#a playwright and stagehand!!

[moltengoldveins]

@clingyduoapologist made a really cool “what if DSMP were a stage play” post and basically the instant I saw it I was struck by the muse but I don’t want to just chain reblog the dang thing or make one huge reblog with all my thoughts so instead here are all my thoughts on this concept

i don’t think it’s a musical. I think the tone of the story doesn’t fit. But if it were, it would have a Lot of scenes of unsung dialogue, and that dialoge? Would be rhythmic poetry. It’s Shakespeare Appreciation Time baby.

i do however think there would be a live score and an orchestra. A lot of the music would need to be recorded but there’s at least be a few musicians.

different characters speak in different poetic styles at different times to communicate character and plot development.

to elaborate on that: Characters switch from loose ABBA or ABAB rhyme schemes and vaguely rhythmic meter when chatting back and forth to strict perfect iambic pentameter for tense scenes or political speeches.

Techno speaks exclusively in unrhyming dactylic hexameter, an extremely common poetic form for Greek and Latin poetry. It’s what the Iliad was written in. This has the interesting effect of making Techno sound, at first glance, unpoetic. His speech doesn’t rhyme, and doesn’t follow a common English rhythm scheme, so it wouldn’t immediately register as structured. However, dactylic hexameter is actually significantly harder to write in English than expected because of our syllable stress patterns. Speaking like that would be, objectively, a sign of extreme intelligence, but could easily be overlooked as coarse uncultured behavior.

Techno’s chorus - composed of audience members, background extras, and people (in safety harnesses) sitting in the theater rafters - speak largely in Greek and Classical Chinese, quoting sections of the Art of War and Homer’s work. The major exceptions to this are ‘Blood for the Blood god,’ ‘no,’ and ‘do it.’ They all wear a hat or some form of headband that has a glowing LED eye, hidden, but activated when they speak. The audience plants are all in dark clothes, and when the lights go down they don medical masks/sunglasses. Anything to obscure their faces.

The Chorus, a group of robed masked people who broke the fourth wall and often entered the audience, was a vital part of early Greek theatre. I am an intolerable nerd, and the thought of sitting in a dark theatre only to hear an low distorted voice beside you start to comment on the play as a whole choir of voices echo around you, then turning to see your seat neighbor is a masked person with a glowing red eye in your forehead? Literally incredible.

Dream is the only character dressed in even remotely modern clothes.

Dream is first seen as someone (again, in modern clothes) sneaking around backstage in a black hoodie: most of the audience probably assumes he’s a stagehand and not meant to be seen. Then, at some point, he moves from behind a set piece and enters the scene as an actual character, revealing his mask.

interestingly, this is really similar to what I believe is a bit of myth about why ninjas are dressed in all black in modern media. They wouldn’t have been irl, they would’ve dressed like civilians. But stagehands in Japanese theatre would dress in all-black, and were often completely visible onstage moving sets - it was common courtesy to ignore them. Then one day some playwright had the brilliant idea of having one of the stagehands enter the story as an assassin, and suddenly every actor in all-black was a threat. For the life of me I can’t remember where I read that but it’s a cool thought :D

Dream canonically can interact with set pieces, lighting, and curtains.

Dream actively directs lighting in scenes he is not in, sitting above the stage kicking his feet.

Dream is often used to hand off props to characters instead of having them pull them from a pocket and pretend they were pulled from their ‘inventory.’ This begins to get confusing when Dream is acknowledged later on as the he person giving, say, TNT to Wilbur, or wither skulls to Techno.

characters address the audience as ‘Chat,’ (English’s first fourth-person pronoun my beloved) almost constantly, especially for comedic purposes- most of their monologues are addressed directly to the audience as well. For Wilbur, it’s a sign of instability when he stops addressing ‘Chat’ and start addressing the sides or back of the stage.

philza enters from the lower audience, right by the stage, probably after pooping up from the orchestra pit and taking a reserved seat halfway through so no one sees the wings.

Tommy has by far the least structured or rhyming dialogue - if it weren’t for how carefully crafted it was it would sound like normal prose.

Tommy speaks to the audience by FAR the most. Wilbur only addresses them when soliloquizing. Techno barely addresses them at all: they address him. Ranboo speaks to the audience only when alone, and it’s usually phrased like he’s writing in his memory journal. Tommy speaks to the audience at first like a loud younger brother. As he gets older, it sounds more and more like a plea for help, a prayer for intervention that will never come. Exile is one long string of desperate begging aimed our way.

Tommy stops speaking to the audience so much after Doomsday. He starts again when Dream is imprisoned. He stops for good when he dies in there, beaten, alone.

Sam and the Warden are meant to be played by different actors, ideally siblings or fraternal twins. They wear identical stage makeup and costumes, but the difference is there. None of the characters acknowledge this.

the Stage would need to be absolutely massive and curve almost halfway around the central audience, largely because it should be able to be split at times into two separate stages to show different things happening at the same time. This could possibly also work if there were two stages, but getting people to easily turn from one stage to the other without loosing sight of what was happening would be rough.

Doomsday taking advantage of the scaffolding in the rafters and using them as the ‘grid’ for the tnt droppers.

actual trained dogs for Doomsday my beloved. Would cost a fortune but could you imagine.

the entire revolution arc ripped off Hamilton, we all know that, I think we can afford to have a stagehand step forward in that frozen moment in time when Tommy and Dream have that duel, grab the arrow, and carry it slowly across the stage right into Tommy’s eye. For morale.

throughout the execution scene Techno keeps slipping out of poetic meter, especially when he sees/is worried about Phil. After the totem (which would be freaking amazing as some sort of stage effect with like lights and red and green streamers or smthn dude-) he stops speaking in poetry. The scene with Quackity is entirely spoken dialogue. Chat is silent. It’s only when he gets back and sees evidence that his house has been tampered with that Chat starts up again (kill, blood, death, hunt, hunt, hunt-) and he starts speaking in rhythm again.

Every canon death, Dream marks a tally on something in the background. Maybe it’s in his arm? Like a personal scorecard. Or maybe it’s on the person themselves, a little set of three hearts he marks through with a dry-erase marker or something.

phil and techno have a lot more eastern design elements and musical influences than the rest of the cast, except for Techno’s war theme which is just choir, bagpipes, and some sort of rhythmic ticking or thumping. Phil’s also got a choir sting but it’s a lot harsher, the ladies are higher and them men lower, and the chords are really dissonant (think murder of crows)

Tommy’s theme has a lot of drums, but its core is actually a piano melody. The inverse of Tommy’s theme is Tubbo’s, but Tubbo’s is usually played on a ukulele. Wilbur is guitar, obv, and Niki’s is on viola.

Quackity is a little saxophone lick. He and Schlatt both have a strong big band/jazz influence.

None of the instruments that play dream’s theme play anywhere else in the music. I’m thinking harp, music box, and some kind of low wind instrument.

[housemaiden-of-change]

《 Dont patronize me, you crab 》

[Don't listen to the Star. They're going to break someone's legs personally.]

[maybe-boys-do-love]

“Why is dialogue so emotionally exaggerated in Japanese film?” one reddit user asked.

The response HarryMcFann gave is an incredible primer to understanding Japanese performance style and the media influenced by it (I’m looking at you, BLs and Kdramas).

“Not claiming to be an expert or have a definitive answer here, but these are my two cents based off of what I know about Japan and Japanese film. This is a very general overview. It’s important to note that culture is complex and full of nuances, but this should give a general understanding as to why Japanese films are somewhat exaggerated.

As u/scytheavatar pointed out, Japanese film is influenced by Japanese theater, but that doesn't fully answer your question. For example, you may ask about Western theater as it relates to Western films, and so on (Western theater is exagerated, but films today aren’t). So let’s look at Japanese theater.

