#Stage Light Controller

[empressiolighting]

Stage Light Controller

Control every beam and effect with Empressio’s professional Stage Light Controller systems. Designed for concerts, theatrical events, and nightlife venues, our controllers allow real-time control over lighting scenes, DMX devices, and synchronized visuals. With intuitive interfaces and industry-grade performance, you can customize every light show to perfection. Empressio’s expert support ensures you get the best hardware and setup tailored to your performance space. Light up your stage with confidence and precision.

[eleooooooo]

Did not have a single mental breakdown today promise everything is going well etc and I'm not mcfricken losing it. At least the headdress is done.

[mayasaura]

one problem with a theatrical adaption of tlt is htn, where the reveal that Gideon lives on works because of the change of second person to first.

the only way i can think of it working is that the actor playing gideon works backstage, like the lights system (but is hidden from the audience aside from subtle hints)

the biggest hint is when when wake breaches pal's river bubble she 'breaks' the lighting system and the stage goes dark. harrow is ushered into the wings by pal so she doesn't see anything, but the lights flick back on just before the curtains drop for a scene change, and pal looks directly up at the light box in surprise and smiles. if the audience is quick to turn around they can see a flash of a black robe.

Oh boy my friend, have you come to the right place!!

So, fun fact about ninja. Bear with me, I am going somewhere with this. The image of a ninja covered head to toe in black, with a hood and mask, comes from Kabuki theatre. It was originally a stagehand uniform. Like stagehands in modern theatre, stagehands in Kabuki would wear all black to signify that they were not really there, and whatever effect they were causing (carrying a prop, creating a breeze, ect.) was to be taken as happening on its own. Basic stagehand stuff, a lot of productions in many styles around the world do it, especially if they don't have fancy rigging systems.

Someone (I don't remember who now, or in what play) had the idea to dress the ninja in a production up as a stagehand. In the convention of the theatre, this made them invisible. The audience was already so used to ignoring stagehands, they didn't know any more than the characters that the ninja was present, despite the actor being clearly visible on stage. Which meant when the ninja struck, it was as if out of nowhere. I can only imagine the uproar in the theatre the first time it happened. It worked so well as to become commonplace, and the rest is history. The popular image of a ninja is still a kabuki stagehand.

So, back to the stage play of Harrow the Ninth. I think you've hit almost exactly on how to incorporate the Gideon twist into a theatrical production. But not as a lighting tech. Gideon is a stage hand. Maybe there would be more than one stagehand, maybe she would be the only one, but she would operate in full view of the audience, literally setting the scenes. I think it works best if she's the only one, but if the production needs more, she should subtly stand out in some way. As the play went on, we would notice that this one stage hand... increasingly interacts with Harrow, though Harrow never acknowledges it. At first it might look like she's playing Harrow's necromancy, because that would be the main special effect she would need to help with. When Harrow is unconscious at the end of a scene, it's always the same stagehand carrying her out. But we all know she's not really there. Until Palamedes acknowledges her. Turns to look right at her, and speaks to her. I can see the scene clearly. He would look at her, stunned, until Gideon finally took off her mask. The line "Kill us twice, shame on God," would be addressed to Gideon, and then he would turn back to Harrow, kiss her on the forehead, and tell her to go. Gideon, always out of Harrow's line of sight, would guide Harrow away while Harrow looked back at Palamedes.

[speakofshinee]

240712 NeverNever Fanmeeting - Taemin Guilty ♥︎

[velvetstreets]

Kendrick is actually the Beyoncé of rap. A TRUE GOAT.

[cupophrogs]

Meet Triumph! Amelia’s personal butler/bodyguard/nanny/literally everything

She’s a very tall, very strong lady. Animals fear her and there would always be bugs on her shoulders if Ami hadn’t already taken that seat! An ex cage fighter who loves her daughter(ami) more than anything.

Doodles

Also alt colors since I plan to play her in D&D one day :]]

[loganremade]

somehow fitfwt has managed to be gayer than ltwt and the bar was REALLY high

[eggo-tistical]

I watched it. DAMN YOU LUKA, HOW DARE YOU WINNNNN!!! MY POOR LITTLE BABY BOY TILL WAHHHHHHHHHHH

Anyways, yeah. This shits fire 🔥

I immediately latched onto Till and cried a lil when he died soooo....

