#bleu friday

[misscatleya]

YUNG BLEU AND ZAYN FIRE INSIDE OUT NOW!

zayn’s voice as always angelic, soothing and just beautiful! ✨

[isupportzaynxliamxziam]

✒ Friday, 11 November 2022

Yung Bleu finally releases his collaboration with ZAYN, Fire Inside

👉 Yung Bleu is an American rapper and singer 👈

[unapologeticallyzayn]

LMAO!!! Zayn's reputation precedes him!

[flyingfabio]

le mans thoughts dump!!!

sorry it’s gonna be a picture-less dump because i wasn’t prepared and i only had only my phone with shitty camera quality… also this going to be a mess. first general remarks and then a fabio special part of course… under a read more because i think it’s gonna be longgg

general remarks about the event

well not a surprise but le mans is CRAZY. so many bikes so many people and the atmosphere… you don’t need beer or anything else to feel PUMPED there

the weather was GREAT and i felt it made the experience so enjoyable. i wore long jeans and big tshirts and applied sunscreen and spent time in the grandstands away from the sun and yet my face is red. i have a sunburn on my chin. MY CHIN.

i didn’t feel unsafe or witness anything gross during my time there. important to mention that i was with my brother and didn’t camp on site so the experience can definitely be different for others. there ARE overly drunk people at the circuit and some entitled people smoking weed with families with kids nearby…

as for the camping sites you could see them from the circuit and HEAR them from afar and it is WILD. never in my life i think i would be capable to camp there lmao

so many things to do at the venue: the village, fanzones, a stunt show, fireworks… you can feel how this gp is organized as a whole experience for the fans

did i mention a lot of people?

obviously some things to improve especially the management of the entrances/exit points of the circuit but with so many people at a venue that is not that big i can understand the struggle. maybe they need to think about implementing a limit for the attendance at some point

i had grandstands tickets and it was really enjoyable to have a place with shade to sit down at any moment though i LOVED going to sit on the grass trackside to watch the bikes, especially with the warm weather. sad that we only had time to watch from only a few places at the last turns of the circuit (raccordement, “s” bleus, chemin aux boeufs). would have loved to sit at garage vert for example.. we only did this on friday and saturday because we thought sunday would be too crowded. people literally come at 6-7 am to get the best spots!

the NOISE. thank god i brought my earplugs with noise reduction. the bikes are very loud on their own obviously, but if you are trackside you can watch without ear protection easily. but in the grandstands on the straight? HELL NO! i think it’s very special to le mans where the place is acting like a “soundbox”, amplifying the sound

where we sat in the grandstand we could see the canal+ booth from the other side of the straight. at some point i was like wait a min… isn’t that maverick and rivola out there? and i was right, my bro was shocked i could recognize them from their backs and so far away… also guessed raul, miguel and lin jarvis. maybe i’m too deep in the motogp hole? also recognized the back of a fabio cut-out that people had installed at the bottom of our grandstand but this is a given i guess

idk where to put that but i saw pecco’s mascot so many times i’m starting to think there are actually two of them

also the speaker at the circuit was shit. he flopped so many times 

the races

overall good races! 

moto3 was good, especially because they were close and there were overtakes for the win at the end

moto2 was meh, some good battles in the pack but the race was over after lap one... probably was the only one looking for tony at every lap and cheering for him. rude speakers saying how he was fighting for the championship last year and how he is struggling this year. bitch it's not his fault that speedups are suddenly rocketships 😭

motogp sprint… it’s better that i don’t talk about it. thank you acosta for the overtaking crumbs

motogp race!! i thought it would be a repeat of the sprint, but it turned out to be such a good battle at the front! the crowd went NUTS when martin and then marc overtook pecco. obviously it’s so nice to get battles like these at the front for the win, but this doesn’t erase the fact that it’s still ducati only. and for me motogp CAN'T be at its best unless it’s different brands fighting it out

you know my distaste for the sprints, but i have to admit it adds something to the experience at the track, especially for casual fans like my brother. for me i really enjoyed friday, seeing the different bikes go around the track and observing the different riding styles. my brother much more enjoyed saturday and sunday when there was more “at stake”. this sprint was shit though

my grandstand was… something lmao. a mix of marc truthers and booers. pecco haters who had beef with the pecco grandstand next to us lmao. pecco grandstand started to cheer for pecco after people clapped when the speaker announced martin as the poleman… you can imagine they weren’t as loud after the race lmao 😭

the japanese bikes… it’s so depressing to see irl you have no idea. this weekend basically all of them (except fabio) were hanging out at the end of grid with augusto fernandez...

the marini case is even worse man. it’s so bad that i think i had left my grandstand before he even crossed the finish line on sunday and i’m not even kidding (many people were leaving just after the winner arrived to try to get out of the circuit quickly) 

pedro acosta was probably the most applauded after the frenchies and marc 

that jorge martin guy is REAL fast on a ducati i’m afraid

marc marquez is a showman

weird personal observation but i was less stressed before the race start than i am when i’m watching on tv

