#oh here's a convenient one

[darkpoisonouslove]

Besties, that's not how you write a character. She's a total clown, in reflection of her creators.

[varpusvaras]

Seventeen has always hated waking up after something has happened.

It doesn't matter what it had been. Not if it had been Seventeen getting his bones reset or if he had been in bacta for weeks on end. It doesn't matter. Waking up from anything that has even remotely something to do with his body being unwell in any capacity has always been, and still is, one of the things he really, truly hates.

It always includes feeling heavy, tired and confused. Even if the injury had not been on his head, whatever medicine he had been pumped full would do the trick of making his memory spotty and his thoughts slow. Even if he had been asleep for hours, days or weeks, he would still always feel like he had not rested ever in his entire life. He would always feel weak, his body having seemingly forgotten how to move or how to regulate his temperature, as he would always be trembling and shivering.

He feels all of those now too. The way his eyelids feel too heavy to open in the first place. The way some stray draught makes his entire body feel like it's freezing. The way none of his limbs or even his fingers want to do what he wants them to do. The way his head feels like it has been stuffed full of something soft to insulate any and every cavity there is on the inside of his skull.

The way he has no idea what has even happened.

Still, he forces his eyes to open and to stay open. Seventeen stares at the ceiling and countes to ten. It's not the ceiling of any of the rooms in his house. He countes to twenty. No, it looks a lot like all the ceilings in every single medbay he has ever been in. Safe to assume that he's not home, then.

He counts to thirty, and then forces his head to turn.

Arell is sitting there, right beside the bed Seventeen is laying on. He is sleeping, with his arms crossed and a deep furrow on his face.

Flashes start to come back to Seventeen then, as he watches Arell sleep there on a hard medbay chair. Flashes of the floor. How he had ended up there in the first place. Of his legs just giving up from underneath him. Of how he had been unable to move, unable to get up, because his whole body had turned into one single point of scorching pain.

Flashes of him being peeled off from the floor, of the backseat of the speeder. Of- Seventeen pauses.

Flashes of him thinking why Arell is there, when he shouldn't have been home from work yet. Of his commlink ringing, ringing, ringin and ringing, somewhere that had been unreachable for Seventeen as he had laid on the floor, paralyzed by the pain.

Seventeen stares at Arell, sleeping on the uncomfortable medbay chair, right next to Seventeen's bed, and the thought that Arell had come home after Seventeen had not picked up, just to make sure that he is okay enters his brain like a searing wound.

Something slams against the inside of Seventeen's chest. He isn't sure if it was actually there or if he is just imagining it.

He doesn't have the time to think about it. He is too busy trying to make his sluggish mind to comprehend the thought Arell had come for him, and that for some reason, Seventeen likes that thought.

There's another slam. No, Seventeen is definitely feeling it.

His heart had not slammed itself against his insides even when there had been a lightsaber cutting through his body. Not like this.

Seventeen stares at Arell, sleeping on the uncomfortable medbay chair, right next to Seventeen's bed, and he wonders how the hell he has gotten here.

Seventeen sighs, too tired to put any of his frustrations to it yet.

Damn it.

[discjude]

Hi prequel community. If I said that I think the reason why there were only two prequels compared to the three that the other parts of the series got (3 TSY books and 3 TCY books) AND the reasons why Rhian's eye colour changes miraculously from Rise to Fall from green to blue (I think he's described as having green eyes in Rise? someone might have to correlate me on that) is because in Rise he's supposed to parallel TSY Sophie (green eyes, doubtfully good, multiple boyfriends) and then in Fall he's supposed to parallel Japeth (blue eyes, fratricidal, insane, gets cool one liners) how would you react to that

[unexpectedbrickattack]

Hi. New ✨Pinned Post✨

• MINORS. DO NOT MESSAGE ME. NO DMS. NO INBOX MESSAGES. NO. I am not checking my activity and Every note to see if minors are interacting w my stuff but i WILL check if u directly try to contact me. I WILL block you. Please dont do that to me 😭 Likes/Reblogs are fine, just dont talk to me Directly please.

• This blog will have ns//fw stuff! Suggestive and Explicit! Please block [spicy hot], [suggestive] and [saucy] to avoid seeing these posts! Make sure to remove the brackets! (Gonna be changing [spicy hot] to [saucy] very soon so I am adding that in there as well)

• No, I do not want you to dub any of my art. Oh my god. Oh my god ! I cannot stop you but I do not want anything ive done dubbed and placed anywhere on the internet. Do not show me if u do this. Do not show me if u saw it on youtube or tiktok or whatever! I am existing with Blinders on and i would prefer to keep it that way!

• I dont rp! Please do not send me rp asks and dms ! I will NOT respond to them!

• Not important but if u see Dissociativekitten in ur activity, thats me :)

OKAY thats it for real bye

[sqlmn]

Girl is the daughter to some famous guy and he loves her so so so so so so much and doesn't want her to be involved in fame and scandals. So he hires a bodyguard for her so that she can have some freedom and also NOT be seen with him. And bodyguard is just super chill with the man's gushing and doesn't originally try super hard to befriend the girl. It's a job and he just needs her safe and outta the spotlight.