The three main forms of Japanese theater are Kabuki, Noh, and Bunraku, and each of these forms influenced Japanese films in different ways. Now what is important to note here is that back in the early years of cinema, those in France and the rest of the West saw film as a new form of photography, while the Japanese viewed film as a new form of theater. Just think about that for a second, and what the implications are. Back in the late 19th and early 20th century the big thing about photography was it’s ability to capture realism, and that realism was a huge concern for many Western filmmakers. The famous French film critic, André Bazin, wrote extensively about how he believed the essence of cinema is its ability to reproduce reality (there were, of course, Western filmmakers who rejected this notion, such as the Soviet formalists and German expressionists, but going into that would require a lot more words). In Japan this was not the case, and from its inception, the Japanese rejected the Western idea of cinematic “realism.”

How did this manifest itself in early Japanese cinema? One thing the Japanese directly took from theater was the presence of a narrator. Japanese silent films were always accompanied by someone called a Benshi (fun fact, Kurosawa’s brother was a benshi), who would narrate the film. Japanese silent films would then have few intertitles, because the benshi would be there to explain the plot, and so on. What’s more, audiences would often attend a film based off of which benshi was performing. The benshi where local celebrities in many ways, and they would try to one-up one another. So naturally, to give a good show, the benshi would have to exaggerate in order to give more life to the performance (these guys would voice characters and play all the different roles). Directors would make their films knowing that there was going to a benshi present. So popular was the benshi, that much of the resistance to transitioning into talking films was from those lamenting the loss of the benshi narrators. Japan actually finally made the transition into talking films much later than the rest of the world.

It is also important to understand that “realism” is a relative term (cue some 15-year-old calling me pretentious). Yes, Western theater is also exaggerated and not particularly realistic, but traditional Western theater really doesn’t compare to Japanese theater. In fact, the famous German playwright, Bertolt Brecht, based many of his ideas of modernism in theater on traditional Japanese theater. This is why Ozu is seen as the most “traditional” of Japanese filmmakers while also being viewed as an early “modernist.” (It’s all really confusing and requires a bunch of quotation marks). Anyway, the Japanese don’t really have the 4th wall in theater the same way we do here in the West. In Japanese theater, audience interaction is huge, and stagehands (albeit often wearing black) walk freely on stage and move props and scenery around the actors, and so on. The key difference here between Japanese theater and Western theater is that while the West try to disguise and mask the artifice of the stage, the Japanese embraced it. A quick example of the way a Japanese actor performs in theater would be the Mie. The Mie is a powerful and emotional pose struck by an actor, who then freezes for a moment. This pose is more for the audience than the drama of the play, and often times reveals important information about that character. This idea of the artificiality of the performance in theater can also be seen in Japanese film.

Finally, it is worth noting how the Japanese view nature vs how the West does. In the West, we look at the natural as being something untouched by people. Interestingly, this isn’t really the case in Japan. In Japan there’s a belief that something only becomes “natural” when it has been in some way shaped by a person. Weird, right? To quote Donald Richie:

“To most Japanese, the Western idea of “realism,” particularly in its naturalistic phase, was something truly new. All early Japanese dramatic forms had assumed the necessity of a structure created through mediation. The same was true of Japanese culture in general: the wilderness was natural only after it had been shaped and presented in a palpable form, as in the Japanese garden, or flowers were considered living (ikebana) only after having been cut and arranged for viewing. Life was thus dramatically lifelike only after having been explained and commented on. Art and entertainment alike were presentational, that is they rendered a particular reality by way of an authoritative voice (be it the noh chorus or the benshi). This approach stood in marked contrast to the representational style of the West in which one assumed the reality of what was being shown.”

I want to make it clear that not all Japanese films are like this. If you watch films by a director like Hirokazu Koreeda, you will not see the same sort of exaggeration.”

[whencyclopedia]

Plautus

Titus Maccius Plautus, better known simply as Plautus (actually a nickname meaning 'flatfoot'), was, between c. 205 and 184 BCE, a Roman writer of comedy plays, specifically the fabulae palliatae, which had a Greek-themed storyline. His plays are the earliest complete surviving works from Latin theatre and they are noted for adding even more outrageous comedy to traditional comic plays. Plautus is also celebrated as a developer of characterisation and a master of verbal acrobatics. Finally, the plays are a rich and valuable source of information regarding contemporary Roman society.

Biographical Details

Details of Plautus' life are sketchy and unreliable; even his name may be simply a collection of nicknames attributed to a particular playwright. Plautus is said to have been born in Sarsina, Umbria. Ancient sources, now largely discredited as pure invention, tell of his early career in theatre when he worked as a stagehand, his bankruptcy from spurious business ventures, and his time working in a mill to make ends meet.

Continue reading...

[dailyadventureprompts]

Mystery: Daughters of the Drossyard Pact

Originally intended to be sacrifices n a fiendish ritual , three orphan sisters managed to outsmart the warlock who’d adopted them and managed to offer him in their stead, Inadvertently becoming the beneficiaries of his profane dealings. Decades later, with the renewal of the pact looming one of the sisters has gone missing, leaving the other two in a lurch fearing the other had something to do with it. One sister desperately wishes to be free of the deal,  while the other may be willing to do anything to hold on to the power it has granted her. Neither trusts the other but both want the party’s aid in discovering the fate or whereabouts of their missing sibling.

Adventure Hooks: 

A pious noblewoman by the name of Lia Rolland initially hires our heroes to investigate the disappearance of a local playwright she serves as patron to as well as look into the strange occurrences around the theater which have only seemed to escalate since. Sleuthing around turns up a gaggle of disgruntled actors and stagehands stretched to the breaking point by an endless series of accidents and mishaps and delays. On top of everything else, prior to her disappearance Mecona, the playwright,  kept insisting on revising the piece over and over again and was prone to bringing production to a halt for days at a time while she buried herself in rewrites, which is why no one initially noticed that she was gone.  If the party are careful with their questions they may just discover that lowborn Mecona and highborn Lia are apparently sisters, a truth discovered by a snooping costumer looking in on one of their meetings. 

As it turns out, the strange occurrences are the fault of a host of dark spirits that have taken up residence in the forgotten corners of the theater, who’ve been amusing themselves by causing all kinds of minor chaos. Inevitably the party will be victim to a few of their cruel pranks or sabotauge, escilating until have to fight an entire possessed prompts department and worse as the demons boil out like a kicked hornet’s nest. 

 Into the chaoic (and potentially burning) theater strides Doc Briar, a scarred and swaggering practitioner of dark magic who aids the party in putting down the fiendish threat before warning them not to trust their employer and portaling out.  Briar will be shadowing them for the rest of the adventure just in case they get into any more scrapes, though it appears she has a motive of her own. 

Background: Once there were three orphan sisters, Rose, Camellia, and Poesy, their parents and last name taken from them by an awful war that saw them bourne from the smouldering remains of village to the big city. For years they were overlooked in the crowds of other refugees, falling ever deeper through the cracks until they were atlast taken in by a cold-eyed man who saw them brought up as servants in his great an empty house. Warry Camellia suspected the man had torrid plans for them, but ever-practical Rose was willing to put up with anything if it meant the  younger two would be saved from the street.

The cold-eyed man did have designs on the sisters, but they were far more sinister than what cruel old men usually do to those who are dependant on them. The man was an occultist of great ambition, and had spent his life seeking the means of summoning a fiend capable of granting his desire for power. After much dark dealing he’d found one, Calceinatis the profaner, but her summoning ritual required betrayal on the part of the summoner. Thinking himself clever he brought the three sisters into his home, taught them the basics of his magic,  and claimed that he’d take the most promising of the girls not only as his apprentice, but as rightfully acknowledged heir to all his wealth and holdings.  Over the next few years the cold-eyed man moved his favor from one girl to the next, hoping to stoke resentment and envy between the sisters, laying the groundwork for that most nessisary betrayal.

