#was so difficult omg

[remusjohnslupin]

tagged by: the cruel @tastethesetears , who forced me to choose ONE character from my favourite fandoms 💔

tagging: @lotrlorien, @kvtnisseverdeen, @pendovah, @thcrin, @beautyofattolia, @cupoteahatter, @beautyofattolia & anyone else who wants to do this 🖤

[rosieposie]

IRENE 241221 ending fairy

[loren91]

Jag vill inte va nåns hemlighet

[foxinys]

STRAY KIDS in "Chk Chk Boom" MV Teaser #1

[houseswife]

transgender detector going haywire rn…

[persimmonbread]

i struggled so much with drawing arthur normally that i completely caved and went in the opposite direction. bam. buck pajamas.

[superfallingstars]

Snapetober Day 1: Warmth

[ttec77]

Characters I've drawn so far in modern clothes

[beneathsilverstars]

coffee shop au siffrin... their old cloak doesn't fit them anymore, so it stays safe at home and he just puts the safety pins on whatever else he's wearing!

[th3secr3th1story]

gojo and geto when you don't say "i love you" back

biggest losers ever

gojo

"baby, i'll see you soon, ok? don't miss me too much," gojo whined, attached to your hip as you rubbed his back.

he was assigned a mission somewhere in rural japan and likely wouldn't be back for a couple days, which was especially hard for the both of you seeing that you were never separated for more than 12 hours. (you and gojo were typically assigned to missions together, but this one wasn't a special-grade curse so it was only given to him. what a loser.)

"i should go," he sighed into your shoulder. "don't cheat, call me every day, don't start any new shows, don't go out, don't let anyone talk to you, buy tons of sweets for me, annoy megumi, punch nanami for me, don't for-"

"'toru! it's just a few days, i'll see you soon. just be careful, ok?" you giggled.

he (begrudgingly) removed himself from you, turning towards the door with a massive pout.

"alright, baby, i love you," he grouched.

"stay safe, 'toru! bring me back souvenirs," you smiled, waving at him.

except he didn't leave. he stood there, grinning at you expectantly, one hand on his mini suitcase and another on the doorknob.

when you simply kept waving at him, confused, his smile dropped.

"okay, fine. i guess i won't come home then," he said with a pout, glaring at you.

"huh?! what are you talking about?"

"well, since you clearly just want me to kill myself because you don't love me anymore, i guess i'll find someone else to marry," he sniffed.

"stop playing around, 'toru. you know i love you."

and just like that, gojo satoru was grinning like an idiot.

"okay, sweets, see you soon!"

and just like that, gojo satoru was out the door.

geto

the two of you were currently coddled up in your bed, you on top of geto as he massaged your scalp.

you weren't sure how long you both had been laying there, but neither of you wanted to move.

geto listened to you talk about your day, mainly filled with complaints about gojo and his weird behaviors.

you were currently telling him how itadori pranked fushiguro earlier that day in your class, barely able to suppress your giggles.

"-and then he put a fake spider on his shoulder. i swear, when fushiguro saw it i thought he was going to cry. it's so hard being a teacher sometimes, i forget that i can't laugh at the students."

geto chuckled lightly at the story as he listened to how happy you sounded retelling jujutsu high's antics.

once you finished, the two of you laid there in silence, simply enjoying each other's presence.

"you know i love you, right? you're the most important person in my life, y/n," he said softly.

you simply sighed and kissed his neck, happy to be in geto's embrace. but after a few seconds the head massaging stopped.

you whined and looked up to see why he paused. you were met with his dead stare.

"why'd you stop?" you asked, confused.

"'cause you don't appreciate me," he teased.

"no! you're my favorite man ever. i love you so much, suguru," you wailed, pressing his hand back on your head.

"man?"

"fine. you're my favorite person ever."

"person?"

"you're my favorite...organism ever?"

"that'll do, i guess," he mumbled, smiling.

geto resumed his ministrations and slowly lulled you to sleep with his light humming of a song gojo couldn't stop singing earlier that day.

(it only sounds good when it comes from him. no offense, gojo.)

[maentisiw]

It was supposed to be a cartoon-ish warm up sketch, I don’t know what happened but it took me 10+ hours lmao

[helielune]

for all those who have never watched infinity train! (if you have seen it just wait a week ok? ok)

[vividcorvid]

I'm currently working on an animatic for A Light or Somethin'!!!

[unriding]

a … a gift from the talented @kruinka 🥹 thank you so much!! ദ്ദി ༎ຶ‿༎ຶ)

[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

[froggyy]

"emotional cheat day"