#whether it was paternal or brotherly there was that connection

[impossible-rat-babies]

truly eshka de riva is built different like darva sat and pondered on and off for a half decade over his hopes for solas. eshka had him in her head for a few months and she had no regrets over stabbing the guy

[tothedarkdarkseas]

Since you mentioned it, what is 2D’s relationship with fatherhood like? Same with being a brother/guardian figure to noodle. Ik you talked about it a little, but is it alright if you went more into depth about it??

I can certainly try! Haha, I don’t have especially well-formed thoughts on this, just impressions.

I definitely think Stu’s relationship with fatherhood is complicated. It isn’t that he dislikes kids, or is bad with kids– I’d wager he’s very good with kids, in fact, and he liked to help kids looking at music books Norm’s or stealing pick n mix alongside them at the grocery store, which they both felt equally guilty about when they met up with their mums again– but there’s a huge distinction in his head between that and being a father. I think Stu’s really kind of compartmentalized the fact that he is in fact a (technical, biological) father and is able to put it out of his mind most of the time. As his fame heightens and shit starts hitting the fan in a number of ways, most especially after Plastic Beach, Stu’s “grass is always greener” mentality definitely becomes more pointed, more conscious. He just thinks, a lot, about the fact that he has children in the world, and that he can’t really even remember their mothers. He thinks about the strange occasional yearning he has to do it all over, never meet Murdoc and have a family, and how in reality he’s already done it completely wrong. I think that’s a hard thing to dwell on and he tries not to, but I definitely think Stu feels more guilt in his relationship to fatherhood the older he gets; I don’t think it hits him enough to really feel it early on.

The same is sort of true of Noodle. Stu gets on really well with young Noodle, and I think he does care for her very much, but the notion that he’s meant to be a guardian to her is a little scary. Not necessarily from a discomfort or fear of that sort of connection (which is more like Murdoc’s feelings, probably) but just a childish (and realistic) thought that he’s not ready for that responsibility. I think he expects Russel to take care of the more paternal caretaking aspects and he slides into a “brotherly” role because it’s more comfortable– but still new to him, still something that straightens up his behavior in front of her. I do think as they get to know young Noodle in phases 1-2, they all see her incredible competence and Stu backslides into the way he is with kids he’s entirely unrelated to, just thinking of himself as a “big kid” alongside her rather than a guardian or mentor. I do think Stu feels love for Noodle and isn’t reluctant to say that, but I don’t know that it’s easy for him to really feel like he’s acting as a guide to her in any way, whether as a parent or a brother. Oddly, as they age into adulthood (her, actual adulthood; him, adulthood 15 years too late) I think Stu does feel without question that Noodle is his sister, he no longer feels like a “babysitter” (not that he was especially ever that) or a peer, but I also think the ease of connection is gone. Stu feels an isolation from everyone in his life, he feels lacking in some human component that allows him to connect with others, but I think he feels a very special and specific guilt about it toward two people: his mum, and Noodle. I definitely don’t think Stu will pretend everything’s alright and make efforts he doesn’t want to make for Murdoc, and while he wouldn’t be cold about it I don’t think he particularly would for Russel either– but for Noodle, Stu feels some burden of guilt. He recognizes what Noodle’s been through between phases 2 and 3 despite her unbelievable ability to pack it away again, and he recognizes that if she’d had a real home, if she’d had real parents and a real brother, if she’d had a normal life like he stupidly laments losing, she would’ve been better off. When Noodle makes a comment about how he needs to eat his food, he smiles and eats it, because it’s not right that Noodle’s having to watch out for him. He’s enough of an adult to see that’s wrong. I think Stu truly and undoubtedly knows Noodle to be his sister at that time, but he no longer feels that he connects to other people, or that Noodle or anyone else can “know him” as a person. He doesn’t think he knows himself. It’s difficult, to say the least.

