#this performance change me

[eobard-thawne]

FAVORITE SCENES FROM BECOMING ELIZABETH: 5/∞" Lord Dudley! I'm sure my brother could increase your income if need be. There is no need for you to resort to robbery. Now, Mary, it is entirely within your power for this to be the last we ever speak of it. The louder you protest, the more you fracture an already fractured country. I suggest then you give me nothing to protest. You think I can concede to this plan? Marry a foreign heretic, be shipped away to a Protestant court? A woman's family arranges her marriage, and a subject obeys her king. If you protest, you protest the natural order of things as set out by God. You're protesting God. I will marry any man my brother sees fit, as long as I will be permitted to practice my faith. Perhaps you will. May I suggest you ask him nicely."

[simswoon]

💕⋆.˚🎧

previous // next // beginning

Theo: "C'mon, teach me how to play!"

Lennon: "Theo... you're just gonna mess around."

Theo: "I'll actually try this time, please?"

Lennon: "Fine, but take it seriously"

♬ ♡ ━━━━━ ⋆⋅☆⋅⋆ ━━━━━ ♡ ♬

Theo: "I know it’s cheesy, but I couldn’t help myself. What do you say—will you make it the best night ever with me?"

Lennon: "You're such a dork... of course I will."

[hallucinatinghalos]

I don't think this contains spoilers but if you don't want to hear any book references or season 3 speculation be warned.

Reading the interview clip where Sam Reid said that Lestat is ripped from the stage by Magnus is wild because we know he knows the books, that's not how it happens there, so he's maybe let Rolin's version slip. Which, if holds true, would be a seismic change. Instead of being torn from Nicki's arms while they sleep, Lestat would be taken during a performance, in front of an audience. Surrounded by humanity, by those he loves, but not a soul can save him. The one place that brought him joy would now be connected to the trauma of Magnus and his turning. If he truly is going to be the catalyst for the theater becoming hunting grounds in the show, for better or worse, it would seem to be related to this change as well. Also, his rockstar moment would have a desperation to it that reflects the books but is tragic in its own way. It would all become devastating in a subtly different way than how Rice wrote it. Even events that only happen in the show would have a different impact. Like Armand first approaching him telepathically while he was on stage would now seem cruel and calculated, and later choosing to put the trial on stage. Sorry about the ramble but it blows my mind how much a small change, changes so much. The murder of the opera singer...the mocking of the Dracula film...the baby on the Mardi Gras float...would all feel different.

[betterwithbooksthanwithpeople]

we are sleeping on alex joseph grayson as dally I fear. cannot stop thinking about this guy. vocals? phenomenal. stage presence? yes. it's the way he plays dally like he's 17 for me (which yes is book canon age but stick with me) - like what do you mean this kid is so idolized by johnny and ponyboy that he has to make a plan to keep them ahead of the cops and then when johnny is all "yeah no we're going back" he just doesn't know what else to do? i feel like others have played dally really frustrated in that scene but alex dally just seemed so desperate. the musical especially sets up this parallel between darrel and dally and the way alex does it makes you go right, these are both just kids trying to act like adults because there's nobody else. i'm sick about it.

[doverstar]

rewatched Stand Tall and got to thinking about how when Luke shows up on stage and starts singing with Julie the camera cuts sharply to Trevor and Carrie in the audience, who are both looking at former best friends, and one of them is freaking out and one of them is realizing she's been wrong about her former friend, and both of them are sitting there stunned and where is this thought going I don't know but boy is it interesting-

[floweycidal]

the whole thing's devastating in itself, but would you guys believe me if i told you this part specifically makes me so super sad

flowey doesn’t allow himself to feel the snow. not really. he won’t talk about how the cold steadies him, or how it stirs memories of simpler times. he avoids thinking about the quiet. the way the world slows down under the weight of winter, how everything feels softer, almost bearable.

the peace feels too close. too easy.

thoughts like that aren’t for him. perhaps they never were. they belong to someone else. and flowey doesn’t get to be him. not anymore.