It was reticent Cammellia was his eventual selection, passing over Rose who wanted it most and young impressionable Posey to whom he was most like an actual father.  He passed the middle sister off to his peers as his bastard,  an indiscretion from years back that he had sheltered out of shame and only now worked up the courage to admit. Society applauded him for it, and he grinned as he introduced his “daughter” to polite society, thinking of how the other two must have watched their sister from the back rooms with covetous hatred. 

It would take a fool not to notice that the sisters had been on to his game for years, but the cold-eyed man was not just a fool, he was hollow hearted and narrow minded, ignorant of the bonds of love and convinced that all people were as motivated by the promise of power and station as he was.  While the sisters couldn’t know exactly what he had planned, they’d swore to stick by eachother no matter what, and so when their benefactor took them out to the great ash dusted badlands at the foot of the mountains as part of Cammellia’s “ascension ritual” they knew they had to act soon.   The rite had barely begun before the cold-eyed man tossed the sacrificial knife between the girls, claiming that he needed only one blood offering and the other two would be greatly rewarded if they did the deed. He drew close as the girls squabbled over the blade, unwilling to deny himself the violence that would lead him to everything he wanted, the oft imagined vision of young veins sliced open and spilling forth everything he could have wanted. 

The Cold-eyed man never could have imagined that his girls, his pawns, his wretched little orphans, would drive the knife into his belly with all the stregth their little arms could muster. That three little sets of hands would pull as one to tear open his fine suit and spill his guts into the ashen earth. 

He was still alive when the demon loomed over him, two sets skulls grinning, he was still alive when the sharp bear fangs started in on his flesh while the goat congratulated the girls on their marvelous betrayal and the boons they would be granted for this fine offering, he was still alive when the blunt goat teeth started in on his bones while the bear intoned that if the sisters wanted to keep these gifts they would need to return to this spot every sixth year and use the same knife to spill a few drops of their own blood or else… The demon did not finish what it was saying, the cold eyed man had finally died and so the meal was done. It disapeared, leaving Rose, Camellia, and Poesy to drag their father/employer’s body back to civilization, claiming to have been the victim of some savage animal attack. 

Motivations & Complications: 

Lia Rolland  (Cammellia): Forced to maintain the deception that she was the illgotten daughter of the man she helped murder has put Lia in a bind. She would like nothing more than to abandon his legacy and the pact but the resources granted to her but necessity has forced her time and again to rely on both. Wealth allowed her to support her sisters into adulthood, and the few supernatural abilities she’s allowed herself have seen her through hard times as she’s made a family and become a patron of the arts. She’d never break the pact on her own, fearing that all the good things in her life would be stripped away, but she’s terrified Briar has given in to her powerhungry nature and hurt or even killed Mecona to strike a new bargin with the demon of the drossyard.

Doc Briar (Rose):  A life spent looking out for two younger sisters convinced Briar that she need to do whatever it took to gain control of her life, which led to her fully embracing the gifts of the pact. She suspects Lia has done something with Mecona to ensure the pact cannot be restruck, and has hired the party as cover. Knowing she’s on a deadline for the next renewal of the ritual, she aims to track down both her sisters and convince them to return to the drossyard. Failing that, steal the knife and get a bit of Lia’s blood which she can hopefully use to stave off the demon for another half-decade. 

Mecona (Poppy):  Barely old enough to remember her parents before she and her sisters were taken in by the cold-eyed man, Poppy was the only one he seemed to show actual parental affection for, if only out of an attmept to make the other two resent their most innocent sibling. This gaslighting seeded her mind with confusion and guilt as to whether the cold-eyed man really meant them any harm, and if they were really without blame for killing their abuser.  These troubled feelings led her to the arts and later to the stage writing under an assumed name, having developed a real talent for portraying complicated relationships that resonated with  audiences.  As the sixth anniversary of the pact rolled around her guilt over the mater came to a boil (were they really any better than the old man if they benefited from the same dark magic as he intended to use them for?), she decided to isolate herself, let the pact end, and see just what her sisters would do with the matter. 

Calceinatis: What the daughters of the drossyard do not yet realize is that they are once again being manipulated, this time by the fiend whispering in their minds and stoking their darker impulses. Sometime while devouring the old warlock’s soul the profaner realized that the three young women could be useful tools in feeding it again, but realized it would have to play the long game if it wanted them to truely turn the knife on eachother.  By feeding Rose’s ambition, Camellia’s fear, and Poppy’s regret, the Drossyard demon has separated the sisters and set them against eachother just as the cold-eyed man once did, Now all she has to do is sit back, wait, and let momentum carry one of the three past the point of no return. 

If you want to use this in your game, why not take a look at my How to run mysteries for d&d post. 

[orchidlatteart]

Divided! Bruno:

Bruno is an artist, writer, and actor.

Bruno helps out at a theater to make extra money. He mostly cleans and acts as a stagehand, but occasionally he gets minor roles in shows. However, his true dream is to become a playwright.

Bruno adores storytelling. He loves becoming a new person, leaving his world behind and entering a new, fantastical one.

Bruno is close with Pedro and is the most open to him, but is overall extremely reserved, shy, and quiet. Pedro often worries about this.

Bruno knows about his mother and sisters, but Pedro has not shared the details of what happened that night with his son and Bruno is nervous to ask. He has never visited the place where his family was lost.

That's a wrap on the character introductions! I'll be back in a few days with the first comic strip (huzzah!!) - orchidlatte

[maximumwobblerbanditdonut]

FIRST LOOK AT EWAN MCGREGOR AND THE CAST OF MY MASTER BUILDER!

Ewan McGregor returns to the West End in new play My Master Builder

Lila Raicek’s play, which McGregor describes as ‘a very modern take on today’s sexual politics’, will be the actor’s first London show in 17 years.

My Master Builder by American playwright Lila Raicek is stage by Michael Grandage, who previously directed McGregor in Othello and Guys and Dolls. Raicek’s play, inspired by Henrik Ibsen’s classic. The Master Builder stars McGregor as an architect, Henry Solness, whose wife throws him a party in the Hamptons to celebrate the unveiling of his new work. The evening is then disrupted by the arrival of his former student.

Ewan McGregor began his acting journey at the age of 16 as a stagehand at Perth Theatre 🏴󠁧󠁢󠁳󠁣󠁴󠁿

Ewan studied drama. He moved to London and enrolled in a three-year drama course at the Guildhall School of Music and Drama 🎭 a renowned institution for performing arts, after a year-long drama foundation course at Kirkcaldy College of Technology.

Early Roles: Before graduating, he secured a role in the TV miniseries "Lipstick on Your Collar" (1993), his first on-camera role

Films include: Christopher Robin in Christopher Robin, Cole in Zoe, Renton in T2 Trainspotting, Swede Levov in American Pastoral, Dave Braden in Miles Ahead, Perry in Our Kind of Traitor, John Bishop in Jane Got a Gun, Yeshua / The Demon in Last Days in the Desert, Bill in August: Osage County, Henry in The Impossible, Elmont in Jack The Giant Killer, Fred Jones in Salmon Fishing in the Yemen, Michael in Perfect Sense, Oliver in Beginners, Nanny McPhee Returns, The Ghost, Amelia, Bob Wilton in The Men Who Stare At Goats, I Love You Philip Morris, Deception, Incendiary, The List, Cassandra’s Dream, Stormbreaker, Miss Potter, Scenes of A Sexual Nature, Valiant, The Island, Robots, Obi Wan Kenobi in Star Wars I, II, III, Big Fish, Down With Love, Young Adam, Trainspotting, Shallow Grave, Moulin Rouge, Black Hawk Down, Rogue Trader, The Pillow Book, Emma, Brassed Off, Nightwatch, Nora, Eye Of The Beholder, A Life Less Ordinary, Velvet Goldmine, Little Voice.