Er, in conclusion to the actual fatherhood question– I don’t really think there’s ever a point where Stu considers himself a father, and dwelling on his shortcomings as one is too uncomfortable to do. His regrets become harder to deny in the second half of his life, but it’s still not something he acts on. I don’t think Stu has ever or will ever meet those kids.

[chamchamchimmy-blog]

one of the more common arguments against jikook i see is citations of jm describing their relationship as ‘hyung-dongsaeng’ at one occasion and ‘father-son’ (lmao) on another. while i agree we should take people at their word for these kinds of things there are a couple of reasons i don’t consider it decisive counter-evidence:

1. ‘father-son’: this one is easiest to dismiss bc it was said jokingly, though not just bc of that. my little sister and i also joke about me being her dad, but i really do take on a more parental role with her.

as far as what makes a bond paternal, i think hanya yanagihara said it best:

i think reading this anyone can agree that establishing such a bond requires different circumstances to those of jk and jm, if in age gap alone (2 years’ diff is not nearly enough lol, trust me. my big brother and i have the same age gap and we’re more like twins than anything)

2. ‘hyung-dongsaeng’: this one is more tricky. i don’t wanna fully dismiss it, that’d be controversial even in jikook spaces. to stay realistic we always say they in any case have a special relationship, and a really close brotherly bond can fall under that. i’m only going to state my reasons for gravitating towards a more romantic interpretation.

if a paternal bond is born out of fear, i’d say a fraternal one is born out of necessity. it’s not always that we like our siblings, but in most cases we love them regardless - it’s difficult not to love someone into whose mind you have such extensive insight.

but from what we’ve been able to see, i don’t think jm and jk bonded out of necessity. most of us know those early videos, where jimin goes above and beyond to make jungkook pay attention to him. it was made clear this was singular and not just jimin’s personality.

so jimin from the very beginning pursued a relationship with jungkook, the bounds of which extended beyond what circumstances imposed on them. he had a liking. okay.

you could then argue that, regardless, jungkook didn’t reciprocate, and only later on began letting jm in bc he realized this was someone around whom he’ll be spending a lot of time, whether he liked it or not, so he should at least try and connect with him. meaning their bond was established out of necessity after all.

this i disagree with for various reasons, too numerous to list, but i will refer you to this video, which i think summarizes it best. to give you the cliffs notes, jk stated way back when that he’s only teasing when he seemingly retaliates against jimin’s fondness (e.g. rating him last in looks) + that he acts cold/shy in his presence but in reality values his efforts, there were moments during that time where he was visibly trying to get closer to jm. he was most likely just a shy, confused teen who didn’t know how to deal with his feelings (esp with so many cameras around!!) but later on had a rude awakening when jm pulled back and he realized he craved his attention.

[what-if-rpg]

Welcome to the family, B! Your application to JAYDEN THOMAS (FC: Jordan Fisher) was accepted. I am really happy to give you your second character! Make sure to read the beginners checklist, and remember, have fun! I can’t wait to roleplay with you! Have fun!

IN CHARACTER INFORMATION

CHARACTER NAME: Jayden Dean “Jay” Puckerman CHARACTER AGE & DATE OF BIRTH: 19, April 16th 2000. OCCUPATION: Paediatric Nurse at Mount Sinai Kravis Children’s Hospital. FACE CLAIM: Jordan Fisher. HOMETOWN & CITY WHERE LIVES NOW: Lima, Ohio and New York. SEXUAL ORIENTATION & GENDER: Pansexual and Cis-male. RELATIONSHIP STATUS: Single. POSITIVE TRAITS: Patient, Empathetic, Resilient. NEGATIVE TRAITS: Stubborn, Protective, Obsessive. CHARACTER QUOTE: Beliefs don’t make you a better person, actions do.

HEADCANONS

Jayden is aware of how jumbled up his family is. It’s something that can frustrate him at times but being the youngest he feels as though he can’t complain, or at least he hasn’t the right to complain. He shares his mother with Jake and his father with his other three siblings. He sometimes feels a little out of the loop or nervous about being the only one with both of his biological parents together in their family. It certainly makes his head hurt when thinking about it so he doesn’t often look into it. Jayden firmly believes that family doesn’t end with blood, these people are his family and that’s all that matters to him, no matter how jumbled they are.

