#so sit tight

[yourockthebeatofmyheart]

Aesthetic Drawfee quote lockscreens (and by "Drawfee" I mean "mostly Karina" lol)! Feel free to use!

[a-mint-bear]

Heya, I was the one who asked you in September about the wolf in sheep’s clothing, and I was wondering what you’d think of the superfan with a darling who also has a crush on her and doesn’t mind the obsession and they’ve basically been dating for a while? Also, what do you think about a part 2 of those female Yandere types?

god, that was in september, wasn't it? my bad lol, thats the downside with bein' employed, ain't it?

but yeah, that idea sounds like it could be cute, i like it

i could add a part 2 to that post to my list of fics to write. it took a while to come up with those but i can take a crack at that

[barawrah]

i want us both to eat well

[noodles-and-tea]

Question for your au! Obviously this takes place before Fidds sees what’s in the portal, and before Ford starts to become paranoid, as he looks younger than 28, so what’s the reason Ford calls his Stanley over? Or maybe their Ma called Stan to go check on Ford?

So it’s actually set after their whole debacle - the timeline stays the same as the og up until the moment Stan goes through the portal (he ends up going in instead of Ford this time (although there would be some other minor differences since the portal doesn’t actually work right and send Stan back in time))

Since this happens after Ford’s falling out with Bill, when baby Stan pops out of the portal he calls the one person he can trust, especially with a kid - Fiddleford.

That means that Fidds and Ford have to figure out: a) Dealing with their own falling out, b) Working on the portal that they both agree is dangerous and a bad idea, c) staying alert now that Bill is an active enemy, and d) LOOKIN AFTER A KID

[papanowo]

was looking thru the mermaid au tag on ao3 a couple months ago and realised bones is rarely the mermaid so i sought to change that

[aenslem]

THE RAVEN Star Trek: Voyager

[ohposhers]

sometimes when i dont feel like drawing i pretend im good at photoshop

[blackkatdraws2]

Voice of Fate. [Achromatic Loop AU]

[caeslxys]

inhales. imogen is such an amalgamation of so many different cr villains thematically and in her motivations that the most profound difference between them is very simply that she wants and therefore chooses to be good and kind at every turn.

she is delilah's love and ludinus' wrath and lucien's increasingly blind desire for power and liliana's fear and otohan's purpose and she is none of those things at all. THE most character of all time. exhales

[ritzcuit]

ppl who follow me are tired of me saying this, but if i could address the aa fandom directly... i rly would just ask that people like, stop being mean about dd and soj. like thats all i want.

im not even IN the fandom anymore, so i have no reach. i draw fanart and make my little ship posts but thats all. and thats bc the wider fandom ... is so fucking mean sometimes. omg. like its just not fun!!

but really, specifically, its about the dd and soj thing. the "play ace attorney we have so many games and [MOST OF THEM] are good!" thing. like, its fine if you dont LIKE dd and soj, obviously!! im not saying you HAVE to!

but "i dont like these games" and "these games are objectively bad and no one likes them" are entirely different statements.

plenty of people like dd and soj, even have them as their favorite games. i know this bc my soj fanart gets notes 😭 i have ppl in my tags excited and happy when i draw dhurke and datz. bc we like these characters!! and like to think about them and the story they come from!

...just bc YOU dont like soj, doesnt mean a lot of ppl dont like soj! so i really dont understand the drive to constantly talk down and insult these games?! like ... why be negative. u could be nicer. its possible and easy and then doesnt drive ppl away from the fandom bc their favorite games are being trashtalked all the time.

a lot of ppl find the space family dd interesting! they LIKE the phantom and his concept as a character! they LIKE soj and all of the political settings! it doesnt rly matter that they are, by and large, A Little Flop, bc people still LIKE them and like making content for them and thinking abt them and playing in the space and...!! like. why hate that? why constantly put us down for enjoying smth you didnt?

just dont need to constantly make slights at how "bad" and supposedly unenjoyable dd and soj are. cus not only is it mean, and makes the fandom hostile, but its literally untrue. i dont even consider myself in the fandom anymore bc all the fun is taken out of it when i have to brace myself for shitty comments like this whenever i read a post abt the series!

and i rly wish i could just Not Care what other ppl say. a lot of my friends dont care. but soj is like.....ive spent the past 5 years loving that stupid ass mediocre game. like its deeply important to me. and i just feel like a lot of ppl would have some fun with it if they werent constantly told how bad and skippable it is. im sure dd fans feel the same way.

its very cliquey. its very "the popular opinion is correct and if you dont agree, you dont get to play with us". it just sucksssss

[gazkamurocho]

He is her sunshine ☀️

[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

[yesistaken]

Part…2?

[icarusredwings]

VERY IMPORTANT ANNOUNCEMENT:

Ahem. The very important announcement is..

The Master takes hot showers when he's lonely because the heat in his chest reminds him of the warmth that he once felt on Gallifrey.

That is all.

This information will be needed for "The Library pt 2"

[bigcats-birds-and-books]

Books of 2024: THE GREAT CITIES DUOLOGY by N. K. Jemisin.

[maudiemoods]

Kara mask round two!!!

I don't have a cool place to take pictures