#Thread (Bob)

[beanarie]

honestly i feel bad for ostark. putting his absolute all into those scenes with tommy, dancing like rent is due to show how gobsmacked and into that man buck is, only for "his fans" to claim buck was just there out of convenience because he couldn't have eddie. it's such a disrespectful way to engage with media

[mikesbasementbeets]

Stranger Things 2.05 - Dig Dug

[lunarrsc]

Internet Archive just wanted to show you guys a video that has meant something to me and my life for a long time. Which I found my own meaning in. I want to be myself and I know the people I won't let down wont be let down by me posting this yeah I used to watch this show I am not really embarassed embarassment is the last thing I have to fear anymore I won't post again in a while if I do it will be big news this blog is finished for now. I've written everything I could. Nobody is expecting me to be what I aim for. Maybe the last post of my life, hopefully not. Will maybe see you all when I'm either where I want to be or no longer around to express who I became. Well in that case I can't really post again

[cxcervenus]

[hexblast]

*╰      “      even     we     with     abilities     tend     to     get     hurt.     it'll     take     just     a     few     seconds     to     mend     wounds.     ”  / @goldcnsentry

[dcbinges]

Detective Comics #39 (1940) by Bob Kane, Bill Finger & Jerry Robinson

[brokehorrorfan]

Terror Threads has released a shirt dedicated to horror icon Felissa Rose (Sleepaway Camp, Terrifier 2, Victor Crowley). Designed by Sam Coyne, it costs $30.

[davidthespider]

Yo I'm trying to research alien abduction stories and I can't find any good youtube channels that cover close encounters because google doesn't want me to know the truth. Any suggestions?

[minibaba]

kind of sad seeing a film with a very fat protagonist and not being able to think of any others i've seen in recent memory that feature in a primary role a fat actor where the film itself is not incredibly cruel to them

[mamorigami]

i think its so inevitable for the team to take up a 100 yr quest at SOME point in time so i might keep the idea that they're doing it, but i won't involve the story & plotlines in the current series. do u get me.

[atesbrn]

ODYSSEUS ( @odynard ) / VINCENT ( @viinard ) / JULES ( @julessbr ) recitaron , en el SALÓN PRINCIPAL : ' te he estado buscando… '

' no importa, ' exhala, con un ademán de diestra, apagando su linterna para usar la de su hermano. en la penumbra, puede encontrar la mirada de contrario. evidentemente, todo estaba muy mal. buscarlo a él, era lo de menos, no iría a ningun lado sin ina. lleva ese pesado sinsabor en el paladar que le echarían la culpa, de una manera u otra. alza el mentón, señalando a los policías al frente, a quienes no les ha quitado la mirada desde que anunciaron la lista de sospechosos. ' esto es una mierda, es obvio lo que hicieron. ' matar al tipo, & lavarse las manos con ellos.

[antipersonal]

✱ @goldenandvoid asked:

» "i'm invisible most of the time."

❱ [ prompts for people who aren't used to kindness ] ❰

The nightlights in the common room cast everything in that kind of sterile, too-clean glow that made it hard to tell if it was midnight or four in the morning. Most of the team had turned in by now, but John was still up, nursing a third cup of what passed for coffee here. He didn't know what unsettled him more, the quiet or the company.

For a guy his size, Bob didn't exactly loom. He just… existed. Like a plant you kept forgetting to water. They hadn't talked much --a new team meant new unspoken rules about what not to bring up, and from what John had seen that list was pretty damn long-- and he almost missed it when Bob spoke under his breath like an afterthought: I'm invisible most of the time.

John glanced over the rim of his mug blearily, trying to read Bob's expression and coming up short. "That one of your powers?" he asked, tone dry and sarcastic. "A thousand exploding suns plus invisibility? Starting to feel like overkill, Bobby."

The nickname slipped out before he could bite his tongue. John winced, hoping Bob couldn't see it in the dim light.

[br1ghtestlight]

we dont actually know where linda and gayle grew up we just know that it was NOT seymour's bay and that its likely an hour or two drive away from where they currently live (I like to think that gayle moved to seymour's bay after linda did because she wanted to be like her big sister lmao)

their hometown is specifically called Hunkawtaway which is apparently a play on native american appropriated town names in the midwest so I think she most likely didn't grow up in new jersery but still somewhere in that general area of america (like connecticut or massachusetts)

for bob I would say he grew up in the area surrounding seymour's bay but not actually IN seymour's bay because its a small-ish town and we don't ever see big bob's diner around. I would say they live maybe a 30 to 45 minute drive away from big bob (who still lives where bob grew up) so still definitely in new jersery but maybe somewhere closer to the bog habour area??

we know they both didn't grow up in seymour's bay as they never went to wagstaff or huxley high school (but it seems like at one point they were maybe considering that bob and linda went to the same high school, because the original subplot for linda's high school reunion episode was going to be someone from BOBS high school who had a crush on him was trying to flirt with him at their reunion. this got changed when they realized that bob and linda obviously didnt go to the same high school growing up) but I think bob definitely lived closer to their current location that linda did. they most likely moved to seymour's bay when they saw a resturant location in the area renting for very cheap and previously lived closer to bog harbour

(and we know that teddy has a long family history specifically in seymour's bay)

[hawkinslibrary]

there's a new article out about the play. i think it's paywalled for people outside of the us, so here's a twitter thread with screenshots. i've also typed it all out under the cut here:

LONDON – Next month, the Upside Down extends its tentacles into London’s West End with “Stranger Things: The First Shadow,” a prequel stage production that expands the world of Netflix’s sci-fi/horror blockbuster. 