His interest in medical care originally came from playing with his older sister as a child. Being the youngest he was often subjected to being dressed up in all sorts but it he never minded it. He quite enjoyed helping sick teddy bears which developed a strong, caring nature in him. Jay has always been a little ‘softer’ than his brothers, wanting nothing more than to help others and care for people. He’s not one for conflict but when family is threatened he’s not afraid to show the feisty side to him.

Currently studying at New York University and on placement at Mount Sinai Kravis Children’s Hospital certainly takes its toll, but twelve hour shifts don’t dampen his spirits as he adores his job. He has a firm belief that though prayers and faith are good, his actions have far more of an impact on those around him. He’s very good with the younger patients, always aiming to leave them with a smile by the end of his shift.

Seeing his brother’s interest in dance, he often tried to practice with Jake or copied what he’d seen him perform in their bedroom. He looks up to Jake greatly, even if he doesn’t vocalise it often. Practically being two opposites during school, he was grateful Jake wasn’t afraid to stand up for him when it came to bullies. He often tried everything he saw his brother doing whether it be singing or dancing. His heart has never truly lied there but he certainly enjoys it as a hobby or if it can help with a charity fundraiser. He’s not afraid to put himself out there if it can help.

Moving out to New York for college was a huge step for the baby of five  siblings. Starting his second year, he’s beginning to settle into the city a little more but is still finding his feet. New York is a huge place and with a troubling case of asthma, his parents had been reluctant to let him go at first, but thankfully he gained their trust over that first year.

CONNECTIONS

MARTHA and DEAN (Parents): He’s relatively close to his parents and though he’s babied quite often by both of them, he knows they mean well. He is now trying to prove to them that he can stand on his own two feet. JAKE PUCKERMAN: (Maternal-half-brother) Jay certainly looks up to his older brother the most and was somewhat the irritating younger brother who wanted to be just like him. He still thinks an awful lot of his brother though he is less in his shadow and more at his side these days. ELIANA PUCKERMAN: (Paternal-half-sister) With being the two youngest in the family, Jay quickly became Eliana’s sidekick while growing up. He liked some of the quieter times in the house when he could play in her room or watch the latest Disney movie they’d bought. His sister is definitely someone he goes to for advice over anyone else. CALEB and TOM THOMAS: (Paternal-half-brothers) Now Jay is used to being the punchline of most jokes when it comes to the twins. They have a typical rough and tumble brotherly relationship but he’s reassured they always have his back if he needs them to. NOAH and SARAH PUCKERMAN: (Step-siblings) He only knows of them from what he’s heard Jake mention of them. He has a positive impression of them from his brother and is open to meeting them.

[biofunmy]

Is the answer to ‘Joker’s’ biggest question too crazy to believe?

Joaquin Phoenix in “Joker.” (Warner Bros./DC Entertainment) (Niko Tavernise/Warner Bros./DC Entertainment)

Warning: This post contains major plot spoilers for “Joker.”

Are they bat-bros?

Perhaps no question lingers on the mind more after watching “Joker” than whether the young Batman-to-be, Bruce Wayne, and Arthur Fleck, the eventual Joker, are siblings.

Director-writer Todd Phillips does not stick to the comic-book rules of Batman, which are normally written in stone — golden rules such as the Dark Knight never killing — and creates a scenario certain to have some fans screaming in protest.

While many moments in “Joker” can be attributed to Fleck’s descent into madness, none is quite as stinging as the is-he-or-isn’t-he aspect of his relationship with Bruce Wayne’s father, Thomas.

