#his performance made it to broadway

[2024skin]

Orpheus' off-Broadway epic is WAY better than the official recording

[cerealbishh]

Nothing comes from wishing on stars

🎥: @bikinibottomdayz

[pondslime]

let him go dump the casket in the ground and he’ll be right there 💅

[phierecycled]

wait so how actually did andrew not win that tony?

[sassmill]

Right as I’m putting on my director cap again in a big professional way, one of the directors and educators that really helped shape my career has passed. Big artist emotions right now.

[aiiaiiiyo]

[theetherealbloom]

CLOSE TO YOU

Summary: A commute crush turned meet cute with Pedro Pascal

Paring: Pedro Pascal x Fem!Reader

Warnings: strangers-to-friends-to-lovers, Commute Crush, TOOTH-ROTTING FLUFF, Slight Angst, Meet-Cute, Swearing, Anxiety, Surrounded by A-Listers, Cheesy Dialogue, Romance, Kissing, Alcohol, Club/Bar Setting

Word Count: 2.2k

A/N: Happy Close To You release day! I’ve waited for this song since 2018 LMAO. Usually, I don’t write about real-life people, but I really can’t help it since this song is SO Pedro Pascal-coded. Just know that this is fictional and if this isn’t for you, you don’t have to read it! Keep scrolling :> And for those who stay to read this delusion of a fic, hey girlieeee I see you <3 

P.S. I’ll be doing a bunch of fics related to Gracie’s new album that comes out next week!

Song: Close To You by Gracie Abrams

| Main Masterlist |

It all began as a harmless crush on your morning commute. The New York subway was your daily stage, a bustling backdrop as you headed to meet a client. As a social media coordinator, your days revolved around managing high-profile partnerships, coordinating with celebrities and Instagram influencers to craft campaigns that seamlessly blended their brands with consumer appeal. 

But today was different. And of course, you recognized him. 

You noticed him immediately – Pedro Pascal, seated right in front of you. Lost in his book, with a iced quad espresso in a venti cup with extra ice and six shots cradled in his hand, he exuded an effortless charm. His dark, curly hair framed those whisky eyes that glanced up and met yours. Just for a second, you were frozen in time, captivated by his gaze. You quickly looked away, not wanting to seem rude, yet feeling the familiar flutter of a crush brewing.

Did he smile? You swore he did, and your heart skipped a beat. The train doors opened, announcing your stop. Reluctantly, you stepped off, joining the throng of commuters spilling onto the platform. As you ascended the steps, the city's vibrant energy washed over you, but your mind was elsewhere.

Walking towards the restaurant for your client meeting, your thoughts kept drifting back to him. The way his presence ignited a spark within you, a longing that seemed almost irrational. Here you were, burning for a man who didn't even know your name. And yet, in the anonymity of the subway, a fleeting connection had stirred something deep inside you.

It had been a few weeks since that subway encounter, the memory of Pedro Pascal’s whisky eyes lingering in your mind. In the meantime, you had started managing social media for Sarah Paulson, whose busy schedule had her juggling multiple projects and interviews.

Sarah's latest project, a Broadway play titled Appropriate, was garnering critical acclaim and several award nominations. Your job was to promote her involvement, ensuring every post captured the essence of her talent and the play’s success. Though you hadn't been working with her long, you were pleasantly surprised when she invited you to watch one of her performances.

That night, you arrived early at the Belasco Theatre, adorned in your favorite long dress and practical flats, mindful of the commute back to your apartment. Ushered to a seat close to the front, you settled into the plush red velvet, feeling a mix of excitement and anticipation. As the audience trickled in, you busied yourself with casual texts to friends before putting your phone away, taking in the theatre's intricate architecture and the stage's grandeur.

Moments later, an usher guided someone to the seat next to you. Curiosity made you glance to your right, and there he was—Pedro Pascal, settling in beside you. Your eyes widened in recognition before you quickly looked away, a quiet panic bubbling in your stomach and tightening your chest. You fidgeted with your fingers, a nervous habit, trying to quell the flurry of emotions and resist the urge to stare.

As the house lights dimmed and the show began, you couldn’t help but steal occasional glances at him. The man who had unknowingly captured your heart was now mere inches away. The performance on stage was captivating, but you found yourself equally entranced by the man sitting next to you. In the soft glow of the theatre lights, you wondered if he remembered that brief moment on the subway, and if fate had just given you a second chance to connect.

When the show ended and the cast took their bows, the theatre erupted in applause. Pedro, sitting right next to you, cheered loudly when Sarah stood with the rest of the cast on stage. His genuine enthusiasm for his friend made you smile, and as you glanced at him, he looked down at you with a radiant grin. 

Your heart raced, and for a moment, you felt a concrete connection that was almost tangible. Both of you opened your mouths to speak, but just then, an usher cleared their throat, drawing your attention.

“Mr. Pascal, Sarah Paulson is asking for you backstage… if you would follow me, please,” the usher said, causing Pedro to hesitate, torn between staying with you and fulfilling his friend's request.

“Uh,” Pedro began, glancing between you and the usher. Seeing his dilemma, you made the decision for him. Gathering your things, you offered a polite smile to both Pedro and the starstruck usher.

As Pedro glanced back at the usher, you seized the moment to make your getaway. You might have heard him call out, "Wait!" but you didn't stop. Stepping out onto the bustling street, the city lights of Broadway twinkled around you, a stark contrast to the growing ache in your heart.

The possibility of what might have been gnawed at you, the fleeting connection slipping through your fingers. A voice in the back of your mind echoed doubts, whispering that you didn't quite belong in this world of beautiful, glamorous people. You tried to shake off the feeling, but the bittersweet sting lingered.

