#yeah i didn't have fun with it overall

[dany36]

my neighbor and i really just spent 4 hours discussing back and forth about all the things we hated about tears of the kingdom and why we thought that it's just not...that great and it was honestly like therapy for me lol

[emdotcom]

My'eah, some Sonic stuff I drew, playing with a different style!

Last 3 pages feature Terios, & the last page features Violet -- both are characters co-adored by @carnation-damnation !

[kyouka-supremacy]

Well.

[kindlythevoid]

As promised. Memes:

And as promised, ranting:

Okay, so, real talk, I did not actually like everything in this book, but I still fucked with it SO HARD. Like, honestly, I picked up what this was putting down (a little heavy-handedly, but done so well imho???) and the WAY IT WAS WRITTEN????

Like, I did a course on the Aeneid. And obviously it was a Roman mythos, not Greek, but DAMN, CLAIRE NORTH. I could see my translations!!! Written in the vernacular of english!!! RiGHT THERE IN THE TEXXT!!!! I GOT SO FREAKING EXCITED!!! It's just, such little things. The phrasing of a certain line. The odd usage of certain similes or metaphors that go off about people or places. The strange diversions to explain events or people right in the middle of the text before jumping straight back into the story. IT WAS SO VERGIL GUYS I SWEAR.

(i haven't had to translate the greek myths sorry guys and I read the odyssey so many years ago in english many apologies am working off what I got)

And, like, as I said, it was very heavy-handed as it backhanded the greek poets for ignoring the women but, like, she was right??? It was insane guys. It was absolutely insane. And everyone was so nuanced and had personalities and hopes and dreams and backstories and at points I was worried she was going to sacrifice the guys to further the women??? Which, like, I understand the irony, and obv couldn't super fault her for it, but she ended up balancing everyone out so well??? Like the guys were in the background instead but they were still all unique and had different priorities and shit.

Just, this whole book was such a breath of fresh air. Damn.

[cdroloisms]

ok i'll say this off anon (hi dr3!!!!!) um idk if this is a hot take but the bbh finale was awful. just straight up not good. the bit where it flips to the cutscene of him and skeppy on the dock...? dreadful. some of the egglore material in that stream was fun and interesting but not enough to justify how bad the more heavily scripted bits were.

(hi!!!!)

mannn i feel u a little--i think they were in a really hard place tbh with the egg finale repeatedly delayed so many times and people really forgetting a lot of what happened since the red banquet and the limited amount of development the egg plot got after that (that being said, sam bucket was awesome)

i think the egg finale definitely like, did its best with trying out a different kind of medium and stream format and trying to do A Lot with A Finale in a relatively short amount of time and had a well enough contained storyline with the whole egg tempting people amogus plotline that was present, but a longer format that would've allowed all of that to be explored more in an organic way probably would've been preferable to me for sure

[daisybell-on-a-carousel]

Honestly fascinated learning more of the fanon vs canon going on here. Truly tempted to read Tim's comics just to see the extent of what's been done to him

[account-name]

at one point i started making a tiny functional yellow guy finger puppet. i greatly underestimated how difficult this project would be, especially considering i committed to sewing most of it by hand despite having almost 0 sewing experience and not even having correctly colored fabric (i had to paint him with acrylic). unfortunately, i lost interest before finishing and he sat there unfinished for awhile.

at some point i just kinda half-hazardly slapped on the half finished hair just so i could consider him finished even if i'm not at all satisfied with the end product. just now i put a squishmallow hat on him which i think does a decent job of covering up how messy the hair looks. anyway here's some pics (angled to cover up the messy bits as best as possible) just so i can call this project done and not feel like all that effort went to waste lol

[goldenkid]

ok now that wild blue yonder was actually good i can be honest and say i didn't like the star beast

[unproduciblesmackdown]

meanwhile, some quotes about the material:

The "musical within a musical" is about a ramshackle theater troupe haphazardly putting on a show destined for Broadway in exchange for doing chores around the farm. People fall in and out of love throughout the process, all while the city folk comically struggle with the country life. Emmy-winning writer Cheri Steinkellner was given one mandate, however: "No tractor," she laughed on the phone just weeks before the show was set to begin previews. "They were adamant about that. And there's a tractor in the movie. There's a tractor in almost every scene. It's in many ways about a tractor. But I was told absolutely no tractor." [...] "We're all working on this like we're on an actual summer stock schedule. Art imitates life imitates art. It's just go, go, go. And I couldn't be prouder of our cast, and our Jane and Joe," Steinkellner, who is also a Golden Globe winner, said. Her writing partner also happens to be her husband Bill. "Our 'Summer Stock' is more 'inspired by' than adaptation. There are four songs included from the original film that you can't not do. But the new songs are the best of the old songs. The secret sauce was the great American Songbook." She said "It Had To Be You" is one of the classics audiences can expect.  