Theatre: Iago in Othello (Donmar Warehouse), Guys and Dolls (West End), Little Malcolm and His Struggle Against the Eunuchs (Hampstead Theatre and West End).

TV: Emmit Stussy in Fargo (Netflix)

Ewan McGregor is joined by Elizabeth Debicki, Kate Fleetwood, David Ajala and Mirren Mack in MY MASTER BUILDER – a new play by American playwright and screenwriter Lila Raicek.

Performances of the new play are taking place in the West End -at Wyndham’s theatre on 17 April and runs until 12 July 2025

📸©Johan Persson

#MyMasterBuilder #EwanMcGregor #WestEnd #Theatre #ElizabethDebicki #Kate Fleetwood #DavidAjala #MirrenMack #LilaRaicek #London #MichaelGrandage #playwright #screenwriter

Posted 30th April 2025

[thedreadvampy]

got so mad watching Chat With Some Draculas the other day when I realised that the playwright/stagehand Sam is literally Beckett like fuck offffffffffffff that's SUCH A GOOD BIT

[sweet-star-cookie]

helloooo! question time, this time about capricorn!

what does capricorn's theater look like?

what constellations help capricorn with his theater?

how does capricorn move around? (because i believe he has a tail instead of legs)

ciara and co are going to watch one of capricorn's plays in chapter 22, give me a random play or show idea for me to write to fruition :3

My incredibly smarmy lad, hell yeah xD Here's his most recent art too!

1. What does Capricorn's theatre look like? Probably what you'd think of when you picture what a traditional theatre would look like; a wooden stage and doors with opulent carvings, stone pillars, warm lights, and curtains and seats made with fabrics that are rich in colour, like a deep red or purple.

Given that he is a combination of "earth and water" as it were, Capricorn has an affinity for plant life, particularly those that are coveted for their beauty. Anything that is his or associated with him will likely have some kind of foliage or flowers growing in or around it, and the theatre is no exception. I can picture hanging vines with flowers that glow with Light magic on either side of the audience that can dim or brighten as needed, like regular lights would. He'd also have strategically placed vases and pots (gifts from Aquarius, perhaps) of flowers strewn about the audience and the entrance.

It's relatively small in size though, which I think fits the more "indie" nature of the stage productions themselves, despite Capricorn's penchant for extravagance. It's partially inspired by the theatre in my home town that seats about 250 people. Unlike that theatre though, this one is more "open" in the sense that anyone can attend without the need for a proof of entry. Any unsavoury types who try to crash a show are either roped into the improv against their will, or will face Capricorn and his pair of hooked whips!

2. What constellations help Capricorn with his theatre? His primary crew consists of Pegasus (The Winged Horse), Monoceros (The Unicorn), and Equuleus (The Little Horse), all of which are siblings. [Symbol design credits here]

Pegasus is the theatre's main player and frequently its playwright, either solo or with Capricorn as a collaborator. Her dramatic and eccentric nature really blooms on the stage, and seeing that potential is what drew the sea goat to her initially. I talk about her more in the zodiac companions ask here if you need a refresher!

In addition to Capricorn, she's usually the recruiter as well. They'll basically recruit anyone on the Astral Plane who will say yes at this point, especially when the population starts to dwindle, so the combination of Capricorn's smooth-toned charisma and Peggy's whirlwind passion and positivity is a powerful one! It can make for quite the combination of personalities and performances when the players are so random, but some are more adept at the craft than others.

The eldest sibling, Monoceros is the backstage and maintenance guy, helping out with everything behind the scenes. He may look depressed or subdued at first, but his demeanour is actually one of contentment, quietly yet happily assisting the theatre. He doesn't possess a lot of Light magic overall (inspired by the real constellation being described as faint) so he's not able to do a full human transformation, but he doesn't mind so long as he has hands to do various tasks that his hoofed cohorts cannot. His height also helps with reaching high levers and ropes. He's modelled after a Clydesdale, a strong horse known for pulling heavy loads, so he is usually a stagehand during a play if objects or background pieces need to be moved. Despite his strength, he is very gentle.

Though an infrequent player of the stage, he is seen occasionally for background or tertiary roles when necessary, usually as a favour to Pegasus. He has a fairly deep voice and speaks a bit slower than most, matching with his peaceful personality. Like a happier cousin to Eeyore, perhaps. ---- Unfortunately I don't have art for Equuleus yet, I've been a bit stuck on what direction I've wanted to take for him visually for a while ^^' Picture a foal of a miniature horse though, so basically the smallest that a horse can be. I also might give him a hat similar to Pegasus's that's too big for him but he wears proudly anyway.

He's a wide-eyed and excitable budding actor who wants to follow after his siblings in many different ways. He looks up to Pegasus's outward and expressive performances, but also to Monoceros's contentment with himself being firmly out of the limelight. Equuleus is still figuring out what kind of player he wants to be, so he admires both of their strong senses of identity, despite how opposite they are.

When not practicing his lines, Equuleus can usually be seen excitedly trotting around the theatre exploring, asking about new sets or plays, or if he can help do something, anything. For better or worse, he likes being involved in whatever he can be, and Monoceros and Pegasus often have to watch their feet when he's around, otherwise they might trip over him! ---- Capricorn also gets help frequently from Aquarius and Pisces for costumes, and Austri for both modelling those costumes and for helping out with posing and staging as a former circus performer. Since she can't speak, she thus relies on motion-based communication, so her unique perspective has shown them ways to better exaggerate their posing for the stage when necessary, and sometimes make entirely silent shows too! When not with Pisces, Austri is a commonly seen performer at the theatre, usually for things with a heavy emphasis on physical comedy or sight gags.

3. How does Capricorn move around? Like all of the other constellations who are sea creatures, or part sea creature in this case, he too gets a share of Pisces's water magic to "swim" outside of water. It doesn't allow for full flight like the winged creatures of the Astral Plane in terms of height, but it still aids in his mobility. He doesn't do this often though, as he's fairly calm overall and generally doesn't feel the need to move quickly, but it would be his equivalent to running when he does.

Otherwise, his tail half can move across the ground in a similar way to that of a snake, though it generally requires more hip motion to move and thus his tail tends to sway a bit while in motion. He'll usually lift his fin up off the ground so it doesn't get tattered or stepped on. Much like the rest of him, he cares for the physical condition of it more than most would deem necessary. The water magic can still aid him here too, making it easier for his scales to "glide" over the ground more than they might normally, and repel or remove dirt from the tail's surface more easily. His weapons can also serve as mobility aids in a pinch, as the hooks can rotate as needed to turn them into grappling hooks. The whip portion is retractable as well, meaning he can either tether and swing through the air with them, or pull himself in the direction of the hook by drawing back the rope.

(Forgive the old art but this is probably the best way to show how they work lol)

4. Give me a random play or show idea for me to write to fruition Oooh interesting! Pegasus will often draw inspiration from the many stories associated with the mythological pegasus that she represents for her plays, so feel free to use any of those as a base! Or any other pre-existing play that you think might be cool or funny to do for specific character pairs/groups. She also makes stories that speculate about the mysterious nature of their world and its creation too, as what little they know about Asteria is fragmented at best, so you can use that if you want to go for something original/tied to my world's lore specifically. Since I couldn't tell you everything about Asteria and what role she plays in relation to the Astral Plane for spoiler reasons, you could speculate on what YOU think her role is or how this Astral Plane came to be, if you want :3c Absolutely no pressure though, please do whatever is the most fun for you! ^_^

[dhillarearenn]

Hi, former theatre (playwright) student, current hobbyist writer. Intermissions are incredibly important to the flow of a stage story and the impression it leaves, if placed well. I do agree with OP's point in that they can be poorly executed and therefore very jarring. But generally speaking, a play needs an intermission for the audience to breathe, recollect, reset, and return to the story, otherwise it can really fall apart.