And the creative team behind it hopes the play will be as groundbreaking as the series itself.  

“We’re about to bring the actors, who’ve just been in this cocoon of a rehearsal room for seven weeks, into [the theater],” producer Sonia Friedman says of “The First Shadow,” which is set to open Noc. 17 at the Phoenix Theatre. “We’ve been making sure it can stand alone without the special effects, because it’s all about story. We are going to blow people’s minds. We are going to terrify with some of the most startling, extraordinary things with the physical production.” 

The project originated with director Stephen Daldry, who approached Netflix’s then-content chief Cindy Holland after the show’s first season aired.  

“One of the conversations Stephen and I had been having was, ‘What theater have we ever seen where you get genuinely scared?’” Daldry’s co-director Justin Martin says. “It was an interesting challenge and provocation. We talked about other [Netflix] titles, but this one felt like the most imaginative and the most challenging to try and find a stage language for.” 

“The goal was to figure out, what does a mega episode of ‘Stranger Things’ look like on stage?” adds Matt Duffer, who created the series with brother Ross. “It was a very long, multi-year process to figure that out. But where they’ve landed is incredibly exciting.” 

For the Duffers, the idea of expanding the “Stranger Things” universe in new forms was an exciting prospect. They're currently working on several spinoff shows, including a children’s animated series and an anime series. The play exists on its own, but it also informs the narrative and characters fans know.  

“The idea was to explore Henry Creel and his backstory and fill in a gap that we don’t explore in Season 4,” Ross Duffer says of the villain also known as Vecna. “The play was being developed simultaneously with us writing Season 4 so we were adjusting as we went. It was an interesting way to develop a story, but to do it concurrently like that made sure everything locks in mythology-wise.” 

Development on “The First Shadow” began during Season 2. Daldry approached Friedman after seeing the magic and spectacle in her company’s production of “Harry Potter and the Cursed Child” at London’s Palace Theatre. The creative team spent time brainstorming the story during the early months of the pandemic with screenwriter Jack Thorne, but eventually decided they needed someone who knew the series intimately. 

Kate Trefry, a writer on “Stranger Things” since Season 2, was an obvious choice for Daldry, despite the fact that she’d never written a play before.  

“Season 2 is really when we started to expand this world and mythology,” Ross Duffer says. “So Kate knows that as well as us. She's been with us in the trenches for so many years that we were so happy that she had this opportunity to do this.” 

From early on, no one wanted to simply remake the first season. Daldry wanted the story to be what Martin calls “in the center of the conversation,” rather than a secondary narrative, so a prequel made the most sense. 

“When we met with Stephen we had just cracked this Henry Creel stuff in the writers room,” Ross Duffer says. “We said, ‘Well there might be an opening here.’ And Stephen really fell in love with it.” 

“There are questions of ‘Why Hawkins?’ and ‘How did all this stuff happen?’” Martin adds, referring to the show’s fictional Indiana town, which becomes a hotbed of supernatural activity. “This felt like a good way to address that.”  

“The First Shadow,” set in Hawkins in 1959, is told over two chapters. Several familiar characters appear, including Bob Newby, Joyce Maldonado and Jim Hopper, who are in their last year of high school when a new student named Henry Creel arrives. Nearby, Dr. Brenner is getting his start in his lab. There are also new characters, like Bob’s sister Patty Newby. Trefry calls it an ensemble play with Henry Creel as the “spine” of the story. Beyond that, everyone involved is as tight-lipped about the plot as they are about the forthcoming grand finale of the Netflix original. 

“It’s about outsider kids who come together to solve a mystery,” Martin says. “And in doing so find themselves and each other. That's really ultimately what ‘Stranger Things’” does so well and why so many people connect with it.” 

Trefry adds that it’s also “about the loss of innocence and coming of age and how you are changed and ruined and saved by these formative events that happened in high school.” 

“So, hopefully, you’ll see that Hopper and Joyce and Bob are all presenting echoes of the trauma that is at the center of this play,” she says. 

In the first season of “Stranger Things,” Joyce, Bob and Hopper seem surprised by what’s going on in Hawkins. But Trefry confirms there’s an explanation for why they don’t immediately connect it to their high school years.  