FABIOOOOOOOOO

as i said last year, he really is his people’s DARLING

but first about his performance this weekend. INSANE. straight to q2 with an insane lap. with fellow fabio truther lady sat next to me we held our breath until the very end of the session… then during q2 i remember thinking well let’s see fabio qualify p12 now and then when he pushed that tractor and it got him to p6 at some point? my jaw was on the floor and everyone around cheered 

the sunday race… man. i felt it IN MY BONES that fabio would crash at some point. i knew it when he was just in front of aleix and he was manhandling that bike in every direction just to stay in front. then i saw that he had managed to make a small gap to aleix and i thought “he wants too much and he’s overriding it too much…” next when the yellow flag alert appeared i knew…

it was clear that he wanted to give his everything this whole weekend, no matter how shit the bike was. it was no coincidence that the cross necklace was back this weekend… 

even my brother who is the casual of casuals noticed the difference of riding style. said that it was obvious how much fabio was fighting the bike compared to others

the special livery. my god it was SO beautiful on camera and irl… the bike looked so good on the track and fabio looked radiant in those leathers. i tried the special le mans cap but it was a flat brim which i don’t like very much and it looked ugly on me so i bought this baby instead

i was pleasantly surprised not to hear any fabio slander during the entire weekend. when you look at the comment from moto french “fans” on facebook it’s always full of hate (he only thinks about money, he is too “feminine” or whatever bullshit, homophobic shit etc.) even with his special livery (shit like omg can you believe he is a MAN and likes to wear PINK???) i heard nothing. probably for the best or i was ready to throw hands

rins didn’t come with fabio on stage in fanzone for the “meeting with riders” event and it’s understandable poor guy probably wouldn’t have had any question for him

it’s crazy how fabio’s voice sounds different to me irl. at some point i thought he sounded like mbappé 😭

when asked who was his favorite rider (the question didn’t mention past or present, but then the host said well let’s go from the current riders) fabio answered marc marquez is a legend of the sport. also joked don’t worry valentino fans lmao

got asked if he thinks there are too many ducatis on the grid. you can imagine the reaction of the crowd lol. then said that “yamaha and myself are working hard to have two more yamahas on the grid… and two less ducatis smirks” 

someone asked him the obvious question of why he stayed at yamaha. answered how he understands why people don’t understand his choice right now, but that they will in the coming few weeks and right there i believed him. this man could sell me the moon

hardcore fans who take this rare opportunity to ask fabio to sign their fabio related tattoo will never fail to make me cringe but what’s way worse is the man who thought himself entitled to ask fabio about his private life in front of everyone and how “we never see the many women who are after him” posted there (do you get the gross implication there?) anyways. the cunt got booed and fabio got applauded when he answered that he has the right to keep some parts of his life private while he already shares many things with the fans

maybe i will conclude on this but going there you understand why yamaha had to do everything to keep fabio. going beyond the performance element which is obvious, fabio’s marketing power is insane. when fans were asked about their favorite brand, yamaha got the most applause. i didn’t count but i think the yamaha/fabio merch was the most worn among fans (maybe alongside with vr46 lol). and like yeah we’re in france so obviously it’s more visible but having managed to keep the face of their brand is essential in rough times like these. take honda for example, it’s like they weren’t even there this weekend, even with zarco riding one…

probably forgot many things but i think that’s enough lol. i’m already missing it (thank god i took this day off to recover) and i will certainly go again in the future!! (maybe not every year because it’s A LOT though)

[trick-starr]

It's my birthday this weekend and I've been really struggling lately. I won't even have enough to afford any meals after paying my bills, and I don't get my next paycheck till next Friday.

If you wanna do something nice for me in lieu of birthday gifts I'd really appreciate it if anyone could help me afford groceries and maybe do something nice for my birthday this weekend, it would mean the world to to me and I could even make you a small thank you doodle in return <3

Paypal: ps.bleu@outlook.com

Ko-Fi:

[d-criss-news]

Evan Rachel Wood, Darren Criss on Stepping Into ‘Little Shop of Horrors’: “We’re Both These Little Theater ’90s Nerds”

The 'Westworld' actress and 'American Crime Story' star open up about deciding to take the stage together, personal connections to their characters, and their love for Howard Ashman and Alan Menken.

It’s early afternoon on a Friday when Darren Criss and Evan Rachel Wood pick up the phone, just five days before the duo is set to debut as the new Seymour and Audrey in off-Broadway‘s Little Shop of Horrors. Both are on their way to the Westside Theatre stage for their first top to bottom run-through, taking over the complicated but beloved characters based on Roger Corman’s 1960 horror comedy and deftly adapted for the stage by theater legends Howard Ashman (book and lyrics) and Alan Menken (music). Now in its fifth year, several notable names have left their mark on this U.S. revival of the dark goings-on of a Skid Row flower shop: Jonathan Groff, Jeremy Jordan, Conrad Ricamora, Corbin Bleu, Constance Wu, Maude Apatow, Tammy Blanchard, Lena Hall. But none quite like this, as an intentional leap together among friends.

As the interview begins, Wood — who is already at the theater — openly wonders whether she should take the elevator down to where she’ll soon meet co-star and friend Criss, before quickly interjecting that “you might lose me for two seconds.” Meanwhile, Criss declares he opted to skip the subway after realizing he was running behind, as he briefly turns on his Zoom camera to reveal himself in the backseat of a car.

