So at this point, if we get him back, we're not getting him back whole, are we?

There's no way the same writers who've spent an entire season lingering on Crosshair's PTSD would just give Tech a factory reset with a bump on the noggin'. And there's no longer time to give him a healing journey. The best we can hope for is open-ended optimism. The possibility that he might be himself again someday, in a future we'll never see.

It's starting to feel like a Faustian fucking bargain at this point.

i never understood ppl claiming percy has never suffered the consequences of his loyalty. you're talking about percy "i know the prophecy said my friend would betray me but these are my friends they wouldn't betray me" jackson, who walked into a remote part of the forest with luke and almost died in book one. you're talking about percy "kronos told me point-blank there was a traitor but i can't imagine any of these ppl betraying me" jackson, who decided to stop looking for the traitor and moved on. you're talking about percy "nico is acting suspicious and very clearly hiding something from me but he's my friend and i trust him" jackson, who walked into nico's very obvious set up and almost got himself held hostage during the titan war. percy is so loyal that he cannot fathom betrayal until it's happening, and it has nearly killed him multiple times.

I LIVE SO I LOVE

for @aprylynn 💙

© namuspromised, doolsetbangtan spotify template, animated lyrics template

Ppl going "waaahh unpopular opinion but Alice is kind of annoying and obnoxious and I don't think I'd like be her friend irl" is so funny to me bc like.

God forbid a cast of characters be multifaceted and have actual flaws and unpleasant aspects other than "grr angsty hero" and "whoops i'm so clumsy". Sometimes character dynamics and arcs need to be prioritized above "who would i personally be niceys with irl"

2. bro just WAIT until you hear about season 1 jon lol

Pac: Fit. Where are you, Fit? Where are you, Fit? Where is my official gossip???

It's always very funny hearing Pac and Fit complaining when the other person hasn't logged onto the server yet, lmao.

The h

the summer after finishing university in New York, Marinette gets invited to a camping trip with Alya and Nino and his best friend. which, honestly, is for the best. at least she has more time than the four years she's already had to figure out how to reach out to her one-time superhero partner, with whom she fell out of touch after the reveal.

only, it's Adrien Agreste waiting for them on the meeting point, beaming so hard at her that it's blatantly obvious they know each other well. in her panic, what is Marinette supposed to tell Alya and Nino to protect their identites, if not that they used to date?

(fake exes AU x there was only one tent)

More MDZS and Hollow Knight! The cool bugs I found in my backyard have started to unionize.

Part 1 - Part 3

Day 2, I like to think emmet wasn't even lucky, he was just over odds so he was bound to find a shiny

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 haven't seen it yet but is 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

After the Noise update got my thoughts sorted, I actually think Noise and Peppino are not evenly matched in a fight. They're obviously still relatively equal as rivals, and I think Peppino doesn't fully tap into into his potential most of the time, but I also think Peppino is ultimately stronger-- and that fact pisses Noise off to no end. To catch up, the Noise cheats, steals, and distorts the truth to make himself look better/stronger in comparison as much as possible (not that he even cares about being fair or fighting clean, as seen in his boss fight) and it still only gets him so far.

So much of the update reads as Noise being incredibly petty and using his movie to not only appropriate Peppino's accomplishments for personal profit, but rewrite them / cheat them so he gets to one-up Peppino at every step of the way. Even in the swap mode he gets primacy!

It's probably most telling that Peppino blasted through the final boss rush just through sheer pushed-to-the-brink adrenaline rage, while in Noise's movie reenactment he had to give himself literal super saiyan bomb superpowers out of nowhere to one-up the guy lmao. He's such a gremlin with such an insecure ego, I love it.

I think we need to talk more about the fact that xisuma uses an oven and his bare hands to make tea

so something i noticed on my latest black sails rewatch is that despite most of the show taking place on various ships we never really find out what skills silver has as a sailor? like he's pretending to be a cook when flint's crew picks him up and we never see him doing regular sailor duties on the walrus, and when he's briefly left in charge while flint is ashore he says that he's basically agreeing with whatever mr. de groot says to hide that he doesn't know what he's doing. but also he wasn't the cook on the ship he was on before the walrus and he knew where to damage the ship to keep vane's crew from leaving charleston, so he is an experienced sailor? maybe? i don't have a point i just love how the more you watch the more you start having flint on the cliffs moments where you realize that despite watching him for four seasons, you don't really know anything about john silver

So anyway when are we gonna get a story where Dick's helping a mother amidst chaos, and he's like, "Here let me hold your baby for a second." And so he takes the baby but then it's like mass amounts of people pushing and shoving, and Dick and the mom get separated, so now it's just Dick and this baby, and he's trying to find the mom. Except that's when the baddie that's causing chaos spots Dick, so now Dick is hustling and swinging across rooftops with this baby, and he's getting further and further from the mom, but he can't stop or else the baby might get hurt in the crossfire.

He does, however, spot some people hiding in a less crowded/chaotic section of the city, so he quickly jumps down and is like, "Watch the baby for me, and if you do anything to hurt her, you won't have any teeth to eat breakfast with tomorrow."

Then it's literally just Dick trying to end his fight with the baddie as quickly as possible so he can get back to the baby and find the mom. But then! Dun, dun, dun, duuuun! Dick finishes the fight and goes to retrieve the baby, only to find that the people he left the baby with are gone.

So now Dick's sweating, and he's gonna have a breakdown if he can't find this baby. He once kept a baby alive for 10 days in the desert, he'll be damned if anything happens to this one.

listen it's very. even when playing gale's romance I am guaranteed several solid cutscenes of Astarion talking about his life, his perceptions of things, his ideas; the bite scene, the after that, the talking about your companions blood, the proposition, all the little conversations about being a vampire + how to become a vampire + what life was like that have several dialogue options. whereas these same "stock" conversations with the other companions tend to have ONE, maybe two dialogues with choices following if that much (for example, with Karlach it tends to be 1. ask question 2. she answers and it ends). there's a solid foundation of pacing and work put into astarion's storyline that even without his romance, his presence WILL be felt unless you just straight up never speak to him. which is to say, that THAT writing is really good! but if they couldn't uphold that same standard of effort and time across the board and ensure all the companions have some measure of equality, theeeeeen... something shouldve been done there to make sure it was at least somewhat equal. it also sucks that gale/wyll/lae'zel/shadowheart were all received ""poorly"" in contrast to astarion during EA (or received harsher critique anyways). I still believe there was a lot of solid character work and richness to their EA personalities that I dont know totally carried over in rewrites--decreasing the amount of conflict, lessening the "flaws" of these characters--contrary to what larian says about staying true to their core ideas in some places. so it sucks that you can see how with that effort and focus, astarion's storyline really is really well done for the kind of game that it is, and no one is saying bg3 is wanting for stuff to do, but there is a clear gap in effort and time put into the other companions when they absolutely deserved just as much time and effort as astarion, and the thing is. the writer confirmed it! confirmed that more time was put into him. like cmon man

Some days I'm normal, other days i think about how maybe the only reason Kaeya survived his fight with Diluc was because every cut made by that claymore was cauterized immediately because of the pyro :(