[source: ‘High School Musical’s’ Corbin Bleu makes his Goodspeed debut in ‘Summer Stock’]

So, how different is the musical Summer Stock from the movie? It feels like a whole new animal, even though we’ve borrowed some elements from the movie. It is still, first and foremost, a love letter to the theater; it’s about this group of players who come to a farm to put on a show. So many numbers are how they get into farming through performance! We also still focus on how Joe and his partner Phil [played by Gilbert L. Bailey II] fight to get the show on its feet, and how Joe helps his eventual love interest Jane [played by Danielle Wade] find her inner performer. But a lot has changed from the film, including some of the relationships. We have a brilliant new writer, Cheri Steinkellner, who has dropped in a lot of nods to why we love musical theater. We have Veanne Cox as Orville’s mother, who is the new “villain” of the piece. And we’ve added a lot of music, such as “It Had to Be You” and “It’s Only a Paper Moon,” and we’ve switched around who’s singing some of the film’s songs, such as “Dig, Dig, Dig” and “Happy Harvest.” But the most important thing is that while we’re still in the late 1940s, there are two Black actors playing the male leads – me and Gilbert Bailey as Phil – and it is definitely not color-blind casting; it’s color-conscious. That means we’re dealing with an interracial love affair, for instance. The racial element is an additional driving force, which I think is necessary, but the main story isn’t about the struggle for racial equality. In the end, it’s still a feel-good MGM-like affair. You’ve previously stepped into the figurative shoes of Gene Kelly, who originated the role of Joe in the movie, as well as Fred Astaire. How does that feel? I am always aware these golden age icons from MGM have such a specific style and that they make what they do look easy. Of course, I want to bring that to Joe. But in the tap dance sequence, for instance, we also have a bit of Gregory Hines, even though I’m no Gregory Hines. And at the end of the day, it’s me on stage, and I work hardest on finding my own characterization of these roles. This is your first time working with Donna Feore, who is one of Canada’s leading directors and choreographers. Tell me about your experience with her? Donna is wonderful to work with, both as director and choreographer. I think the best thing about her handling both roles is we don’t have to get everyone on the same page, because she is the same page. She’s also really hands-on with the music; she fought to have a drummer in the room during rehearsals so we could find those beats while we created the choreography, not just insert them later. As she directs, she considers the movement of every scene, but also the story that we’re telling through that movement! It’s not movement for movement’s sake, and I appreciate that! Goodspeed isn’t the easiest place to do a dance-oriented show, is it? Yes, we’re dealing with the confines of a very small stage, it’s like dancing on a Chiclet. I am so impressed how vibrantly our cast can move on this stage. We’re on top of each other!  I think we’d look great on a bigger stage, which is just one reason why everyone is focused on moving this show to New York.

[source: Interview: Corbin Bleu Talks About the New Musical Summer Stock and the Fourth Season of HSMTMTS]

“Summer Stock” is right in Corbin Bleu’s wheelhouse. “I feel at home on the stage,” he said. An actor, singer and dancer his whole life, Bleu is appearing in the upcoming stage adaptation of the Hollywood musical beginning July 7 at the Goodspeed Opera House. “I established myself in this particular genre, doing shows associated with Gene Kelly or Fred Astaire,” he said. “I am a bit of an old soul. This is what my voice naturally goes to.” The “High School Musical” star is playing Joe Ross, one of a troupe of actors that descends on a small farming town to turn an old barn into a theater. It appears he was born to play the role originated by Kelly on the big screen. “I grew up as a theater kid,” Bleu said. “I grew up watching old MGM movies. I was a theater nerd and a musical theater fan. My dad kept a storage unit of stuff from our childhood, and he found an old school paper from when I was in elementary school where I’m dreaming of performing in musicals.” [...] Of the four shows, “Holiday Inn” is most similar to “Summer Stock,” which was also adapted from a movie . “Holiday Inn” was a fairly close reworking of the film, but “Summer Stock” takes a few more liberties. “It’s not the exact same story,” Bleu said. “When I watch the movie, I think it could definitely use some updates.” Those updates include a multi-racial cast. “Let’s not skirt the obvious,” Bleu said. “I’m a Black guy doing characters traditionally played by white men, doing things Black men weren’t traditionally able to do easily at the time these shows take place.” [...] “Some parts of the book are still in process,” Bleu said. “Cheri is in the room with us at rehearsals. We want this to feel modern, but we don’t want to shoehorn anything in. “I was also part of the workshop we did in New York a month and a half ago,” he added. “I’m loving seeing it and I’m loving being a part of it. We know this genre. It’s a feel-good musical comedy, a big song and dance show.” Though there is a lot that has been rethought when reshaping “Summer Stock” for the 21st-century stage, those who know it as a Gene Kelly movie will have plenty to latch onto. “We are completely paying our homage to Gene,” Bleu said. “I am not Gene, but I do have a natural tendency to lean into that style. Gregory Hines is also a big inspiration. There’s tap dancing in this. There’s a whole Lindy Hop number. There are a lot of very large dance numbers.”

[source: ‘High School Musical’ star Corbin Bleu is rethinking ‘Summer Stock’ at the Goodspeed Opera House]

[springcatalyst]

🖊 for any milo and/or reiji details they fascinate me ^-^

YES thank u they live in my brain

Let me go on a tangent before I even get to what this ask actually is cause why wouldn’t I- Milo and Reiji are interesting characters to compare to each other, because despite their entwined storylines, I don’t draw a lot of connections between them as they were designed.  Characters that never interact are fun to draw conclusions with because it’s more obscure out-of-universe things:  Julian and Milo are so different but they follow very similar paths and come from very similar places.  Milo and Brooke (actually they do interact but only like, once) both deal with the results of a corrupted worldview that once questioned, can’t be ignored once again.  Reiji and Diana share an inherently wary, bleak outlook on how the world functions as a result of their own experiences.  And characters that do interact but were designed that way are... designed that way.  Julian and Liliana are the same stuff poured into different molds, impossibly similar and impossibly different, and that drives everything about their relationship- they’re foils.  Diana and Julian start at the same place in the same situation, (for different reasons), and end up wildly different people in opposite directions- they are diverging paths evidenced by truth or lies. 

But Milo and Reiji aren’t connected by anything inherent or anything unchangeable.  Their meeting in the first place is mostly chance and a little bit of give and take of compassion.  They stick together because the alternative is being alone in a world that’s so much bigger than both of them, so much older, and just a little bit more broken.  Their relationship is a choice in a way that really isn’t the case for a lot of other characters. 

And I mean, they do have parallels, but they seem different somehow, because they actually apply in-universe.  They reflect off each other.  They both leave something behind that they wish they could get back: but while Reiji’s was taken from him by circumstance and chance, Milo’s was a culmination of something grown that eventually he had to choose to abandon, though if there was any other way, he would have taken it.  (He tried, before.  It didn’t work.) 

But now they’re both missing something, and with it, their place.  Reiji doesn’t know where he belongs and the truth is that he doesn’t belong anywhere.  He can’t return to the one place he did- (it wasn’t a place, but a people.  They’re long gone, even as they live) -and now he searches aimlessly for someplace he can return to.  He doesn’t find one.  Milo loses everything he’s ever known when he walks away, and even as he makes the decision to, it feels like the admission of some crime (it looks that way to them, and he knows it).  He longs for the community he lost, but even if he gets something close to it, it’s wrong, because it isn’t them, and because the reason he left still follows him. 

They’re both ghosts wandering a vast expanse of unknown.  There is exploration in it- Milo especially does genuinely love the places he passes through, the people he meets briefly, the idiosyncrasies of each town, city, village.  Reiji less so- he’s only ever known the wandering, so it isn’t as special to him.  He’s always looking for something that will change, but even so, traveling with Milo forces him to see things he wouldn’t otherwise. 

The difference between them is that Milo stops being a ghost.  As time goes on, less and less is searching and more and more is exploring.  More is fixed than is broken.  But the opposite is true for Reiji.  As he finds nothing it feels more and more like he is one of very, very few.  That he has found no place to exist because there is no place for him, for those like him.  Reiji is looking for answers in an environment that buried most of them, in a world that hunts the rest.  And it becomes this obsession- a thousand whys. 

Why didn’t his flock look for him?  Why did he even survive?  Why is he hunted?  Why did it start and why won’t it change?  Why is the world sitting on the ashes of an older one?  Why are people broken by something they don’t remember?  Why does every place he goes scream that there used to be more?  Why are his people a part of it?  Why are they here?  Why do they occupy a world that is so clearly not made for them?  Why does he not know where they are made for? 

Reiji asks a thousand whys and they can all be summarized by one what: What happened?

Milo and Reiji cross incomprehensible distances and in the time that takes, a lot changes.  Milo goes from being a ghost of who he was and who he should be to being alive in a way he wasn’t before, genuine in a way he didn’t allow.  Milo looks for an answer in a different way than Reiji, because he is looking for certainty.  He wants someone to tell him, with no room for error, what is true and what is corrupt.  He wants surety and permanence in a way that just doesn’t exist, and so instead must choose which side he’s on- he must decide what to believe, because nobody can tell him black and white.  With that choice becomes an acknowledgement that the world isn’t as simple as good and evil, and the two can very much coexist, that perfect and unredeemable don’t really exist, not here, anyway.  He’s allowed to just be.  Reiji, though, doesn’t get the opportunity to make that choice, to take that answer.  He isn’t looking for the answer to a moral question or a cosmic should.  He is looking for a reason, which is an order of magnitude more impossible to find.  He looks to the past for why and the nature of time is that he keeps getting further and further from it.  He finds very little, which only makes him look harder, which makes it worse when he finds even less.  He starts down an impossible spiral that he can’t get out of until he finds what he wants, but what he wants just doesn’t exist in the way he needs. 

[emdotcom]

Self-improvement time. I got me some melatonin gummies, to try & cure the fact I cannae sleep on time (they're really tasty).

[astrxealis]

comin in ere just rq to say tldr (final. real.) fuuta !! i want him to be voted innocent/forgiven bcs i hope he can. make peace with himself. i think he's truly a good guy at heart even if that doesn't excuse all that he did (i think he's. some sort of victim too and he deserved better. by this i mean like w his friends?? some sort of pressure and all. also the fact all the blame got put onto him which sucks but also with context, if that context is right, is rather deserved ngl. also i'm worried if he gets voted guilty bcs something bad will def happen)

[baekdaedream]

So TDS2 never worked out for me at all 😔 let’s hope TDS3 goes much better~ hoping before the end of 2024 to have seen EXO, Dream, and WayV in concert I hope that’s. Not too much to hope for 😣

[moralchampion]

Sometimes I really hate my grade goddamn, all that money for the tickets to our Abiball 😭

[ssahotchnerr]

Hello, I have a request. How about Aaron going costume shopping and Aaron loses her FOR A MINUTE before he finds her where all the princess and fairy costumes are. Like she is completely mesmerized by costumes that she doesn’t notice Aaron picking her up and saying “I’m reconsidering making you a leash kid, you know” but he doesn’t really mean it and she’s just pointing at a costume “I want this one, daddy!”

jumpscares

i changed this up a tiny bit but the overall concept is still there <33 cw; fem!reader, protective girl dad!aaron (small angst), jack calls reader mom, references to your usual cm violence, halloween and fluff!! wc; 1k

"Dad, c'mon." Jack whined in slight impatience and excitement, prying the door open and hanging back slightly on the handle.

"We can only move so fast bud." Aaron responded, maintaining his current pace. We as in Ellie. Her tiny legs limited her speed, she was practically skipping to keep up with just him. "The costumes aren't going anywhere."

With the holiday quickly approaching and Jack's insistent worries the cool costumes will be gone soon - while you ran necessary errands of your own, he had been tasked with taking the kids to the Halloween store.

Upon entering, Aaron lost Ellie's hand almost immediately as she halted, causing it to slip abruptly from his grasp.

She was frozen in place with her gaze directed forward, keeping a generous distance from the frightful animatronics greeting the three of them at the entrance.

A scowl was on her face; it didn't appear she wasn't necessarily scared, but a mix of disgust and worry were vividly present instead.

"They're not real sweetheart." Aaron tried to reassure, his gaze softening. "They're just decorations."

