Why do you think the Weasley family didnt allow Ginny to play Quidditch? Afterall the sport is not segerated by sex at Hogwarts and all her brothers are used to young girls starting age 12 joining the Quidditch team and being team mates. In fact why is Ginny's interest the sport hidden to begin with when its the number one entertainment in the WW? (she doesnt join the World Cup talk in book 4, she is shocked at Krums wronski feint move, falls asleep at the after match talk, no mention of posters or love for Qudittich players in the ealier books as an excited little girl etc)

Like, out of Story, I'd say JKR just decided on Ginny's interest in Quidditch when she wrote book 5 and she decided Ginny would be Harry's love interest (honestly, I don't think it was all that planned).

In-universe, I'd say the younger Ginny probably isn't interested in Quidditch as a sport. Like, I think she was interested in playing because her brothers did (hence why she broke into the broom shed), but her interest in professional Quidditch was sparked only later, and likely not from home. I kinda headcanon she started growing an interest in professional Quidditch because, as she said in book 6, never really grew out of her crush on Harry, so she looked into it at first as a means of getting close to Harry. To have a common interest with him. I think she grew to love Quidditch on her own though, Harry was just what sparked the initial interest. That would explain why in the earlier books she isn't involved in any Quidditch talks or trying out for the team, she isn't interested yet in Quidditch as a professional sport.

As for why Molly would disapprove of Ginny's interest in Quidditch... the only quote I could track down about it is this:

“Come on, Ginny’s not bad,” said George fairly, sitting down next to Fred. “Actually, I dunno how she got so good, seeing how we never let her play with us...” “She’s been breaking into your broom shed in the garden since the age of six and taking each of your brooms out in turn when you weren’t looking,” said Hermione from behind her tottering pile of Ancient Rune books. “Oh,” said George, looking mildly impressed. “Well — that’d explain it.”

(OotP, 573-574)

Fred and George imply they were the ones who didn't let her play with them, as a sort of "annoying the youngest sister" thing and a "ugh, the younger sibling is on the field so now we need to be gentle", and not so much Molly not allowing her to play.

I'm sure as the only daughter, Molly was incredibly overprotective of her, and I actually remembered Ginny being forbidden to play by her, but when I went back I couldn't find any quote about it. Just her older brothers leaving her out, which, is pretty usual with siblings. Ron also mentions they didn't let him join them all that much, so, it's just Ron and Ginny being the youngest siblings and left out and not Molly being unfair towards Ginny.

So, Ginny wasn't forbidden from playing by her parents, her brothers just didn't want the little sister to play too because than they'd need to change how they play to accommodate. Because you could bet that if Ginny was playing Molly would shout at them being too forceful.

thoughts on obey me as an actual game? anything u wan a change if given the chance?

it honestly makes me mad everytime i think about the obvious lack of effort for world building but specifically for the nobility plotline... sooooo underutilized it's upsetting. like i've read isekai manhwas with better use/grasp of the nobility and political climate... also (can't remember if it's from swd or nb) the fact that lucifer and the brothers' are basically living off an allowance/salary set for them by diavolo is just... ugh. they couldn't have given them actual positions with titles ??? they couldn't have brought their title as princes/lords of the underworld into play ??? like i get they did it for the game, for shits and giggles and idk maybe it's just me lawl

sorry for ranting lmao i've sent asks a couple times and i quite like your insights and takes on things. was wondering if you'd have anything to say 🫡

I love talking about this stuff! I know it's a dating game and the lore/world building is basically an afterthought because the game's focus is on MC's relationships with the characters now, and not necessarily on the world/characters before MC existed or became involved.

I've mentioned before that the world feels really empty to me at times because they don't really talk about characters that exist (in a meaningful way) unless they're the established dateables (or soon-to-be dateables) for MC. Many of them are nameless demons/angels (the demon lords, the owner of The Fall that's been mentioned more than once by his title but not name), generic sorcerers and angels we know exist in the other realms. (For some reason, Uriel has been name-dropped twice with very little info besides that.)

Part of my motivation for developing the angel/demon OCs is to give more context and depth to the world that MC interacts with, even if they don't necessarily interact with MC in their own day to day lives. There are countless Devildom businesses that keep the realm running – who owns them? Who are the demons that develop their technology and vehicles? Who are the demons that acquire the raw materials used to build these items, or design/build the Devildom's architecture and homes? Who are the professsors at RAD and the other students? They're probably not all demons born from nobility, so where did they come from? What do the parts of hell outside the Devildom metropolis look like? Do they live on other levels? Rings? How easy can you travel between them, or why would you want to (or not want to)? Who are the demons that make up the demon armies and where do they live? Also, how in the world did Solomon end up in pacts with so many powerful demon lords, and now that he's not a power-hungry king, how do those pacts serve him (and the demons he's bound to)?