HOW COULD YOU DO THIS TO ME??? DO YOU KNOW HOW MUCH FANFICTION I'M GOING TO HAVE TO READ TO MAKE UP FOR THIS???

Anyways, worth it.

OOH YOU ACTUALLY WENT AND WATCHED IT!!!??!!!!!???!

IM SORRYYY I GET IT I EXPERIENCED ALL THE STAGES (ha) OF GRIEF EACH EPISODE… vivinos qmeng and their team are cruel cruel geniuses, i swear. so fire, so heartwrenching 💔💔

enjoy your fanfics and fanart, i’ll be here dreaming up more alnst x death note crossovers.. the brainbugs never stop going

[statementlou]

NO STEP!

[your-local-granny]

Being critical of art is all fun and games until you are the art that is being critiqued :(

[nullapophenia]

i think different flavors of looper dissociation is fun 2 think about

[voidthescribe]

The way Elias moves in this is SO beautiful how is it so fluid and mesmerizing. I hate Elias but he is so cool in this I can’t help but stare good gracious this is cool also BEARDED MARTIN!!!!! And I love Peter’s face!!! And the lighting in Jon’s scene holy moly. One of my new favorite animations for TMA for sure

Where are his eyes?

Exactly where they’ve always been, Martin. Watching over my Institute.

[lilhawkeye3]

A Crash Course to Kendrick's Super Bowl Performance, from a Black Woman

Note: this does NOT go in depth into all of the song's lyrics. I don't have time to recount two decades of his discography. This is just a summary of the performance itself.

Let's start with the first visual we get:

UNCLE SAM - most notably recognized from WWII American wartime propaganda, Uncle Sam is the personification of American patriotism and freedom. The term "uncle" is also evocative of Uncle Tom from Uncle Tom's Cabin, an abolitionist book that aided in inciting the Civil War. Uncle is also a very common term (both endearment and derogatory) towards Black men (eg. "unc"). Samuel L Jackson was fantastic. (Edit: and please look up his history of civil rights activism, he was on the FBI watchlist and even a pallbearer at MLKJr’s funeral.)

Uncle Sam also resembles a circus ringleader, notable for my next point:

THE GREAT AMERICAN GAME - no, not Super Bowl. The GAG is us the people being pitted against each other: through late-stage capitalism, through the culture war, through class warfare, through being built of the backs of slaves. We are all players in the GAG because none of us on this site were the oligarchs seated at the inauguration.

This is also seen as Kendrick's stage was a Play Station controller. Not only did it remind of circus rings visually, but it was a game battle stage. The Great American Game is a battle royale of the commoners for the amusement of the rich whites.

Remember the foods / Them color was tin and brown / But now they 100 and blue - For this I'll just say, look what the last election said about lowering the price of eggs... and look at the prices now.

The revolution about to be televised / You picked the right time / But the wrong guy - Election 2024 once more. *Edit to add, the first part of this lyric is in reference to the Black Liberation Song "The Revolution Will Not Be Televised" by Gil Scott-Heron. Thanks to everyone who mentioned that.

THE FLAG DANCERS - yes, the dancers formed the US flag... off of the backs of Black people. Not a single white person in sight, and that's true of the cotton pickers in the fields. Plantations are part of how the US came to economic prominence after being a "backwater" colony. Remember tobacco? Cotton? Our bloodlines do. *Edit to add: they also all piled out of a clown car. The US flag in a clown car? Brilliant.

The red and blue dancers are also notable for representing the Crips and Bloods, two infamous street gangs. The dance in Not Like Us is the Crip Walk. I recommend researching more on your own time about them, but just know they are a large part of the stereotype of Black people being "ghetto."

TOO LOUD, TOO RECKLESS, TOO GHETTO. Do you really know how to play the game? - This is exactly what Black people, especially Black men, get told all the time. It's why we change our names on resumes if they sound "too Black." It's why we codeswitch in non-Black company. This is especially rich considering how non-Black people love our culture and love to make money off of us, as the latter part of the quote points to. And it's even more profound during the Super Bowl-- the NFL is majority Black players.

STREET LIGHT A CAPELLA -- "thug" stereotype dancers to counteract the a capella connotations, with Uncle Sam then saying that Kendrick figured out "bringing other street guys around being a culture cheat code." Yes, this is a direct hit at Drake (listen to "Not Like Us") but also politically. Look up "model minority". Notably I would point to Candace Owens, or the Miami Venezuelan political group that's been in the news recently, especially as this directly led to Kendrick being surrounded by...

