citadelofswords

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hooting and hollering at bright noa calling quattro a captain, char being like "i'm a lieutenant" and bright VISIBLY DOUBLE-TAKING

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The Society is pleased

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KAI SHIDEN MY GUY

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Rip Lalah Sune you would have loved Challengers

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oh... char has a photo of him and sayla in his apartment... ;_;

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am i the only one who's kind of tired of games that try to go for a very realistic style. like stop it, there's no point in rendering pores. get a visual identity or fuck off

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need someone to come sit in my room with me while i put my life back in boxes ahahaha

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ARE YOU FEELING SO VERY... DISCO? / a disco elysium-inspired pamphlet about the genre that changed the goddamn world. feel free to print it out yourself and give it to others, baby! (i also have some printed extras from ax u can get on my shop)

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messing around with their old skin's designs (to varying degrees of success, gem is a combo of her current and old, and grian doesn't have his hat) and the fact that gem is the only non evolutionist/winner on the team

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mp3 of war beneath the rain!

(taken from this video by osceola13)

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ARE YOU HAVING FUN YET?!

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There’s really no logical order in this picture..

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Seth Armstrong — Sundown on the 27th Floor (oil on wood, 2015)

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one of my favorite parts of Phineas and Ferb is how often Perry is sleeping in Candace's bed.

She's always like ew! the platypus!! while Perry is like chilling with my favorite Candace!! #myCandace :)

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The cameras were still rolling on "The Birdcage" when Robin Williams pulled Nathan Lane aside between takes. Nathan had just finished a particularly tense scene. He was anxious, his timing had faltered slightly, and his usual control felt off. Robin leaned in and whispered, “You were perfect. I just added chaos. That’s what I do.” Nathan smiled, a little caught off guard. Robin’s words didn’t come like notes from a co-star, but like an arm around the shoulder, silent, kind, and full of permission to breathe.

Filming began in early 1995 at Miami’s Cardozo Hotel and soundstages in Los Angeles. "The Birdcage", directed by Mike Nichols, was a comedy built on flamboyance and theatrical flair, yet layered with emotional vulnerability. On screen, Robin played Armand Goldman, a gay cabaret owner trying to pass for conservative straight to please his son's fiancée's parents. Nathan Lane, as the exuberant Albert, Armand’s partner and drag performer, brought flamboyant wit mixed with aching sensitivity. Their chemistry lit up the film, but it was their off-screen connection that gave the performance its emotional core.

Robin walked onto set carrying more than just scripts. Behind his trademark improvisation was the quiet grief of personal losses and ongoing mental health struggles. He was navigating emotional pain with humor as his lifeline. Nathan, on the other hand, was living with a deep fear. He hadn’t come out publicly and lived in quiet dread that the spotlight could expose what he wasn’t yet ready to share. He later said in interviews that the fear was constant during production. But when Robin stood next to him, that fear softened.

Crew members often recalled moments between takes when Robin would launch into absurd improv routines, not for the camera but for Nathan. A sound technician once described how Robin stood on a table and did a full Shakespearean monologue in the voice of Elmer Fudd, simply because Nathan had flubbed a line and looked close to tears. That single moment broke the tension, made the whole room laugh, and brought Nathan back into himself. These weren’t just jokes. They were quiet acts of care.

Nathan’s attention to detail and his need for control came from years of hiding his authentic self in plain sight. Robin never asked him about it directly. He didn’t need to. Instead, he listened, showed up, and created a space where Nathan could feel seen without explanation. Their late-night conversations, often taking place over coffee in the makeup trailer or walks around the studio lot, were filled with stories, insecurities, and mutual admiration. Nathan once said, “Robin had this way of making you feel like you were the only person in the room. And then he’d make the whole room laugh, and you’d wonder how one person could hold that much light.”

Filming wrapped with both men knowing they had done something more than act. They had held each other up. And in a Hollywood that could often feel isolating, especially for queer actors, Nathan walked away with more than a role. He had found someone who understood the weight of performance, not just for the screen but for survival.

When Robin passed in 2014, Nathan’s tribute came with no flourish, no long stories. Just a handful of sentences, quietly powerful. “He saved me in ways I didn’t even understand until he was gone. Working with him felt like being wrapped in a blanket, warm, chaotic, and comforting.”

What began as two actors cast in a comedy became something infinitely deeper. In a set filled with lights and laughter, two men found a private place of trust where grief, fear, and joy were shared quietly, wordlessly, and without condition.