So yeah, maybe I think about the game world a lot because there's so much potential that goes ignored. I understand that the game isn't meant to be an in-depth look at the Devildom or Celestial Realm outside of what's relevant for character development or plot purposes, but it would be nice to have answers for some of the obvious questions that come up over time. Some of the information we're given in Nightbringer feels incomplete or doesn't match the tone/characterization we were presented with in the OG game either which makes me worry about continuity issues and retconning going forward.

(This got long so the rest is going behind a read-more link. lol)

When I started developing/outlining The Fall, it was meant to be a personal interpretation of the game's lore and my own creative spin on filling in all the gaps. At the heart of it, it's a love story between two angels-turned-demons. But the worlds they live in change over time, and there's a lot of nuance and deeper insights to explain how and why those things happen.

Some of the topics I wanted to explore in this project include:

Rank/power structures in the Celestial Realm. Basically, how do the various ranks of angels interact with each other, and how do they view angels with ranks higher or lower than their own?

Xenophobia. How angels and demons interact and perceive the other races/species. Metatron is an angel that was originally born as a human and ascended to the Celestial Realm after being chosen by Father to do so. Knowing that, how does his former human life impact what other angels think of him, if it does at all? (Spoiler: It does.) There's also significant issues that come up with the arrival of fallen angels, although Meta and Azra falling has very different reactions compared to Lucifer and the others later.

The role of the Seraphim. This story begins before the Celestial War with Lucifer, so he and Michael are still the two primary beacons of power in the Celestial Realm. How often do they agree or disagree on handling disputes, and how do they resolve their differences of opinion? I also wanted to explain the role of other Seraphim – basically, it's not just Michael or Lucifer calling the shots, and the other Seraphim are expected to lend their voices to discussions/debates about serious matters and it's treated almost like a council where majority vote wins if they can't all agree on something.

Side note: I really don't like the idea that Michael (or any of the other Seraphs) are free to do whatever they want without any sort of accountability or repercussions. I think the things Michael might want to do (ex. sneaking into the Devildom in disguise) and what he should do (literally anything but that) are two completely different things, and being emotional/grief-stricken isn't a good excuse for a leader that wants to YOLO his way through his problems when he has an entire realm of citizens he is responsible for. Gabriel is my solution to some of Michael's emotional impulses and rash decision making. He's the angel OC that acts as Michael's voice of reason when he struggles to separate logic and reason from emotions. He keeps Michael in-check when he wants to do things that are too erratic or personal, but he whole-heartedly supports Michael's plans or ideas that benefit the Celestial Realm. I like to imagine Gabriel and Barbatos are similar in that way and have the potential to be good friends as they bond and commiserate over their loyalties to leaders that sometimes act like spoiled children.

Fallen angels in general. There are a lot of fallen angels besides Lucifer and his brothers. Meta and Azra are two angels that go through the process of falling together and I had a lot of ideas about how I think that looks on a physical and spiritual level. There are differences for angels that are cast out by the Seraphim for breaking the rules/putting the Celestial Realm at risk vs. angels that choose to fall vs. angels that are punished by Father for defying him regardless of what the Seraphim choose. Azra and Meta's motivations and reasons for how/why they fall are slightly different, and how that plays out (and the impact on the angels left behind) are different too. They don't have a pre-existing relationship with Diavolo to pave the way for their new lives in the Devildom either, so how do they cope? Who helps them start their new lives, and how do they navigate being strangers in a foreign land while undergoing the physical and emotional changes of becoming demons? Diavolo's father is still the Demon King when they fall and it's only Belial's involvement that keeps things from completely going off the rails after their arrival. The fact that Belial himself is a former angel has its own significance. There isn't a manual or one-size-fits-all approach to this either, and Azra and Meta demonstrate how the Devildom's negligence of their newest citizens can lead to disastrous results sooner or later.

Navigating tension and conflict between the Celestial Realm and Devildom. There is violence that breaks out between the two realms, so how does the Celestial Realm respond to that sort of crisis? Once in the Devildom, there's a glimpse of how the Demon King (Diavolo's father) handles these developments and why the conflict happened at all. (Spoiler alert: Belial is an antagonist in this part of the story for a reason.)

What is Solomon up to? He has all these pacts with powerful demons and he's no stranger to the Devildom, so of course he's going to be interested to meet some new fallen angels – especially one with as much power and common interests as Metatron. Solomon is very human in this story too. He has his own selfish motivations for getting involved, but he also shows genuine care and concern for those he considers friends. He gets involved maybe more than he should, but for good reasons. He's a useful bridge to help the demons understand some of the obvious implications of having ex-angels living in their world. He also manipulates things a bit behind the scenes because of his connection to Barbatos (and therefore Diavolo) but there's no immature feud souring their relationship in this story. (Gonna be honest, I do not think Barbatos's problem with Solomon had anything to do with his place on Solomon's list of demons.)

Lesser demons and the nobility. I wanted to explore the lives of lesser demons versus the lives of noble demons. Where they live, what they do for a living, how they view demons of higher/lower ranks than themselves and other races. Zee's an example of a lesser demon who does whatever he needs to do to earn a living for himself, and Azra doesn't have much clout behind him so they almost meet each other as equals. It's an interesting look at their friendship and the way connections to more powerful demons (like Belial) help them both make better lives for themselves in the central Devildom where they eventually grow their business and social reputations. Meta, despite being a fallen Seraph, has practically no motivation or reputation to speak of and this has its own consequences later. But Zee's not the only lesser demons in this story, and if you thought the nobility in Nightbringer had problems with fallen angels, the lesser demons are far more hostile towards them – they're the ones on the front lines whenever war with the Celestial Realm breaks out, so its understandable they might not be very welcoming. For the demon nobility, the ones that aren't actively criticising fallen angels are mostly indifferent to them, but that's not such a great thing either.

There are other areas I wonder about that I don't explore in The Fall, but I hope to do so for the various OCs and their stories. The Devildom's power hierarchy/use of titles is one of them. The demons of the Ars Goetia all of their own armies at their disposal, and some are dukes while others are kings. That doesn't seem to have any meaning or impact in the game world, but surely there are ways that can affect how the demon nobility interacts with each other? It certainly made a difference to Solomon, I doubt he would've wanted so many pacts if the demons didn't have anything to offer him at the time. The how and why of Solomon's pacts is it's own area of exploration, which I hope to do with Belial and Bathin.

STAR TREK: PICARD - S2E9 Hide and Seek

thinking about how people who watch the emperor's new groove and somehow come out of it shipping pacha and kuzco, or thinking yzma only became evil when kuzco fired her and that she would've been a better ruler than him, are both so wrong in so many different ways and are also missing one of the things that i absolutely love about the movie. which is that, the way i see it, pacha and yzma are counterparts. as parental figures to kuzco.

like, just to get this out of the way first, yzma was a dismissive asshole to a peasant whose family was starving. and yeah, if kuzco had been in her place he definitely would've also done that, which... is why she would not be a better ruler than him. she'd just be the same because they're both horrible people in the exact same ways. her reaction to being fired is to plot murder, and as soon as his funeral is over she sets everyone to work on replacing paintings of kuzco with paintings of herself and covering the palace with imagery that makes it clear that it's all about her now. i'm not even sure why this is a discussion tbh.

and also, kuzco is literally a teenager. he's barely 18 years old. source: in the movie, yzma says at his funeral that kuzco was "taken from us so tragically on the very eve of his eighteenth birthday." she also claims in the movie to have "practically raised" him, to which kronk replies "yeah, you'd think he would've turned out better". and sure, she could be exaggerating, but what evidence do we have that she is? we learn absolutely nothing of his parents, who are never mentioned even once in the movie, or of anyone else who could've raised him, and she's his advisor who for some reason sees no problem with attending to royal duties in his place. most likely because she's his regent. also, i'm not exactly a fan of the sequel tv series "the emperor's new school" but it does have something that backs up my point: kuzco is revealed to be an orphan and just before his father went and got lost at sea, he asked yzma (who was also his advisor) to take care of kuzco if anything happened to him. so, yeah, the writers who worked on the series clearly thought that yzma genuinely did raise kuzco, and nothing in the movie contradicts this.

and i find the idea of her being his only parental figure for pretty much his whole childhood incredibly interesting because, and this also goes back into why she wouldn't be a better ruler than him--she mirrors him as a reflection of what would've become of him if he'd never met pacha. they're both incredibly arrogant, power-hungry, selfish, and cruel, with a tendency to blame their problems on everyone but themselves. yzma was even originally going to have her own reprise of kuzco's theme song "perfect world", which i really wish had been kept:

[ID: Lyrics that read:

I'Il be the sovereign queen of the nation And the chicest chick in creation I'm the cat with all the cream and ooh-la-la This deadly concentration Will put an end to my frustration Now this perfect world begins and ends with moi

What's my name? Yzma, Yzma, Yzma Yzma (what's my name?) Yzma, Yzma (What'd you say?) Yzma (Ha ha ha ha ha ha ha ha ha!) Yzma. End ID]

(this song can be fully heard in "the sweatbox", the documentary about the making of the movie, and is also on youtube btw)

anyway, i'm sure yzma would not exactly have been the most nurturing or hands-on guardian, especially given that she and kuzco don't exactly treat each other like family. but it makes a lot of sense to think that her behavior influened kuzco's throughout the years. and for the entire movie, she remains determined to kill him. when he tries to reason with her and admits that he should've been nicer, she says the same thing to him that he originally said when he fired her. she never grows or changes and in the end, she hurts the one person who was willing to stand by her (and even then, kronk had never fully been on board with her plan) and he ends up trying to crush her with a chandelier. kuzco on the other hand is able to realize the error of his ways, come to regret who he was in the past, and start taking steps toward being a better person. his theme song gets a reprise where it's changed from a song about one person being the center of the world to a Power Of Friendship song. why? because, as i've already mentioned, he has pacha.

pacha, who similarly to both yzma and kuzco is in a position of authority as the leader of the village but unlike either of them is gentle and humble. who isn't afraid to stand up to kuzco and be honest with him even though he's the emperor, who agrees to take him back to the palace but has no obligation to be so helpful, kind, and caring toward him--and just about every reason not to be--and still chooses to be anyway. pacha who is 45 years old (also stated in the sweatbox documentary) and can see that kuzco is practically still a kid, not a single day over 18, who has time to grow and change. pacha, who already has a wife and two kids with another on the way, but practically treats kuzco like one of his own. who acknowledges that if kuzco dies all his problems will be gone and then still worries about him and goes out of his way to rescue him after he wanders into the jungle. who sees kuzco shivering at night and covers him with his poncho, who carries him when he's genuinely too weak to keep walking, who refuses to give up on him even after repeatedly being betrayed by him because he believes there's good in everyone.

also, while yzma ends up repeating kuzco's harsh words of dismissal as she tells him of her plans to kill him, kuzco had previously repeated pacha's words that "nobody's that heartless" after he saved pacha's life. and as the movie progresses kuzco and pacha's relationship becomes more and more equal and is constantly contrasted by moments of yzma being cruel and unappreciative of kronk's kindness. a good example of this is how kronk is constantly being forced to carry yzma everywhere on his back while yzma literally walks all over him and steps on his hands when she gets down, whereas when pacha briefly carries kuzco after the latter collapses he tells him he'll have to walk the rest of the way later and kuzco doesn't even protest.

idk if i'm even explaining well what i'm trying to say here. but basically, if yzma actually raised kuzco and contributed to his current behavior, then she and pacha both are figures who guided him and helped him grow. only yzma helped him become the tyrant that he was at the start of the movie, who was selfish and callous and saw everyone else as beneath him. whereas pacha helped him see the value in being selfless and considerate of others. and in the end, yzma is stuck as a cat and nobody is concerned about her. kronk has found a new job that makes him genuinely happy, while kuzco has decided to build a hut on the hill next to pacha's and effectively joined his family. in the sweatbox documentary it's even mentioned that chicha and the kids were at risk of being removed from the film, but it was decided that they needed to be there because having just pacha as a single guy who lived alone wasn't interesting enough--kuzco needed to go from having basically an empty world where he had nobody to being able to come together with pacha's whole family. and i just think that's incredibly satisfying and beautiful. it also leads up to one of the few things i really do enjoy about the emperor's new school, which is the fact that during the show kuzco moves in with pacha and chicha and pretty explicitly thinks of them as basically his parents while he's like a son to them.

idk. i feel like my mind went in a million different directions while i was writing all this. but i guess i just think that for all of the praise the emperor's new groove gets for its comedy and for how hilarious yzma and kronk in particular are as a duo, the movie also has a lot of genuine heart that gets overlooked. kuzco's character growth and his unique dynamic with pacha is, for me, really what elevates the movie from just a funny movie that i like to one of my favorite disney movies. and i wish more people appreciated that aspect of it and saw it as a found family story in the same way that treasure planet, brother bear, and lilo and stitch are all found family stories.

Anyone else get really emotional about their OCs? 😭😅

Started working on the next chapter of my fic yesterday and I had to stop to draw Pat and Achilles with Max because I just love the little family I’ve made for them! 🥺

you really can't write another song about your broken heart x

[Machines hum and rattle around Jude in agonizing dissonance, like nails on a chalkboard. He just needed to get out a little, cleaning up his apartment had left a sour taste in his mouth.] [The little things he finds have memories swarming the forefront of his mind, like spare arcade tokens, stowed away in his desk drawers.] Stevie: C'mon, one more round? I'll let you win! [An old pair of drum sticks, worn out after years of use. A little 'S' carved crudely on one of them.] Jude: You gotta pick up the sticks first. [Her laughter echoes in the small space. Jude would’ve done anything to make her laugh.] Stevie: Shut up, you dork! I know that. [Crumpled concert tickets, the ink of them wearing away over time.] Stevie: We should've gotten high before we left. Jude: I'll buy us drinks. Stevie: It's a fucking Oasis cover band. I'll need something stronger. [Journal Entry: Jude is attempting to write another song, the lyrics are from the song Look What You’ve Done by Jet. Half of the second verse is scratched out, with the words "FUCK THIS" written next to it. For story purposes, he’s writing these as his own lyrics. ]

yes, i love mde. yes, its my favorite of the mafia trilogy. yes, i can say with 100% conviction that objectively… tommy is not an interesting character. for him to be the protagonist, he sure does have no depth to his character written in the game

Here’s a sketch of George I thought was pretty (also bonus Maria staring cause she’s not immune to this idiots non existent charms)

the difference between The Painted Lady and Sokka’s Master—what makes one so much more iconic than the other—is that The Painted Lady may as well be Imprisoned (season one), just done-up in Fire Nation attire. we learn nothing new about katara in that ep that we didn’t know from season one. and The Desert in season two CEMENTED katara as the heart of the group in a way that wasn’t even necessary to try to do again in season three.

Sokka’s Master, on the other hand, gives us a whole new look at sokka. Imprisoned and The Warriors of Kyoshi (in season one) are katara and sokka eps respectively, meant to give us a look into their characters and acquaint ourselves with them. season two is incredible because it assumes we already know the characters, and it lets us sit in them and enjoy the ride for amazing arcs through Story, above all else. but early season three brings back the Character episodes. the Headband, Painted Lady, Sokka’s Master, the Runaway (and as a bonus, unlike season one, we also get The Beach for the FN team). each main character gets their own re-establishing ep. great, cool, whatever—what about Sokka’s Master tho?

shhh patience lol i’m getting there. Painted Lady shows that katara is the same, she still cares about the lil guy(s), despite all else, just like she did in Imprisoned. she can’t leave desperate people behind.

but in The Warriors of Kyoshi, sokka thought he was the Shit, and had to have it proved to him that that wasn’t the case (god bless u suki). in Sokka’s Master, however, it’s the exact opposite. his arc at that point brought him to having nearly no faith in himself. Warriors of Kyoshi was about bringing sokka down to earth (being A MAN💪🏽 isn’t the end all be all), and Sokka’s Master is about bringing him back up (what does it mean to be a man? 🌈). it’s obviously a huge shame that the invasion ended up sitting him right back down again in his insecurities. but i imagine if Sokka’s Master had never happened, he wouldn’t have been able to bounce back post-Boiling-Rock, regardless of whether or not he’d successfully broken his dad (and suki) out. he needed the foundation of self-confidence to beat away the doubts later.

anyways, point is.. at least personally the Painted Lady ep has never stuck out to me as special, whereas Sokka’s Master is one of my fave eps of the show. and that’s not because i have it out for katara or anything and held sokka in especially high regard (Sokka’s Master is largely WHY i now hold sokka in high regard—but The Desert ep put katara in just as high a regard in my book, along w probs a dozen other eps that showcase her unique character). Sokka’s Master stands out because it shows us a new part of sokka, but the Painted Lady doesn’t show us anything new about katara. in a show that’s ultimately rather short, episodes that seem like clones the way Painted Lady & Imprisoned do end up feeling lackluster. idk. this isn’t to say i dislike the Painted Lady, i just wanted to get my thoughts out

Homesick (Patreon)

This is technically a Diana's age poll but I framed it partially around Julia's rescue because that's the event I need to contextualize and whether or not Diana is a thing yet is p important for my purposes. I would keep the Pérez run and postcrisis continuity in mind when answering this bc that's when this is relevant but I'd keep in mind that even though Diana is very young there (like early 20s) we don't know I don't think if she ages differently as a child (esp as a themysciran AND being made from clay) and in some versions she is older than she looks and was made earlier

Edit: I accidentally logic-ed this out in the tags lol 🤦‍♀️but feel free to still vote however you want. Going to publish this anyway bc I think I made some good points later in my tags

I want to be someone who has smart and interesting things to say about shows/movies that I like - like when I tried to convince my friends that they really need to watch Leverage. that would have been useful! instead I'm just like 'it's sooo good I like it so much I love all the characters they're all so awesome 🥰'

my thoughts are generally just like.

ooh he soo prettyyy. I want to braid his hair. hehe he punched someone. look at his lil face 🥰 baby boi. pretty smile his mouth is so nice I like his teeth. chest hair. hands! arms arms arms 🤤 his eyes are so pretty. oooh blood on his face, blood on his face! he's growling. annd his voice is all raspy again. I wonder [many many redacted thoughts]. ooh now he's in danger oh noo 😏

there's a bunch of 'she's so pretty' and 'I love her' somewhere in between all that too but mostly it's just. very, very stupid

LOVE ME THE MOST THE MOST YOU POSSIBLY CAN!!!!!! LOVE ME THE MOST I NEED TO BE THE ONLY THING IN YOUR MIND

also more odds & ends orville info & more not Not orville/phil info as well:

"In Steinkellner’s version of Summer Stock, Jane Falbury (Danielle Wade) and “Pop,” her father (Stephen Lee Anderson), are struggling to hang on to the family farm. Their farm is one of the few in the Connecticut River Valley that hasn’t been absorbed by the Wingates, whose holdings completely surround theirs.

The widow Margaret Wingate (Veanne Cox), whom son Orville (Will Roland) aptly describes as having eyes “as cold as death itself,” plans to absorb the Falbury farm by the simple expedient of having Orville marry Jane. After all the two kids had decided they were engaged in first grade!

Enter the prodigal younger sister Gloria (Arianna Rosario) who has been seduced by the lure of the Great White Way. She returns to the farm bringing along Joe Ross (Corbin Bleu in the Gene Kelly role), the director of the show that will make her a star, its composer Phil Filmore (Gilbert L. Bailey II), and the entire company. She has generously offered the company, which can’t afford rehearsal space in New York, the use of the family farm’s barn. Sister Jane reluctantly agrees to the intrusion with the proviso that the thespians will double as farm hands.

As rehearsals progress, Phil discovers that Orville, a bit of a doormat who has been raised with the understanding that he will never have to work, is a musical wunderkind. He is enlisted to work his magic on the show’s score and begins to blossom.

Widow Wingate takes umbrage with all this and vows to shut the enterprise down. Fortunately, the cold embers in her soul are stirred to renewed life by her encounter with Montgomery Leach (J. Anthony Crane), the has-been ham enlisted to give Ross’s show some cachet, so all might not be lost.

[...]

They make this Summer Stock a veritable feast of nostalgia. I was especially taken by the amusing way Steinkellner used Jackie Gleason’s theme song “Always” to further widow Wingate’s plot to get Jane and Orville hitched.

[...]

Orville, who has found personal liberation in show biz, is accorded a moment that reminded me of a similar scene in the musical version of The Producers. In a triumphant declaration of his emergence from under his mother’s thumb he exults, “I’m in the theatre! And I love it!” The audience loved it, too.

[...]

As director, Feore has elicited some wonderful performances, especially from subsidiary characters. Veanne Cox is splendid as Margaret Wingate as is J. Anthony Crane as Montgomery Leach, the faded matinee idol. Will Roland (Orville) and Gilbert L. Bailey II (Phil) both have wonderful moments and their intense professional friendship is one of the show’s highlights."

INTENSE PROFESSIONAL FRIENDSHIP you say....and also ofc everything about orville and wanting to be a musician and being in the theatre and he loves it sounds so good. i love it

Run-of-the-mill flagrant w* shippers are awful and disgusting of course but god those Kripke era purists who literally salivate over how fucked up the Sam + Dean + John dynamic is and act like the most intellectual people on earth for doing so. And are quietly but very obviously into w* but not in a typical shipping sense and rather in the sense that they have a real and perverse enjoyment of abuse and emotional incest. Those people are truly one of the most disturbing and terrifying types of people on here.