Fleck’s mother, Penny, once worked for Thomas Wayne. She was dismissed after being diagnosed with mental issues. But who did the diagnosis? Were the struggles that plagued her and affected Fleck’s childhood brought on by true health issues? Or were her problems the result of Thomas Wayne using his immense wealth and clout to cover up something he thought might have a negative effect on his family fortune?

[Why ‘Joker’ became one of the most divisive movies of the year]

There are whiffs of a potential father/son conflict when Fleck, after introducing himself to a young Bruce Wayne outside Wayne Manor’s protective gates, confronts Thomas Wayne about Penny’s health issues and the uncertainty of his paternity. There’s another heated meeting between Fleck and the elder Wayne at a movie theater, which results in Wayne clobbering Fleck with a punch that seems anything but paternal. Both times, Wayne insists that Fleck’s mother was insane and that there is documentation to prove it.

Indeed, one of “Joker’s” most emotional moments comes when Fleck gets a hold of the mental records for his mother and Wayne’s words sting true: It’s all there in writing that she was not well and hadn’t been for some time.

It’s an “aha” moment, one that gives viewers a minute to catch their breath and realize a brotherly connection between Bruce Wayne and the Joker is just a figment of their imaginations.

Or is it?

Near the end of the film, with his transformation into a villain almost complete, Fleck looks at a photo of his mother from her youth. She’s beautiful. Full of life. The image of a woman who is sure of herself. On the back of the photo is a handwritten note — from Thomas Wayne. He mentions how much he loves her smile. The words are few, but flirtatious enough to make you wonder yet again.

Fleck isn’t the only one whose mind is playing tricks on him.

[Todd Phillips injects ‘Joker’ with dark humor. But what are we laughing at?]

Thomas Wayne is a powerful man — powerful enough that he could have put up money to forge documents that certify someone as mentally unwell. Of course, a quick episode of “Maury” and those reliable DNA tests could solve everything, but Fleck has already killed his mother, convinced she was the crazy one. Now entering the initial levels of his permanent psychosis, Fleck has unwillingly assured that no one will be asking those types of questions.

The Joker and Bruce Wayne are definitely still intrinsically connected in one way. The Joker’s chaos starts a movement in Gotham City, creating a war of the haves and have-nots with clown-mask-wearing rioters everywhere. One of them gets a look at Thomas Wayne and his family leaving the theater. Wayne and his wife are gunned down, creating the dark and iconic moment that eventually gives birth to Batman.

But “Joker” never gives us clarity as to whether this was truly a family affair. Did Thomas Wayne bring his downfall on himself? Are the Joker and Bruce Wayne more than destined enemies — bonded not just by blood, but a bloodline?

The movie goes out of its way to make it so you can’t be sure. And because this film intentionally isn’t inspired by the comics of the Batman mythos, it’s up to you to decide whether there’s a deeper connection between these future enemies.

It’s pretty mind-boggling. Just like a Joker movie should be.

Read more:

Our 5 favorite ‘Joker’ Easter eggs, from Scorsese movies to that talk-show scene

Our definitive ranking of the Jokers, from Jack Nicholson to Joaquin Phoenix

Sahred From Source link Entertainment

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[recentanimenews]

Somali and Other Great Anime About the Family We Choose

Family means something different to all of us. The word can alternately (or simultaneously) conjure cherished memories from childhood, or sadly, memories and places we'd like to forget. Our specific backgrounds and lived experiences uniquely shape how we perceive and relate to others within a familial context.

If you take even a cursory glance at some of the most popular anime titles, you'll discover right away that the medium frequently addresses the topic of family ties. A work like Naruto explores—amongst many other themes—how a young ninja struggles to carve his own path set against the skillful heights of heroism established by his deceased father. Sailor Moon, a shoujo staple, depicts the protagonist Usagi's struggle to live a normal life as she bears the weight of her royal celestial lineage.

While the aforementioned titles feature central characters who are biological descendants of either nobility or a renowned bloodline, there are many anime in which familial bonds form in the absence of both physiological ties and/or a socially lauded heritage. Below are five titles that beautifully portray how family can take on a variety of unconventional forms outside of biology, and how loving support and care can exist amongst people—and non-humans, as well—amidst seemingly insurmountable differences. Let's dive in!

