. But she will marry him to protect LW… she’ll marry him to please Portia, that’s so funny.

Girl’s so desperate to escape her awful family life while at the same time keeping her secret, but she also wants her mother’s approval. And she’s so caught up in that toxic mindset that she completely misses the guy she’s been in love with since childhood making heart eyes at her from across the ballroom.

Pen only has her parents’ terrible marriage as a frame of reference, so she probably thinks it’s a bonus if her future husband is much older than her because that could make her a young widow. He’ll leave the country for the majority of the year to fuck off to Antarctica? Oh to be left alone by your own life partner!!!

Meanwhile Portia is enthusiastically nodding behind Penelope like yes, perhaps he’ll die at sea, and neither of them think there’s anything wrong with this outlook in life.

Hilarious.

[welcometogrouchland]

I like to think that when the batfamily inevitably runs out of money and jobless Bruce, Tim, and Dick* find themselves in financial need, Steph reveals that she's made thousands of dollars taking odd jobs around Gotham City that we just never saw bc Steph hasn't been in a comic for months. Nobody checked in on her and while they weren't looking she made 6 grand babysitting and playing piano at a local theatre. Bruce has to grovel for enough money to buff out a scratch on the batmobile and Steph is revelling in it. This is the closest she's ever going to get to being a supervillain

*(Cass and Jason don't need money to survive on account of being homeless as kids + Babs funds Cass' basic needs and Damian is on his mom's payroll, same w/ duke even if it's obvs not al ghul money)

[luck-of-the-drawings]

IMAGINE. working at ur stupid uhhh job or whatever. pulling into your drive way and ready to work on some crazy project in your garage. opening the door to the most unfamiliar silence. did your wife and kid leave for something? could you imagine knocking on your kids door, hardly getting an answer, and opening it to find the splattered remains of your wife across his room your child is scared! hes hardly consolable, in a state of shock and terror. you are too, but youre the adult here. you need to take charge. you need to protect him. you need to do something. you need to do something.

[zee-has-commitment-issues]

Yall literally leave him alone. God forbid he grows up and figures himself out. Jesus Christ.

[sage-nebula]

Shooting stars burn bright and fast, and then they're gone.

Bill calls Mabel "Shooting Star."

Because of the first sweater we see her in? Yes.

Only because of the first sweater we see her in? . . . Doubtful.

Mabel is effervescent, a force of nature. In a recent YouTube interview, Alex Hirsch described her as extremely passionate, always moving so fast from idea to idea, from thing to thing. The reason why shooting stars glow is because of the speed at which they move through the atmosphere; shooting stars move at hypersonic speeds, and those speeds create friction between the gases of our atmosphere and the meteor itself. That friction creates an immense amount of heat and pressure around the meteor, which creates the flame and the glow that we see down below.

This description encapsulates Mabel. She feels every emotion with everything she has, and when she has a new idea or whim, she throws herself into it 100%, not pausing to give anything a chance to get in her way. She's fast, fierce, and bright; she captures the attention and hearts of everyone around her.

But here's the other thing about shooting stars: the heat that allows them to glow also destroys them. The vast majority of meteors turn to ash long before they ever have a chance of reaching Earth's surface. They dissolve before we ever feel them at all.

When you think about the pitch for season two where it would have opened with Dipper's future self coming back to try to change the past because his Mabel had died . . . when you think about how, in the season two that we did get, Bill was going to kill Mabel in the final Weirdmageddon episode, her shooting star symbol looming in his eye as he prepared to snap his fingers on the word "you" . . .

Shooting stars burn fast and bright, and then they're gone. It's interesting to think about how close that came to being true for Mabel -- how both the good and bad aspects of the shooting star imagery could come into play for her character and story arc.