Later, his voice will drop out for a few minutes, before reappearing, sounding winded. “I have my ear pods in, and so I just got out of the car talking to you guys, and you cut out,” he tells The Hollywood Reporter. “Then I looked at the car driving away, so I just sprinted down the block to grab it.” This frantic energy is reminiscent of what you can find within this kind of scrappy, fast-paced, off-Broadway musical environment in the final days before curtains go up. As replacements, Criss and Wood will do so with less time to rehearse and no preview audiences on which to test their performances, but that doesn’t seem to phase either of them. Instead, with their easy and fun rapport, the duo celebrate the challenge of what it means to be passed this mantle for a three-month run, beginning Jan. 30. On Tuesday, Wood will make her New York theater debut, a long-awaited moment for the actress who grew up with a father (Ira David Wood III) as an actor, playwright and theater director in her hometown of Raleigh. With her early stage ambitions sidelined by a burgeoning film career — later including movie musicals like Frozen II and Across the Universe — the Emmy and Golden Globe-nominated Wood will finally return to her performance roots, a year after news of her attachment to a possible Thelma & Louise musical adaptation for Broadway.

Little Shop of Horrors will also mark Criss’ first return to New York’s musical theater world since a multi-week replacement run in 2015 as Hedwig in Hedwig and the Angry Inch. On the phone, he’s adamant that, absent traditional musical theater training, he’s fooled the world into thinking he’s more than an “actor trying to act like he knows how to sing.” But with several EPs, a Christmas album, Billboard-charting work with StarKids Productions, and roles in musical-driven screen projects like Glee and Hazbin Hotel, it’s hard not to believe that the Emmy and SAG award-winning performer, like Wood, will be right at home. Ahead of their debut, the duo spoke to The Hollywood Reporter about sharing the stage, the impact of Little Shop of Horrors across the stage and screen, their love of Ashman and Menken, and why these roles are personally resonant and remain culturally timely. Darren, you said in a previous interview that you had been begging Evan to come do theater in New York for years. How did you make that happen now and for you both together? CRISS Let me just start by saying as much as I can before she can hear me. I’m in a regular habit of just exalting Evan for her talent. I’d done this before I even had the great privilege of getting to know and become friends with her. I’m always talking about how wonderfully talented she is and how I’ve always really loved her voice and her breadth of ability. When I meet people who are these wonderful triple threats that have a really strong theatrical background — people who can sing and don’t have as many opportunities as I wish they did — I get off on the idea of people who didn’t know that they could do this thing finally getting to see that they could do this thing.

Evan has done a lot of singing in her life. She’s literally a Disney princess for Frozen II and there’s obviously Across the Universe. But knowing that she has this really strong theatrical background, I’ve always been hell-bent on getting her on a stage. As a friend, she has popped up on many gigs with me in my personal life just for fun and parties I’ve thrown. She showed up for me on the Christmas album. She’s said yes to me far more many times than I frankly deserve. So when this came around, a lot of my colleagues — a lot of my friends — have been Seymour, and who loves theater that doesn’t love Little Shop of Horrors? It would be a really fun time for me, but the thing that would make it really, really special is if I had got the chance to do it with an Audrey that not only I thought really could bring something spectacular to the role, but on a personal level, this is off-Broadway. We’re all doing this scrappy theater thing in a basement together. If we’re going to live on top of each other might as well be someone but I’m also personally very fond of and have a wonderful relationship with. So short story that’s way too long, I went to Evan and said “Hey, I have an idea. Would you be available to do this?” and thank my lucky stars, she said yes. I’m just a pig in shit, getting to do this with her. It’s an absolute joy. Evan, what’s your response to that glowing review, but also, why did you want to make this show your off-Broadway New York theater debut?

WOOD Funny enough, I have been so close to being on Broadway a handful of times and something has always come in the way of scheduling or something falls apart. It was actually my dream as a kid. I went back and read some old interviews of mine when I was around 12 or 13, and I completely had forgotten that my dream was to go live in New York, go to NYU, and do theater in New York. That was where my sights were set before my life sort of got derailed for a moment. So it’s always been in my sights. It’s gotten increasingly harder over the years to make it work, especially if you have kids, to be away from home for such long periods of time. Usually, the theater commitments are an amount of time that I was just never able to do and so the timing was perfect because I was thinking to myself, “God, I wish I could go to New York and do a play, but maybe not a six-month run. Maybe something around three months. A classic musical that’s going to be really fun.” Darren called me maybe a week later and said, “I’d love for you to come and do it with me,” and it was like an instant yes. To piggyback on what Darren said, I feel very similarly about Darren and that whenever he’s asked me to do something, I just know it’s going to be great. I know it’s going to be fun and I fully believe in everything that he does and his talent. We’re both these little theater ’90s nerds that just hit it off in so many ways, and we collaborate well together. I just felt like we would like this project. It’s made so much sense for both of us that it was a no-brainer.

Little Shop of Horrors is one of those musicals that even people who aren’t big fans of musical theater and attend regularly are aware of, both in terms of story and music. Among the many adaptations of this, whether it was a professional or high school staging or even any of the movie versions, was there one that made you want to do this show? CRISS I’ll say this. As hip of an aura as I’ve tried to give off, make no mistake, I think the biggest gateway to this property for everybody is hands down the movie. I was not seeing off off Broadway theater in the 1980s. I wasn’t there, and that’s why I love movie musicals so much. As much as I love going to the theater, being able to go to a Broadway show is a very specific and privileged situation tied to being in New York City. But whether it’s a liked or celebrated movie, it is still going to be the most accessible thing in perpetuity for everybody. So definitely the movie and those songs. Before you can really understand the complexities of the thematic, Faustian elements and high dramaturgical elements of the story — and before you even get the comedy — you get the music. Especially when you’re really young and your parents are playing you things that you go, “OK, well, kids can get behind music.” It doesn’t take much to understand that the music from that show is beloved. I mean, this music and this show are like proto-Disney Renaissance. It’s like what got [Jeffrey] Katzenberg to ask Alan Menken and Howard Ashman to help them out. It was like, “We want to do some Disney musical fairy tales.” Now, because of the show, we have The Little Mermaid, Aladdin, Beauty and the Beast.