You can't really have "filler" scenes in plays the same way you can with films, tv shows, or books, due to the time constraints and also due to the actors generally relying on their own very human memory. Unnecessary scenes are the bane of theatre for a lot of reasons, but those two are the main ones. And, yes, intermissions are vital because the actors really, really need breaks. Costumes are heavy, lighting is hot, stages are big, movements are bigger, and memories need refreshing. It is incredibly intensive, exhausting work.

No filler scenes means no time for the brain to relax and wind down. Therefore, intermissions are utilised in their stead to give the audience as much of a break as the actors and stagehands (who, again, sorely need it). They're also great for splitting up acts, conveying a passage of time, or even to show the aftereffects of an unseen event. It can serve a similar purpose to a fade-to-black in the middle of a movie, or a to-be-continued segment in a series, or the closing of a chapter in a book.

But think about the last time you tried to pay attention to something that needed 100% concentration for a long time. It was hard, and you probably weren't able to absorb it very well. Theatre is the same. If you sit through 2.5 hours of watching the same heavy, engaging, complex story-- no matter how good it is, you're not going to remember it as well as if you have a rest break in between.

Your brain needs the time to process what you've seen, reset itself and ready for another long viewing experience. You have to mentally prepare for intensive attention commitments by giving your brain a rest, or you can lose focus, become overwhelmed and mentally exhausted, and probably walk away with a much worse impression of the play/musical than if you'd had some downtime from it.

Obviously everyone's brain is different. And again, agreeing in part with OP, a badly-placed intermission can sometimes be worse than none at all. But all in all, they're an incredibly necessary part of theatre, and, when timed well, can even enhance the story's impact!

TL;DR: Intermissions, when used correctly, give the audience's brain a break, give the actors' bodies breaks, and improve the flow of a stage story. That's why we have them!

Unpopular theatre opinion: intermissions are bad and I wish we could just have a 2.5 hour performance uninterrupted, like people manage perfectly well at movie theaters. It always just kills my emotional immersion. Set changes and costume changes valid, but the art form could adapt in other ways. Or making the intermission experience somehow also part of the performance? Just something more interesting and intentional than dumping people out into the lobby to buy m&ms.

[365daysoflesbians]

As an artist, Adams helped make Peter Pan a national phenomenon, but her accomplishments took a toll on her body and impacted her personal relationships. While many theater critics lauded her work onstage, other reporters described her private life less sympathetically. In 1894, rumors in a gossip column reported that Adams had liaisons with other actresses, and the rumors resurfaced when reporters claimed that a young woman of Cuban descent had spent too much time backstage during a run of Peter Pan in New York. Frohman attempted to suppress these reports and fabricated an account that Adams was engaged to a writer, Richard Harding Davis. But she had no serious personal or professional relationships with men other than Frohman and Barrie. Besides the time that she spent with the producer and the playwright abroad, Adams traveled only with her closest female companions, and she worked hard to protect her privacy. Only one actor attempted to court the actress, but she rebuffed him and asked Frohman to remove him from the play’s cast. In another instance, a stagehand at Frohman’s theater made his unrequited love for Adams a public matter. Morris Gottlieb, one of the crew at the Empire responsible for operating a spotlight, also fell in love with Adams. Gottlieb had become entranced with Adams while she rehearsed her part and played it at the Empire, and he believed that she had responded in an encouraging manner to his love letters. She had not. Gottlieb’s actions became erratic, and he was admitted into an asylum”

- “Shadow of [a] girl”: An Examination of Peter Pan in Performance by Patrick B. Tuitt in Second Star to the Right: Peter Pan in the Popular Imagination (2008)

[hehehhhaemony]

IM BLOWIN A KISS THE THE STAGE MANAGERS, STAFF, ACTORS, ORCHESTRA,STAGEHANDS,

CHIREOGRAPHERS,DIRECTORS,PLAYWRIGHTS, JUST EVERYONE.

[newyorkthegoldenage]

Striking actors on 45th St., 1919.

Early in the 20th century, actors were at the mercy of theater owners and booking managers. They were not paid for rehearsals, which could go on for an unlimited time, or for holidays. Actors were also responsible for paying for their own stage costumes and travel. And theater managers could fire any actor or cut their salary without cause.

Then the labor movement started.

Following the lead of those in other industries, stagehands formed a union in 1910. In 1912, playwrights followed.

The Actors Equity Association drafted a constitution in 1913, and six years later was recognized by the American Federation of Labor (now the AFL-CIO).

After many failed attempts to negotiate with producers and managers for fair treatment and a standard contract, Equity called a strike. It lasted 30 days, spread to eight cities, closed 37 plays, prevented the opening of 16 others, and cost about $2 million (in today’s money, anywhere from about $30 million to $500 million).

Chorus members formed their own union. One of those instrumental in organizing it was film star Marie Dressler, who had begun her career in the chorus. The two unions merged in 1955.

Equity received overwhelming popular support. At strike’s end, theater owners and managers signed a five-year contract that included nearly all of Equity's demands. On a larger scale, it broadened the definition of “labor” and the notion of which types of careers could organize.

[chirons-mortar]

Brontes' Chuubo's Characters

These are some drawings of my brother Brontes various Chuubo's Marvelous Wish Granting Engine characters that I had posted on my old blog. I know very little about Chuubo's as it is not a setting or genre I particularly care for but I was trying to draw his characters to give me a project to do. Since I am not a fan of the setting I will probably get some of their character descriptions wrong so please correct my fumbles Brontes.

Ichirou Tanaka (The Diligent/Magical Hero) - A stagehand who always supported others, he is attempting to escape the limelight by becoming a gentleman hero.

Gillian Brandish (The Playwright) - A struggling playwright seeking to break free of another's influence. The girl on her right is her friend Jacqueline Jest who acts like a "fool" character in the form of providing humorous commentary and criticism.

Min “Minnie” Bogs (Fear’s Shadow) - A living shadow who makes masks out of others' fears, she has recently made a deal and become the elder sister of a family.

[purrincess-chat]

Marinette Dupain-Cheng’s Spite Playlist: Remix CH14

Things are changing ;) The next 10 chapters look a lot different than the original, and most of them are brand new.

Previous      First      Next     AO3

---------------------------

Chapter 14: Death by a Thousand Cuts

The crowd waiting for Ladybug and Chat Noir outside the Louvre grew thicker as another van pulled up, and a crew of reporters hopped out. Alya drummed her fingers on her phone, shifting when the new additions forced their way into the throng. She just wanted answers. Being selected to be Rena Rouge meant she had some sort of bond with Ladybug, right? So why did Ladybug replace her without warning? Was it out of necessity? Or did the fox Miraculous have a permanent new owner?

Camera bulbs flashed as the heroes exited the museum, and several microphones competed for their attention, swallowing Alya in a sea of limbs. Lila promised a private interview, and if her stories were to be believed, she’d better come through. This was the moment that would define their friendship, and more importantly, Alya would finally learn if Marinette and Adrien were telling the truth.

“Ladybug!”

“What’s the story on this akuma?”

“Can you confirm that you and Chat Noir are dating?”

“Do you have any leads on tracking down Hawkmoth?”

“A student got punished for wandering off on a field trip. No, we’re not dating—stop asking! And as of right now, we have no leads, but Chat Noir and I are doing everything in our power to keep you all safe,” she said smoothly. She never once looked at Alya in the crowd.

“Ladybug,” Alya spoke up.

Ladybug shifted to face her, though her face bore no sense of recognition or familiarity. Her expression was blank, cold, business-like, distant—a steely mask hiding her emotions.

Alya bit her lip and continued. “Um, I was hoping to get an answer to a question many of my followers have. Do you have time for an interview?”

Ladybug’s earrings beeped frantically—a reminder that the heroes were on literal timers.

“I’ve only got a couple minutes,” she replied. “Make it quick.”

Strike one.

“My viewers want to know what happened to Rena Rouge. Will Malin be a permanent replacement, or was he a temporary stand-in?” she asked.

Several reporters rolled their eyes. As far as they were concerned, these questions were yesterday’s news. No one else seemed to care that Rena Rouge was replaced. They clung to whoever wore the suit in the moment, but it was the most important question in the world to Alya.

Something flashed in Ladybug’s eyes, an uneasy expression Alya saw in the mirror a lot as of late. Those big blue eyes were filled with pain, hurt, and regret, but Alya couldn’t figure out why. What had she done to receive such tortured expressions from someone who once trusted her?

“Malin will wield the Fox Miraculous in all battles moving forward.” She grabbed her yoyo. “No more questions. Bug out.”

Reporters glared daggers at Alya for wasting their opportunity to get the latest scoop. Alya could see it in their eyes. As far as they were concerned, Rena Rouge was old news. Her heart dropped to her feet, shattering like glass on concrete.

Strike two.

“I’ll be happy to take a few more questions.” Chat Noir stepped to the center of the crowd. His eyes skipped over Alya too, lengthening the chasm growing between them.

Strike three.

All the microphones pointed at him, pushing Alya aside just as Ladybug had done to Rena Rouge. Her heart hammered in her chest, a painful lump blocking her throat as tears welled in her eyes. Did Ladybug not trust her anymore? What did it all mean? Lila was supposed to talk to her and set up a private interview, but Ladybug treated her so coldly. Why?

Because she’s a liar.

The thought flashed in her mind, Marinette’s familiar voice ringing in her ears. Alya had to wonder if knowing the truth was any better than living in ignorance. One thing was certain: if Lila really was a liar, then Alya had a lot of apologizing to do.

♪♫♪ Sanctuary ♪♫♪

“Hey, you made it!” Macy took Marinette’s hands and planted kisses on her cheeks. “Is Adrien coming?”

“He said he was.” Marinette retrieved her phone from her purse to check her messages.

“You two should sit together.” Macy insisted, and when Marinette’s eyebrows raised, she added, “I’m a huge fan of his, but you two seem really close, and I’d never want to start anything over a boy. It’s not worth ruining our friendship.”

“Macy…” Marinette pulled her in for a hug. “You’re the best.”

“No, you are, and if Adrien can’t see that then he has poor taste,” Macy said. “If you ever need a wingwoman, I’ve got your back, and I’m sure Eliott can teach you all kinds of ways to flirt.”

“I might take him up on that. I’m hopeless.” Marinette admitted. “Sometimes when I talk to him my words come out wrong.”

“Why don’t I set up the perfect scene for you two tonight?” Macy offered. “Afterall, the play is packed with romance. He won’t know what hit him.”

“Who won’t know what?” Adrien asked as he and Martin approached.

“Oh, nothing,” Macy said with a coy lilt. “Just girl stuff, you wouldn’t be interested.”

“I get it. Keep your secrets.” Adrien smirked.

“Come on, Eliott reserved us box seats!” Macy took Marinette’s wrist and led the way.

As promised, Macy sat Marinette next to Adrien and toted Martin off with her to “get a drink.” Adrien seemed oblivious to her plans but unbothered by the extra alone time with Marinette.

“So, your dad let you come, huh?” Marinette said conversationally.

“He’s more amicable toward other rich people, and he thinks theatre is a more…enriching activity.” He rolled his eyes. “I guess he figures I’ll behave.”

“Either way, I’m glad. It means we can spend more time together.” Marinette offered him a shy smile.

“I know. I’m sorry. I didn’t mean to be a downer. I’m really glad he’s letting me out. Ever since you changed schools, I don’t get to see you as often, so I always look forward to spending time together,” he said.

Marinette’s heart skipped three beats. “Yeah, it’s great! N-Not that he doesn’t trust you, but that we can hang out, I mean. It stinks that he doesn’t trust all of your friends and keeps you at home, and I’m sure it must be hard for you, and… I’m gonna stop talking.”

She turned to face forward, slapping her palm to her forehead. Maybe she should have hit up Eliott for flirting advice before she let Macy push them together.  

“No, no! It’s fine. It is hard, but I’ve got really great friends like you who understand, so that makes it better,” he said.

“You know I’m always here for you if you want to talk about it. Any time.” She reached out, hesitantly at first, to place her hand over his. “You’re…really important to me, Adrien.”

Adrien searched her soft expression before a smile curled on his lips. “Thank you. You have no idea how much that means to me.” He gave her hand a squeeze as Macy and Martin returned.

Macy nudged Marinette with a giggle, and she bit back a smile. Maybe she wasn’t as hopeless as she thought. Adrien kept hold of her hand until the lights dimmed, and the theatre hall broke into applause. It was a small gesture, but Marinette would take it.

Eliott played an amazing Chat Noir, and even Margot didn’t do too bad as Ladybug, despite being a total brat behind the scenes. The play was fun, and a reminder of how much Paris trusted Ladybug and Chat Noir to defend them. Though, she did find fault with their kiss at the end seeing as she and Chat were so not like that, but Paris wanted what it wanted even if it couldn’t be further from the truth.

“You. Were. Awesome!” Macy tackled Eliott the moment they met up afterward.

“Thanks,” Eliott chuckled. “I think that was my best performance.”

“You play Chat Noir so well, Eliott. Are you sure you’re not really him?” Marinette teased.

“I’d believe it,” Adrien said. “I’m impressed by the quality of your playwright’s puns.”

“They’re almost as cheesy as the real Chat Noir’s,” Marinette added with a grunt.

“Not feline the cat puns, Marinette?” Adrien folded his arms over his chest and cocked a brow.

“Purrhaps she just doesn’t find them funny,” Eliott said with a wink.

“Then she has a very purr sense of humor.” Adrien smirked.

Marinette rolled her eyes, shooting him a playful grin of her own. “I just think his comedic timing needs work. They’re saving Paris; shouldn’t he take his job a little more seriously?”

“Meowch. No appreciation for good comedy with this one,” Adrien said.

“I may have to reconsider purrmitting you to attend the after party on my yacht,” Eliott said. “You have to make one cat pun to be admitted.”

“Do I have to?” Marinette groaned.

“We can chat about it on the way.” Macy giggled as Adrien and Eliott praised her contribution.

“Yeah, we’ve gato go.” Martin pointed to the door, only adding fuel to the fire.

Marinette sighed. “Betrayed by all of my friends at once. That’s cold.” When they all gave her expectant looks, she crossed her arms over her chest. “Please leave meowt of this.”

She rolled her eyes as they all applauded, curtsying and blowing sarcastic kisses. If anyone knew more cat puns than they ever wanted to, it was her. Chat Noir certainly kept them coming.

“Alright, I guess you can come.” Eliott draped an arm over her shoulder as they walked.

“You guys are insufferable,” Marinette said.

“You love us though.” Adrien wrapped an arm around her waist on the other side, and her cheeks warmed.

Across the lobby, Lisette was chatting with other stagehands, and Eliott stiffened. He might be good at flirting, but when it came to Lisette, he always clammed up. It didn’t help that she was shier than Marinette either.

“Go invite her.” Marinette urged, elbowing his side.

“What? Who? I wasn’t- you’re…”

“Hey, Lisette!” Marinette called, breaking out of his grip and beelining for her.