You begin to walk away from the theatre, weaving through the crowd lined up for autographs by the backstage door. Just as you're about to cross the street to catch your subway, your phone vibrates in your clutch. Stepping aside, you see Sarah Paulson’s name flashing on the screen.

Shit. 

You quickly answer, praying your voice doesn't betray your nerves. "Hello?"

"Hey!" Sarah's voice is warm and enthusiastic. "How are you? Did you enjoy the show?"

"Yeah, I did! You were absolutely incredible," you say, offering genuine praise and shifting your weight to your other leg.

"Thank you so much! Oh, where are you right now? Are you still nearby? I had told the usher to bring you backstage with Pedro, but it seems like they forgot."

"Oh, um, yeah, I'm near the backstage door," you reply, glancing at the crowd still waiting for autographs.

"Perfect! Some of us are going out for drinks later, and you are welcome to join us!" Sarah’s excitement is infectious.

You stammer, "Uh, I..."

"It'll be great! I promise. I'll introduce you to everyone. You're my best social media manager by far."

Taking a deep breath, you muster, "Okay, yeah, I'd love to come."

"Great! I'll send you the address of where we're headed. We'll meet you there!" Sarah says, her smile practically audible.

"Alright, see you soon." You end the call with a click, clutching your phone tightly as you take another deep breath to steady your nerves and keep the world from spinning.

A ping alerts you to a new message. Glancing at the notification, you read the address and know exactly where to go. With a mixture of excitement and anxiety, you put away your phone and head towards the bar, the city's lights guiding your way.

It took you a while to figure out how to get there, but eventually, you arrive at the bar. As you step inside, a warm hum fills your body, the lights and the pulse of music thrumming through the room. The smoky, dark atmosphere feels electric, bodies moving in a rhythm that seems to make the air itself burn. 

Under the soft pink light, everything seems slightly surreal, yet oddly perfect. You spot Sarah, who immediately pulls you into a warm hug, which you happily accept. As you exchange pleasantries near their table, you feel at ease, enjoying the camaraderie. 

Then, suddenly, you sense a shift. You glance up and see Pedro looking right back at you. Your heart skips a beat as your eyes meet, and in that instant, the crowded room seems to fade away. 

There he is, the man who had unknowingly captured your heart, his gaze steady and intense. As Sarah guides you over to introduce the rest of her friends, castmates, and of course, Pedro, you feel a pull between the two of you.

You muster the courage to speak, telling him your name, and even through the loud speakers and endless chatter, you hear him say your name with a breathless relief. Finally meeting the mystery girl he saw on the subway seems to have stirred something within him.

When you shake hands, there's a lingering touch, a silent acknowledgment of the connection between you. You can't help but duck your head a little, feeling shy under the intensity of his gaze. 

"Nice to finally meet you," Pedro says, his voice soft yet filled with warmth.

"Likewise," you reply, your own voice tinged with a hint of nervousness.

In that brief exchange, you both sense something unspoken, a silent understanding that this meeting is more than just chance. And as the night unfolds, amidst the laughter and music, you find yourself drawn to him, unable to resist the magnetic pull of fate.

As Sarah goes to mingle with the rest of the group, you both stand there, caught in a moment suspended in time. The air crackles with anticipation, and you can't shake the feeling that if you asked him to, he'd give up everything just to be close to you.

"You have a way of lighting up a room," he says, his voice low and full of sincerity as he leans in closer.

A blush creeps up your cheeks at his words, and you find yourself smiling despite yourself. "And you have a way of making me feel like I'm the only one in it," you reply, your voice barely above a whisper.

As the night wears on, you find yourself completely enchanted by Pedro. His easy charm and quick wit captivate you, and it's as if the two of you are in your own little world, separate from the chaos of the club.

He tells you stories about his acting career and his passion for music. You share your dreams and aspirations, feeling a sense of comfort in his presence that you've never experienced with anyone before.

Throughout the night, there are moments where your hands brush against each other or your eyes meet in a lingering gaze. Each time it happens, a spark of electricity shoots through your body, igniting a fire within you.

At one point, he leans in closer to whisper in your ear over the loud music. "I have a confession to make," he says, his warm breath tickling your skin.

You turn to face him, your heart racing with anticipation.

He chuckles softly, the sound sending a delightful shiver down your spine. "I can't deny that you've caught my attention since the moment I saw you on the subway."

The admission sends your heart racing, and you can't help but feel a surge of boldness. "Funny, because you've been on my mind ever since," you confess, meeting his gaze with newfound confidence.

His eyes light up with a mixture of surprise and delight, and you can't help but be drawn to the way his lips curl into a playful smirk. "Is that so?" he teases, his voice a low, husky whisper that sends a shiver down your spine.

You nod, feeling a rush of exhilaration coursing through your veins. "Absolutely," you reply, unable to tear your gaze away from his captivating stare.

Before you can say another word, he takes a step closer, his movements slow and deliberate, like a dance choreographed just for the two of you. Your breath catches in your throat as his hand brushes against your neck, sending tingles of anticipation racing across your skin.

And then, in a moment that feels like it's been plucked straight from a romance film, his lips meet yours in a soft, tender kiss. Time seems to stand still as you melt into his embrace, the world around you fading away until there's nothing left but the two of you.

As you pull away, breathless and exhilarated, a sense of euphoria washes over you, like a chemical override in ultraviolet. "I just wanna be close to you," he murmurs, his words sending a thrill through your entire being. A smile dances at the corners of your lips as you revel in the electric connection between you.

"And you could be mine tonight," you reply, your voice barely above a whisper, the words tinged with a hint of playful flirtation.

He chuckles softly, his eyes sparkling with affection as he leans in closer. "I think I could get used to being yours," he says, his voice filled with warmth and sincerity, melting away any lingering doubts or fears.

He can't wait to fall in love with you.

