#character vs performer

[shakingparadigm]

what is the theory that ivan manipulated the event where till and mizi met the wagyein?

It's not a theory, actually! It's confirmed that Ivan orchestrated the whole event. The true reason as to why however is still unknown. The information provides more context to this scene, though:

During the earlier times of ALNST the most rational explanation for this scene was that Till ran after a flower crown (presumably Mizi's) and Ivan followed him in out of curiosity. Now we know that Ivan was conveniently just standing there because he was waiting.

Side note, I find it heartbreaking (and maybe a little funny, sorry) that Till most likely didn't notice Ivan in this scene. That's just like him, isn't it. Always too busy running after Mizi while Ivan trails behind, an ever-present shadow.

I'm not sure how Ivan manipulated the circumstances for both of them to end up there, but it is confirmed that everything was intentional. What strikes me most is how they describe this particular scene:

I can't copy down what they said word-for-word (Patreon info), but they described Ivan watching "creepily" as Till and Mizi are faced with danger. We know that Ivan was familiar with the Cerberus wagyein beforehand, enough to touch its teeth and even to rest himself inside its maw. To Ivan, the wagyein is not dangerous, but to Till and Mizi, it could be. Ivan prepared the wagyein, led them there, and watched "creepily" from afar as Till fell on his knees, seemingly injured.

The closest I can get to making sense of Ivan's "scheme" is that he wanted to see how other children would react in a dangerous situation. Ivan's always been an observer, after all, and he's learned to survive by copying the more "normal" behaviors of his peers. This situation occured when Ivan was still young and had not yet developed his more charming mask, so perhaps he staged this encounter to study a situational response, to learn and mimic the emotion of fear. And what better subjects for the experiment than two of the most expressive and reactive humans of their batch? It helps that he was already fixated on Till beforehand, too. I think Ivan became irreversibly obssessed after this incident, especially since it's framed as a turning point in Ivan's life, comparing Till to the stars.

This is just my attempt at an interpretation, though. It could very well be for another reason. He most likely chose Till and Mizi specifically for personal reasons, not just for reaction. I'm still not sure on the purpose behind the whole thing.

The team wanted to capture Ivan's "dark emotions" through the shot of his stalking, which could relate to his more sinister intentions. His gaze can be read in a few different ways, though. Curiosity, interest, fear, etc. Maybe that's why they decided to redraw the shot in ROUND 6.

I think this better sells the feeling they were trying to convey.

[sleepyconfusedpotato]

49ERS WIN RAHHHHHHHH

RAAAAAAAAAAAAAAAHHH BANG BANG NINER GANG 💥💥💥

Me and @alypink watching that game was like

and then the comeback happened....

(based on this real conversation on discord 🤣🤣🤣)

Now onto the Super Bowl vs Chiefs!! I do think it's gonna be a dog fight between Niners and Chiefs. I surely want Niners to win, but Mahomes and Kelce and Andy Reid has more Super Bowl experience, so it's gonna be HARD.

but hey, at least Usher is performing in the halftime show. I LOVE HIM.

oh yeah almost forgot. Me and Aly also made a few discord touchdown stickers! 🤣

[tvckerwash]

you know, an interpretation of ct that I don't see that I personally really love is that she's a fuck up. like yes she's cool and she has some good fight scenes, but a huge part of her character is that she makes mistakes. the mistakes that she makes are ones that on their own aren't the end of the world, but she keeps making these little mistakes, and they eventually add up until she's out of room to make any more.

a really good example of this phenomenon in action is the actions she took leading up to her final confrontation with carolina and tex.

strike one, she thought she saw something in the water, but when asked by the leader what it was, she brushed it off as nothing when even if it had been nothing, it would've been smart to tell him what she thought she saw.

strike two, she didn't sense or notice florida's presence when the leader did, and she looks at the leader twice, once as she pulled out her magnums, and again after she did a scan of the room, almost like she was looking at him for guidance before he finds florida and takes him out with one good axe throw.

strike three, she couldn't convince the leader to leave when they had the chance to get away, and her cheap tricks were not enough to hold off either tex or carolina in a fight. they were only good for incapacitating her opponents enough for her to get away, which doesn't work when she has no escape.

ct is not tex, or carolina, or south. she is not a one woman army who can get herself out of trouble when she's stuck in tough situations. she needs people who can watch her back, she need a team who can cover her when she does mess up, and the leader and his team were not those people. she couldn't bring herself to trust them, and they couldn't bring themselves to trust her, and that cost all of them their lives.