“Marinette!” Eliott chased after her.

Lisette tilted her head to one side. “Hey, you’re…”

“Marinette.” She held out a hand. “Eliott’s friend.”

“Yeah, you were at our dress rehearsal last night.” Lisette nodded, cheeks flushing when Eliott latched onto Marinette. “What’s up?”

“Nothing. Nothing’s up.” Eliott clamped a hand over Marinette’s mouth, and she gave him a prompting look. “Um, just I’m having a party on my yacht if you wanna come. Just a few friends and family, super casual. Margot won’t be there.”

Lisette clutched the hem of her shirt and bit her lip. “Sounds fun.” She rocked back on her heels. “Let me go home and change, then I’ll come over.”

“Okay, great!” Eliott said a little too loudly. “I’ll- We’ll see you there.”

“Great.”

“Cool.” He turned abruptly, dragging Marinette away by the wrist. “Okay, I deserved that revenge.”

“She likes you!” Marinette said.

Eliott couldn’t hide his smile. “Shut up.”

“She’s coming to your party.”

“Yeah, I got that. Thanks.” He let a breath pass his lips. “I’m just nervous. I’ve never liked someone before, and I’m scared that everything could go wrong.”

“Talk to her tonight. Let her get to know you, and I’m sure she’ll like you no matter what,” Marinette urged. “Have confidence.”

Eliott searched her expression, pursing his lips. “Okay.”

The rest of the group was waiting in the limo, and Marinette crawled in beside Adrien. Macy was prattling on about the play, particularly the big kiss at the end, teasing Eliott for having to kiss Margot.

“Do you think her snobbishness can infect you like getting bit by a zombie?” She poked his cheek.

“Shut up, we’ve rehearsed that kiss a 100 times over the past few weeks, and I’m fine.” He swatted her hand away.

“You really are a good actor if you can pretend to be in love with Margot for an hour and a half,” Macy said. She fanned her cheeks. “Even still, that kiss was so romantic! I would love to have seen the real thing on heroes day.”

“Oh, come on. That kiss so didn’t happen in real life. The playwright just added it in for dramatic effect,” Marinette said.

“How do you know?” Adrien quirked a brow.

“I- just Ladybug is always saying in interviews that they’re not a couple, so of course they didn’t kiss.” She crossed her arms over her chest.

“Oh, that’s just a cover story. They are totally in love. Chat Noir is head-over-heels for Ladybug, and she just hides her feelings so Hawkmoth can’t use it against them,” Macy said, not bothering to mask the ‘duh’ in her voice.

Marinette rolled her eyes. If only they knew.

When they arrived at Eliott’s yacht, her friends continued their chatter, and a small smile curled on Marinette’s lips. She really was lucky to have them, even if they all believed Ladybug was in love with Chat Noir—she’d convince them eventually. After everything that happened with Lila, Marinette was spiraling, feeling unappreciated, abandoned, and angry. Martin and Eliott said she helped them, but truthfully, their friendship saved her first. They showed her that real friends did exist, and that they don’t abandon one another.

Finally, her gaze rested on Adrien, the one thing she still had left from her old school. He’d grown quiet after their conversation. He flashed smiles and laughed when appropriate, but something hid behind those green eyes, an intensity Marinette had never seen from him before. After a while, he disappeared from the party, and Marinette wondered if he’d gone home until she found him on the upper deck looking out over the Seine.

“I’ve always thought the Seine was prettier at night,” he remarked as she approached. “The reflection of the lights on the water calms me down.”

“Are you okay? You’ve been quiet ever since the limo ride,” Marinette said. She leaned against the railing next to him. His eyes were fixed ahead, barring her from the emotions brewing inside. Another gray wall with a locked door between them.

Finally, he flicked his gaze over to her, searching her face as if she were a puzzle that needed solving. He looked at her like that a lot nowadays. Several times when they spent time together, she’d catch him staring. A month ago, she would have done anything to get Adrien to look at her, but now as they stood only centimeters apart, eyes locked, she didn’t know what to say. Her heart fluttered.

The last time they hung out, Adrien almost kissed her—a fact that haunted her every day since. What did it mean? Was Adrien in love with her? Was he going to kiss her now? Oh god, she shouldn’t have eaten the Camembert from that cheese platter.

His eyes bore into her so intensely, she thought she was going to pass out, but instead of kissing her, he bit his lip and asked, “How are you holding up with everything?”

Blinking in surprise, she breathed a sigh of relief. “I’m doing better now,” she said. “Some days are still rough, but I’m grateful for my friends. They’ve really helped me overcome everything.”

“I know you’ve been through a lot lately. I’m just glad you and I are still friends,” Adrien said softly. “You’re someone I don’t ever want to lose.”

Her cheeks warmed as he tucked a loose strand of hair into place. Taking a leap, she took a step toward him, curling her arms around his waist. He held her close, resting his head against hers.

“I’m really glad I still have you,” she whispered.

“You’ll always have me. I’ll always be watching out for you,” he said in her ear. “Always. I promise.”

♪♫♪ Careful ♪♫♪

“Hey, bestie.” Lila smiled as Alya approached their usual table at their favorite café. Her face fell when Alya flashed her a pensive frown. “Why the long face?”

“I talked to Ladybug yesterday,” she said. “She totally blew me off. I thought you said you were going to get me a private interview.”

“Oh no, I am so sorry, Alya!” Lila’s face fell into her hands. “I should have warned you, but I just don’t know what happened. I tried texting the private number Ladybug gave me, but she totally ghosted me. I don’t know what’s going on with her lately. She hasn’t been replying to me at all.”

How convenient.

Alya crossed her arms over her chest. “I’m having trouble believing you.”

“I’m not lying to you, Alya! Ladybug has been pulling away from me lately, and I don’t know why.” Lila’s lips curled into the perfect pout. “I find it really hurtful that you don’t trust me. I thought we were friends, but you’re starting to sound like Marinette.”

“We are, I just… I don’t know what to think anymore. I-” Alya averted her gaze with a sigh. “I need some time to clear my head, okay?”

“Of course. I know you have trust issues after what Marinette did to you, so I completely understand,” Lila said. “But please, don’t call me a liar like she used to. If you leave me, then everyone else will too.”

Alya chewed her cheek, searching Lila’s expression. Her eyes seemed so genuine that Alya almost apologized on the spot, but she knew that not everything in life was as it seemed. Be a journalist. Investigate.

“I gotta go,” she said. “My sisters want to see a movie this afternoon, and my parents are at work.”

“I’ll go with you,” Lila offered, but Alya held up a hand to stop her.

“That’s alright. I can handle it,” she said. “Thanks, though.”

Lila sank back into her chair with a pout. As Alya turned to leave, Lila’s face shriveled into a glare that sent a chill down her spine, but she kept walking. Maybe she imagined it. Her mind played all kinds of tricks on her lately. She only hoped the truth would reveal itself soon and free her from all of this doubt.  

♪♫♪ happiness ♪♫♪

“Do you want to talk about it?”

Ladybug sat on the edge of a roof, staring out over the city. She heard Chat Noir touch down behind her, but she didn’t turn around as he approached. Her head was drained, empty, lifeless as she stared ahead.

He didn’t question as he sat beside her. They knew each other well enough by now that she didn’t need to explain when she was upset. He just knew. The silence stretched on, but Chat Noir waited patiently while she gathered her thoughts.

“I knew it would happen,” she said finally. “I knew she would wonder.”

“Alya?”

Ladybug nodded. “I never told you, but she was Rena Rouge.”

Chat Noir’s mask raised, and Ladybug lowered her gaze to her lap.

“She must hate me now,” she murmured, lip quivering.

“You did replace her without an explanation,” he said pointedly.

“I had my reasons.” She swung her legs over the edge. “I need people that I trust by my side.”