“The climactic events that happen within these two stage episodes had to be something that could be written off as not magical or science fiction,” she says. “It had to be spectacular and make sense, but we had to go forward in honesty with our characters.” 

As a TV series, “Stranger Things” has a recognizable aesthetic. The Upside Down and its monsters are familiar to viewers, so a stage version needed to incorporates similar visuals.  

Because Trefry had never written a play, she didn’t worry about whether certain effects or scenes would be possible, which upped the ante for everyone included.  

“She cross-cut scenes as she would in the show and wrote crazy visual effects sequences as she would in the show,” Matt Duffer says. “She wasn’t limited by that because it then just presented a challenge for Stephen to solve, which is fun. The opening sequence of the play -- I don’t think anyone even knew if it was possible. I'm still not sure how they’re doing it.” 

Friedman and Daldry put together a notably skilled creative team. Friedman set the bar high from the outset, telling them, “I need to be taken to a new dimension of what is possible with theater.” 

That team includes illusions design and visual effects artists Jamie Harrison and Chris Fisher, who are responsible for the onstage magic in “Harry Potter and the Cursed Child.” Harrison and Fisher spent nearly a year coming up with the effects in “The First Shadow” and have continues perfecting things during rehearsals. 

“It’s very pressurized because there is nothing worse than a bad effect because the audience knows straight away,” Harrison says. “We have to go through quite a lot of watching our work be quite bumpy before it gets smooth. And we have to bring the actors from zero magic skill to being very expert in a condensed period of time.” 

“When you have the world of ‘Stranger Things,’ people know it,” Fisher adds. “They have those big sequences, so we naturally are creating big sequences. We’ve pushed it and I think by us pushing, the directors and Kate have pushed us even more and said, ‘Now we know you can do that, we want this.’” 

As a series “Stranger Things” relies on CGI alongside practical effects, but onstage everything has to be done for real. 59 Productions are creating the video design and visual effects for the play, which will work in tandem with the illusions and Miriam Buether’s set design. Harrison says that “anything that can be achieved in film can be achieved in theater.” 

“In film, people want absolute reality,” Harrison says. “For the effects to be visually real. In the theater, we have a level of imagination that we can use as well. For example, in the piece we’re creating there are a lot more blood and guts.” 

Trefry adds that the stage show is genuinely terrifying. “It’s scary like ‘Stranger Things’ is scary,” she says. “There’s a little bit of like guts and gore, and then there’s also real trauma – people dealing with real stuff.” 

Other elements of the production will hint at the series as well. For instance, Harrison and Fisher met with the creature designer from the series during their design process to ensure “visual continuity,” although they won’t say which creatures appear in the play. And D.J. Walde’s original music recreates the familiar synth theme song with a theremin that matches the late 1950s setting.  

For the Duffers, bringing the “Stranger Things” universe to life on stage satisfies their love of practical effects.  

“The downside of CGI is that the audience is conditioned to the fact that we can basically do anything,” Matt Duffer says. “But there’s something about seeing it actually done. When I saw ‘Cursed Child,’ my jaw was dropping in a way it rarely does now with these big movies. We want to do the same here.” 

Because Trefry wrote the play while Season 4 was in development, the series’ writers were able to retrofit elements of that season to reflect the stage show. The events of the play will also help to “enrich” Season 5, Matt Duffer says.  

“There’s a ton of conversation and dialogue between this play and the events that happen in Season 5,” Trefry says of the final season, which is over halfway written. “It was about trying to create something that is canon, but where you don’t have to see it to see Season 5. But if you do see it, it’ll make Season 5 better.” 

“There are hints of where [the show] is going to go,” Ross Duffer adds. “I think when [Season] 5 comes together, all of those pieces will hopefully click.” 

“The First Shadow” tickets are currently on sale through Aug. 25, 2024, although Friedman confirms the case signed one-year contracts and the production is open-ended. The plan is to bring the play to Broadway and the rest of the U.S. as soon as possible.  

“Hopefully it can get to as many places as it can so as many fans as possible can experience it,” Matt Duffer says. “That’s one thing we’re trying to figure out: How do we make sure people are able to see it before Season 5 releases?” 

“The First Shadow” marks the beginning of a broader universe for “Stranger Things.” The Duffers say they can’t “focus on the spinoffs until we’re landed the plan with Season 5,” but so far they’ve enjoyed letting other artists re-imagine their ideas. 

“This was originally pitched as a standalone story and so to be here now is surreal,” Ross Duffer says. “But this has been the most rewarding experience for us creatively." 

[jellytina]

day 8!!!!!!

yall remember that one ron oc i made a while back? well i went insane and decided to do a full ass au for it (too bad she isn't the protagonist....)

[b4rtlet]

@fyrewalks

"we are all useless alone." the bench creeks as she takes the spot next to him, "so its good you're not alone." she bumps her shoulder against his to pull his attention away from the ground and towards the jet with it's two seats.

– a line from a sentence meme i’ve reblogged to make a starter.