[kujakumai]

People seem to be under the impression that Jonouchi hates his dad but he. doesn't. He never says anything like that. The only thing Jou ever says about his relationship with his dad is an earnestly expressed optimism and wish that if he just does well enough then the guy will quit drinking and they will return to a happy family life. He never seems to blame his dad at all, and is instead knee-deep in denial while hiding it from his friends and externalizing the problem--that it's not that his dad is awful, it's the debts, it's the drink, it's that Jonouchi hasn't fixed it yet.

And that's frustrating because we as the audience know that he's 16 and being abused and needs to get the hell out of there, and that as he gets older he'll need to come to terms with those facts. But as far as analyzing past and canon-present behavior goes, I don't think it ever makes sense to say that Jonouchi Is Doing X Because He Hates His Dad. He doesn't. Jonouchi is still deeply attached to the always-just-steps-away fantasy world where his dad cleans up his act and tells him how proud he is and they go play catch together.

[lohstandfound]

hm.... exploring jake as nonbinary/agender who very much performs the act of masculinity because that is what is expected of him and coming to terms that he doesn't have to be, maybe he doesn't have to force himself into that mould

[serenity-the-firefly]

my favorite part of the fallout tv show was when they implied that coop either a) has woken up every day for the past 200 years and chosen to do the cowboy voice or b) did the cowboy voice so hard that he’s now in an austin butler elvis presley situation

[thirdtimed]

unfortunately if i ever developed the lifeseries orv au in my head in earnest i would in no capacity whatsoever manage to be normal about it at all and like. i mean it

[girl4music]

Dark Girls in Art/Entertainment / Identity VS Nature

What does hiding, disguising and performing all have in common? They’re all about putting on a show of being someone you’re not. Someone you don’t want to be for whatever reason that may be. Perhaps you’re ashamed of or insecure about your true face - true self - and so want to cover it up and hide yourself behind a blank slate. Or maybe you feel like hiding yourself isn’t enough. You have to fashion yourself a whole new persona - a character to play and perform as to distract your perceivers - your audience - from the real deal. And so your disguise - your costume - if you wear it long enough eventually becomes your identity. It’s all people ever see of you now and so it’s more natural to you than authentically being who or what you are.

The only thing is - just how long can you keep it up? And if you can’t keep in character - how is that going to effect you when you’re so desperate to disappear and crawl out of your own skin? How are you going to react when you realize it’s over and there’s no fooling them anymore? They can’t be convinced of your act and you no longer have control over their perception.

Dark girls (or guys I guess) are all about this. It’s what makes them such compelling characters. Because they’re so unpredictable. You don’t know what they’re going to do next or who they’re going to be next. They keep you guessing and therefore keep you enthralled. They never show up authentically. May not even be aware of who they authentically are in the first place. Yet they play the part as if they know who they are. And perhaps it’s because they’ve played it too long why they aren’t aware of their authentic selves. And so they go on an existential journey of discovery as if who and what they are already isn’t them and isn’t enough. As if parts of them are missing and they have to search those parts out and retrieve them. It’s like a dog trying to play fetch with its own tail in a way. At some point they will stop circling around themselves and catch whatever it is that they believe they’ve lost.

But I think the thing that’s most intriguing about this characterization is that the person they are and want to be is always one in the same anyway, and so there was never really any need to go looking for it. But it’s always in the looking for it that is what shows this to be true. That is what tells that character that it is true. And that’s always more compelling if that character happens to be a dark girl (or guy) because it often comes with a shift in tone as well as perspective. Hence the term “dark” as the adjective for them. You’re not merely watching some character development of consciousness. You’re getting the whole fucking package all in one. All their evolution emotionally, mentally, physically, spiritually at once. And that’s why they’re constantly changing identity. Because they’re the embodiment for CHANGE itself.

They’re not ever authentically who they are precisely because they’re ALWAYS authentically who they are. And I know that’s contradictory. But somehow - when it comes to art/entertainment - it just fucking works! To have a character who’s entire characterization is essentially identity vs nature hot potato - in a constant fluctuation that they never settle on any one solitary specific identity in their entire character arc - that’s honestly the most authentic a person can be because what it represents is that identity isn’t solid or isn’t a permanence. It’s just a costume that we wear for the time being until we find something else that is more appropriate or better fits us. And sometimes that “something” doesn’t even exist and therefore has to be created. What we eventually come to realize through the journey is that what we believe is “missing” or “lost” in us is always with us as part of us. But you can’t ever come to that realization without going on the journey and believing that it isn’t and never will be. Thus the journey is important to go on even if pointless because the journey of going missing or getting lost is what brings us the realization that nothing was ever missing or lost in the first place.

When characters in art/entertainment go on that journey either out of their own volition or they’re forced into it - there’s something profound to be learned from it that’s akin to that old but effective method of spiritual masters advising you to seek enlightenment. All ways are the right way always.

Even if they’re wrong. Especially if they’re wrong.

[ereborne]

✨⚡️ Seven(ish) Sentence Sunday ⚡️✨

Tagged by @acountrygirlsfun (I think actually multiple times, whoops) Thank you, Caitlin ❤️

"There is no such thing as dar'ad. A parent cannot disown their child." Obi-Wan knew, even without the Force to tell him, what reaction was sweeping through every clone massed around them. He didn't wriggle around to see, but he also didn't allow himself to close his ears against what would come. "Well we know that's banthashit." He'd expected Fox, or Wolffe, or maybe Rex. Hearing it in Boba's childish tenor instead was far worse.

A minor miracle in that this is actually Sunday and the last seven lines I wrote actually work well as a lil snippet. I didn't do either of things on purpose but I'm so very pleased to have done them properly at last.

Edit! No lie babes, for a minute there I straight forgot tagging should happen. I was so caught up in the euphoria, etc etc. In any case, I'm tagging you, yes you, dear viewer! Anybody who wants to. I love you all

[per1w1nkl3]

HOW HAD I NEVER WATCHED THE TALENTED MR RIPLEY BEFORE WHAT THE FUCK WHAY DIES IT HAVE TO END THAT WAY WHAT THE FUCKKKK

[mummer]

been rewatching barry s1 and 2 and it is. Insane. How. The looney tunes of it all. Wiley coyote. It's all so stupid None of it means anything. and they dont know they dont realize. and then. And then

[imthepunchlord]

If you were to make your own pokemon starter trio, what would their unifying theme be?

Well, that will depend on what the region theme would be, or what about the region would stand out.

And atm, I don't really have a particularly region in mind... um, I have thought of a region inspired around Halloween and all things spooky, if doing original starters, I'd vote for a bat, spider, and (black) cat or wolf or hose that'll really play off nightmare. And either they'll all be part ghost or it'll be a ghost, bug, and dark.

I'd also be tempted to be bias and do a trio of some of my favorite animals: snake, shark, fox, horse, or peacock.

But idk what the themes would be. That theme would come down to the region and I don't really have a region in mind.

[unproduciblesmackdown]

more info, via a couple of reviews:

"Is this the best, most exhilarating, most close-to-perpetual dancing ever to grace the Goodspeed Opera House stage?

It certainly could be.

The new stage adaptation of “Summer Stock” at the East Haddam theater has plenty to recommend it in terms of the canny script and the hummable songs. But it’s the dancing that leaves the biggest impression.

The show is jam-packed with choreography from Donna Feore, who also directs, that is thrillingly executed by the cast.

We’re talking: Gravity-defying kicks. Head-spinning turns. Male dancers lifting and tossing and catching the female ones. It runs the gamut from Cossack-dance athleticism to soft shoe grace, tap precision to Lindy hop energy.

How the cast manages to sing after executing these (literally) breathtaking numbers, I have no idea.

And how do they make it through two performances on some days? Amazing.

Also amazing: the fact that they do all this on Goodspeed’s small stage without making the space feel cramped.

So, yes, the dancing is phenomenal. But there’s more to the show than that.

This stage version of “Summer Stock” — which is enjoying its world premiere at Goodspeed — is inspired by the 1950 MGM movie starring Judy Garland and Gene Kelly. Writer Cheri Steinkellner, though, has reimagined the piece in many ways, making it better, stronger and propelled by a more modern sensibility. (Steinkellner’s writing credits range from “Cheers” to the Broadway adaptation of “Sister Act.”)

The foundational story, though, remains the same: A no-nonsense young woman named Jane is trying to save her family farm. Her actress sister (named Gloria in the version at Goodspeed) brings her compatriots to the farm to rehearse a show. Jane first spars with and then starts falling for Gloria’s beau Joe, the production’s director.

Steinkellner has also changed up the score, to great effect. While some tunes from the movie remain, she has pulled others that are in the public domain (such as “Accentuate the Positive,” “Paper Moon” and “It Had to Be You”), and she has woven them perfectly into various plot points and important emotional moments.

As director, Feore makes sure the whole enterprise has a dynamic spirit. It’s a story and a production that brims with optimism and cheerfulness.

Leading the cast is Corbin Bleu, who became famous with his work in “High School Musical” and has gone on to star in several Broadway shows, as Joe. Bleu is a true, and truly talented, triple-threat. He has a warm, welcoming presence as an actor; he also brings an authority to Joe so you believe he’s someone the actors respect and will follow. Bleu’s singing is strong and lustrous, and his dancing — particularly his tremendous tap ability — is … wow.

Arguably the biggest scene-stealer here is Veanne Cox, as the wealthy, snooty owner of huge property surrounding Jane’s. The way she trills dialogue can turn anything into a punchline. She can wave her arms about as her character repeats “l’amour” and generate audience laughs. When her character falls for the egoistic actor Montgomery Leach (played by J. Anthony Crane with Barrymore flair), Cox burbles with girlish romantic giddiness.

Danielle Wade does her own take on the Judy Garland role. She gives Jane a swagger and a tough façade that reveals a more human self during the course of the story. Wade’s most important feature is her voice, which is potent whether she’s finessing a ballad or powering through a big number. While she can’t compete with Garland’s renowned version of “Get Happy” (who could?), Wade does a good job in the number — choreographed and costumed in an homage to the original — that serves as the culmination of the production.

Arianna Rosario gets to play an interesting arc at Gloria. At first, Gloria seems to be a blithe, self-centered actress, but she later shows that she is quite the problem-solving producer. Rosario makes the transformation believable, as if Gloria is finally letting her real self come through.

The scenic design by Wilson Chin suggests the various elements of a Connecticut River Valley farm in the 1950s while still allowing room for the cast to burst into all of those big dance numbers. And the costume design by Tina McCartney provides a fun and functional take on country clothing of the era.

I will say that the second act could be tightened up (we don’t need to see so many beats of the rehearsal process), but, in total, this “Summer Stock” is sensational." [source]

(hooray for most directly explaining gloria's overall arc)

and the next review:

"A throwback to the golden age of Broadway and movie musicals, "Summer Stock" is a timeless, inspiring song-and-dance tale of good deeds, fairy tale showbiz, classic romance and backstage intrigue played out to such dazzling effect, you want to freeze frame it, take it home with you and watch it over and over again for pure fun and a let's-put-a-smile-on-your-face endorsement. This is Goodspeed Musicals at its best - old-fashioned musical entertainment designed to deliver by the bucket's load, stir the senses, rhythmically intoxicate you and dance up a continual storm of good cheer that's guaranteed to leave you breathless.

Animated. Airborne. Magical. Sweet-natured. Fresh-faced. Dance happy. It's all here, wrapped up in shiny gold ribbons and signature colors that complement and complete the picture with a technicolor flourish, a big bang and an internal logic that flows with appropriate style, stamina, full command and intent.

Adapted to the stage by Cheri Steinkellner, "Summer Stock" replays that popular let's- put-on-a-show conceit where everything rests of the big opening night, the box-office intake, the big kiss between the leading man and the leading lady and how a complete unknown saves the day right before the final fadeout. Here, struggling Connecticut farmer Jane Falbury decides to let her actress sister Abigail and her actor friends from New York use the family barn as a rehearsal space for their brand-new Broadway bound musical in exchange for doing the daily farm chores to raise enough money to keep the business from going completely under. One slight problem. During rehearsals, Jane finds herself falling for the show's handsome director, Joe Ross, who, happens to be engaged to the show's leading lady - her sister Abigail.

Staging "Summer Stock," director Donna Feore ("Chicago," "Billy Elliot," "A Chorus Line"), who doubles as choreographer, creates a loveable, intoxicating show that reels you in, grabs hold of you until the final curtain and lets you fall in love with every little detail, surprise, plot twist, joke, visual gag, one-liner and tilt of her jolly agenda while she articulates every element of this musical story with thrust, warmth, spin and splendid articulation. Directorially, she pulls it off spectacularly. No wrong moves here as "Summer Stock" catches fire with a spark, a gusto, a shine and a 1950s mentality infused with plenty of imagination, originality, style and flair.  More importantly, the production never loses sight of its origins, its functional plotting and its love of musicals of yesteryear despite well-intentioned doses of kitsch, takeaway humor, giddy backchat and story arcs right out of the MGM library of backlot moviemaking.  Feore, free spirit that she is, fuels the musical with a sharpened wit and sentiment that works especially well as does her decision to let "Summer Stock" remain rooted in the period from whence it came in terms of staging, development, expression and interaction. 

Moving from screen to stage," "Summer Stock" retains only four songs from the 1950 MGM musical. The addition of several new songs to the original version of the score turns the two-act musical into more of a showstopping event and adds clarity, luster and vintage spin to its already proven material, its let's launch into another song and dance routine blueprint and its firm grasp on characterization, story evolution and its happily ever after conclusion. At Goodspeed, there are 28 important, recognizable, smartly placed musical numbers. They are:  "Get Happy," "Happy Days Are Here Again/I Want to Be Happy," "Accentuate the Positive," "I'm Always Chasing Rainbows," "Always," "Always (reprise)," "It's Only a Paper Moon," "The Best Things in Life Are Free," "Dig for Your Dinner," "Me and My Shadow," "Howdy Neighbor, Happy Harvest," "Red Hot Mama," " 'Til We Meet Again," "You Wonderful You," "June Night," "Some of These Days," "Joe's Dance," "I'm Always Chasing Rainbows (reprise)," "It All Depends on You," "Always (reprise)," "Everybody Step," "Lucky Day," "How Ya Gonna Keep 'Em Down on the Farm," "Hinky-Dinky Parlez Vouz," "It Had to Be You," "Get Happy (reprise)" and "You Wonderful You (Finale)."

Musical director Adam Souza ("42nd Street," "Cabaret," "Next to Normal," "A Grand Night for Singing," "Because of Winn Dixie," "Rags") grabs hold of the "Summer Stock" score and allows it to breathe, gesticulate, excite, envelop and rhapsodize with the golden age sentimentality of MGM movie musicals and the timeless, larger-than-life spirit of old Broadway. Here, every song matters. Every song is important. Every song travels down memory lane. Every song is tuned to the max with sweet, centered, warm-heartedness. Every song fulfills its intended purpose. All of this is complemented by the strong, flavorful sound of Souza's orchestral team, all of whom share his tremendous sense of theatricality, musical interlude, impassioned communication and delight of the actual musical itself.  They are: David Uhl (bass), Sal Ranniello (percussion), Liz Baker Smith (reed 1), Andrew Studenski (reed II), Travis Higgins III (trumpet) and Matthew Russo (trombone). As with other Goodspeed musicals, Souza doubles as conductor and keyboardist. As "Summer Stock" zings and pops, pretty music every song unfolds with a contagious orchestral musical glow, matched by the splendid musicality of the entire cast who address the catchy, homespun music and lyrics with perfect harmony, rhythm, phrasing and nostalgic commitment. These elements heighten the on-stage mode of the production, its progression from Act I to Act II, its send offs, its pastiche and its electrifying, barn-raising influence and thwack.

As with any big stage musical, choreography is key to a production's success, its fluidity of form, its artistic expression and its accompanying dance routines. Here, Feore, as choreographer, gives "Summer Stock" a highly personal touch of invigoration and speedy excitement that is tipped and generated with wonderfully elongated inspiration, stamina and determination. This is star quality choreography that peaks, shines and tilts with clever build ups, catchy dance steps and bold, concentrated rhythms, moves and beats that joyfully celebrate 1950's musicals in all their technicolor glory.   As storyteller and dance interpreter, she brings great dimension and scope to the piece using techniques, styles, descriptions and an enriched canvas of thoughts and ideas that make their mark most engagingly. Everything that happens on the Goodspeed Musicals stage has been beautifully blocked, rehearsed and staged with such thrust and individuality, no two dance numbers are alike. In fact, once "Summer Stock" catches fire, there's no stopping it.  Creating a freshly minted fusion of moods, tableaus, lifts, twirls and swirls, Feore pays homage to the actual vintage look and mindset of the musical, its dance-friendly art form and its free-flowing feel of excitement and exhilaration. Hands pop. Arms move heavenward. Dancers smile and glisten as they passionately ignite into joyful visions of sweetness, passion, frenzy and syncopation. Everyone is lost in the moment illustrating the traditions, the conscience and the power of musical theatre, giving and getting the most out of Feore's phenomenal, ovation-worthy choreography. Trained, drilled and confident, they each get a chance to shine - and shine they do - all making strong impressions that will live long in memory.

Making his Goodspeed Musicals debut, Corbin Bleu, as Joe Ross, a character originated by Gene Kelly in the 1950 film version, creates a "Wow!" song-and-dance-man factor chock full of charm, personality, self-confidence and full-beam, champagne delightness that astounds, cajoles and sparkles with leading man gait and luxury like no other. No matter what he does, he's a proverbial triple-threat (i.e., a player who excels at acting, singing and dancing) who makes everything that happens on stage feel fresh, spontaneous, real, raw and very much in the moment. It's in his eyes. It's in his moves. It's in his expressions. Exhibiting a sweet, contagious rapport that extends far beyond the footlights, it's the performance of the year and one that Bleu exudes with a Gene Kelly/Fred Astaire aura of showbiz savvy, knockabout whimsy, graceful athleticism and sterling encapsulation. "Joe's Dance," a solo dance number in Act II performed by Bleu only furthers that notion.

In the role of Jane Falbury, a role made famous by Judy Garland in the original "Summer Stock" MGM musical, Danielle Wade lights up the Goodspeed Musicals stage with a breezy, intuitive musical comedy performance of real warmth and spirit that is a constant joy to watch. Veanne Cox, cast in the role of the wickedly devious Connecticut farming magnate Margaret Wingate, is jaw-dropping brilliant, using humor, music, dance and melodrama in divinely daft and glorious ways that prompt applause and laughter whenever she's in the limelight. It's a scene-stealing performance so seamlessly entrenched in glee and fiery abandon, Cox, would be the ideal choice to play narcissistic Broadway diva Dee Dee Allen in the 2024 summer presentation of "The Prom" at Playhouse in Park in West Hartford. I'll personally deliver the contract. Other memorable performances are delivered by Arianna Rosario (Gloria Falbury), Stephen Lee Anderson (Henry "Pop" Falbury), Gilbert L. Bailey II (Phil Filmore), Will Roland (Orville Wingate) and J. Anthony Crane (Montgomery Leach). A musical escape brimming with delightful songs, engaging performances and full-beam dance numbers, "Summer Stock" is not only a bubbly tonic for theatergoers of all ages, but one that kicks nostalgia into high gear with uncomplicated bliss, fizz and vintage sparkle. It sings. It dances. It pops. It dazzles. Like "42nd Street" which played Goodspeed Musicals last season, it overflows with Kelly/Astaire lightness, punch and precision, sunny vibes and well-played exactitude. The energy displayed here is fast and furious with first-night exhilaration and thrill paired especially well with Corbin Bleu's charming star turn, Danielle Wade's joyous "Get Happy" abandon and Veanne Cox's well-prepped, icy cool villain. This is musical theatre of the highest order - infectious, irresistible, glorious. Its leave-your-troubles-at-the-door/Let's-put-on-a-show mentality accelerates with sparkle and cherry pie goodness. And boy, do we need it now!" [source]

(the reference to jane's sister abigail uses the film's names: abigail becomes gloria in this production, which is the name of abigail's actor in the film, which also mirrors how the role of herb is now phil, also the name of herb's actor in the film)

(also shoutout to providing A Full, Chronological List Of Songs. noting that according to another interview, intermission would be between "you wonderful you" and "june night")

[epicdogymoment]

yorozuya gin chan "i am a fully realised person with such a normal childhood and regular relatable backstory" mask vs shinsengumi demon vice commander "i am a 2 dimensional character with no backstory and no real human hiding behind it" mask

[magentagalaxies]

aubrey update!!!

doing the monologue in my standup class went well overall! i was very nervous bc 1. i'm not a standup person 2. this is the first time i said most of these jokes out loud and only the second time i've performed aubrey in front of people. my legs were literally shaking at first so i decided instead to sit down in a gay-people-sitting-weird-in-chairs way which felt MUCH more natural so honestly i think i'll keep it? might do some movement but like. how dare you make aubrey stand ze just wants to chat. if i can pin my wig nicely i might even dip upside down i think that would be fun

material got a good response! everyone said it was very tightly written like it's clear i've been writing this for a long time (and i have. i have like 200+ pages of aubrey material, these were some of the highlights). the chia pet thing didn't get as much of a laugh as it usually does when i bring it up in conversation but i think that was a timing thing. the joke that got the most laughs was the one i do about when uncle reg (aubrey's gay-uncle) says something about HRT being dangerous and aubrey's like "you did cocaine when you were my age" and it goes into a whole bit about comparing HRT to coke which is very fun. probably my favorite joke in the set but i was insecure if allys would be uncomfortable with the comparison, but since people liked it i'm like ok cool i can go even further in this direction.

main note that i need to work on was since it was so tightly written i wasn't giving the audience time to get the jokes (which is what led to there not being a ton of laughs despite people liking it). and that was definitely because i was nervous/not memorized (we didn't have to be for this assignment) so i was staring at my phone rather than at the audience. and yeah i really wish i was able to embody aubrey more and make it a more relaxed tone even with the tight writing, but that's a thing i'll work on throughout the class so by the end i'll definitely be more secure in it

tho honestly the most encouraging piece of feedback was like. any time someone does character standup the professor is like "awesome! now could you see yourself slotting that in between either regular standup as yourself or other character pieces?" (bc the final for this class is each person gets a 20 minute set at a local club) and honestly i can, but like. i have so much aubrey stuff and i'm so much more comfortable doing standup as zir than as myself (plus that wig takes time to put on correctly so that might be an awkward switch) and one of my fellow-standup-students went "i could actually see you filling a full 20 minutes with just aubrey. like this monologue felt like i was listening to the audio version of a sitcom" and oh my god that made me feel so good!!! aubrey isn't a one-bit character (not that there's anything wrong with one-bit characters since there are some of those in the other standups' sets), people wanna know what other stuff ze gets into and i can use zir to express all my other standup experiments!!!

so overall. nervewracking but i'm very glad i did it!! excited to eventually do my 20 minute aubrey set and be able to share it with you all

[blurred-cat]

Listen. I know Hirelings are just vessels without personality but Brinna Brightsong is the best one, no question, no debate, no mercy.