[makingqueerhistory]

Queer Books Challenged in Florida Schools and Libraries

There are some affiliate links below in case you want to support MQH.

Gender Queer: A Memoir, Maia Kobabe: Now, Gender Queer is here. Maia's intensely cathartic autobiography charts eir journey of self-identity, which includes the mortification and confusion of adolescent crushes, grappling with how to come out to family and society, bonding with friends over erotic gay fanfiction, and facing the trauma and fundamental violation of pap smears.

The Color Purple, Alice Walker: Separated as girls, sisters Celie and Nettie sustain their loyalty to and hope in each other across time, distance and silence. Through a series of letters spanning nearly thirty years, first from Celie to God, then the sisters to each other despite the unknown, the novel draws readers into its rich and memorable portrayals of Celie, Nettie, Shug Avery and Sofia and their experience. The Color Purple broke the silence around domestic and sexual abuse, narrating the lives of women through their pain and struggle, companionship and growth, resilience and bravery.

Julián Is a Mermaid, Jessica Love: While riding the subway home from the pool with his abuela one day, Julián notices three women spectacularly dressed up. Their hair billows in brilliant hues, their dresses end in fishtails, and their joy fills the train car. When Julián gets home, daydreaming of the magic he's seen, all he can think about is dressing up just like the ladies in his own fabulous mermaid costume: a butter-yellow curtain for his tail, the fronds of a potted fern for his headdress. But what will Abuela think about the mess he makes -- and even more importantly, what will she think about how Julián sees himself? Mesmerizing and full of heart, Jessica Love's author-illustrator debut is a jubilant picture of self-love and a radiant celebration of individuality.

Drama: A Graphic Novel, Raina Telgemeier: Callie loves theater. And while she would totally try out for her middle school's production of Moon over Mississippi, she can't really sing. Instead she's the set designer for the drama department's stage crew, and this year she's determined to create a set worthy of Broadway on a middle-school budget. But how can she, when she doesn't know much about carpentry, ticket sales are down, and the crew members are having trouble working together? Not to mention the onstage AND offstage drama that occurs once the actors are chosen. And when two cute brothers enter the picture, things get even crazier!

Cemetery Boys, Aiden Thomas: Yadriel has summoned a ghost, and now he can't get rid of him. When his traditional Latinx family has problems accepting his true gender, Yadriel becomes determined to prove himself a real brujo. With the help of his cousin and best friend Maritza, he performs the ritual himself, and then sets out to find the ghost of his murdered cousin and set it free. However, the ghost he summons is actually Julian Diaz, the school's resident bad boy, and Julian is not about to go quietly into death. He's determined to find out what happened and tie off some loose ends before he leaves. Left with no choice, Yadriel agrees to help Julian, so that they can both get what they want. But the longer Yadriel spends with Julian, the less he wants to let him leave.

I Am Billie Jean King, Brad Meltzer: This friendly, fun biography series focuses on the traits that made our heroes great--the traits that kids can aspire to in order to live heroically themselves. Each book tells the story of one of America's icons in a lively, conversational way that works well for the youngest nonfiction readers and that always includes the hero's childhood influences. At the back are an excellent timeline and photos. This volume features Billie Jean King, the world champion tennis player who fought successfully for women's rights. From a young age, Billie Jean King loved sports--especially tennis! But as she got older, she realized that plenty of people, even respected male athletes, didn't take women athletes seriously. She set to prove them wrong and show girls everywhere that sports are for everyone, regardless of gender.

This One Summer, Mariko Tamaki: Every summer, Rose goes with her mom and dad to a lake house in Awago Beach. It's their getaway, their refuge. Rosie's friend Windy is always there, too, like the little sister she never had. But this summer is different. Rose's mom and dad won't stop fighting, and when Rose and Windy seek a distraction from the drama, they find themselves with a whole new set of problems. One of the local teens - just a couple of years older than Rose and Windy - is caught up in something bad... Something life threatening. It's a summer of secrets, and sorrow, and growing up, and it's a good thing Rose and Windy have each other.

Marriage of a Thousand Lies, Sj Sindu: Lucky and her husband, Krishna, are gay. They present an illusion of marital bliss to their conservative Sri Lankan-American families, while each dates on the side. It's not ideal, but for Lucky, it seems to be working. She goes out dancing, she drinks a bit, she makes ends meet by doing digital art on commission. But when Lucky's grandmother has a nasty fall, Lucky returns to her childhood home and unexpectedly reconnects with her former best friend and first lover, Nisha, who is preparing for her own arranged wedding with a man she's never met.

And Tango Makes Three, Peter Parnell: At the penguin house at the Central Park Zoo, two penguins named Roy and Silo were a little bit different from the others. But their desire for a family was the same. And with the help of a kindly zookeeper, Roy and Silo got the chance to welcome a baby penguin of their very own.

More Happy Than Not, Adam Silvera: In the months following his father's suicide, sixteen-year-old Aaron Soto can't seem to find happiness again, despite the support of his girlfriend, Genevieve, and his overworked mom. Grief and the smile-shaped scar on his wrist won't let him forget the pain. But when Aaron meets Thomas, a new kid in the neighborhood, something starts to shift inside him. Aaron can't deny his unexpected feelings for Thomas despite the tensions their friendship has created with Genevieve and his tight-knit crew. Since Aaron can't stay away from Thomas or turn off his newfound happiness, he considers taking drastic actions. The Leteo Institute's revolutionary memory-altering procedure will straighten him out, even if it means forgetting who he truly is.

Melissa, Alex Gino: When people look at Melissa, they think they see a boy named George. But she knows she's not a boy. She knows she's a girl.

Melissa thinks she'll have to keep this a secret forever. Then her teacher announces that their class play is going to be Charlotte's Web. Melissa really, really, REALLY wants to play Charlotte. But the teacher says she can't even try out for the part... because she's a boy.

