#parallels gonna parallel yknow
Explore tagged Tumblr posts
beca-mitchell · 4 months ago
Text
Tumblr media Tumblr media Tumblr media
francesca is looking for john
colin is looking for penelope
and eloise is looking for cressida
which could mean nothing
511 notes · View notes
moonsun2010 · 4 months ago
Text
8 July - Meet Seward, Renfield, and a little bird
Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media
these are part of an animatic summarising Dracula, which you can watch here (new readers beware; it has spoilers for the entire book!)
✨️tip jar|commissions
274 notes · View notes
itsdefinitely · 1 year ago
Text
hey don't cry. the jeri/rys will never be able to share simple human intimacy. they'll never get to hold hands. why are you crying louder
196 notes · View notes
thefunniestguy · 10 months ago
Text
Tumblr media
"i feel like i could eat the world raw."
36 notes · View notes
purple-petrichor · 2 months ago
Text
Gero and Scars
MarriageToxin Theory Time: Gero is horribly scarred. Specifically, on his torso.
Let's explore this:
>>Already has a facial scar
Tumblr media
Gero is a bit unique among romcom protagonists for having a visible facial scar. And that one looks CHEMICAL. We know that Gero's upbringing was rough--was it due to his harsh poison training? If so, there's no way that treatment didn't leave other lasting marks elsewhere on his body.
>>Clothing as cover
Through the series so far, Gero tends to hide his body. He's shy to begin with, leaping away from nudity (with Kinosaki in chp 1, and with Ushio chp 91). But this also applies to himself as well. Gero is largely conservative about his own clothing.
He wears big, baggy clothes. Never goes anywhere without his coat either (although the character profile notes this is due to his job--lots of poison compounds hiding under there). It's relevant to note that we haven't seen him shirtless yet, despite other male characters (Sound User, Ushio's gym-obsessed uncle) stripping down.
Tumblr media Tumblr media
Furthermore, when on the Ocean date with Himekawa, Gero wears a FULL WETSUIT. He really covers as much of his body as possible.
Tumblr media Tumblr media
>>Hesitance around physical intimacy
Although this is a smaller point, it could perhaps be relevant. We know that Gero is very anxious about touch. Over the course of lots of character development he's become much more comfortable (such as being on Arashiyama's lap) with it, but in early chapters he used to physically flinch away and duck out of reach (Kinosaki, Ureshino). This could hint at a deeper discomfort with touch and physical intimacy--maybe he's subconsciously afraid of what people might 'discover' if they get too close.
Tumblr media Tumblr media
>>All for the family
We have heard Gero speak about his childhood upbringing, and it was not a happy one.
Tumblr media Tumblr media
The Poison Clan has no problem abusing their children if it means competent heirs. We see 'sensei' hitting him to the point of internal injury. And we also see him as an older boy, trembling as he works with chemicals.
Tumblr media Tumblr media Tumblr media
Furthermore, when it comes to facial scars, his cousin Teruaki has one as well, at one eyebrow. It runs in the family, being a trauma that leaves marks both seen and unseen. Come to think of it, it's a bit strange that his sister Akari doesn't have one? If she does, where is it? I swear to god if that was because of some twisted sexist reason like 'don't ruin the girl's face so we can marry her off' ughhh Either way, in the Gero clan, there's no way you get out unscathed. Literally.
>>Survivor of a death game
Tumblr media Tumblr media
This has not been fully elaborated on in-canon, but the implications have been fairly strong. The Poison Clan appears to select (or perfect) their heir by having children go through a set of trials. The survivor (?) becomes the official heir. Gero himself refers to this as essentially a death game.
Tumblr media Tumblr media
It would be impossible to get out of this kind of Hunger Games without receiving some nasty injuries. Especially given the kinds of chemical substances that these potential heirs may have played with. Not to mention, the scene with him in kimono is the first appearance of that incredibly suspicious scar around Gero's eye, which I suspect may have a dramatic reveal later on. Really, I wouldn't be surprised if his body is littered with scars and/or other chemical burn marks.
What if Gero takes his shirt off and we just see a battlefield.
EDIT: slightly jossed by this counterpoint:
>>Arms
Tumblr media Tumblr media
We do see a bit more skin than usual in his cat cafe date! Arashiyama really has a way of loosening him up. Here, the front of Gero's arms are visible, all the way to the mid-biceps. And....there's no scars. No suspicious chemical burns or missing fingertips. Hmm. Maybe he's a miracle heir and managed to avoid all damage except his eye? Or there are scars, just hidden around where the T-shirt covers instead?
12 notes · View notes
jesskasb · 1 year ago
Text
ritsu and shou gaming. ritsu and shou climbing trees. ritsu and shou making a youtube video. ritsu and shou shopping. ritsu and shou skateboarding. ritsu and shou trying weird food. ritsu and shou staring contest. ritsu and shou playing club penguin. ritsu and shou hiking. ritsu and shou people watching. ritsu and shou ritsu and shou doing literally anything. i think they're friends and i think they should hang out
45 notes · View notes
aroaceleovaldez · 2 years ago
Text
yall dont wanna see the rant i just went on trying to math out if Clarisse and Silena = Achilles and Patroclus, then does the Battle for Manhattan in TLO = the Trojan War, and in which case who’s who. is the Titan Army the Trojans? or is Olympus the Trojans because they’re defending Olympus (i.e. Trojans defending Troy)? If Percy is also Achilles, kinda, cause curse of Achilles, what’s everybody’s roles then? What do we do with two Achilles? is Ethan Nakamura Hector? Does Luke = Paris? (in which case Hermes = Priam? which actually works really well cause Hermes did aid Priam in the Trojan war). or is Luke... Helen? Or is Luke just straight up the Trojan Horse?
Also side-tangent, if Clarisse and Silena are Achilles and Patroclus, we can make some guesses for who Chris Rodriguez vaguely is analogous to, but not really Charles Beckendorf? at least purely in terms of love interests. Which is interesting. Again: who’s who. I simply must know.
#pjo#percy jackson#riordanverse#analysis#there's also a whoooole lot of Percy and Nico in the Underworld = Caeneus in the rant#but that's besides the point i've gone on that rant enough times#though i do think its interesting in a manner of if it is an intentional parallel (which is very possibly is!)#then it implies that Rick started leaning more into Nico being canonically romantically interested in Percy back in TLO#which would make sense given you also have Clarisse and Silena as Achilles and Patroclus *very* explicitly in the same book#and whereas Achilles and Patroclus being lovers is a debated topic - Caeneus' romance is as far as im aware undisputed#(probably primarily because Caeneus was a woman for most of it)#and like from book one Rick referenced myths like Ganymede#so like. i dont think the whole ''greek mythology had a lot of gay stuff' was going over his head or anything#and Caeneus is not an obscure figure. he was an Argonaut!#and the Argonauts were. yknow. the entire basis for the second series. and also a good amount of SoM#there was also a lot of ''Does Nico = Orpheus?'' and How Many Times Did Nico Pull An Orpheus (the answer is like. 2. maybe 3.)#(maybe 4 actually)#regardless Nico has fully exhausted Most Orpheus Myths so theoretically they shouldn't come back.#[I AM LOOKING VERY HARD AT THE NICO BOOK. DO NOT DO THE THING I SWEAR I WILL BE MAD.]#not because ''oh no tragedy'' because i KNOW it's gonna turn out fine and Different This Time and ill just be mad#because it got overused cause WE'VE ALREADY DONE THAT SPECIFIC PART LIKE. TWICE. IN THE FIRST SERIES. GET OUTTA HERE.#anyways options for if the Argo 2 members represent Argonauts then Who Orpheus - Piper. Leo. Nico.#i personally prefer Piper best for thematic reasons but Leo could also fit and Nico is really trying on the myth-reenactment-front#and also being the mopey guy on the Argo ruining the vibes for everyone cause he's busy being heartbroken and emo#he hasn't been torn limb from limb and his immortal severed head turned into a speaker for his parents to listen to tunes from though#so really Nico are you even trying? (the ''parents-grant-immortality-after-death'' thing though is also a Nico-pulls-an-Orpheus moment tho)
97 notes · View notes
martyrbat · 1 year ago
Text
Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media
batman secret files: clownhunter
(ID in alt!)
#on one hand i can see why they would want to make jason a mentor to bao and all because parallels#but on the other.... i think jason and bao would been boring real fast#jason is like... older brother coded. bao needs his shitty uncle (khoa) it makes things funnier#plus i feel like once again its trapping jason in the ‘i cant exist without my life revolving around the joker’ loop hes been in#which is annoying and just wrong when people imply that to bruce and like... i get why jason it may be more true since yknow.#his life was cut short by him then he was forcefully brought back to life and it's personally traumatizing#but i still think it makes for such boring writing and doesn't allow the character to ever grow or change.#they wont let jason exist without that joker b-plot and if he takes on a kid that also been personally traumatized by him#then jason wont be allowed to potentially grow from it unless they make it about him caring about bao more and moving on because of that#but also... bao is like... 14....#him having khoa as a mentor allows him to have more opportunities and experiences so he doesn't become joker based#like hes always gonna have that hatred for him. his life was changed by him and his parents murder.#but thatd be the ripple effect to cause him to be a vigilante and everything (like how it did with bruce) instead of his entire life#revolving around just the clowns and never growing from it. gotta have a nice contrast y'know??#does any of this make sense? no. I'm sleepy and have a migraine.#am i gonna post it anyways and cringe in the morning when i reread it and realize people also can perceive my rambling brain mush? yes </3#c: batman secret files: clownhunter#crypt's panels#jason todd#red hood#bao pham#clownhunter
20 notes · View notes
ukusreticence · 4 months ago
Text
Tumblr media
destined for isolation - side a