5. Somali and the Forest Spirit

The new 2020 fantasy series Somali and the Forest Spirit features an unusual father–daughter pairing: a Golem—a creature who serves as guardian of the forest—and a human child named Somali. In spite of the obvious lack of any biological ties, a loving bond exists between these two protagonists. We learn early on that humans and nonhumans once lived together, until humanity waged a hateful and xenophobic war against them, which the humans quickly lost. In spite of the tense and violent history between humans and nonhumans, the Golem still acts as a protective paternal figure to Somali. He dresses her as a minotaur to avoid suspicion, and saves her from a cat who viewed her as a delicious meal. 

More than that, the Golem reveals in episode two that he will die soon—in just over a year, in fact—and seeks Somali's parents so someone can care for her when his life expires. The Golem seeks his daughter's future wellbeing in addition to her present safety, with all the foresight and concern of a loving parent. Somali herself also displays great affection for her surrogate father, despite his admission that he cannot understand emotions, and lacks human proclivities. In episode two, Somali works hard to clean an Oni's messy house, because she says that "dad is always doing things for me." Upon hearing these words, the Oni recognizes Somali's diligence as a symbol of her deep love for the Golem. The love between Somali and the Golem is one of mutual and willing reciprocity, despite the unconventional nature of their bond.

The series is still in its infancy, so there will undoubtedly be many twists and surprises as it progresses. Even so, Somali and the Forest Spirit already offers a heartfelt portrait of nuturing care between two wildly different creatures who nonetheless journey together hand in hand, as father and daughter.

4. JoJo's Bizarre Adventure: Golden Wind **SPOILERS AHEAD**

  JoJo's Bizarre Adventure is a series chock-full of sprawling, and yes, weird family drama spanning much more than a few decades. Whereas Somali and the Forest Spirit explores a paternal bond between characters from two different species, the newest JoJo arc, Golden Wind, depicts a type of brotherly connection amongst societal outliers. All the main characters are gangsters with previous criminal records and/or a uniquely troubled, painful childhood. Minus Abbacchio, the story's main squad consists of men individually estranged from their biological family; whether due to a physically abusive stepfather, a mother or father who died, or egregiously dismissive parents.

With no biological family to cling to, the members of Bucciarati's assembled team forge their camaraderie via daring acts of support most would reserve for a sister, brother, or parent. There are plenty of moments where this happens: from Mista getting riddled with dozens of bullets to fulfill the team's mission and protect them from an enemy Stand user, to Abbacchio sacrificing his life in order to give the squad their boss Diavolo's true identity. If that isn't brotherly love, I don't know what is. 

3. Parasyte -the maxim- **SPOILERS AHEAD**

Somali gave us unconventional father–daughter relations, and Golden Wind showed us the bond of a brotherly band of outcasts. In the 2014 horror hit Parasyte -the maxim-, we find a motherly love that explicitly defies one character's biological imperative. It's clear from the beginning of the series that the body-stealing, semi-cannibalistic parasytes feast on humans almost exclusively (except when their host is a dog, or some other animal) for their daily sustenance; they tear up one human after another in a series of 'mincemeat murders.' These creatures also prioritize self-preservation above all else, even if that means killing fellow parasytes. This makes the parasyte Tamura Reiko, a central antagonist in the series, all the more intriguing.

  In an early encounter with Reiko, she tells the protagonist Shinichi that taking over a human body triggered some primal directive that told her to devour humans. Fast forward to a key scene in episode 18, and we find a much different Reiko:  she sacrifices her own life to protect the human child she birthed. This moment makes a strong case that maternal love can override biological mandates: Reiko feels a natural urge to kill and eat humans as a parasyte, and by this point in the series, humans have discovered the existence of parasytes and pose the biggest threat to their survival (the parasyte Migi is surprised by her choice, too). Despite these facts, she chooses to preserve a life outside her own, rather than allow it to be taken (which is something parasytes almost never do). Reiko's actions show that personal choice and the altruistic love of a mother can override base animalistic urges in favor of life.