With the help of her best friend, Kelly, Melissa comes up with a plan. Not just so she can be Charlotte -- but so everyone can know who she is, once and for all.

A Quick & Easy Guide to Queer & Trans Identities, Mady G, Jules Zuckerberg: In this quick and easy guide to queer and trans identities, cartoonists Mady G and Jules Zuckerberg guide you through the basics of the LGBT+ world! Covering essential topics like sexuality, gender identity, coming out, and navigating relationships, this guide explains the spectrum of human experience through informative comics, interviews, worksheets, and imaginative examples. A great starting point for anyone curious about queer and trans life, and helpful for those already on their own journeys!

This Book Is Gay, Juno Dawson: This candid, funny, and uncensored exploration of sexuality and what it's like to grow up LGBTQ also includes real stories from people across the gender and sexual spectrums, not to mention hilarious illustrations.

Little & Lion, Brandy Colbert: When Suzette comes home to Los Angeles from her boarding school in New England, she's isn't sure if she'll ever want to go back. L.A. is where her friends and family are (as well as her crush, Emil). And her stepbrother, Lionel, who has been diagnosed with bipolar disorder, needs her emotional support. But as she settles into her old life, Suzette finds herself falling for someone new...the same girl her brother is in love with. When Lionel's disorder spirals out of control, Suzette is forced to confront her past mistakes and find a way to help her brother before he hurts himself--or worse.

King and the Dragonflies, Kacen Callender: Twelve-year-old Kingston James is sure his brother Khalid has turned into a dragonfly. When Khalid unexpectedly passed away, he shed what was his first skin for another to live down by the bayou in their small Louisiana town. Khalid still visits in dreams, and King must keep these secrets to himself as he watches grief transform his family.

It would be easier if King could talk with his best friend, Sandy Sanders. But just days before he died, Khalid told King to end their friendship, after overhearing a secret about Sandy-that he thinks he might be gay. "You don't want anyone to think you're gay too, do you?"

Sorted: Growing Up, Coming Out, and Finding My Place: A Transgender Memoir, Jackson Bird: An unflinching and endearing memoir from LGBTQ+ advocate Jackson Bird about how he finally sorted things out and came out as a transgender man.When Jackson Bird was twenty-five, he came out as transgender to his friends, family, and anyone in the world with an internet connection. Assigned female at birth and raised as a girl, he often wondered if he should have been born a boy. Jackson didn't share this thought with anyone because he didn't think he could share it with anyone.

The Black Flamingo, Dean Atta: Michael is a mixed-race gay teen growing up in London. All his life, he's navigated what it means to be Greek-Cypriot and Jamaican--but never quite feeling Greek or Black enough.

As he gets older, Michael's coming out is only the start of learning who he is and where he fits in. When he discovers the Drag Society, he finally finds where he belongs--and the Black Flamingo is born

Explore the full list here.

[rad-batson]

The Batkids and The Arts (Feral Edition)

They’re all musical theatre nerds. Every single one of them. Bruce, Alfred, Dick, Cass, Jason, Steph, Tim, Duke, Damian. They go see Broadway shows together then don’t stop talking about it for like a week. It is the one bonding activity they will never pass up.

Jason and Steph once entered a ballroom dancing competition and won after some pompous rich kids insulted their moves during a gala. Since then, they’ve entered a competition every month or so just for fun. (And for the prize money :P)

Tim is an avid believer that Culinary Art is one of The Arts. (Can he cook? Absolutely not. It was Bernard that convinced him, but he stands by it.)

Duke talks through every single movie he watches. He always promises to be quiet at the beginning, but then he gets too excited and whispers commentary to the people around him. This habit has since bled into the entire family. They are no longer welcome at the local AMC.

Every single one of them is pretentious about something.

Dick is pretentious about any and all performance arts featured at the circus. Once, someone made a joke about going to “Clown School” and Dick screamed at them about how not even their pinky would have the privilege of being admitted into clown school.

Jason is pretentious about classic literature. They can no longer tell if his jokes and references to Shakespeare and Jane Austen are correct or if he’s just fucking with them.

Cass gets pretentious about martial arts being a performance art. She is also pretentious about ballet being a martial art. She could kill a man in fifth position without losing her balance, and that’s a fucking fact.

Stephanie is very good at acting pretentious about the arts. She absorbs everything she’s learned from the rest of the bat family’s interests then pretends to be pretentious about it to mock them while sneaking in just enough correct information so no one can call her out on it. (Her true interest is graphic design.)

Tim has no professional experience with photography, but he will be pretentious about it like he knows everything. (Bruce: Tim, why is there a filter on this evidence photo you took? Tim: I thought it looked nicer that way. Really makes the blood splatter pop.)

Duke isn’t exactly pretentious about writing, but he will lay down his life for the Oxford comma. (Bruce didn’t use it until Duke called the punctuation in his mission reports “insulting.” He now uses it.)

Damian is pretentious about studio art. If he ever hears his family or friends say, “I don’t get it,” at an art museum, he will make them look at it for five minutes as he explains in painstaking detail what’s so revolutionary about it.

The kids decided to take an improv class together once for their undercover work while Bruce and Alfred were out of town. It was so fun that they still play improv games when they’re bored.

Cass is secretly a metalhead.

Whenever one of the younger kids needs to write an English paper, they will just walk up to Jason, riddle off a dumb opinion about the book or poem they had to read, and record whatever Jason ends up lecturing them about. The most recent incident resulted in an award-winning paper about how the theory that William Shakespeare never wrote his own work is deeply rooted in classism.

Damian always has paint under his nails. It just never comes out.