DANCERS IN WHITE -- it's white America. That's... that's the allegory.

NOT LIKE US TEASER -- Kendrick says "Not Like Us" is "their favorite song." -> he means white people specifically here. It comes after he's surrounded by all white dancers, the women around him who are his call and response are also in white (my opinion, they represent the industry). He's saying "Not Like Us" is the favorite of yts because it is about BLACK MEN FIGHTING. This again is reflected in the video game stage and ringleader Uncle Sam.

SZA -- instead of giving what they want, we see SZA. She's one of Drake's exes and Kendrick has always supported her.

ALL THE STARS -- This was in the first Black Panther movie, which I recommend you watch. Rest in Power Chadwick. Notably, this movie was incredibly mainstream as a major Marvel movie, and then we have Uncle Sam say...

"THAT'S WHAT AMERICA WANTS: NICE AND CALM. DON'T MESS THIS UP" -- translation: Marvel (the industry, America, etc.) wanted a safe, semi-pop song because white American likes safe pop songs, not Kendrick's usual heavy rap style about his life as a Black man! Don't mess up what you've got going mainstream for having this "Black rap feud" with Drake, who is an R&B model minority to white people because he's safe.

So what does Kendrick say?

IT'S A CULTURAL DIVIDE / IMMA GET IT ON THE FLOOR -- He was warned not to be political or apologetically Black for this Super Bowl performance, but he is using this big stage opportunity to speak out.

40 ACRES AND A MULE / THIS IS BIGGER THAN THE MUSIC -- 40 acres and a mule are what the freed slaves were promised. Instead, this land went to white sharecroppers. Research Jim Crow laws.

THEY TRIED TO RIG THE GAME / BUT YOU CAN'T FAKE INFLUENCE -- rig the election, rig the industry like with model minority Drake, rig the Great American Game with culture war to distract from active class warfare.

NOT LIKE US -- the only thing I'll mention because it made me holler is Serena Williams crip walking on Drake's metaphorical grave. She's another one of his exes (read: Drake harassed the hell out of her). *Edit: she was also fined at the 2012 Olympics for crip walking in celebration at Wimbledon.

TURN THE TV OFF -- exactly like he said! The TV is a distraction, the Super Bowl is a distraction, the mainstream news is often a distraction. Turn it off and get with your people!

GAME OVER — could not see this on my stream but at the end of the performance, the lights in the stadium spelled this out. The world is watching, America…

In conclusion, Kendrick Lamar is a visionary and thank you for coming to my TED Talk.

[innovativeledsales]

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[madamechrissy]

Pour it Up Masterlist / Stripclub Owner Sukuna headcanons

Part One - Part Two - Part Three - Part Four - Part Five - Part Six - Part Seven - Part Eight (final)

Pairings: Stripclub Owner Sukuna x Stripper F!reader

Summary:- You are a single mother, your baby daddy is not just worthless, he also is actively trying to sabotoge you, so you go out on your own and raise your kid by yourself. Struggling your ass off, a friend of a friend named Toji decides to offer you a hell of a deal, a few hours a night at a strip club to make BANK. While there, you meet the other owner, Sukuna, and the moment he sees you? You annoy him how beautiful you are, how much he wants you, pushing him to insanity. He knows he must have you- no matter whose ass he needs to beat.

Warnings:- reader is a mom, lowkey/highkey Yandere Sukuna behavior (He's obsessed) recreational drug use, drug dealing Sukuna (the club lowkey a front lol) Mafia ties, EXPLICIT sexual content, blow jobs, cunnilingus, fingering, masturbation, teasing and mafia related violence, some former trauma of reader, lots of smut and also fluff, watch Kuna morph into a softie hehe.- Ties into the Satoru x reader story Losing Control Now

FInished- WC 54k - ao3 link here - Playlist

Headcanons/story preview below!

Stripclub Owner Sukuna- who loves what he does, the money he makes, the women, the entire atmosphere. What more could he really need in life?

Stripclub Owner Sukuna lights up a blunt with his co owner, Toji, as they lounge back on one of the bright red Sofa's, watching their girls dance around them while they hold business meetings. Sukuna certainly doesn't mind beautiful women, nor does he mind snorting coke right off them.

Stripclub Owner Sukuna throws back a shot, when suddenly he sees someone so different, so fucking pretty it makes his heart thud in his chest. He can barely stop himself from yanking you right away from this. He's slicking back pastel hair when Toji introduces you so casually, wearing a pretty silver bikini that shows too much of your sexy body. You look shy? You look nervous?

Stripclub Owner Sukuna takes your hand then, smirking at you, watching the blush decorate your cheeks, when he finds you're going to be a dancer, he immediately wants to say no, dance for just him, a level of possession he's never even felt with his girlfriends. Sukuna's shared plenty of women, but if he got you!?

Stripclub Owner Sukuna smacks Toji for even bringing you here later, and Toji scoffs. 'She has a kid and shit, she'll make top dollar here' Sukuna falters at such news. 'Don't ya think she'll make bank?' 'Tch, of course she will... it's just she's so...' Toji snorts. 'you got the hots for her, huh? Well she ain't some easy girl, I know her'

Stripclub Owner Sukuna knows he must have you, when you're stepping around the stage, and he's eyeing you, sitting right in front of the stage as you get on your knees, crawling toward him and smiling shyly. 'how're you a shy stripper, huh? not gonna work' he huffs, and you tilt your head, hand slipping down his tie. 'No allure in a shy dancer, Mr. Sukuna?'

Stripclub Owner Sukuna loses his mind when he hears his name spilled from your glossy lips, as he thinks of shoving his cock deep inside that mouth, so close to his when you turn. You bend over, ass right in the air, begging for a smack as you look back at him, hair falling over your face. 'Why're you here?' he demands, eyeing the curve of your back, cock hard like he's some pathetic teenager or something.

Stripclub Owner Sukuna tenses when you say - 'I need the money, isn't it why everyone does this?' 'Toji says you got a kid' you tense then, turning toward him nervously, as the stagelights glimmer all over your skin. 'That a problem?' Sukuna shakes his head. "Nah, lots of girls here do...' You exhale. 'I'm a single mom, my friend can watch her at night, why not work while she's asleep? I can spend my time with her'

Stripclub Owner Sukuna admires the fuck out of you as you dance your pretty ass off, but he hates the men that see you, see you in just your little bottoms and tassells, breasts bouncing, ass jiggling as you shake it, as you move. You're a whole star quickly, the few hours a night you come in you make bank, but as soon as you leave, he's in his office, jerking it to you, imagining those nipples, that pussy he sees hints of with your spandex panties.

Stripclub Owner Sukuna On one particular night forgets to lock the door, you're still out there dancing but he can't take it, you're too fucking sexy, he's picturing burying his face in that nice ass of yours as you step inside, shutting the door quickly when you see it, his enormous dick in his hands, covered in precum. You gasp, looking away quickly. 'shit I'm sorry, it's my ex... he's such an ass and I didn't want him to see me...'

Stripclub Owner Sukuna pauses, in shock as you look back down at him, licking your lower lip. 'I'm interrupting...' you come closer though, watching, breath catching in your throat. 'Want me to beat him the fuck up? ruin him?' Sukuna murmurs, voice husky, when you keep walking towards him, and he slowly strokes, from the base to the tip of his veiny length, acting so casual. 'No, you don't have to do all that, you're already so good to me' he laughs then, shaking his head. 'You are, maybe I should... be good to you?'

Stripclub Owner Sukuna can't form a thought when you're stroking his cock, leaning so close, lips just a breath from his, taking two of his fingers and sucking his precum off them, cheeks hollowing. Sukuna loses his control then, using those two fingers to slip so deep you cry out, earning his groan, uncaring if anyone heard. He's curling them up in your walls as you stroke, his eyes laser focused on your pretty face when he grips your hair by the nape of your neck. 'wanna suck me, huh brat?' he tries to keep it together, but when you nod eagerly, on your knees, he can't take how good your throat feels.

Stripclub Owner Sukuna has his cock fucking up into your throat, his salty precum against your tongue, and he wonders if it's some dream it has to be, you're too fucking beautiful to just be doing this, you shouldn't even be working, he thinks. He'd like you just naked around his house, to fuck you on every surface, fill you up with so many kids you'd never leave. Sukuna is groaning while you suck him greedily, looking up at him with dilated, beautiful eyes, making him simultaneously want to fuck you and want to make love to you, stupid insane shit that irritates him.