“I wasn’t questioning your decision,” he said. “You know I trust you 100% no matter what.”

“I guess it’s not that I don’t trust her.” Ladybug sighed, chewing her lip. “I mean, I don’t doubt that she would still work with us, but she’s hanging out with Lila, and after everything…I can’t work with her.”

“I understand.” When Ladybug gave him a disbelieving look, he brushed her cheek with the back of his knuckle. “Really. I do, Bug.”

“I know it sounds selfish, but I can’t put my feelings aside,” she said. “I know we have a duty to protect the city, but if I can do that with someone else, then why go through the trouble?”

“No one’s asking you to.” When her face fell, Chat Noir reached out to cup her cheek. “Bug, you did the right thing. No one is doubting you. We need people we can work with and count on, and if Rena Rouge isn’t it, then it’s time for Malin to step in.”

She leaned against his shoulder, watching cars crawl up and down the street with sad eyes—a city full of people counting on her. They seemed so small from up here.

“It’s hard sometimes,” she said. “Having the whole city looking at you to fix all of their problems… The weight of the world gets so heavy.”

“Don’t worry about stepping on toes. We have to do what we can to save everyone, and we can’t do that if we’re working with people we can’t trust,” Chat Noir said. “It’s not selfish. It’s our job.”

Ladybug smiled, Chat Noir’s familiar warmth flooding her chest. Chat Noir could be sweet when he wanted. He could give Adrien a run for his money if he acted like this all the time. Nah, that was a stretch, but she’d always love Chat in her own way.

Ladybug stretched up to kiss his cheek. “Thanks, kitty.”

“You’re welcome.” He smirked, then added, “I just hope you’re not thinking of replacing me.”

“Of course not,” she giggled. “I know I can always count on you.”

“Good. Then we’re on the same page.” He leaned his head against hers, and they sat for several minutes, watching the city lights twinkle on the skyline.

She spent a lot of time leaning on blond boys lately, but in her defense, she had two of the best. Chat Noir trusted her even when she didn’t trust herself. Sure, he was goofy, full-of-himself, and his puns were terrible, but… Somedays she needed someone like that. Someone to make her laugh and roll her eyes. He was her best friend, and she hoped that even after they defeated Hawkmoth that they would always stay this close.

“Until next time, m’lady.” He bowed theatrically when they stood to leave. “I’m always here for you if you need me.”

“I know.” She pulled him in for a tight hug. “Thank you for being someone I can lean on. It means the world to me.”

“Of course, m’lady.”

Ladybug swooped down to the street, ducking behind an ad stand and letting her transformation drop. Clara’s presentation was in a week, and she was going to pull an all-nighter. Coffee was a must. She was getting close to finalizing a few of her designs, and now that she’d gotten everything off her chest about Alya, her mind was a lot clearer.

Rounding the corner, she crossed the street to a quaint little café before a waterfall of silky, red hair wiping a table in a dingy green apron caught her eye. Was that…

“Gabrielle?”

[porcupine-girl]

This is long and contains more theater history than you probably want in a meta post but here it is anyhow!

Okay, here is my totally insane out-there theory that I shouldn’t be typing up, I should be editing and posting my lectures for tomorrow but here we are.

The pie scene that’s been released (see here) has a few things going on besides Dean being weirdly okay with Cas gone, more okay than Sam:

In the background we’ve got a truck that says Dabb’s Pies. Could just be a cute shoutout. Could be more.

Dean’s very first lines are “Oh, I don’t have a choice. This is my destiny.” This is the man who literally just spent an entire season freaking the fuck out over his lack of free will. Sure, Dean might make a joke about this, but the writers chose this to be (most likely) the very first thing he says one episode after finally shaking off destiny to get real free will?

Sam acts like Dean is crying and Dean responds as if he is trying to hide the fact that he’s crying when... he’s clearly not? At all? We’ve seen Dean cry so many times and it is not happening here?

(I say it’s probably the first thing Dean says in the episode because a) the scenes they release are almost always very very early in the episode and b) the music sounds like what they play when we come out of the cold open into a goofy Sam & Dean scene.)

Also do not forget that between the promo pics and the actual promo they seem to at some point deal with people who are very plainly dressed up as monsters but may or may not be monsters underneath. The initial photo took me to very meta places to start with, and it’s only gotten worse.

Okay so like, here are my crazy fucking thoughts that probably have nothing to do with what will actually happen:

Sam and Dean, of course, don’t actually have free will. They are still characters in a TV show written by other people. Dabb, in this case.

It’s Dabb’s Pies! Dabb is the one who caused the pie festival, and who is causing Sam and Dean to go there and eat pie!

My initial thought when I saw that photo, as it says, was “Did Brecht direct this episode?” Brecht was a playwright in the first half of the 20th century whose whole thing was breaking down the 4th wall. At the time theater tried to be as realistic as possible - hiding lights with set pieces, all sorts of stuff - in an attempt to make the audience forget they’re watching a play and get full immersion.

Brecht said “but what if we did not that?” and worked to make it explicitly clear to the audience that they are definitely watching a play and not real life. The movement was called “epic theater” or “dialectical theater” and the goal was to make the audience aware of their place as the audience and think critically about the thing they are watching as a play that was written and is being produced with the intention of communicating with them.

Brecht and others used a lot of techniques for this, from writing narrators and other 4th-wall-breaks into the plays to making it obvious that what you’re seeing are set pieces and props and not real things. Having what is obviously a man in a black costume with a skull mask play a monster (possibly a floating skull) would be right up his alley.

@shinychimera had a great comment on that post saying “They could squeeze a bit more meta in if it’s a real crew member playing something like a kuroko stagehand (from kabuki) who’s been pulled into the story…“

Kabuki is another theater tradition that explicitly does not try for anything like realism. You probably know it for its elaborate costumes and makeup, but yes, one part of it is that stagehands regularly come onstage to move things etc, dressed all in black and you’re supposed to pretend they’re invisible.

So anyhow what I’m saying is that what that photo SCREAMS at me is fourth-wall-breaking, meta, theatrical traditions that do those things.

I think the episode starts with what we’ve got here - Sam and Dean are moving on with their lives, probably on a pretty standard MOTW hunt, blissfully unaware that they are still not 100% free.

Somehow, this is going to start breaking down, Truman Show-style. I don’t know exactly how. A crew member wanders into the shot? Whatever.

From there it devolves into something super-meta and SUPER-trippy.

They realize that Cas is only in the Empty because the writers put him there, but somehow the fact that in real life Cas actually has affected the narrative in ways the writers didn’t expect is addressed. Cas loving Dean literally is something the writers never intended to be there but that grew organically because of who he is. Maybe same for Dean loving him back? Or maybe that doesn’t get addressed til later.

So now Dean knows that Cas really is the only real thing in his life and they gotta get him back.

However they get him back is gonna be, again, super trippy. They have to fight monsters like these, that are clearly not their-world-monsters but are people from our world dressed up as monsters.

They probably have to go through either Cas or Dean’s memories or both.

Dabb himself likely appears on-camera to talk to them at some point.

The one barn that that photo looks the most like to me is the one in On the Head of a Pin, which is one place where Cas could’ve died but didn’t (unclear whether it’s where they initially intended for him to die, sources conflict).

So maybe we’ll get a tour of the places where Cas’s love for Dean changed the narrative. Maybe Dabb himself will even explain them to us.

At some point, whether by Dabb himself or not, it will be explicitly mentioned that fans helped shape this, that we saw what was happening in Cas before they did.

IDK how this mindfuck ends but there is definitely kissing and Dean realizing that he’s been pushing down his feelings and denying them to fit a mold that the writers created for him years ago that doesn’t fit anymore.

So, uh, there you go. ¯\_(ツ)_/¯