#Bell's experiment

[xandrikart]

[nataliescatorccio]

CHAPPELL ROAN On Las Culturistas with Matt Rogers and Bowen Yang

[babydolllblogger]

tysm for 5k!!!

[diormarmont]

[doctor-the-13th]

Doorbells shall henceforth be known as intruder alerts because why are people intruding on me in the comfort of my own home?

[motorghost]

I have to rant about this part of A Study in Scarlet because... it seems to me that Holmes didn't just discover the hemoglobin test at the moment Stamford and Watson walked in. It seems more like he seized the first opportunity to tell ANYONE. Like he simply couldn't contain his joy and desperately needed to share it with an audience. He actually BOWS after giving Watson a demonstration.

Also... "I found it!" are the first words Watson hears from Holmes. He may as well mean "it" to be Watson. He's found IT: his audience, his best friend, his soul mate. His path in life.

This first interaction sets the pattern for their entire relationship: Holmes performing for the best and most high-value audience one could hope for while Watson gets front row tickets to the greatest show on earth. Five stars.

[sun-shine-lolli-pops]

Gabias and Lighting Design

I graduate with my BA in theatre in a few weeks and this is apparently how I'm using my new degree. But I am so so normal about how the lighting in Tobias' dances reflects his relationship with creation

In Piece 1, the main color scheme is just dark, blue and moody. You can barely make out any individual dancer and they all blend into one larger, moving body. All of the dancers are stuck in isolated spotlights and lit only by profile lights - the lights on the sides of the stage. This casts dramatic shadows over everyone's faces, so despite them dancing together, they can barely see each other. Tobias is lacking personal connection to the people around him, and his inspiration isn't clear yet.

The opposite happens in Off Rhythm, where the dancers are overexposed in a cool wash lights on a white set, making everything just brutally intense. Tobias is trying to make sense of too many things at once, in this sudden shift of his career and relationships. While the people around him understand his vision, to anyone on the outside (e.g., the critics), it looks disjointed and chaotic.

Piece 2 starts like Piece 1, still very blue but with a bit more clarity this time.

But in Whatever This Is, everything is much more complimentary and clear. Specifically, it revolves around Gabin, both his presence on stage and the development of their relationship. We get the most variety in this piece, especially in color lighting the cyclorama (the white sheet hanging at the back of the stage). Pink for budding feelings, purple for uncertainty, blue for sorrow, and yellow/orange for love. At the beginning of the number, when Gabin begins, the lights are pink, edging out a dreary gray, before rotating through purple and blue, as Tobias and Gabin struggled to maintain a healthy relationship in their first few weeks together. When Gabin leaves briefly, the lights transition to purple, then a deep blue. Over the men specifically, like in Piece 1, deep blue wash lights completely envelope the male dancers, making them virtually indistinguishable from each other. Tobias is still struggling over the reviews of his last piece and losing his étoile. Nothing is working, and he’s more depressed than we’ve ever seen him. But when Gabin returns (both to the stage and to Tobias’ life), the overhead wash lights gradually shift back into more flattering, joyful colors. The wash lights are brighter and warmer, bringing out the life in the dancers, not just the dance. Pink and purple start to push the blue out of the cyc lights, reflecting Gabin and Tobias' healing relationship. When Gabin is finally alone for the end of the song, the lights are peachy yellow, as they move past the ways they've hurt each other into a stronger connection. As if to put the nail in the coffin, right before Tobias takes the stage to kiss Gabin, there's a final pop of fiery orange, overtaking the last moment of doubtful blue. Tobias was always a great choreographer, but Gabin is what truly inspired him and reignited his love for creating.

Honestly, the real hero of Whatever This Is is the stage manager and/or lighting designer who managed to busk through the entire new number.

[oacest]

fleetwood mac - silver springs // oasis - songbird

[squishiest-wizard]

“I am Essek Thelyss.”

“…okay??”

[marwyn]

AFFC, Brienne II / Illustration by William Russell Flint for “How the devil in a woman’s likeness would have had Sir Bors to have lain by her, and how by God’s grace he escaped” in Le Morte d’Arthur

[revvethasmythh]

I think it's inevitable that a certain group of people will take Orym's statement about not being able to put down the lens he see the world through as further proof that his perspective is subjective and therefore untrustworthy as it applies to the Vanguard, but imo it serves as a stronger indictment toward those who are able to view the Vanguard as anything other than awful and predatory and murderous. Other people have the luxury of being able to see this through another lens if they so want to--Orym cannot. Because once a group like this has murdered your family, for the sake of a practice run no less, a test, it is impossible to view the situation in any other way. He is walking proof of the harm that the Vanguard does. His loved ones have been deemed "necessary collateral damage." His lens is not one that can or should be set aside in the assessment of the Vanguard, because if they are willing to commit such heinous crimes and excuse them as necessary collateral for ends that are so uncertain, then they are fundamentally not an organization that can be reasoned with or even should be sympathized with

[drawsmaddy]

[ID: A digital illustration of Orym from Critical Role. He is drawn very small, floating in the middle of the image. His body is made of plants and he is shielding his eyes with his hand as a bright light shoots towards his face. Around him are messy drawings of snarling wolves, two hands made of plants intertwining, human mouths screaming and bearing teeth, bones and teeth, a green eye crying, Ruidus, and flowers. End description.]

A hunger you cannot fathom, a screaming you fail to recognise as your own

[thequibblingking13]

Fearne Calloway, the woman that you are

(Zoom for better quality bc this file is big as fuck)

[yudol-skorbi]

these sure are....a hell of a bells......

[atoltia]

rewatching cr c3 ep 95 rn and it just warms my heart at the thought of essek buying street food lol

idk the image of essek, who grew up in the high society of rosohna with the expectation of being prim and proper both in and outside the courts, just happily gnawing on a chicken and pepper skewer as he makes his was back to the bell's hells makes my heart grow three sizes

[quipxotic]

I've started c3e119 and I appreciate this chuckle amongst all the tension.

Ashton (after getting a whisper from Matt): I'm going to yell down, "I think we have to crack her (Predathomgen) open. She's in there, but I think we got to crack her open." Fearne: What do you mean, what do you mean? Laudna: Yeah, what? Fearne: What does that mean? Taliesin (with a meaningful look at Laudna/Marisha): "Crack it open." What else would he mean? Ashton: I'm not a metaphor person.