It's going pretty well and is all fine until his friend shows up. Who looks really angy. And glares a lot. So she assumes this friend is just a punk and the bodyguard is like "oh he's nice. he just looks like that when he's nervous."

So when the bodyguard is like "ok i gotta go talk with your dad meaning I can't walk with you to school but I got permission to let my friend walk with you" and she's like okay. I understand. I'm resigned to my fate of never being independent. And then when the guy is like "I need proof or your dad will kill me" and she agrees, HE BEAMS BECAUSE HE GETS TO LIVE ANOTHER DAY. And he shows her the picture and is like "before I send it, this okay with you?" and she nods. She's never seen him smile like that. Huh.

And now the girl has her very loving dad, her loving mom, her protective and kind bodyguard and his weird (boy)friend. And so she has two separate groups of people that love her and she's really happy.

[nonuggetshere]

PK: "...Kid..."

PV: "What? I'm just pointing out the obvious."

PK: "You're being a little shit is what you are."

WL: "Well, they're not wrong–"

PK: "Don't enable this."

(ID start: A picture of The Pale King, The White Lady and the Pure Vessel from Hollow Knight as humans. They're all wearing matching golden roses, a pin for Pure Vessel, a hair clip for the Pale King and a corsage for the White Lady. The Pure Vessel has their hand at the head height of their father, laughing about his height with their mother, much to the displeasure of the king. End ID.)

They're making fun of the monochronic manlet

[perenial]

went to ikea for the first time today. i understand the cretan labyrinth now

[thedrotter]

hello dearest gamers ... today I have spent 3 hours translating the little character descriptions in the Re:Kinder page of Parun's website for the sake of me doing some wiki pages for em' characters and now i will share it with you!!! (ᵔ◡ᵔ) Here it is!! It's very likely a bit flimsy but it gets the point across (i hope).

(Oh yeah by the way the text in brackets "[ ]" is me butting in to clarify things not actual translated text)

Shunsuke

The protagonist of this story.

He holds the key to the story. [to unclasp it, or to solve it! The word used implies that, but I wasn't sure how to write it in in a way that sounded natural.]

A third grader in elementary school.

Ryou

He is Shunsuke's childhood friend!

Has a gentle and kind personality.

A third grader in elementary school.

Sayaka

A friend of Shunsuke and Ryou.

She is usually kind, but can be scary sometimes.

A third grader in elementary school.

Aya

Has a shy and quiet personality. [this sentence was a bit tricky to translate, there's a nuance to it i could not understand but this is basically what it's trying to say]

She has just recently moved into town.

A fourth grader in elementary school.

Rei

Has a strong personality that puts even that of the boys to shame. [in other words, it outshines theirs!]

She also cares about being fashionable.

A fifth grader in elementary school.

Hiroto

Oldest member of the group. [in between the kids, ignore Mami for a second Dx]

Seems older than he actually is, with a composed personality.

A sixth grader in elementary school.

Takumi

Has a weak and frightened personality. [which can also be read as timid and nervous (though it implies fear so frightened it is).]

For all the things that happen [to him] in the story, I give my condolences.

A third grader in elementary school.

Mami

Shunsuke's older sister [a sister figure, not literally his sister but wasn't sure how to write that in] next door.

She and Shunsuke are close friends!

A second year student in high school.

Yuuichi

Appears in the middle of the story.

A young boy that is a bit strange.

A second grader in elementary school.

Was it anything completely new and mindblowing no but is it fun to know what it says yes !!! 😊

[victorie552]

I know Reigen practically speaking isn’t that good of a boss. (he’s getting better! I’m aware! It’s a plot point in the manga!). His appeal lies in his teaching, not his bussiness management. If he was a real person, you would never want to work for him, right?

So from what I saw so far I think most of us would want all the Mob Psycho kids work somewhere else and earn more than minimum wage. Plus trying to figure out what Mob or Tome or Teru will do in the future is fun because, honestly, everything goes with these kids. (Serizawa is usually excluded from this trend due to shipping reasons). Grow up, move on, stretch your wings and fly and all that.

But. Imagine. The comedic potential. All of them working somewhere else after working for Reigen.

Reigen is not only a weird person, he’s such a weird BOSS, but he is a primary example of a businessman to all the main cast. They must have at least few skewed views on what a boss of company does.

Pray for their future employer.

[apple-os]

ppl who like making friends solely with one-note cardboard boxes who will hang out with them when it's convenient and never open up about who they are as people and what their lives are like dni

[keeps-ache]

drink on the bed to my left. we know where this is going, but

[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")

[rainingincale]

Bro no joke, forgetting that not everyone hates capitalism and then having to try have a reasonable conversation with someone about buying things... *eye twitch*

[jesamjdbutfurry]

Side detail of a dream where i was back in California last night: i was also on hrt, and relieved when i realized. Like, looked down at a couple of pills in my hand before taking them and going "phew at least i've managed this." Surely this means nothing for my gender

[optimisticlucio]

I don’t think I can put into words the feeling I felt when, like a minute after leaving the a bomb shelter and hearing explosions overhead, I open tumblr and see a pro-palestine post say this:

To be clear that was right before saying any support of Israel whatsoever was genocide.

[seventh-district]

why have i suddenly been gripped with the desire to get back into fishkeeping