Stripclub Owner Sukuna stutters when you suck harder, and he's cumming deep in your throat, not meaning to. No he wants to fuck your pussy, not this, but you make him cum so fast it's stupid, swallowing him with a pretty smile, as you lean up on shaky legs. He presses a kiss to your lips, desperate and messy, tasting all of his cum all over your mouth. You're gasping, until the door opens, and you pull apart, seeing an amused Toji. You are losing your mind later as you clean up to go home, wondering what's gotten ahold of you, when Sukuna is waiting right outside.

Stripclub Owner Sukuna loves it when you look down so shy and pretty, you're biting your lower lip to death, he releases it from the grip of your teeth. 'you free tonight, brat?' you blink in confusion. 'you want...' 'want you at my place, spread wide f'me, yeah?' you gasp at the thought, shaking your head then. 'I'm not, I have to get home to my kid... but tomorrow night?' he nods, ushering you to your shitty car, picturing you in something so much better soon, leaning over with a smirk as he seatbelts you in.

Stripclub Owner Sukuna now that he's had a taste, he can't stop thinking of you, when you're at work the next day you're quickly in his office again, this time he's got you grinding on his lap, slick arousal pooling in your little outfit. 'I'll fuckin pay you triple, take the day off' "Mr. Sukuna...' 'Take. The. Day. Off.' Sukuna finally gets you home, having you bent over his couch before you can blink, ripping your pretty costume to shreds, pumping you so full of his cock you're trembling, shaking, head falling back as he fills you so good, slamming your cervix.

Stripclub Owner Sukuna has never felt anything like you, like your cunt pulsing around his cock, like his balls slapping your twitchy little clit, as you're sobbing it hurts so good, tears streaming down your pretty face while he rails his cock so deep. Sukuna busts deep in you as he wraps a big hand around your throat, fucking into you over and over, feeling you milk his cock for all he's got. 'Gonna fill you the fuck up, huh brat? gonna drip on the goddamn stage'

Stripclub Owner Sukuna has your pussy on his mouth when he's busted in you, starting to lap all the gooey white cum from your pretty pussy. 'Sukuna! ah!' you've never felt like this, so fucked out as his tongue scoops all your cum out, he's leaning over you, spitting it right into your mouth, chuckling. 'pathetic, just how I fuckin need you'

Stripclub Owner Sukuna is pathetic for you, he doesn't let you leave, he pays you for another day, fucking you in every position, at some point he's holding you upside down, you're bobbing on his cock as he's gripping your ass, moaning against your hole, you're falling apart, so weak and sore. when you finally have to go home, because you have your kid, Sukuna can't stop thinking about you, about how he wants you to have his babies, to be under him every goddamn night, so excited when you come into work, only to see you devastated.

Stripclub Owner Sukuna demands to know what's wrong, only to see your shady ass ex, who wants to saunter up to him like he's shit, you shake your head, but soon Sukuna is beating the fuck out of him. 'you have no clue who he is, Mr. Sukuna...' you tell him then, earning Sukuna's chuckle, his big grin. 'You don't know who I am, baby'

Buy me a glass of wine🍷 - Gen Masterlist - ©All works by Madamechrissy you may not reproduce

[inamindfarfaraway]

I had to do Team Batgirl. Babs is Oracle, Cass is Black Bat and Steph is Batgirl as per pre-New 52. Remember, the core drive of each emotion is benevolent, no matter how bad they feel. Sadness is responsible for empathy, sympathy and asking for help; Fear wants to keep us and what we care about safe; Anger wants things to be fair; and Disgust wants to protect us from physical, social or moral contamination. They're all the basis for more complex emotions and processes, e.g. Fear enables forethought and common sense for risk evaluation, Anger inspires courage and bold, direct action and Disgust is highly involved in meeting social expectations.

[Babs's Headquarters has a similar professional atmosphere to Bruce's. The walls are dark grey. Behind the immaculate main office, a few closed doors partition off other spaces, probably more personal ones. The memory shelves are longer than average and have additional walled channels beneath them to store memory orbs that fall from overflow, and the memories glow unusually bright; there are no windows and the room is lit by overhead office lights, the sight screen and the memory orbs. Her emotions are also in wheelchairs and wear glasses, with individual styles and decorations. Her console is a large, angular, intricate control panel of gleaming silver metal, elegant and futuristic, at which sit Fear at the helm, Anger at her right hand and Joy at her left, then Sadness and Disgust next to them.]

Fear: We’re scanning our entire surveillance network, but the Joker is still unaccounted for. We should check in with Cassandra and Stephanie.