so, instead, he ignores it. kills it in its infancy. turns away from the idea before it drags up pieces of a life he refuses to remember. he acts like happiness isn’t something that should happen to him. a mistake. an error in the system that needs to be corrected.

there’s always this jaggedness to his words, something sharp enough to keep anything tender at bay. if something feels good, he cuts it down to size—turns it bitter, spits it back out as cruelty. it’s instinct by now, as natural as breathing.

that’s what flowey does. he tears things apart before they can convince him he deserves more. after all, it’s much easier to laugh at the world than to feel it.

this is just the way things are. the way they have to be.

the softness never feels right anyway. it’s awkward, like trying to cup water in clenched fists. like touching something delicate with hands meant only to destroy.

he’s flowey. he has to be flowey. and flowey doesn’t get to savor things. he doesn’t stop to enjoy the way the snow hushes the world or let the cold bite just enough to remind him he’s alive.

he knows better.

there's almost comfort in that. in shutting things down, in turning them brittle before they can take root. it’s neat. predictable. safe. no dangerous hope worming its way into places it doesn’t belong. no warmth overstaying its welcome. just the same old ache he’s carried for as long as he can remember—steady, familiar, dull.

manageable.

because if he let something good in… what then?

would it stay? refuse to leave? would it start to matter?

would he start to matter?

flowey knows exactly who he is. the villain. the failure. the one who tried to make things right and only made it worse. if there was ever a chance to be anything else, it’s long gone. whatever good might have existed in him has been buried beneath years of mistakes, smothered by everything he couldn’t save.

he had a plan once. a way to undo it all. make things right again. but it didn’t work. he didn’t work. he couldn’t save chara. couldn't save the monsters.

couldn’t even save himself.

and this… this is what’s left.

flowey. the version of him that learned to survive by not needing anything. the one who gave up on hope, joy, and peace because letting them in would mean the walls he built were never needed at all.

it would mean that somewhere inside, there’s still something soft. something worthy.

and he doesn’t know how to live with that. he’s not even sure he wants to.

control is all that makes sense anymore. he decides when the pain comes, how much, and from whom. he decides. no one else.

he’s built everything on that control—this image of who he’s supposed to be, what he’s supposed to feel. but what if he stopped? what if he let the bitterness go? what would be left?

just asriel?

and what would that mean? that there had always been another way?

no. he can’t let that be true.

so he copes. he compartmentalizes. keeps things boxed up neatly. flowey and asriel. good. evil. pain. hope. life. death. they don’t touch. they’ll never touch. he’d lose control if they did. and control is all he has left.

he makes sure to break things down before they have the chance to become anything real. he’s always the one to close the door first—better to leave than to be left behind.

if not, he might remember what it’s like to be exposed. vulnerable. weak.

and that’s something he cannot accept. the possibility that asriel is still in there. that there’s still a way back.

that maybe… he was never as far gone as he wants to believe.

it’s almost funny, in a way, because he’s already changed, whether he knows it or not. the fact that he’s still here, still witnessing the world after everything that’s happened, proves he’s not as detached as he wants to believe.

the fighting stopped. the cycle ended. the monsters are free. and even if he won’t admit it, even if he’s not ready to come to terms with it—there’s a quiet kind of peace in that.

even so, he will dig in his heels. even so, he will play into the role in a war that’s long over. even so, he won’t let anything awaken the barest trace of what it once meant to be asriel.

he is flowey.

the snow will keep falling. it’ll land on his petals.

it doesn’t stay.

neither does he.

because it’s easier that way.

[daincrediblegg]

I love learning that some of that wardroom scene with crozier and jfj was improvised now. I always thought the way jared said "I was, in fact, ordered" was very interesting and low-key a little broken from the scene and it's like yes queen your eyes did not fail you now as they have never failed you that shit was on the fly

[strechanadi]

Ludmila Pagliero, Mathieu Ganio

Onegin

Photo Agathe Poupeney

[gojoest]

[empiireans]

i like how mellow musician is short af compared to their bandmates, so i quickly sketched them lol

[larkwinged]

𝐀𝐑𝐓𝐄𝐌𝐈𝐒 𝐅. 、𝐓𝐇𝐄 𝐃𝐎𝐕𝐄𝐖𝐈𝐍𝐆 𝐊𝐍𝐈𝐆𝐇𝐓

PROFILE. a self-righteous knight who is too willing to throw their life away, and too eager to charge into battle. underneath their stubborn exterior, they are riddled with the pressure of upholding a family title that has long been lost to time.