I grew up in the ’90s, as me and Evan tend to relate upon a lot. With The Little Mermaid, Aladdin, Beauty and the Beast, and these films that I loved so much, as I got older, I really wanted to know more about the people behind them. I became obsessed with, and I talk a lot about, Howard Ashman and how much of an influence he’s had on the musical theater genre ever since the popularity of those films. So I wanted to go back to the start of that, and that’s when I started to dive into Little Shop and discover how this was the sort of nexus — the genesis — of everything. WOOD Yeah, same. I grew up watching the film and being so terrified by it, but I couldn’t take my eyes off of it. I grew up doing theater. My father runs a theater in Raleigh, North Carolina, and so that was my childhood. I was always listening to show tunes, and as Darren said, the classic Disney albums, acting out plays in my living room and Little Mermaid was certainly one of them. Ellen Greene’s performance always stuck with me, and I am also a major Howard Ashman-Alan Menkin nerd for similar reasons as Darren. Those were all things that drew me to it. I was really terrified about and still am terrified about being eaten by the plant because it was like a deep seated childhood fear of mine that I had to conquer to do this show. It’s stuck with me since childhood. It’s not as bad as you would think. But it’s still pretty scary. Also just a fun fact, I was cast as Audrey in the seventh-grade school play, but I couldn’t do it because I was doing movies. (Laughs.) So I got pulled out of school, but I was almost Audrey in seventh grade.

CRISS You aged into it well. This is a much more appropriate time in your life being Audrey than in seventh grade, so worked out just great. (Laughs.) I just have to say, this production, we both have our careers going on and different dragons that we’re chasing in our professional and personal lives that committing to a big Broadway production is a huge investment. What’s so wonderful about this is, the way the show is set up, we can kind of come in for just a little bit. It’s really high output but like low stakes — and I don’t want to say that to be reductive of the production. I mean that the show is beloved. There are people that know this show but have never seen it, and have heard of it and know the songs without ever even having tried to listen and know the songs. So it’s so culturally ubiquitous, that it’s a very, welcome accessible thing for all kinds of folks and that might cross-pollinate between me and Evan’s demographic of people who might be interested in us. Also, it’s been running for long enough that I feel protected. I’ve seen this production several times. Evan and I went just last night. It’s something that you don’t have to figure out. One of the hardest parts about getting a show up on its feet is like, does it work? Do we want this song in? We got to do with an audience and you really have to workshop stuff for a long time. Shows take years before they’ve reached mainstream Broadway, so the fact that all that legwork is taken out is a no-brainer for us. It’s just this really like warm snuggle from something that we really love.

You’re right in that this is not a traditional production experience for you, as you’re coming in after others, and you have less rehearsal time, no previews. What have the challenges or exciting elements of that been for you so far? WOOD I don’t know about you, Darren, but I feel like one of the reasons why I said yes to doing this with you is because this is kind of where you and I thrive — in the fast-paced chaos. I need a challenge sometimes. I need that adrenaline and I need that fast pace, especially if I’m coming in to do theater. That’s where I grew up, and that’s what I’m used to. That’s where home is for me. So coming back into the theater into the organized chaos of it all feels right. My brain loves it and thrives off of it. When somebody says “Oh, this is a really hard number to learn,” I think, “This is going to be my favorite number.” (Laughs.) I love figuring something out, and picking it apart piece by piece and putting it back together, then conquering it. There’s just such satisfaction that comes from doing that there, Darren, and I think it’s similar for you. CRISS It is kind of a party trick some people are quick studies of, for better or for worse. I think this kind of pace suits us. I think it’s something that we wear pretty well, and I think we do that a lot in our own lives. But to do it together is pretty fun. I’ve thrown Evan into all kinds of things where she’ll just show up knowing a whole song last minute. That’s not too dissimilar, and it’s not like we’re learning new music. We know these songs.

In the theater world, you learn a track. It’s literally a track — there are little railroad tracks set around the stage because there’s no follow spots. The lights are where they are. You don’t have to do hours of tech rehearsal, figuring out where the lighting cues are. They’re there. It is our job to jump into a machine that is already very well-oiled and running. So in that regard, you’re kind of free from having to worry about that stuff. But you can just focus on your characterization and nuance within these very, specific directives. I’ve done a few put-ins. I think this is probably your first, Evan, for a show that’s already going. Correct me if I’m wrong. WOOD I did learn, for the record, Baz Luhrmann in one night and performed it the next night. CRISS Case and point. So yeah, doing a put-in — I’ve done it a few times for Broadway — it’s nice because then you can just focus on the little things that you really want to play with and not worry about these big macro things. What’s funny is that people always say, “Oh, I love Broadway music. I love Seymour from Little Shop of Horrors.” The word Broadway is often conflated with the music from narrative storytelling, whether it be from films or TV. This show was always an off-Broadway darling. It was only really on Broadway for a little bit in 2003. Beyond that, it’s the movie and this off-off-Broadway show, which started in the ’80s and ran for a pretty long time. Then in just so many regional and school productions. But it’s actually only been on Broadway for a minority of the time.

WOOD And that was intentional, right? It was really important to them to keep it off Broadway because that was the spirit of the show. It was on Skid Row. It wasn’t supposed to be a big huge glitzy production. CRISS When you contextualize it, it’s a famous show now, but if you’re in the ’80s, and you’ve got some big Broadway musicals happening uptown, and you’re trying to tell your friends, “Yeah, I saw this thing downtown. You got to come. It’s kind of this doo-wop that’s based of this Roger Corman B-movie. There’s a plant that’s a puppet but it’s hard to explain. You just got to come down and see it.” (Laughs.) Trying to contextualize that, it makes you realize this really is a weird thing, man. It’s a weird, off-the-beaten-path, outlying renegade show. You’ve both done musicals in different mediums, which is, obviously, a different process. Was there anything you brought in with you about doing it on-screen to your performances now? WOOD It’s kind of the opposite for me. I’ve carried theater into my film work because I started in theater, so I learned how to do things fluidly and without stopping. There’s a lot of stop and start in TV and film and sometimes that’s nice. But sometimes it’s frustrating, especially when you come from a theater background. There’s something so satisfying about telling the story from beginning to end and playing the entire arc of the character in one go. There’s just a certain energy and an aliveness that comes with that that you can’t have when you have the camera in the room and it’s constantly moving and starting and stopping and changing.

CRISS I would say the same thing. I don’t know if this math checks out, but I think I’ve spent in my collective hours working in any kind of performing art more time in a theater than I have on a set. That might not be true, but in my mind, it feels that way. I constantly feel like I’m bringing what I know in the theater to film and television. I’d always prefer to be doing theater, but these days, listen, I’ll work anywhere, anyhow. As long as, hopefully, it’s positive, and additive to the world in some way. The theater, without getting on a total spiritual kick, it is a holy place. It’s an ancient art form. It is catharsis. It is sharing something with people in real-time before your very eyes. It’s why, despite the fact that we have TV and film and every possible AR, VR medium to displace our reality, theater is still around. It’s why we go to church, why we go to temple, why we go to the mosque — so we can experience something that we collectively want to believe in. We’re strangers and we want to elevate ourselves to something that’s bigger than the sum of our parts. I realize I said I didn’t want to get into a whole spiritual thing with it, but there you go. That can only happen after the fact, months if not years after you do it in a film set.

Evan and I are about to do our first put-in rehearsal, which is to say, we’re going to do the whole thing top to bottom, but there will be a key character missing, and that is the audience. The audience is one of the main characters of any show. And as much as you’d not want to break the fourth wall — that they’re not supposed to be there — of course, they’re there. Of course, that’s why we’re there — to have that kind of sacred communion with an audience giving you the privilege of their presence. You have a responsibility and a duty to make sure that you are sharing some kind of worthwhile experience with them. So getting to renew that experience every night, to me, is the most noble vocation that you can have as an artist.

WOOD I learned how to sing before I learned how to act because I wanted to do musical theater. So this is my favorite thing to do. Of all the mediums is being able to marry the singing and the acting together. Always my first love. CRISS I’m still learning how to do those two things, which is why Evan Rachel Wood is in this production — to teach me how to do those things. (Laughs.) Part of why shows like Little Shop go on for so long — why they can get this many revivals or adaptations — is that there’s something timeless about the story and its characters. For you, what is most timeless about Seymour and Audrey? Amid all the other actors who have taken on these roles, what are you most connecting to? WOOD From what I understand, everybody that’s come in to do the show brings their own energy and spin on it. Especially with Audrey — Ellene Greene, her performance is so iconic. The look, the voice, the songs. So stepping into that is figuring out how I pay homage to the parts of this character that people love and expect to see, but also bring my vibe and energy to it. That’s exciting to figure out what my Audrey looks like. For me, it’s also hard not to relate to her and her struggles because, unfortunately, those are very timeless — poverty, abuse, patriarchy. She’s sort of a victim of all of those things. Not to get too real for a second, but I am a domestic violence survivor playing this character who is going through similar struggles, who has these similar feelings and dreams of getting out and going to a better place and getting far, far away from her past. They’re all very real things, but they’re in this setting of campiness and horror. What’s amazing about the show for me is that it is fun. It is campy. There are man-eating plants. But there’s such sincerity to it as well. Especially with Audrey, Seymour, and their relationship. There are so many beautiful real moments between the two of them. Themes of poverty and capitalism are still just so prevalent that that’s why it’s so timeless because these things just are not going away.

CRISS I’m glad Evan mentioned her own experience and what that brings to the show. I think, for my money, pathos is a dish best served sweet. Comedy and fun are a wonderful support system for really heavy themes. WOOD Exactly. CRISS I think I’m that I’m more likely to take something more seriously if it’s not shoved down my throat. This is a comedy and to me, there’s not a lick of fat on this thing from Howard Ashman who was just such an extraordinary dramaturg. He took this really silly B-movie, and managed to hone in on the very ancient themes. You’re asking what makes Seymour so timeless. It’s a Faustian tale. This is the one of the oldest fables asking what is the price of greatness. What is a man willing to do, willing to give up, willing to trade to get what he wants? WOOD He literally sells his soul. CRISS Yeah, he sells his soul. The plant is Mephistopheles in this parable of Little Shop. But, of course, if you’re going go downtown and say, “I’m going to do a show. It’s like a Faust thing, and Mephistopheles shows up,” you can see people’s eyes glaze over. Well, how about it’s this guy, there’s music that is evocative of what was popular in the late ’50s, but the plant sings. It’s sci-fi, but it’s horror, but it’s fun, and it’s comedy. Now you have my attention, now I’m subscribing to the fun and the music. But by the end of it, I’m experiencing a classic, traditional, academic tale in a really fun way. When you said there’s been millions of iterations of this show, my mind went to, there’s been millions of iterations of this story. This is probably just one of the funniest ones I can think of.

There is ancientness to this tale. I’ve realized recently I’ve made a lot of my roles, especially in the Broadway world, about people who would do anything to accomplish greatness. To varying degrees of evil or good or compromise, people are always trying to figure out what it is they have to do, and what they have to give up. What line they would cross to get it. A lot of times people are kind of conflicted [watching Little Shop of Horrors] because you are rooting for this guy doing this thing, but he’s doing something terrible. Does that make you complicit? Are you a bad person for wanting this? All those things are the bread and butter of good old-fashioned drama.

[alrightbuckaroo]

summer slipped us underneath her tongue

TK Strand is a freshly heartbroken art history student who's been given the opportunity of a lifetime; studying art in the heart of it all, Paris, France. That said, he feels like it's a cruel taunt from the universe, studying what he loves so much in the City of Love while thinking there's no one out there who loves him.

Carlos Reyes is a career driven culinary student studying at Le Cordon Bleu. He has an awful habit of maintaining relationships, detaching himself from his work and doubting everything about himself.

After a casual night out they share with each other; they both agree to keep seeing each other, provided it's only casual. Well, like most things, that's easier said than done.

Enjoy a tale of TK and Carlos finding each other under the Parisian night sky and falling in love with each other under the Parisian summer sun.

All the thanks in the world to @lemonlyman-dotcom for giving this a beta read. Join me in Paris starting Friday, August, 25th 💞

[sewers-headmates]

Source List

we are making an updated form for some of our requests. this form will be very detailed and we will only use it for sources here. For brainmade and other fictive/factives we will still use our old one!

TV Shows:

South Park + AUs (h3ll p4rk, y4rdale, fl3ur bleu, horror park, let me make some from my original aus)

Game Of Thrones

Supernatural

Stranger Things

Morel Orel

Movies:

Scream

The Goldfinch

IT part 1 & 2

Texas Chainsaw Massacre 1&2

Harry Potter

Nightmare On Elm Street 2 (also 1 ig but i love 2)

god tbh almost any horror movie ^^ at least ask!

Video Games:

Alice Madness Returns

Cult Of The Lamb

Class Of 09 (on hold)

Books:

The Goldfinch

IT

Harry Potter Marauders Era

Warriors

Wings Of Fire

Musicals:

The Guy Who Didn’t Like Musicals

Black Friday

Nerdy Prudes Must Die

Nightmare Time 1&2

Spies Are Forever

Repo! The Genetic Opera

Les Miserables

Falsettos

Ride The Cyclone

Factives:

Starkid Cast

mcyt

some youtubers pls ask

Misc:

Meadowlark/Yaelokre

songtives from the album tender prey - nick cave & the bad seeds

our ocs (ask/dm for more details but we have some from most of these fandoms + some more just ask!)

aus in general! we love making alters from aus!!! though this will only be if we get into the concept so you may get a normal form

Alright! I’ll see you all later! This also works as a wishlist for us and may be updated as we go along! The new form are a wip so please if you’re picking from these let us know you want the new form!

[archiveoftheodd]

Happy Found Fiction Friday!

Go read Birdwatching Notebook Found on Colorado Trailhead by Gabrielle Bleu on our website.

Red Rock Canyon Open Space, Colorado Springs, January 12, 2019 Steller’s Jay (1) *Black-capped Chickadees (heard chicka-dee-dee-dee calls x 12 discreet times) (saw 15 or 20) *House Finch (8) (5 males; red heads) *Unidentified call (x 1 times) (shrill) *Rock Doves hanging out on red stone formations (maybe 2 dozen?) *Swallows flitting out of the little holes and pockmarks in the stone (20 or 30) Notes: Not sure what kind of swallows I saw. Barn, maybe?

[loki-is-my-kink-awakening]

Fic Rec Friday

Theme: a fic that lives in your mind rent-free.

The rules are simple: tag the fic that lives in your mind rent-free and describe why it's so good/how it has a hold on you. Then, tag some fellow associates to see what everyone else is reading. Spread the love!

Thanks for the tag, @cha-melodius. I didn't realise each week was different, so excuse me for not doing last week's one already. 🙈

Alterity by Scotch

Lokius. A rewrite of canon and beyond.

This a series but I highly recommend because Loki goes to therapy. It's not easy. In fact, it's a struggle throughout. But it is important character development.

We also get time travel elements throughout and I just love when we see a scene for the second time but now from the other side (past or future). It's just genius writing, imo.

Also, the author wrote me mpreg in the third installment For All Time? Always because of my crazy comments on the last two chapters of I'd Lie For You And That's The Truth.

This series is not finished, nor is it being updated for the time being, but all fics published are complete

Don't Tell Me You Love Me by Dandelion (Honestly Dying)

Geraskier. Hanahaki Disease. Major Character Death.

I love to hurt myself, clearly. When I read this the first time, I sobbed so hard. I made so much noise.