"I don't like that one." Ellie grabbed his hand, using her other to point at the menacing, horrific clown. "He looks mean."

"He does, doesn't he?" Aaron agreed, his mouth drawing into a pensive line as he played along. "But that's okay. They're meant to be for fun."

"They're not very fun."

The three began wandering through the display of frightful animatronics, led by Jack, a good idea in theory. Jack disciplinarily left Aaron's mouth a few times, as he attempted to get his sister to step on the sensors in order to get spooked.

Ellie ended up in his hold, gripping onto the collar of his t-shirt while Jack indulged himself in getting delightfully jumpscared. She merely watched, each burst of sound causing her to scoot closer into her father, more like her shield.

"Alright, let's find what we came here for." Aaron placed Ellie down, Jack beginning to browse as they reached the costumes. "It is a school night. We can't be out too late."

Selecting a costume, or even brainstorming an idea was bound to a lengthy task, the two of them utterly indecisive. Ellie adored every costume they passed, had to stop, look and point it out. Jack, on the other hand, was pursuing a more silent, observational strategy.

"Anything sticking out?"

"Maybe Spiderman?"

"You never stick to Spiderman." Aaron reminded him with a small smile, the fond memory of when Jack dressed up as him coming to mind - easily within his top five Dad moments of all time.

"Yeah... so maybe not that." Jack breathed out a huff, his eyes continuing to peer around. "Or we can all be superheroes." He poked an adult Batman costume, causing it to sway. "You can be this, and then Mom can be Wonder Woman or something."

Aaron nodded slowly, although he personally didn't plan on dressing up. But could he be persuaded by you and the kids? Maybe. "That could be fun."

"And then Ellie could be Spidergirl-"

Speaking of Ellie, she had grown suspiciously quiet - her chatter stopping altogether. Aaron's eyes shot down, only to find Ellie not besides him.

Jack was the one who verbalized it, his eyebrows crinkling in confusion. "Where'd Ellie go?"

Panic immediately swept through him, his heart rate heightening and his body succumbing to a numbing freeze. Fuck.

Suddenly, he didn't know whether or not his knowledge of child abductions were an advantage or disadvantage; knowing how to act quickly, but also the unfortunate outcomes.

his mind instantly shot to the conversations he had with victim's familiies with what felt like daily. The scenario had turned- he was in their shoes. And just as they all stated in their interviews: He should've been paying closer attention. He only looked away for a minute. He knew these things - why did he look away?

Attempting to push the statistics in the back of his mind, he was on the move, Jack following right at his heels.

"Ellie?"

Luckily the fear was short lived; she was two aisles over, captivated by the girliest costumes one could imagine, very Ellie-esque.

"Eleanor." Aaron breathed out in relief as he saw his piggytail-headed daughter, sweeping her right off her feet again. "You know better than to wander off."

"I wanna be this." Ellie pried a princess costume off the rack, Aaron paused as he lifted her so she could remove it successfully. "Can I Daddy? I really wanna."

"Well, let's make sure it's your size." He took it, doublechecking and allowing his heart rate to calm down. Upon confirmation, his eyebrows furrowed. "Are you sure you want to be this? Or do you want to be a superhero with Jack?"

"I wanna be a princess." Ellie insisted, a pleading tone within her voice. "Pretty please?"

"Sure, if that's what you want. We'll have to find you a crown too, or use one from home, it doesn't seem to be included." She nodded as Aaron tucked the packaging under his elbow, allowing him to hold both it and her. However, his demeanor switched over to one more serious. "But hey, look at me please."

Her adjacent brown eyes met his own; a touch of fault, and sincereness. She knew she had disobeyed in one way or another. And whenever she did, it was written all over on her face.

"No running off, okay?" He instructed sternly, but gently. "It's really important I can always see you, and you can always see me. We don't want you getting lost, yeah?"

She shook her head. "That would be bad."

"Very bad. Mom would not be happy with me if I came home without you." Aaron affirmed, eyebrows raised. "Do we have an understanding?"

"Yes we do." She replied cheerily, oblivious to the heart attack she had just given her father. "No running away."

"Thank you." He pressed a kiss to the top of her head, exhaling and the tension in his shoulders alleviating. Ellie was fine. No need for further panicking. Everything was fine.

And Jack, ever the dear, comically inputted, a witty grin plastered on his face. "Maybe Ellie should be the Flash instead."