Joy: I’m so proud of them. Permission to verbalize that to them, ma’am?

Fear: Don’t know if we’ll have time.

Anger: Yeah, expressing vulnerability takes a lot of energy, and we all agreed to divert 75% of it to single-minded fixation on justice until Joker is back in Arkham. Preferably via ambulance.

Fear: I’ll schedule a tight smile for when the girls get back, but no guarantee Babs will remember it then. Our short-term memory bank is already full to bursting.

Disgust: (under her breath, annoyed) As always.

Sadness: So, um… Dick hasn't called us back yet, but I think he wants to. Maybe we should call him.

Fear: No, we’re both busy. We can catch up tommorow.

[Cass's Headquarters is largely a fusion of a dojo and a gym, a wide open space with mats, punching bags and other exercise and martial arts equipment. The walls and floor are made of wooden boards. A set of floor-to-ceiling windows at the back and sides shaped like Bat symbols make the space light and airy. There is no console. Rather, an elevated black stage with yellow curtains is before the screen. Sadness is centre-stage, flanked by Anger and Fear, then Joy and Disgust. The black surface lights up with squares of the emotions’ respective colours under their feet as they dance in a graceful, perfectly coordinated ballet routine to classical music. Until Fear makes a different move to the others. An alarm beeps, cutting off the music, and everyone freezes. The others stare at Fear. Anger is offended, Sadness and Joy are intrigued and Disgust is confused.]

Anger: (folds her arms, raises an eyebrow and puffs out her chest at Fear challengingly)

Sadness: (gently holds Anger in place with a hand on her shoulder and nods to Fear)

Fear: (cringes, but cautiously makes the move again)

Anger: (clenches her fists and gestures in outrage to Sadness)

Joy: (steps forward and holds Fear’s hand in support, making unintimidated eye contact with Anger)

Disgust: (looks ahead through Cass’s eyes, unlike any of the others are, due to boredom with the dispute)

Disgust: Ugh. More henchmen.

Sadness: You handle it.

Disgust: Fiiiine.

[The emotions reshuffle so that Disgust is centre-stage. She dances alone to simpler music with only one instrument. The others retreat upstage, Sadness between Anger and Fear and Joy as she tries to mediate.]

Joy: (stands protectively in front of Fear and beckons for Anger to bring it on, balancing her weight)

Sadness: (shakes her head disapprovingly, unseen by anyone)

Anger: (yells wordlessly and punches Joy)

[The four break into a fight, tumbling offstage onto the mats. Disgust rolls her eyes.]

[Steph's Headquarters is furnished much like a mundane living room, with white walls, a purple sofa and carpeted floor, cluttered coffee table, lamps emitting warm light, windows and a comfortable atmosphere. The doors to ancillary rooms are open. Tucked away by the memory orb shelves, two cardboard boxes of purple, blue, red and green memory orbs marked ‘Trauma - FRAGILE’ remain unpacked. Her console resembles a video game controller, being white, rounded and covered in colourful buttons, switches and joysticks. It has a single chair, a spinning black one made with purple cushions. Joy is seated, gleefully wiggling a joystick. Anger is on her right, excitedly watching the mission, and Sadness is on her left, concerned. Disgust is hovering at the side of the console, not very interested. Fear is on the sofa, quietly writing in a puzzle book.]

Joy: We’ve got this in the bag. None of these bozos even know we’re here.

[She reaches to press a yellow button. Disgust notices, abruptly invested, and pushes past Sadness to grab Joy’s hand.]

Disgust: But they will if you quip from so near them. And then we’re gonna fail and Babs is gonna make her disappointed face and, like, never trust Steph with a stealth mission again.

Joy: Good point.

Anger: There’s the ringleader! Aw, Cass is already beating him up.

Sadness: (sighs and leans on the console, turning it partially blue) She was a way better Batgirl. We’ll never come close and everyone knows it.

Joy: (batting her arm away) Sadness, we’ve talked about this. Steph earned her place and has nothing to prove. Everything's gonna be fine. Okay, let’s just sneak past and get out with the intel -

Fear: Hey, guys, do you ever think about how Steph’s daughter could die at any moment and we wouldn’t even know?

[The others tense and flinch. The console lights up purple and fades to blue.]

Joy: SHUT UP, FEAR!

Disgust: So not the time!

Sadness: (crying) I am now!

Anger: This is why we never listen to you!