And my window was opened so my neighbours in their garden heard me 😬

I've just re-read it again and still sobbed my heart out.

The imagery of the last moments in the fic, of Geralt burying Jaskier, of him visiting the grave, that stays with me. I see that image in my head a lot whenever I think about hanahaki fics.

Cold Frame by Nameless Dragon

Stucky with Loki. Idk what that ship name is. Slowburn. Broken people fix each other.

Ongoing WIP. We are 30 chapters in and only recently has there been small yet meaningful touches. Like a hand on an arm sort of thing. And it's so charged, it's unreal, and I scream for each and every small moment.

There are far from developing a relationship. Everyone has some form of PTSD and needs to heal. Loki also has physical hurts to heal.

Wishing For Tomorrow's Sake by BabyBlueGlasses

Ironfrost. Fake/pretend relationship, idiots in love.

The journey of these two eventually getting together was delightful. Full of twists and turns.

I particularly loved Loki having budgies because I love them, too. Also geeky Loki ftw.

And how they helped each other to grow as people. Yup, I just loved it.

Whole Lotta Love by StereoBone

Steddie. Idiots in love, bisexual awakening.

Like, all the moments that build and build, it's just so good

When we get to Steve eventually realising how him and Eddie have been in a relationship for three months, then realising he's bisexual all at once, it's just amazing. I love it.

Tagging @jesskier @kingeomer @echo-bleu @unclewaynemunson @rauchendesgnu @xavantina @zara2148 @runnyeggsnham @highwarlockofphilly @dapperwerewolf

[lenaswritingandstuff]

OMG I'M GONNA SEE LES BLEUS' GAME ON FRIDAY!! MY FIRST MATCH EVER I'M SO EXCITED 😭 And a bit scared too because I don't know Paris at all

[theurbanhippieswe]

WHEN I’M IN A HURRY.

I choose an outfit like this. Don’t have to think so much. M-65 field jacket by Real McCoy’ (still using the removable liner). Merino wool sweater from Formal Friday. Jeans from Lee Archive at Son of a Stag. New Balance sneakers from Hiatus Malmo. Cap by Drake’s. Bag Bleu de Chauffe.

Photo: @streetphotomoffe

@therealmccoyscom

@formalfridayclothing

@sonofastag

@hiatusmalmo

@bleudechauffe

#therealmccoysjapan

#leearchive

#formalfridayclothing

#bleudechauffe

#sonofastag

#drakesdiary

#hiatusmalmo

#styleinmalmo #menswear #fashion #heritagestyle #pinterest #instagram #vintage #agingwithstyle #theurbanhippieswe #ruggedstyle #dailyruggedstyle

#ruggedguy #vintagestyle #fashionblogger #styleblogger

[whataweirdfeeling]

HELLO welcome to WAWF WEDNESDAY your monthly WAWF update [1st Wednesday of each month]

Considering it is now the month of May @whataweirdfeeling favorite short film is at its 6th & final of the ongoing hexalogy that is 'CLAIR' Find out more about the film and check out what else WAWF has been up to and more

Read below to find out what else WAWF has been up to this month

WAWF NEWS: LVL 6

CLAIR is a bi-annual/seasonal short film by our curator @vyngak [Half released Nov 30 & half May 3] based on clairaudience and the paradoxical nature of music and history symbolically repeating itself through quicker stronger and faster natures The path of CLAIR is a journey all told as a true story of real world events intuitively experienced then reimagined in a glamorously exaggerated fictional universe All for the love of music All for the love of art Walk through CLAIR’s plethora of tastes mediums and discoveries Grow with it as it has and will continue to grow with the ever changing universe Watch and listen to each CLAIR on our curators Instagram @vyngak as we approach the official release of clVIr [lvl 6]

WAWF’s CRANKING

Recent: Hyperdrama [Album] - Justice

Bars ~ WE STILL DON’T TRUST YOU [Album] - Future, Cold Visions [Album] - Bladee, The Coldest [Album] - Skilla Baby,

Alt ~ All Born Screaming [Album] - St. Vincent, Teething [Album] - Porij, Your Day Will Come [Album] - Chanel Beads

Smooth ~ PARTYNEXTDOOR 4 [Album] - PARTYNEXTDOOR, Jeremy [Album] - Yung Bleu, Boundaries [Album] - Sinéad Harnett

Lowkey: BRODIE WORLD [Album] - AG CLUB

Bars ~ My Gift To You [Ep] - Hardrock, Molly Santana [Album] - Molly Santana, BORN2BEGREAT [Single] - Untiljapan

Alt ~ Still Corners [Album] - Dream Talk, Save The World [Album] - AceMo, Dennis [Album] - Sega Bodega

Smooth ~ Two Star & The Dream Police [Album] - Mk.gee, Still [Album] Erika de Casier, Fabiana Palladino [Album] - Fabiana Palladino

Still in Rotation: 99.9% [Album] - KAYTRANADA

Bars ~ The Life of Pablo [Album] - Ye, Whole Lotta Red [Album] - Playboi Carti, Birds In The Trap Sing McKnight

Alt ~ The Slow Rush [Album] - Tame Impala, City Club [Album] - The Growlers, Thunder [Single] - Roy Blair

Smooth ~ Blonde [Album] - Frank Ocean, “Awaken, My Love!” [Album] - Childish Gambino, Heaven or Hell [Album] - Don Toliver

Throwback: Kala [Album] - M.I.A.

Bars ~ Stankonia [Album] - OutKast, The Shining [Album] - J Dilla, #1 Girl [Album] - Mindless Behavior

Alt ~ Contra [Album] - Vampire Weekend, The Lumineers [Album] - The Lumineers, Plastic Beach [Album] - Gorillaz

Smooth ~ 4 [Album] - Beyoncé, Corinne Bailey Rae [Album] - Corinne Bailey Rae, Comin' From Where I’m From [Album] - Anthony Hamilton

WAWF’s MAKING

Welcome to #WAWFsmaking where you can check out new @whataweirdfeeling creations or join in on the fun

In honor of the official release of clVIr [lvl 6] this Friday [May 3rd] @whataweirdfeeling wanted to keep it animated with the official release of the new show/mini series we have been working on.. STAY TUNED

Join WAWFie [WAWF internet Explore] on his first adventure! Through 'The Adventures of WAWFie' #WAWF will grow and learn about each and every one of the intricacies the World Wide Web has to offer..through animation of course

See Ep 1 of 'The Adventures of WAWFie' on Instagram @whataweirdfeeling and let us know in the comments where you would like WAWFie to venture in the next episode

WAWF’s Wearing

In honor of 'CLAIR' check out our new @whataweirdfeeling x T33n Ang$t article '#WAWFt33n' styled with some specific editorial T33n Ang$t pieces similar to those of past CLAIR films

Also be sure to check out our new @whataweirdfeeling x Backtracking Film collab drop for WAWF Shop Drop 004 - 'Keep Calm and #WAWF'

Backtracking will be showing May 4th at the Grace St. Theatre

Along with promoting/supporting growing artists like these WAWF magazine pushes fashion culture and much more

Words/Curated by

[leothil]

For this week's fuck it friday (thank you dearest @rewritetheending for the tag 💖) I want to share this video I found on twitter because it made me cry happy tears! Please watch the whole thing, spoilers below the cut! Warning for some flashing in the very beginning.

[ID: a video ad by French telecom company Orange. The first half shows impressive dribbles and goals by the French men's national football team Les Bleus. Halfway through, it's shown that all the clips you just saw were changed with VFX and were actually from the French women's national football team's games. The ad ends by stating that the company supports the women's team in the (now ongoing) world cup. /end ID]

Like in all other sports, women's football is regularly looked down upon, the players are payed barely a fraction of what the men get, and there's an abundance of Men™ who insist women's games can never be as good or exciting as men's games. I love what this ad does, because it'll have anyone nodding along at the impressive dribbles and goals, and then drops the bomb that you were watching the women's team the whole time. I hope it gave at least some Men™ pause.

(And yes, there were, naturally, a lot of replies claiming they "knew immediately.")

[ID: a tweet from Daniel Storey @ danielstorey85 saying "Shout out to all the men/Columbo-res in the replies who spotted it after a second. Your toxic masculinity is so hot right now!" /end ID]

[hyuganejiswife]

Masterlist

About me | Fic Recs | Ko-fi

Note: I’ll write for Naruto, Jujutsu Kaisen, Haikyu, Attack on Titan… I may add more.

Everyone is aged up.

Reminder: I’m still rewatching Naruto and Haikyu. Bare with me as I relearn the worlds and everything that goes with it. If I make a mistake, I apologize. Need to rewatch AOT.

Borders created by @firefly-graphics. I’d seriously check them out for any borders you may need.

Requests are: Open

Secret Crush Prompt List

RULES ABOUT REQUESTING

Upload Schedule: Friday, Saturday, and/or Sunday. Will upload throughout the week if I’m able to and have time to write.

Content does have a potential to be suggestive so this account is 18+ only. Minors DO NOT interact.

Smut requests: Closed

A note about requesting smut from Bleu…

Naruto | Masterlist

Haikyu | Masterlist | not taking requests

My Hero Academia | Masterlist | not taking requests

Attack on Titan | Masterlist | not taking requests

Jujutsu Kaisen | Masterlist | not taking requests

Series in Progress…

Out of My Mind | Shikamaru x GNReadet x Neji

Coming soon…

Don’t Go | Reiner Braun x GNReader

Read to Me | Armin Arlert x GNReader

[curiouselleth]

Snippet Sunday Friday

Thanks for the tag @echo-bleu!!!

Here's the last three paragraphs I wrote for Veil of Starlight, by Elured is Gil-galad fic.

It was odd. Everyone was so friendly and kind to him, an outsider. Even just greeting him in passing, calling him starlight. Likely referencing his nights in the trees, watching the stars. He thought. He had noticed whispers about him that silenced as he grew close but paid them no mind. I am some random, mysterious outsider, after all. He brushed off his concerns. Unfortunately, his lack of experience in such large groups worked against him, so he did not notice the rumors growing, let alone deny them. So, they grew. And grew.  Galdor had started looking at him differently, curiously. And Egalmoth with… respect? And though he had not spoken to Tuor nor Idril, he had seen Galdor and Egalmoth whispering to them, and pointing at him. Though as soon as he had noticed they had immediately looked away. He stood awkwardly for a moment, before deciding that standing there was just making the situation more uncomfortable, so he dashed away to find some chore to do or people to help.  If he had looked back or lingered a moment longer, he would’ve seen them sadly watching him leave, and heard Idril saying “if it is him, how do we ask? We cannot force him to take it. But with my father gone… who else?”

It's a bit long but oh well. The Misunderstandings TM are beginning lol 😂