2. Tokyo Godfathers

Tokyo Godfathers, by the incredible, late Satoshi Kon, is one of the most heartwarming tales about unconventional family bonds amongst marginalized people. The film centers around three (or four, if you count the baby) houseless characters on an adventure to return an abandoned child to her parents: a gambler named Gin, a runaway youth named Miyuki, and a transgender woman named Hana. All of them come from tragic/difficult life circumstances, ranging from alcoholism and a controlling father to parental abandonment. The characters certainly get in more than one shouting match together, but overall, they find their support and hope in each other. One of the strongest elements of the film is its respectful and dignified portrayal of houseless people. While it's certainly humorous, the movie remains empathetic all throughout to the main characters, and never turns their socioeconomic plight into a cruel laughing point played for jokes. It's rare to find any media with houseless folks in the spotlight, and even rarer for them to be portrayed in such a compassionate, nuanced way.

Speaking of compassionate depictions of marginalized individuals, Hana easily ranks as one of the best, most respectful portrayals of a trans woman in media. There are admittedly moments when Kon verges on turning Hana into a self-parodic stereotype, but overall, he imbues Hana with all the complexity and empathy she deserves. The houseless rate of trans women is also saddeningly high, making Hana a welcome and poignant presence. Hana is also the character who develops the most nurturing, intimate connection to the abandoned baby. Her desire for motherhood is not met with cynical, tasteless transmisogyny; instead, Hana is the most capable potential parent of anyone in the film. Make sure to check out Tokyo Godfathers as soon as you can.

1. Berserk

If you're familiar with the dark world of Berserk, you know about the main character Guts' absolutely horrifying childhood and early life. The 1997 anime covers all this in the classic Band of the Hawks arc, which accounts for Guts' central backstory, where he meets Casca and finds a home in a group of mercenaries led by the charismatic (and deeply, deeply evil) Griffith. The 2016 anime picks up where that arc left off, after Griffith surrenders all of his friends in exchange to become a member of the demonic God Hand, leaving only Guts and Casca alive.

Fortunately, even a series as dark as Berserk offers bits of hope and reprieve. There's a touching moment near the end of the 2016 series, where Guts looks at his new pack of friends—the formerly dogmatic Farnese, Serpico the swordsman, Puck the elf, a young thief name Isidro, and Schierke the witch—and recognizes them as his new family. Guts briefly sees images of his old friends from the Band of the Hawk before thinking, "I never thought I'd ever find them again." It's a poignant moment where, after suffering through so many lonely nights and tragedy, Guts finally finds a new home. 

Are there any other anime with non-traditional families you would have included on this list? Let me know in the comments below!

Do you love writing? Do you love anime? If you have an idea for a features story, pitch it to Crunchyroll Features!

By: news+feed@crunchyroll.com

[brothermarc7theatre]

"The Lion King" show #769

In 2006, I had just completed my first three plays in high school and was ready to venture out to non-high school theatre. I had an audition for a youth theater’s production of The Wizard of Oz, because what boy doesn’t want to be the Scarecrow at some point in his life? However, as the audition neared, I began to doubt if I even liked theatre. I was well-involved with many other activities, and theatre wasn’t a top priority. The night before the audition, I decided to treat myself to the national tour of The Lion King in San Jose. By intermission, I was on the phone calling my mom telling her that the only thing I wanted to do was perform and be in theatre. Side note: I was cast as the Scarecrow. The magic of that tour stayed with me, and The Lion King inspired and entertained me as it has for most who have seen it. The recent touring production reminded me how my thirst for theatre was awakened. Twelve years later, the magic of The Lion King still roars with power and delight.