#ukureticence#ichor's blessing#archangel dyrkethiel#dyrkethiel side a#man space seems so cool until you realize you're literally dozens of lightyears away from your loved ones#can't have someone so important have mental breakdowns over that stuff tho so there goes those memories lol#like side a moves INCREDIBLY FAST in space and above light speed levels but thats only because of how massive space is#they do get faster sometimes but only for emergencies. they still incredibly slow in pressurized environments tho#still takes a couple of years to and from to heaven depending on how far they are out#goes from literally faster than the speed of light several times over to barely able to fly at all pff.#they're made only for space and being outside of it doesnt do well for them really. much weaker. sensory overload. other stuff.#one accidental parallel i found between side a and side b#both kinda “rule” over their own “domains/realms/sections” outside of heaven hell or earth but#like they're consequently REALLY lonely lol#side a has space and side b has the void#side a literally is not allowed to form any planets capable of withstanding more than plant life and even then has to like#precisely put it in position so its on a cycle and not overgrown but even then mostly just dont because its easier#not allowed to house anything more than microbacterias and anything capable of doing civilizations and stuff#since thats way too much work on the other angels#like theres so many angels just for earth alone there aint gonna be more for other alien civilizations yknow? too much work
2 notes · View notes
debbiechanclub · 5 months ago
Text
Ooh putting on the first ep. of Who Killed WCW? and writing
2 notes · View notes
shatlass · 1 year ago
Text
i need to stop talking about my jake and amir x always sunny parallels vid and just finish and post it. but u see the thing is there are so many that literally every day i think of another and have to update my doc and download another vid and cut it up and decide what makes the cut and like. just thinking about the comparisons makes me so sos so insane that it's nigh on impossible to actually edit this beast. i just get so overwhelmed lmao. i meant to finish it before sweet 16 came out but now i have new material to work with so i have to wait until the season finishes so i don't miss anything. gahh!!!!
Tumblr media
9 notes · View notes
unproduciblesmackdown · 1 year ago
Text
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")
#summer stock#dearth of peak relevant info for our purposes otherwise lol but hey#pressing f for danielle wade's performance Tending to be juxtaposed w/either corbin bleu's or judy garland's#which in fact doesn't always mean their going ''eh comes up short Relative to that comparison but good enough'' but yknow#also that role just isn't gonna be designed to be the most thrilling lol...let's get those character(tm) parts babeyyy#further photos of that preview performance do suggest there's more like midshow conflict b/w jane & gloria vs Only getting along great....#and intrigued here if it's like yeah gloria can be written to have Flaws kiiinda like the film dunking on her though not as much as it#(though not as much as it might've; parallel to orville; relevant to their compatibility lol though in this show it indeed just might not#go for ''conveniently gloria's also always already liked him & orville's just glad someone's being nice to him'' lmao. & in fact yes the#material already in the film was like hm sure could be the queer readings in these ''so you're doing cishettery wrong'' roles here#and going aw man wrt the comedy boys herb/phil & orville/orville not getting to interact more#herb getting to make One reference to kinda being the outsider/misfit even amongst the troupe like hey more abt that? what's your job also#meanwhile yeah you can do something like ''oh gloria has this idea re: being The Star but isn't actually as interested in that Process''#but that then instead of that Just being her at odds w/jane & her coming up short she can have her own arc still#finding out what behind the scenes work she Does want to do; jane & gloria of course ending up being mutually supportive one imagines#rather than jane Just being freer from Dealing With her lesser sister or what have you; whom can graciously enough accept this#and ofc we don't Need the partner swaps for everyone's guaranteed happiness communicated through ''they're not single''#whilest the lack of [oh this backup relationship was here the whole time kind of] does make your potential love triangle trickier then lol#hence perhaps some more significant conflict if you're like kissing your sister's date or what have you & she can't Just(tm) have yours#but then being The Lead can't be the ultimate of All [doing theatre]; having kissing status w/a guy isn't the ultimate of all Arcs/Life#(though noting tim wasn't Relieved if another ostensibly straight romance; a cliche in the modern musical; wasn't shoehorned in there...)#(also the awkward notes about Male Dancers and The Female Ones like alright? supposed relevance Where?)#long post ///
5 notes · View notes
bare1ythere · 1 year ago
Text
I need to hang out with someone in person or I think i might go insane
11 notes · View notes
jorvikzelda · 2 years ago
Text
Tumblr media
Also got this positively adorable snapshot of Zelda Bowsmith and Heavyheart while window-shopping in Global Store. they're mirroring each other 🥺 its like a little dance! striking a lil pose !
12 notes · View notes
dolokhoded · 1 year ago
Text
i cant be serious about the sons of thunder because every time i think of them the imagine dragons song plays in my head
3 notes · View notes
von-eldritch · 1 year ago
Text
//hahah what if part of hellsa's house burned down
2 notes · View notes