Dick has personally taught everyone in the family how to do The Perfect Backflip. They all get a little ceremony once they’ve mastered it. There is cake.

Whenever Cass is standing around with nothing to do, she’ll practice her foot positions for ballet. The others always notice and follow her lead.

Jason: dramatically recites a poem in the living room Steph: starts beatboxing

Steph is always the first to find typos or continuity errors in a book, play, or movie. She doesn’t intend to; it’s just second nature to her. (She is now Duke’s official proofreader.)

Duke: So how’d you like the movie? Damian: I really loved the mise-en-scène, especially during the breakfast scene and that one shot near the end with the warehouse doors. Duke: *nods thoughtfully* Everyone Else Leaving the Theater: wtf is a meez on sen?

When Duke is finished writing something and wants to share it with his family, he’ll give it to Jason and Cass first.

Jason and Duke have frequent passionate arguments discussions about who is the best poet. Never bring up Dickinson, Poe, Shakespeare, Hughes, Plath, Wilde, Kipling, Sappho, or Angelou in their vicinity unless you want to start it up again.

Damian is surprisingly good at acting. Too good.

Dick knows your music taste before you do. He has a carefully curated playlist for every single family member, every possible combination of family members, and every possible mood at the ready.

They can and will correct anyone who mistakes Gothic architecture for Victorian or Gothic Revival and vice versa. (It’s really a Gotham thing.)

Tim: How dare you call The Grand Budapest Hotel the best prison break movie when it’s clearly The Shawshank Redemption! Jason: Well, as someone who’s BEEN TO PRISON, I think I should know! Dick: It’s clearly Chicken Run! You’re all just Chicken-ist. Duke: But what about Midnight Express?! That one’s so good! Steph: Has anyone mentioned Toy Story 3 yet? No? Damian, watching from the sidelines: I liked Escape from Alcatraz. Cass: Same.

There are several art pieces in the manor that have been positioned directly over top of bullet holes and other suspicious damages.

Damian and Duke made an animated short film once for the Gotham Film Festival. Dick and Cass were their models for the concept art. Tim did historical research. Jason helped Duke edit the storyboard, and Steph was the continuity supervisor. It was about a British super spy working for MI6 that saved the world in the late 70’s. It was titled Agent A.

[heliza24]

Thoughts about Domesticity, Carework, and the American Dream in episode 2.5 of Interview with the Vampire

I’ve been mulling over episode 2.5 a lot. There was so much to love in the episode (the incredible writing, the kitchen sink off Broadway play of it all, the chemistry between Luke, Jacob and Assad, the vulnerability in Eric’s performance). But my mind keeps circling a couple of themes, trying to piece them together. So as usual I’m here on tumblr to try to work it out. 

I keep coming back to the way that Armand was gendered in this episode. His big complaint to Louis was that he was “home picking lint off the sofa”. He arrives with “mop and misery” to clean up the mess. Louis insults him by calling him “the good nurse”. All those things are feminized. They’re also extremely of the era; these are Feminine Mystique, mid-century housewife type complaints. The wife’s job is to make the husband’s life smooth and never worry about her own happiness. Obviously in the 1970s we’re seeing this begin to change thanks to second wave feminism. We’re in the process of trying to ratify the ERA, Ms. magazine has just been founded, and things are shifting. The kind of cheery domestic American dream of the 1950s is definitely shifting, and we see this in the episode as well. Betty Hutton selling sewing machines competes with Spiro Agnew resigning on TV. The watergate scandal signified a loss of faith in American authority, a kind of parallel destruction of the country’s father figure (brought down by journalists, no less). The comfortable lie of domesticity, the “prison of empathy” that Armand has created around Louis is crumbling. Armand is boring but he’s also bored, like a housewife taking valium to get by. The whole episode is set in an apartment that reeks of divorce, according to Daniel, and we’re seeing it play out in real time. When Armand lashes out to hurt Louis, he does it not through direct violence, like Lestat, but by holding his failure as a father over him, telling him that Claudia  never loved him. That jab, in combination with the way he’s edited Louis’s memories (gaslighting, another time honored form of domestic abuse) is enough to get Louis to hurt himself. LIke a wife who is always outwardly obedient to her husband but spends her time exacting petty revenge against him for the way he takes her for granted, Armand’s methods are never violent. They are soft and subtle and targeted.

I have to thank @bluedalahorse for first alerting me to the way the crumbling domestic American dream is threaded through this episode. And after she mentioned it I saw it *everywhere*. 

Obviously there is a level of complexity here in the Loumand relationship that this metaphor cannot fully capture. For one thing, Armand is a man. He was turned in a time before modern understanding of gender and sexuality really solidified, so in some way it makes sense that he would be the most gender fluid of our main characters, but his position would be a lot different if he were a woman, even a woman vampire. And Armand is very powerful. His insecurities and crippling fear of being alone keep him from exercising this power and walking away in a way that would perhaps be healthier for both him and Louis. But he is not trapped economically or socially in the way a wife would have been in this era. (That being said, I get the sense that *something* about the way the fire happened in Paris has made Louis and Armand go to ground. Maybe there is an element of being “trapped together because of fear of exposure”. But even then, I think my point still stands.)

To drill down and become more specific, there’s an extra added layer to the way Armand is feminized in this episode. I’ve written a lot about disability in this show and also the way it approaches eugenics, and those things were very on my mind as I rewatched this episode. (To be fair, they are always on my mind when I watch anything. Being disabled will do that to you.) Anyway, the specific way that Armand casts himself in this episode is as a caregiver. He is a beleaguered, bitter caregiver to those weaker to him. I think you hear this especially when he describes to Louis what happened: “you said the worst things you ever said to me, and then you walked into the sun. And now you are a convalescent.” The absolute sneer on the word convalescent.  The absolute disdain for being put in this position again. The way he denies Louis the blood and keeps him out of his coffin for so long. The “final act of service” in calling Lestat. And then the tenderness laced with fear. Will he “be on suicide watch for the next 1000 years?”. 