Buyi Zama, as Rafiki, kicks off the show with a full-voiced belt of “Circle of Life,” which ignited the audience at the Saturday evening production I saw. With a two-week stint in Fresno (a long stay for most touring productions that come through the Saroyan Theater), it had more of a concert feel rather than a night at the theater. That was okay. What The Lion King offers is a night out for families and fans who aren’t necessarily “theatre people.” It brings us dedicated thespians in close proximity to those who may only know the film, or just wanted a fun night out during the holidays. And yet, Ms. Zama’s opening lyrics connected all of us instantly. Julie Taymor’s animatedly-solid direction and Tony-winning costumes still hold up after so many years on the road. The sense of African pride, the beauty of the jungle, and Ms. Taymor’s awe-inspiring design are impeccably translated for this tour.

Ms. Zama is dynamite as Rafiki, being the wise old voice-of-reason with plenty of comic brilliance. Gerald Ramsey’s performance as Mufasa is filled with the strength and booming paternal gravitas needed. Mr. Ramsey’s “They Live in You” is a rumbling solo of sturdy vocals and astute acting. Spencer Plachy’s Scar is both enjoyable and brooding, a well-calibrated dynamic for the murderous villain. Mr. Plachy is great in the iconic “Be Prepared,” and makes the most of the somewhat wonkily-written ending to “The Madness of Scar.” The two brothers are an electrifying pair when sharing the stage, embodying the brotherly rivalry and lion-like physicality with aplomb.

“I Just Can’t Wait to be King” is led with intoxicating energy and youthful vigor by Salahedin Safi as Young Simba and Gloria Manning as Young Nala the evening I attended (the roles are alternated by Joziyah Jean- Felix and Danielle W. Jalade, respectively.) Both young actors effectively deliver a suggestion of the chemistry their adult counterparts fully-develop later in the play. Jared Dixon swings in at the end of a bouncy “Hakuna Matata” in time to show the audience that Simba has grown up and is a tenacious lion. Mr. Dixon delivers a stunning Simba, one that goes beyond copycatting the animated film, and dives deep into the complex uncertainty Simba struggles with. This journey is most strongly present in Mr. Dixon’s performance of “Endless Night,” where his timbre meets nuance, and simple staging meets emotionally-driven lighting, originally designed by Donald Holder. Greg Jackson is delightful as Zazu, Mufasa’s reporter/lion-sitter/altogether errand bird, as well as occasional fourth-wall breaking commentator. Mr. Jackson’s physicality is tops as he pratfalls and zooms about the stage, and displays infallible comic timing as the wisecracking Zazu.

Nick Cordileone and Ben Lipitz are a fantastic duo as Timon and Pumbaa, respectively. Mr. Lipitz’s earthshaking vibrato is well-suited for “Hakuna Matata,” and his timing is punctuated with ease. Mr. Cordileone pairs an animated timbre with precise puppeteering to make for a scene-stealing Timon. His leadership of “Hakuna Matata” makes you forget the film version and purely enjoy what’s on stage. The trio of hyenas is quite an entertaining pack thanks to Martina Sykes as Shenzi, Keith Bennett as Banzai, and understudy Jordan Samuels as Ed (the role is usually performed by Robbie Swift). The three actors make their one-two-three-punch scenes a delectable lesson in humor as they honor the zaniness from the film and add dramatic flair appropriate for the stage.  Their harmonies are the true feast in “Chow Down” and they make for a fabulous turn in Act Two’s “The Madness of Scar.” And certainly not to be ignored, the ensemble of this tour is absolutely stellar. The embodiment of their respective animals in “Circle of Life” and “Be Prepared” is gorgeous, majestic, and consistently a wow factor. Act Two’s opener, the rousing “One by One” is sung and danced with absolute abandon and breathtaking energy, a true showstopper of a number.

The Lion King has no end in sight, whether on tour or Broadway. This musical will continue its journey across North America, and it has already entertained many audiences across the globe. This show is always a yes to see, so say yes and check out when The Lion King is coming to your city. You do not want to miss this show!