[start i.d.: a drawing of wuvvy from acofaf at the masquerade ball in a white suit. she leans back against a balcony railing, holding a glass of champagne, looking dead-eyed forward as fireworks go off behind her. end i.d.]

i could stare at your back all day

2023 reads

The Spider And Her Demons

YA Australian urban fantasy/horror

about a Malaysian-Chinese girl who’s half spider-demon, just trying to keep her head down and survive high school

when she accidentally kills and eats a man in front of the most popular girl at school, they strike up a strange friendship and she starts to learn more about herself and the supernatural world

aroacespec/sapphic ish

sooooo much to say about tomshiv fight oh my god. holy fuck

Thinking of making a cole/roy toxic ship comic set to some of the lyrics of first love by mitski

🐍: AEGON II TARGARYEN and UNA ULLER -> x: HAND IN UNLOVABLE HAND / 🔮: DAEMON TARGARYEN and IOVANNA DAYNE -> x: LOVE IS THE DEATH OF DUTY

🌊: AURANE WATERS and VALAENYA TARGARYEN -> x: AURAENYA / 🥀: SAURON and ALMÁRËA ALFIRIN -> x: BLOODLINES WILL BURN

the darlings @leviiackrman, @dihardys, and @arklay tagged me to make the loves and their beloveds or clowns with these cutest holiday meikers! [ m/f | m/m | f/f ] ty ty! <3

TAGGING: @feystepped, @griffin-wood, @kingsroad, @jendoe, @denerims, @chuckhansen, @queennymeria, @risingsh0t, @jackiesarch, @florbelles, @aartyom, @belorage, @yennas, @adelaidedrubman, @confidentandgood, @malefiicarum, @anoras, @marivenah, @shellibisshe, @roofgeese, @aceghosts, @multiverse-of-themind, @stormveils, @unholymilf, @celticwoman, @rocketsummer, @shadowglens and you!

tonight I started playing The Stanley Parable and have thus been introduced to a new iteration of The Narrative(threat), which is The Narrative(cunt)

...

rot.ary di.al the aqua bpder song ever

do. do people know what no children is about

raime/velstadt too, is yuri

Do you have favorite actors for the various roles in "Cyrano de Bergerac"? I would love to hear your thoughts!

I do! I actually rambled a lot about this while I was watching the different productions I could get my hands on (I tagged it "Cyrano de Bergerac" and "I talk too much").

My favorite productions are the one with José Ferrer and the one with Benoit Solès, and those actors make the best Cyranos in my opinion. Though that's probably something in part beyond the actors' choice, their dynamic with their respective Roxane and Christian are the best ones, I think, and I find how Cyrano moves around these two particular characters at the core of a good Cyrano characterisation.

José Ferrer's use of his voice, which is arguably Cyrano's true most characteristic feature, is unmatched imo (although McAvoy does a very good job with this too), and he manauvers very well several of the different aspects of the character, such as his playfulness, his shittiness and longing. By the end of the play you believe he is the most beautiful man on Earth. Cyrano, however, is a bit pathetic (not just in a "pathos" way), and I'd say Ferrer gives off an air full of dignity very fitting of many scenes, but that eats almost entirely this aspect of Cyrano; Benoit Solès manages this very well, while also playing well with some of the other ones, such as the playfulness, the longing, the pain and the despair. Both Ferrer and Solès are hilarious, tender, a bit shitty, vulnerable, playful and sad. Albeit neither of them portrays 100% what Cyrano is, I think both come pretty close in slightly different flavours, and by the end of the play one ends up being terribly fond of them.

My favourite Roxane is Clara Huet in the production with Benoit Solès, but Mala Powers in the 1950 film is a close second. I think they portray wonderfully Roxane's spunk, and her mix of honest playful cheerfulness and her haughtiness, her intelligence and wit, and how much like Cyrano she is.

I've not come to love for now any Christian as much as I've loved Ferrer, Solès, Huet and Powers, but again I think the Christians in the 1950 film and the Solès productions are very very good. I love the dynamic they have with their Cyranos, especially the one Christian and Cyrano have in the 1950 film, enhanced positively by the added scenes (they actually work so well in showing their developing as friends, their deep love and care for each other!). I don't want to expand too much on this to avoid spoilers (beyond the already known 'Christian dies' ones I mean), but some things they do with both these Christians are a thing of genius, and both feel vulnerable, kind, ready to fight and truly desperate at times; I like when they do that.

There's an Italian production which has a Cyrano I truly enjoy as well, despite how they dumbify him more than I usually like my Christians. His mix of anger and deep pain when he discovers Cyrano's feelings for Roxane were so well made, and his physical presence makes you identify who Christian is even before the play starts.

The Podalydès production has two different Christians. The one in the version on youtube isn't bad, but @ride-a-dromedary likes Éric Ruf a lot. I actually adore him based on the clips and gifs she's posted of him, but I haven't been able to find the version with him online, so I can't know. But he truly seems one of the best. Based on what little I've seen, I love his intense gazes and subtle gestures.

I'm not entirely sold on any Le Bret, De Guiche or Ragueneau yet.

I think the German musical has a decent Ragueneau in vibes, and the 1990 French film does as well. I found his poem made song for what I think is a Spanish production (I'm not sure if it's a fan creation based on the Spanish production), and while I've not been able to find that production online, the song works well in vibes too I think.

The German musical's Le Bret in vibes is very good. He encompasses well his deep love and worry for Cyrano while also being done with his shit. They truly feel like close friends. The 1950 film kind of combines Gaston de Castel-Jaloux and Le Bret into one character, which sadly changes Le Bret's dynamic with Cyrano a bit, but that's a very good Le Bret as well. The one in Solès' production is pretty good too. He has my favourite delivery of the scene in which Le Bret chastises Cyrano for risking his life sending letters.

De Guiche is complicated. I think productions often make him too pathetic and laughable or too bad, so bad it makes the last act kind of not make sense. The 1950 one, the 1990 French one, the Kevin Kline one and the Solès one are all good, but I am not passionate for any of them either.

And basically that's it!

by the way

When i meet new people its really like

Me: okay. This is going splendid. This is going amazing. I like you, you are very nice, you are very wonderful, you are friend-shaped and you are great! This is going really well so don't say it don't say it don't say it don't say it-

Them: "...my ex/current partner..."

Me: FUCK, ANOTHER ONE???? So it really is just me around here that's never had any kind of relationship or interaction with someone who loves me like that?????? Wtf!??!?!

I do like the inclusion of jc's crush for several reasons though not the least of which is that wwx immediately becoming best buddies with wq without even having a crush on her is honestly more of a slap in the face to jc because it must feel like wwx won again without even thinking of it as a competition, which is literally one of the funniest aspects of the entire show