Armand is fascinating to me because of the way he seems to instinctively reject people who remind him of his own past weaknesses. Those weaknesses are buried down deep in his characterization, but they’re there and they’re important. He was sick and wasting away when he was turned. And before that he was an abused sex worker. You can see the way he dismisses people in similar situations in the way he treats Daniel in this episode. He calls Daniel a “broken boy” when he’s talking to Louis. He casually rejects the idea that there might be any sort of truth captured in Daniel’s tapes. The interviews on those tapes are with a sex worker and gay veteran and his disabled refugee husband. All of these people are so close to Armand in so many ways. I even think this is why Armand comes down so hard on Claudia, and why he cannot abide the true empathy and love Louis has for her. Claudia was turned when her body was weak. Weaker and more disabled, so to speak, than Armand. But they are not dissimilar. But Louis loves Claudia anyway, and respects her strengths. No one ever shown the love Louis shows to Claudia to Armand. No one ever granted him true empathy. The only way he has been able to hold on to any love at all is to grovel, to manage, to care give. The only way he experiences care is to give it. Of course he’s broken, of course he’s bitter.

So now we come to Daniel. The broken boy who has suicidal ideation and a drug problem, things that make him imminently dismissable in Armand’s mind. But Daniel also has a drive, a passion for life, and a love for the people who slip through the cracks. Louis and Daniel definitely share this great affection for humanity, and it’s what allows them to connect in San Francisco and again in Dubai. And it’s what makes him inscrutable, and captivating, to Armand. Because there really is no greater act of service than telling somebody’s story. Daniel describes himself as a therapist ironically in Dubai, but what he’s doing is carework. It’s real empathy. And Armand doesn’t understand that. Armand doesn’t understand what someone is doing recording the stories of people who were just like him. A whole universe of possibilities opens in the moment when Armand almost starts telling Daniel his story. Out of all the ways Daniel tries to save himself, that little life line of empathy is what almost snags Armand. But then Armand clamps back down, realizes he’s staring into a “black hole”. He’s trying to insult Daniel when he says that, but to me it just sounds like he’s describing himself.

When Armand is lulling Daniel into death, the thing he chooses to describe to him is the American domestic fantasy. He describes it as a fate worse than death. He describes it as a boring trap. And he specifically casts Daniel in the masculine, straight role in that fantasy, with a wife “vacuuming on valium” who “counts down his thrusts”. In some ways Armand is painting his own relationship to Louis as the worst possible fate that Daniel could suffer. (And it makes me wonder– did Armand ever wonder if he would amount to anything? Does he think his life has any meaning at all, if you subtract the vampiric powers? Armand has never stopped to introspect like this, but I wonder what would happen if you forced him to.)

But Daniel is stubborn, and his desire to tell stories and empathize with people resists death. I love that he still defends himself, still claims that he’s “a bright young reporter with a point of view” and that that is worth something. Because it is.

When Louis asks Armand to save Daniel, Daniel unwittingly becomes a symbol of Louis and Armand’s continued marriage. He’s a wedding ring, a vows renewal. He’s emblematic of the continuation of failing vampiric domesticity. And when Louis tries to repair the damage Armand has wrought, he isn’t able to offer Daniel soothing words about his ability to find a spouse or raise children or understand love. Louis doesn’t understand those things, so how could he teach Daniel about them? But Louis has always understood stories and humanity, so he is able to gift Daniel his writing and his reporting back. 

I think you can interpret Daniel’s failed marriages and difficult relationship with his children in a lot of ways. We could say that he was always going to fail at these things, regardless of whether or not he met the vampires, because of the discontent that Armand sensed in him. Maybe the trauma that this aborted gay hookup with Louis created was enough to re-closet him, and send him down a dark road of unfulfilled straight relationships. Or maybe Armand’s words really did echo around in his head and pull him down as much as Louis’s lingered and sustained him over the years. Maybe we’ll get more answers about this as the show goes on, or maybe it will live in the ambiguous world of memory and manipulation the show so often plays in.

Regardless, I think this episode was a masterpiece, and the way it firmly established these themes about the failure of domesticity and the burden and joys of carework are going to really matter, I think, as we hit the brutal conclusion of the season. When emotions are at a breaking point, especially between Armand and Louis, they are going to resonate because they were grounded in this little claustrophobic wonder of an episode.

As a little postscript, I’m not quite sure where we’re going with Devil’s Minion after this episode, or if we’re even going there at all. If a DM timeline happened in the past, it would require additional editing of Daniel’s memory, and I’m not quite sure if that reveal would work structurally. (I would love to be proven wrong about this though, because I would love for young Daniel and Armand to have interacted more, for Assad and Luke’s chemistry if nothing else. They were so wonderful together.)  If it were to happen in Dubai, or to happen again Dubai, however… well that’s interesting. Because older Daniel is disabled. He’s even more firmly in this category of people that Armand is apt to dismiss. And if they were to get together, there would probably be some aspect of caregiving on Armand’s part. And there would also be some caregiving on Daniel’s part, in his ability to listen to Armand. So that has the potential to be really fascinating, and maybe mutually beneficial to both characters. But I think we have to cover a lot of ground before we would be able to get there.

[omgthatdress]

Barbette grew up as Vander Clyde Broadway in Texas and was always fascinated by the aerialists he saw at the local circus. She started her career when she replied to a billboard looking to replace one of the sisters in the famed Alfaretta Sisters. One of the sisters had recently died. The fact that she would have to dress up and perform as a woman didn't faze young Vander at all.