FULL NAME. artemis elise fröhlich

PRONOUNS. they / them

GENDER. fem-presenting non-binary

AGE. early twenties

HEIGHT. 5”1

BIRTHDAY. november 12th

OCCUPATION. knight

AFFILIATION. knights of favonius

ELEMENT. pyro

CONSTELLATION. columba bellicosi

WEAPON TYPE. sword — “herald of the dawn”

Now stripped of its original purpose as a vessel to store all the memories of an ancient god king, this sword has been passed down in the Fröhlich family since the dawn of time.

Once wielded by the god of memories herself, this sword was blessed by the winds and presented as a gift to her youngest child upon the morn of their knighting ceremony.

“You, who represent the grace and bravery of humanity,” said the Queen, “take this and go. Become a pillar of hope to those wallowing in the darkness, and guide the lost onto a chivalrous path. You, the Dovewing Knight.”

And so, the first Dovewing Knight set out, protecting the people of Cairnfelle and standing tall as a beacon of hope, just as they were requested.

At the edge of the world, when the brilliance of Cairnfelle collapsed and the mountains crumbled, the sword found its way tumbling back into the hands of its previous owner to defend her honor, and upkeep her legacy until the final trumpet sang … announcing her defeat.

With no definite home, the sword lay in the ruins of its kin, preserved well by the Anemo Archon and his will — until the day it found its way into the waiting hands of the inheritor of an ancient title.

• demo music concepts. one two three

• ENG voice claim : keath ósk as cole seymour from yaelokre’s “meadowlark” project

• JP voice claim : marina inoue as armin arlert from attack on titan

CHARACTER STORY 1: eastward of eden

It is true that Artemis has long held resentment towards their older sister and past caretaker, Lilith. As a child, Artemis was refused of many things — including choosing their own clothes, partaking in certain activities, and having their own privacy. There wasn’t much they were allowed to do, and even the hobbies they enjoyed ended up ruined by Lilith’s excitement and pushy nature.

To this day, Lilith is unaware of the mental anguish she caused her siblings over the course of their entire childhood. However, in her own eyes, she has done no such thing, and has succeeded at being a “mother.”

Many citizens have told her, “My, you exercise much control over them,” and yet, she has failed to see the error in her ways. It is not entirely her fault, as she was forced into the role of a mother when she wasn’t ready for such a task. Even though she failed in many aspects of her parenting skills, there was one thing she has always truly succeeded at: caring deeply for her family.

However, no amount of love could undo the years of fighting and hurtful words thrown around between the siblings.

CHARACTER STORY 2: legacy

Long ago, in the days of yore, the archaic land of Mondstadt had been ruled by a monarch older than Decarabian. Her rule was rumored to last longer than his, and her birth is now nothing but scattered fragments along the wind.

When the Queen of the North Wind descended and claimed Mondstadt as her home, a mighty kingdom formed under her feet. Small huts grew to larger, firmer homes, and gargantuan cathedrals made of marble were erected in her honor. Trumpets blew, the wind howled, snow fell, and mountains as high as the heavens towered above humanity.

In later years, the prospering kingdom of Cairnfelle was officially born. Serving as a haven for travelers and poets alike, the kingdom sang with energy as it thrived under Queen Catalina’s guiding hand. The god of memories was exceptionally gentle, with a kind and compassionate heart that moved even the most stoic-faced men to tears. Her words were wise, her complexion glowing, and her promises true.

Cairnfelle, as much as it prospered, gained an enemy from a distant land. With no choice but to face the beast she prodded, the Queen set out to befriend the raging phoenix that had enough of her games. Ever the charming soul, the Queen did not have to do much to make the phoenix bow to her every whim, and before the citizens of Cairnfelle had the chance to acclimate to the visitor, the two were to be wed.

There is not much to say for the years in between the joining of two god kings and the fall of Cairnfelle, but this: Four inexplicably brave and virtuous souls were born from the two gods — four demigod knights who carved the way for the future of Mondstadt: The Four Archangels.

The Blair Family — the origin of the Fröhlichs, is no longer the raging flame of life it had once been, but a snuffed out ember of its former glory.

Only in passing on the titles of the Four Archangel Knights can the present day Fröhlich family hold tight to what was once a name feared and adored by all.

CHARACTER STORY 3: composition

Many questions have arisen over the years; all pertaining to a certain facet of Artemis’ composition.

“Is it a curse?” They’ve inquired, only to wind up receiving a simple, “I’m not even sure myself!”

However, that it is a small white lie they’ve grown to tell. In fact, Artemis is very much aware of the reason why they consistently find themselves on the brink of death and luckily make it out alive. It is because of the unique composition their ancestor, Lowen, was made of: pure and unbridled wrath.

The story goes as such: In the days of yore, when gods and monsters still yet walked the earth, a beast born of flame and rage took flight. They seared their enemies and allies alike, and roused the hearts of warriors all across Natlan. They utterly refused to lay their past life to rest. In doing so, they made a promise to their newfound family. The wrath that lived inside them was nothing but a blessing, and deserved to be passed on through their children, and future generations. And so, the endless wrath that boiled in their veins was passed on — consuming the lives of their children, and overtaking the brilliant flames that became their descendants.

To be a god’s descendant has always been an honor in the Fröhlich family line… Yet, Artemis — like the direct children of the god of wrath — see it as naught but a curse; For what blessing could bring about destruction and the devastation of any living being in one’s wake.

VISION STORY:

The blistering pyro vision attached to Artemis’ belt was said to be a gift from the gods, and maybe even a gift from the long gone god of wrath themselves.

What else are visions besides gifts from the gods? A tool to wield, and yet another curse Artemis must deal with.

At the young age of eleven, Artemis was sent out on their first escorting mission. It was their first mission given to them by Grand Master Varka, who was elated to test their strength and endurance. Not many were willing to accept an escort from a child — as was the case with the Fontainian aristocrat Artemis was talking their ear off to. However, the man said nothing, as the child’s directional skills were second to none. It was only when they hit a bump in the road that the man questioned Artemis’ capabilities as a knight.

“I should’ve known better than to trust a child!” He yelled, waving his fist in the air as he pushed them aside and ran off ahead by himself in the rain, leaving the young Artemis to fend for themselves amidst a hoard of abyssal monsters.

Although panic was steadily rising throughout their body, they forced themself forward — slashing at every monster with a shaky grip on their sword. The rain poured, sagging their clothes, and dragging their arms down to the dirt. The grip on their sword slipped, as did their footing, and they tumbled to the hard ground with a rough clash.

Their shoulder-piece scratched the bridge of their nose on the way down, and a thick line of blood began to spill from the open wound. A rifthound drew closer, baring its teeth and snapping its jaw as its claws outstretched, striking Artemis across the head. A clap of thunder sounded, and amidst the ringing in their ears, Artemis felt the weight of ten large wooden planks collapse on their back.

Even so, they shakily grabbed their sword, their nails digging into the wet earth, and began to stand. Their blood boiled as a wrath they were only warned about once crept up to the surface, prickling along their skin until it caved inwards, tugging at their ribcage and burning against their racing heart.

In a flash of white and gold, the hoard of rifthounds lay motionless on the grass, their bodies turning to dust as Artemis panted heavily. The wrath inside their veins bubbled, and their vision turned red. It was all consuming. It was destructive, and it was total annihilation. They struck down every monster seeping from an abyssal pylon until finally, they tore the pylon in half with nothing but their blade and their bare hands.

The rain continued to fall as they dropped their sword and collapsed to the ground in a heap of sore limbs and bloodied grass. Their eyes fell close for a moment — at least, what felt like a moment — and when they opened, a shining vision sat amongst the pool of blood left behind by their foes.

Indeed. The god of wrath, whose curse ran rampant in their veins, rewarded them with yet another “gift.”

𝐕𝐎𝐈𝐂𝐄𝐋𝐈𝐍𝐄𝐒

𝐓𝐑𝐈𝐕𝐈𝐀

• hobbies: When they are home in Dornman Port enjoying their days off, they like to wind down by practicing the art of crochet. Not only is it soothing to sit by a windowsill while the afternoon breeze filters into their bedroom, it is also a hobby their late mother held dear. By partaking in this hobby, they feel closer to their mother, and can preserve her memory longer. Another hobby is sports. Artemis can often be found playing with the kids in the port during vacations.

• beliefs: The Fröhlich family have always dedicated their lives to the protection of Mondstadt, and hold a firm worship to a god king who has long been dead. Although they have accepted Barbatos as their new savior, they still hold their original god close to their hearts. Artemis has naturally followed this belief and considers their worship of the god of memories their religion. During rough times, they find solace in a temple far north and meditate there for as long as they deem necessary. Once a month, they offer up a few of their most important memories— a ritual that has been passed down in the Fröhlich family for over 3000 years.

(This act of offering up memories is akin to the way some worshippers will offer animal sacrifices to the god they serve.)

• about — fate: Artemis is a firm believer that fate will guide the worthy and ultimately lead everyone onto the path they are destined to walk. However, they do not include the meddling of gods and higher beings into this equation. They believe that fate is its own entity and not dictated by the Archons nor Celestia. It acts of its own accord, and the gods are mere victims of fate, as well. Not even Celestia will be spared.

• about — death: Artemis believes that death is a stepping stone to a greater afterlife. Akin to their many family members, they believe that life is temporary, and death is eternal. When one dies, they are not truly dead; for they are shedding their mortal shell and accepting their true form, which is the soul. The soul will live on forever in the afterlife, while the physical body is nothing more than a temporary shell to house said soul. With this belief, the Fröhlich family does not fear death, but welcomes it with open arms— greeting it like an old friend.

[hoarderheart]

sua being mizi’s god was as true as the existence of the other gods in the past; of course, none of it was real. there isn’t any miraculous force that would somehow save them from their manufactured demise, just as there wasn’t a miraculous force to save humanity from being conquered back then. not even their love can save them. and mizi knew that, yet she so desperately wanted to believe anyway. she wanted to convince everyone and herself that it’s all she could do, that that kind of belief is innate to her as a human being, much like the many other things that many people believe (or convince themselves) are innate to being human (like heterosexuality and the willingness to participate in procreation itself), regardless of how true they really are. she wanted to have something to keep holding onto, just like how people in the past held onto their beliefs in the face of incomprehensible violence and loss, just like how everyone held onto that pure image of her as their feet dangled above death. but they are no gods, they’re false idols. 

[funfactory]

chaeyoung ♡ feel good (secret code) || 201016

[littlespoonevan]

not to be a theatre blog for a sec but the thing about moulin rouge the stage musical is that it's genuinely one of the most incredible productions i've ever seen. from the costumes to the staging to the choreography, it's incredible. it truly is a Spectacle. but as someone who regards moulin rouge as one of my favourite films of all time i simply will Never accept the fact that they made 'put on the red light' the repeated line/motif in el tango de roxanne when 'you're free to leave me but just don't deceive me and please believe me when i say i love you' is ten thousand times more Powerful and Relevant and just Better?????????? like where's the grit where's the Edge?????????????? the movie version of el tango de roxanne is PERFECT there is zero reason to change it how are you gonna make me Dislike aaron tveit's or jamie muscato's or jordan fisher's version of a song like that is a fEAT

[lifemod17]

🎥: lythamfestival | instagram

Lytham Festival || 07/03/2024

[nmixxgifs]

NMIXX performing 별별별 (See that?) at Gayo Daejejeon 2024 (2024.12.31)

Kyujin Jiwoo Lily Bae Sullyoon Haewon