Soon, Barbette was experienced enough to begin her own solo act, debuting in the Harlem Opera House in 1919. In 1923, she made her European debut.

In a 1926 essay, "Le Numéro Barbette," Jacques Cousteau wrote, "[Barbette] transforms effortlessly back and forth between man and woman. His female glamour and elegance Cocteau likens to a cloud of dust thrown into the eyes of the audience, blinding it to the masculinity of the movements he needs to perform his acrobatics. That blindness is so complete that at the end of his act, Barbette does not simply remove his wig but instead plays the part of a man. He rolls his shoulders, stretches his hands, swells his muscles...And after the fifteenth or so curtain call, he gives a mischievous wink, shifts from foot to foot, mimes a bit of an apology, and does a shuffling little street urchin dance – all of it to erase the fabulous, dying-swan impression left by the act."

[guildofscribes]

Okay, so I’ve been thinking… dangerous, I know, but anyway.

I often wonder how many people who write stuff about Steve Rogers have ever spoken to someone who was alive during and served during WWII. This isn’t coming from any derogatory line of thought, just a curious one since I’ve had the distinct honor of speaking to a few myself, as well as people who were alive during that time and were not part of the military due to age, medical, or occupational exemptions.

There would be diversions to behavior and speech patterns between them and the character of Steve Rogers, though the longer in conversation you go, the more their speech shifts to the way it was in the memories they’re recalling. The “formula” with which they tell the stories is different from the ones we use now, slight grammar changes start slipping in, older slang starts popping up, older turns of phrase, accents start thickening if they had a different or thicker one when they were younger, all sorts of interesting things start appearing slowly as you let them slide into memory without interruption. Usually it happens so smoothly, so slowly, that you never know when it began, one moment you simply notice that the turn was well and truly made.

Think about how awkward it can be to keep up with and change to new slang, to understand the changed in meaning for phrases as each generation ages up. Steve has a lifetime of habits ground into his bones, even in his twenties, and all of a sudden everything he’s ever known is stripped away, and all he has left is what he remembers.

While I believe Steve is self-aware enough to see that was was normal for him to say and do, like exclamations and walking to the bank and the street market for his food every week, tucking in his shirt and shining his shoes, these things that are normal to him are simply not done in the time he woke up in, and if blending in is what he wants to do, he’ll have to adapt. And adapt he does.

But Steve is also a young man without the perspective of having watched the times change over the progression of years, so the new learned behaviors are just that; learned behavior, like a broadway performance he’s acting out every day. And make no mistake, he seems to do quite well all things considered.

But back to the disconnect between the 1940’s and the 2010’s, it’s wild, a stark contrast. And given the story Steve was written into, the movies do a decent job of showing him as a man in his twenties from the 1940’s interacting with people in the 2010’s.

But mark the slightly off dialogue, the turns of phrase, and the silences. This is a man who grew up in the early 1900’s who is now told that everything about him is out of date, obsolete, outmatched, surpassed, and generally unwanted.

Except for his body as a fighter in the hardest battles to ever face the earth, people want to use that. And if he ever wants to be accepted as a person now, he has to change everything he’s identified himself with as a person from what he learned from his parents to the choices he made as a young man, to his style choices, the way he speaks to express himself, to the ideals he has built his character around… he has to change all of that foundation in order to be seen as a person instead of a relic out of a museum.

Some of the reasons I love listening to old people talk is the difference from what I see in my generation. Times were different and people were built by them in a way we aren’t being built. It’s a valuable perspective to keep in mind as history is being written around us, and one day we will be the relic nobody wants to hear or give the time of day because we have an older view of life and living.

…

…that ramble turned out much longer than intended.

Oops!

Anyway, highly recommend going on YouTube and finding videos of WWII veterans and tapes of young people in that era, listen to how they speak, what they focus on, how they conduct themselves, and maybe draw some lines between them and Steve Rogers.

Who knows, maybe you’ll even enjoy it a little.

[cerealbishh]

"Honestly, it's a little bit funny, this feeling inside. I'm not one of those who can easily hide..."

🎥: @starcuffedjeans

[somedayillbepeterpan]

Ahh, Luke. Lukey. Newts.

Have some laughing Lukey pookie, everyone.

For Bonus Polinweek Day 6 | Double date + Luke appreciation Day | Bridgerton BTS videos in Shondaland youtube channel

This man. THIS MAN ❤️

For as long as Colin Bridgerton has plagued my mind (since June 13) so too has this man.

Let me start this appreciation by saying an apology for ignoring Luke Newton for a very long time. And also for doubting him before the S3 release. I have been sleeping on (and most likely blinded by Nicola) that I never noticed this beautiful, talented man who, if not for him, the Polin story wouldn't have had the magic that it profoundly has.

Along with rewatching S3, I'm also rewatching S1 and S2 to fully catch the brilliant performance that Luke has been displaying as Colin Bridgerton. Truly, S3 has made me confront my personal biases and it made me realise how I was projecting my own ideas of what a man should be like on Colin Bridgerton when he is a distinct character in his own right. A lot of what makes Colin such an interesting character for me is how subtle Luke plays him.

There are this tiny inflections in the way Colin talks that is so particularly him. Even the way Colin moves/walks and his mannerisms changes from each season. The ground work Luke put in on Season 1, where Colin is particularly charming and naive, paved the way for this realistic (at times, heart wrenching) maturing that Colin goes through after learning that Pen is LW in S3 giving the Polin love story this weight of authenticity that we have not seen on Bridgerton.

Luke made Colin, a privileged, white man, so endearing that we feel that we are robbed of what Colin's character could have been in his own season (I have a counter-argument on this topic but I'll focus on Luke Newton). He may not be as talkative as Nicola but I think one of his nerdy alter-egos is one who loves to deep dive into character work and that is why him and Nicola get along so well.

I am a forever fan and I've put him on my list of actors that I have followed since their breakout roles (like Josh Hutcherson and Tom Holland). I do hope that he gets to build a strong screen portfolio (I remember he said that he loves doing screens more compared to live performances as he loves the subtleties of the screens). But I'll manifest a Broadway musical for him just so I can hear him sing again.

To Luke Newton, thank you for giving and sacrificing yourself for the past 5 years for Bridgerton. I hope you are surrounded by good people who will equally push you and ground you.

I hope you get all the best chances the industry that you love has to offer because you deserve to continue waking up being thankful that you get to act for a living 🥰

[emptymasks]

i got to see hadestown on the west end and all i have to say is AAAA. i liked the original broadway cast so much i didn't think anything else could compare to me, but omg they were all amazing and maybe it's a bias from seeing it live vs seeing broadway through recordings, but i actually enjoyed them so much more. i think what helped is i felt a lot more for donal's orpheus, whereas reeve's never managed to really put at my heartstrings.

okayokay what i have to list out loved (going to try and go through the show chronologically):

la barrie's hermes using no titles and they/them pronouns. the lyrics were changed to reflect this eg "excuse me, hermes" instead of "mister hermes" at the beginning of 'wait for me', and "feathers on their feet" instead of "feathers on his feet" in 'road to hell'.

the cast keeping their own accents. it's not often in uk theatre to hear british regional accents, even if the actor has or had that accent. so hearing a nothern accent from eurydice was aaaa. as a northerner it made me really happy. i'm not sure if that's grace's real accent or not but aa it just made .

donál keeping his irish accent too. and the chemistry between his orpheus and grace's eurydice was adorable.

hermes slowly kissing persephone hand during 'our lady of the underground'.

PERSEPHONE didn't think I could love anyone more than grey but omg. i've never loved "our lady of the underground" but I do now, the way gloria performed it and this one long belting note she did while bending over crazy far backwards aaa. and at one point while dancing she acted like she'd gone too hard and pulled her back and got stuck, but then very smoothly went into leaning down towards the audience and singing directly at people in the front rows.

wasn't 100% sold on hades at first since his voice isn't as deep as what I'm used too (used to listening to page as hades), but after "i conduct the electric city" and the lights went out and when they came back on there was a single silly spotlight on hades was stood leaning against the door checking his nails all sultry like. his acting was so different from what I'm used too, more energetic and more... playful? i'm not sure if that's the right word but i can't think of anything else. and less cold and stern than page but I ended up really enjoying him. i've got two very different versions of hades i love now.

new lyrics in epic three, "what has become of the heart of that man" has been replaced with new lyrics. i think "man with his arms outreached" has reverted back to pre-broadway "man with his hat in his hands" but i'll be honest me memory of what the new lyrics are is not great.

i cried when hades and persephone danced. both of them were crying. and when they finished dancing he sobbed and crumpled into her arms and she stroked his head and back and held him the whole time orpheus and eurydice sang "promises"

hades breaking it down during the dance, doing silly dance moves and making persphone laugh, and then she joins in and does his silly dance moves with him 10/10 people supporting their partners silly dance moves.

hades "i don't know" answer to if orpheus and eurydice can go... i'm used to patrick page's grave, defeated "i don't know" and here instead you could really see the inner conflict and he was holding hands with persephone and when he said it she angrily let go of his hand and he had his little "his kiss the riot" freak out.

orpheus and hades handshake during the wait for me reprise aaaa

[hotvintagepoll]

Propaganda

Martha Sleeper (Penthouse, Broken Dreams)— Her eyes are enough! She is one of the most beautiful women in old hollywood and should be more well known

Joan Blondell (Footlight Parade, The Public Enemy)—My Pre-code QUEEEEEN. Joan is a large part of why I love 30s movies. She's got such a flair and presence. She's not known for her voice, but her rendition of Remember My Forgotten Man will grab you by the heart. She played a variety of roles, and held her own with major stars like Bette Davis and Hot Vintage Poll icon James Cagney. She was a hardworker, even as Hollywood stopped giving her prime roles, and continued working in film and television up until her death. She's an absolute firecracker, even in her supporting roles I end up focused on her. Also, I just think it's cute that her name (real!) is Blondell.

This is round 1 of the tournament. All other polls in this bracket can be found here. Please reblog with further support of your beloved hot sexy vintage woman.

[additional propaganda submitted under the cut]

Joan Blondell:

A pre-code sweetie. Hot, funny and practical.

Criterion retrospective:

Sharp-tongued, sharp-witted, and beautiful - what more could you ask for from a dame of the gangster film/screwball comedy era? (Also, James Cagney would want you to vote for her!)

with her sunny smile and characters tending to exhibit a blend of happy-go-lucky cheerfulness and scrappy toughness, joan blondell is one of the quintessential stars of the pre-code era. she and fellow fast-talking wisecracker james cagney were close friends, having met when they were in a broadway play together in 1929, and made seven movies together that ran the gamut from gangster pictures to comedies to musicals.

She's absolutely hilarious and I love her

She's the wisecracking blonde who has been around the block and knows the score, but just look at those big blue eyes gazing at Jimmy Cagney as she burns the midnight oil to help him achieve his dreams and picks him up when he gets buffeted by life

Smart, snarky, and so sexy!

My Forgotten Man is one of the most haunting depictions of the consequences of WWI that I’ve ever seen, knocked out of the park by Joan Blondell’s performance. In one song number it traces sending the boys off to war, bringing them back to die in the streets maimed, drunk, and full of PTSD, then leaving them to starve in the Depression, framed by the suffering of the women who loved them. Holy shit? This is a musical number? They fucking produced this barnburner in a mainstream musical?

My Forgotten Man, in two parts: