#my videos get no views

[unproduciblesmackdown]

Lackadaisy Enrichment

[1024gifs]

ATEEZ X ROHTO ☁️☀️ UV POSITIVE REVOLUTION

[tyttetardis]

Macbeth Q&A 18th Jan 2024 Part 1

Was lucky enough to get a ticket for the Member's Event at the Donmar Warehouse that took place on the 18th...with the price of the patronages I sure never thought I'd have gotten the chance, but luckily, they also let in some non-members 🥹❤️

The brilliant performance of Macbeth was followed by a very quick cleaning of the stage - thought for sure it would've taken them longer to remove the blood than like 5 minutes - followed by a lovely, little Q&A session.

The Q&A was led by Craig Gilbert (Literary manager) who talked to Annie Grace and Alasdair Macrae (Musicians and part of the acting ensemble) as well as Cush Jumbo and David Tennant.

Anyway, just gonna write down some of the stuff they talked about :) sorry if it's a bit messy! Might be spoilery if haven't seen it yet but is going to!

To begin with Craig remarked that he didn't think he'd ever seen that many people staying behind for a Q&A before (While I was just wondering why some people even left!? Stressful!).

David introduced himself with "My real name is David "Thane of Paisely" Tennant - while Cush introduced herself with "I´m Cush Jumbo - there's only one of me".

First question was Craig asking them what it was that brought them to the Donmar to do Macbeth - to which David pretty much just replied that 1. It's the Donmar! 2. It's Macbeth! One of the greatest plays of all time in an amazingly intimate space - and that the theatre is famous for its quality of work. So he found it quite hard to think of a reason not to do it!

Cush said she'd worked there before and loves the theatre, how it's so intimate but also a great workspace. Followed by her saying she said yes because David asked her. She talked about how important it was for this play to do it together with the right actor playing opposite you.

David says Max Webster asked him about a year ago if he wanted to do the play - he gave him the dates - and since there weren't any obstacles in the way, David didn't have any excuse not to do it.

He then said that he had slightly avoided Macbeth - there sorta being the assumption that if you're Scottish and has done some Shakespeare plays before you have to do Macbeth. Which he joked was a bit odd since it's not like every Italian has to play Romeo. Then he mentioned that Macbeth is probably a bit more of a jock than he is - that it seemed more like a part for big, burly actors.

Max had laid out his initial ideas to David, a lot of which are in the final production, and David thought he seemed lovely, bright and clever and inventive plus it being the Donmar Warehouse! To which joked that he had last worked there 20 years ago - when he was 8 years old! "It's just one of those spaces" - friendly and epic at the same time where it's such a pleasure to be on the stage.

When Craig asked his next question concerning the sound of the play someone asked him to speak louder as she couldn't hear them - to which David joked that they've gotten so used to whispering. But also said sorry, and that they would!

Alasdair explained a bit about the process of the binaural sound - bit I find it a bit difficult to decipher it all correctly, sorry. He did say that a interesting part of it is that it allows them a controlled environment where they can put all the musicians (and even the bagpipes!) behind the soundproof box so "Poor David and Cush" doesn't have to shout over all the racket.

Craig asked David and Cush what their reaction was when they heard about the concept of the binaural soundscape - to which David replied that it didn't quite exist when they first came onboard - Cush joking they were tricked into it. Then she talked about her and David going on a workshop with Max to get a feeling of how it would all work - and get a sense of how it would sound to the audience, as this was one of the few times, they got to hear that side of it. Their experience of the play being completely different to the experience the audience has.

Cush said they can hear some of the sound - like she can hear some of the animal sounds and David can hear some of the stuff from the glass box - but most of their cues and information comes from timing with each other. She said they won't be able to ever hear what the audience hears - to which David joked "We're busy".

It felt like mixing medias - as it all went quite against their natural stagecraft instinct - but Cush found that in the long run it made things very interesting - like they don't have to worry about getting something whispered to each other - as the audience will hear it anyway.

David said the odd thing is that they don't really know what the experience truly is like. He mentioned that to the sides of the stage there's a speaker for them where they will get any cues that they need to hear. Like they can hear the witches - but they can't hear where they are "positioned" - so they have to learn how to place themselves to fit with what the audience hears. They don't hear everything, though. And the audio they hear is quite quiet, so it doesn't disturb what comes through the headphones.

He thinks it's been exciting - that it's a bit like a mix between film and theatre. It's happening live - but it's also like post-production is happening between them and the audience as it's going on. They just have to trust that the audience is hearing what they are supposed to for it all to make sense.

Cush said she thinks in 10 - 20 years, as these technologies has developed, doing theatre like this will feel a lot more normal - not that they will do it ALL the time, but that they will be doing it - whereas now it's still like an experiment. What Cush really like about the concept is that if was done in a much bigger theatre - then people in the cheapest seats would be able to have an experience much more similar to those in the most expensive seats - they'd be a lot more immersed into the action.

David then talks about how it feels extremely counterintuitive to not go on stage and speak loud enough that the people in the back row can also hear you. And usually, if they can't hear you, you aren't doing your job right! But then it felt very liberating. He loves it.

Cush then talked about how it felt odd waiting in the wings for a cue you can't hear - where you traditionally wait backstage and you can hear your cues, you can hear the rythm and know when it's your turn - so it was quite disconcerting to hear silence. So it's basically down to them now knowing the show and each other's timings - like if David is standing at a certain point, she knows how long she has before she needs to say/do something. So you have to watch each other more closely and really focus on what the others are doing.

David asked the musicians if they can hear everything inside the box, to which Annie replied that they get everything except some extra bits in the soundscape. But they can hear the actors on stage. Annie said it's actually a bit of a mystery to all of them what the audience actually experiences - how the big pictures actually look like - they just have to trust that it's there "Is it there?!".

Someone asked if they had had any adverse reactions from audiences to having to wear the headphones. Quite a bit of laughter all around :P then David said "There's the odd person" and something about if someone hadn't gotten the memo before turning up...but not sure how he ended the line. Then once again says that yes, there's the odd person who doesn't like it and that's fair enough.

The same audience member then said he could see the advantage of it in a big theatre where the distance is big, but not in a small place like the Donmar - to which David very quickly, rather passionately replied that it's not about projection, it's about being able to do things you wouldn't normally be able to do live - where they can speak so quietly that they can't even hear each other when standing next to each other. So even in such a small place, people wouldn't be able to hear that. It's about creating a different play - which isn't to everyone's taste and that's fair enough. But for a play that's been done a hundred and seven million times he thinks it's very valid to try and find a new way into the play - even if it's not for everyone.

Part 2

[bleaksqueak]

I've put a decidedly Halloween twist on my desk's right hand side, considering that the stores are putting all their pumpkins out. Bog Witch to Halloween Party City mode: Engage! (The shaky hand is a feature, not a bug.)

[junkboxcorner]

This joke wasn't planning to leave my head until I made it

[ganondoodle]

in light of the news that riot games is letting go 11% of their workers (over 500 people), including long time workers responsible for big parts of the best lore in the entire league ip, AND cutting down LoR AND abandoning Riot Forge (the best idea they had in years lol)-

i stopped playing league a long time ago for multiple reasons, but one of the big ones were my annoyance with the increasingly shit ass monetization (thats only getting WORSE and MORE exploitative) and my frustration with its constant boring ass design decisions (like every new champ being either sexy girly girl that looks like all of the rest of them or sexy guy thats also starting to have the same problem plus all skins putting female champs in just another dress no matter how monsterfied the male champs were-) with my only interest in it being the lore and the attachment i felt to certain characters

im not even really interested in arcane anymore .. i was looking forward to it bc i like fortiches work alot but given how riot immedaitely wanted to make it canon (a dumb and stupid idea) after the first season was successful, which already made it less enjoyable for me, this is just ... idk, what does it matter

these news together with how bafflingly badly written totk was and its subpar quality (especialyl for that PRICE) that made me fear the future of loz yet it was still wildly sucessful (we deserve better than this!!), the recent commercial success of the plagiarism pokemon slavery/trafficking game and the general situation of the games industry, with AI rampant and CEOs sucking it up to shareholders only, constant massive lay offs everywhere in every studio

i have little hope left there will be new, good, games from big studios .. what an exhausting shitty world we live in

[goobygnarp]

.

[forgetful-nerd]

It doesn’t matter if you were a tmnt fan growing up in the early 20’s, this TMNT “Just a Kid” YouTube video was still apart of your childhood.

[becca-e-barnes]

It's been a really busy week so I'm just going to indulge myself and talk about exactly what I'd love to be doing rn with CEO!Bucky

When I imagine CEO scenarios though, I don't think of the reader as his assistant or an intern. Maybe the CEO and his comms director. Someone he considers an equal because I think that's a hell of a lot more sexy and still has a power imbalance 🥵

He knows you're incredibly capable. He knows you've got more drive than anyone else in the company. He knows you've spent years pushing yourself to get to where you are and you're determined to keep climbing.

But at the same time; it's nice to get a break from that too. Sometimes it's nice to just be tossed around and given orders. You get to switch your brain off and give in to whatever feels good.

And that's how you found your knees hitting the plush grey carpet of the CEO's office on a Friday afternoon.

"Good girl. So fucking pretty." Bucky's hand on your chin directs your face upwards. He's continuing the task you started a few minutes prior; stroking his own cock at a leisurely place and enjoying the sight of you in front of him with your blouse missing the top few buttons.

There's nothing else you'd rather be doing right now. There's no other release that lets you unwind like this. You don't have to think about anything other than the glossy bead of precum gathering on the tip of your boss' dick and the way that even the sight of it makes your mouth water.

His other hand is still holding your chin but you don't want to just watch when you can do so much more than that. You lean over, taking the head of his cock in your mouth, flicking your tongue over the very tip to lap up the precum you've been craving.

Your hand replaces his, jerking his length slowly with a measured pressure while your tongue swirls, keenly licking away any fresh evidence of his arousal.

"Fuck." He groans, melting into your eagerness. He's had a long week too. You know he needs this as much as you do but he's just as respectful as ever, conscious not to press himself into your waiting mouth.

"I bet you're wet already, aren't you? You look like such a sweetheart. No one would ever guess that you get off on sucking my cock. I bet everyone thinks you're so innocent but they don't get to feel the way you drip down your own thighs after you swallow my cum." You imagine that mouth of his has got him in plenty of trouble over the years but fuck, you love it. You swear he could probably get you off just by talking to you.

You hum happily, taking as much of his length into your mouth as you can manage, wincing slightly the first time his tip nudges the back of your throat. Your flat tongue rolls against the underside of his length, your hand cupping his balls and you feel his palm settle on the back of his head.

"You're so fucking keen." His blunt fingernails scratch gently against the nape of your neck and it feels like such a tender gesture. You get to be unashamed of how keen you are with him. There's no embarrassment or reservation. You don't have to hold yourself back to save face and it's refreshing to want someone this much.

You head bobs on his length, your lips forming a perfect tight ring and every now and again, you're rewarded with the sharpness of some fresh precum smeared onto your tongue.

"You should slow down, sweetheart. I don't want to finish yet." His voice is a little strained and it's beautiful. Now you're torn though. You don't want this to end but you're desperate to feel hot ropes of his cum splash over your waiting tongue and across your face.

Somewhat selfishly, you do as you're told. Your body reminds you of your own desperation and you don't want to ruin your chances of getting bent over that desk.

[ventiswampwater]

jack goodman x text posts

[rongzhi]

Ty for answering my q! (Am the guy who asked about lgbt being common in ancient china etc) since lgbt is more of a western concept what would be a chinese equivalent for it? Like how is the chinese homosexuality different from the west? (Sorry if my wording is off im not exactly sure how else to phrase it 😭😭)

I'm just talking about the cultural differences that shape what it means to be queer across the globe. Modern LGBT+ discourse was led and shaped by western academics so theories of gender and sexuality are based largely on the that of white thinkers. Although it's true that English LGBT terminology and the relevant standardised definitions have spread and been translated globally, and that Western ideals of masculinity and femininity remain dominant overall, similar concepts can't be understood 1:1 across all cultures. And there certainly existed something else before Western influence.

Also, picture this: you are watching a TV show from the Song Dynasty. You notice some of the male characters are always wearing flowers on their head/in their headwear 👀. You, proficient in imagery and symbolism, think to yourself, "💅🏼?"

But little did you know that this was a men's fashion trend at the time, practiced by young and old, rich and poor, hardly the indicator of queerness!

What I mean is, when it comes to looking at history, especially history of different cultures, basically you have to remember that there is a different context/historical framework to what is queer, what is gendered masculine and feminine, what is homoerotic/sapphic (and "queerplatonic" as we'd understand some of these instances and relationships), what is sexual, etc. So going back to my comment in the previous ask, based on all this, I personally feel that bringing terms like LGBT to such conversations is not appropriate because it also brings with it a modern framework which is not productive to understanding history as having its own frame of references.

If that makes any goddamn sense lmao.

[nonpanary]

A third in my series of BG3 x IASIP where the original idea was Dennis and Astarion are the same characters but someone commented on tiktok that Karlach is Mac and that + the scene where Shadowheart meets Karlach and is like "she's so big and strong 😳😍" inspired this!

[im-gonna-be-weird-about-it]

Me, a casual viewer of BFU: True Crime and Puppet History, clicking on the Making Watcher playlist: Oh, its so nice that the boys got to start their own company :)

Me, 40 minutes later, no longer a causal viewer after seeing Ryan Bergara talk about his anxiety and then almost cry on camera because he is so happy that his friend agreed to work at his new company: 

[teeth-cable]

Have you seen The Amazing Digital Circus yet?

If so, what's your opinion on it?

I LOVE TADC! It’s my favorite indie show at the moment! There’s just so much I like about it but my main ones are

1. The setting and execution being unique. A horror-like project taking place in an late 90s/early 2000s digital game is not a new idea and same goes with characters being stuck in a purgatory however it’s how the artists reinvent those idea that makes it new. The digital Circus made its own aesthetic that makes it stand out from other projects with similar concepts and designs. When I first watched the pilot, one of many things that stuck out to me was how new the story ideas felt. I couldn’t think of any other pieces of media similar to TADC beside for surface-level comparisons. The TADC created its own aesthetic and knows what it wants to be and I like it!

2. Soundtrack. Speaks for itself, the soundtrack for the pilot is so good especially Your New Home. That song is very catchy and emotional too. It has such a unique melody, everytime you hear the first few notes you instantly recognize it. It does a great job highlighting the dread and existentialism crisis of Pomni’s situation. I recommend to give it a listen if you haven’t.

3. The characters dynamics. I just love how the characters interact with each other. The majority of the jokes comes from characters’ interactions and dynamics and how well everyone plays off of each other. The best example is Jax with everyone, Jax is a funny jerk who likes bullying his peers. It’s funny to see what creative ways Jax will bully the other people whether it’s being sarcastic and making quips at them, or though goofy pranks and how the characters react because of their contrast in personality. Every character beside Jax is openly stressed or worried in someway while Jax, at first seem like a chill layback dude.

4. The characters differences. I adored the differences between each character from how they talk to their poses. After watching HH and HB, I learned to have an appreciation for character differences. It’s just refreshing to see characters allowed to be different instead of the same tired reused tropes and repeating the same type of dialogue again for every character.

5. Mystery and lore. There is so much to explore in the pilot, it’s make you wanting more. When going in to watch the pilot, I made the mistake of thinking the series will be predictable. I didn’t see how they could make this premise work because by the end of it, Pomni will go insane but then I watched the pilot and was speechless. The pilot does a good job setting up questions for the audience to ask. If Caine lied about the exit, what are other things did he lied about? How long has the cast been stuck in the circus? Who are these people? Are they previous game developers? Who were they in their previous lives? What is the company’s motivation to create the headset? What are the abstractions in game? Are they viruses to the game program? Who were the former cast? What horrors has Kinger seen to be as paranoid and easily frighten as he is now? Do the abstractions still have a consciousness? You just want to find out more about the lore to solve the many mysteries in the show. I find it impressive Gooseworx was able to stir up the theorists because they have admitted in an ask, there are already theories floating around that are almost right about the show.

One problem I did have for the pilot were the scenes containing the Gloink Queen. The pacing of the pilot was fine until we got to her then it was slow. I feel it dragged longer than it needed too but beside that, my issues for the pilot ends.

I can’t speak for the fandom on other platforms but the tumblr one is great! Most of the time everyone is being respectful towards each other and I love seeing what creative theories, AU, fanfics, and art the fans created. The only people causing drama are the anti-shippers, and it’s just dumb. All of the cast are adults, if age gaps ships makes people uncomfortable, that’s valid but they shouldn’t make it into other people’s problems. Gooseworx themselves admitted they don’t care for romance and they don’t want fans in the fandom getting harassed over shipping.

Overall despite what issues I had for the pilot and fandom, they’re overshadowed by the positives and I can’t wait to see the full show and the fandom’s growth.

[pettyprocrastination]

im gonna be honest after the initial shock and hours long conversation that would happen, Jeff Morales would absolutely force miles to put on his suit and film informational videos about stranger danger and self-defense after learning he’s spiderman

[delightfuldevin]

Been seein some rather cold takes about Daisy lately…

I’ve seen some people say that she has no personality outside of fanon, but that’s just not true. There is a very very common misconception among the fandom (at least that I’ve noticed) that if a character doesn’t appear in a “mainline” game, then they have no personality. But I’d argue that the spinoffs actually offer waaaaay more in terms of looking into character personalities. And no, I’m not talking about the RPGs ala M&L and Paper Mario as those are obviously full of personality (and Daisy isn’t in those). I’m talking about the Party, Kart, Tennis, and other sports games.

Yes, Daisy hasn’t appeared in any mainline game since her debut, but she’s been in nearly every sports game and her traits, stats, abilities, victory/loss animations, and various other tiny details add up to her personality. The fact that she’s nearly always yelling or just speaking really loud in general (noticeably more than any other character), the fact that she constantly feels a need to say her name and make herself known, how she loves flowers and considers even a small patch of flowers worth protecting, how she’s easily bored by tasks that don’t excite her and isn’t so reliable for them. She tends to jump around a lot, and spin and dance around when she’s excited! She’s apparently a rather fast runner and that is considered her specialty! These are all traits that are displayed in the spinoffs, and there’s probably soooo many more that I just can’t remember right now.

Now, I do think her tomboyish nature is probably fanon, as I don’t really remember seeing anything to show that she acts that way in the games. I think people probably think she’s tomboyish due to how loud and energetic she is. But hey, there’s plenty of fanon for just about any character from any fandom out there. And what’s so wrong with that? Isn’t the whole point of making fanworks to expand on the framework already provided by canon? If we want to stick to what’s actually “canon” then nearly everything the fandom has created would have to be tossed, because there really isn’t much to work with. Fanworks and fandoms thrive on what fans can create based on the canon work, not just sticking to it perfectly.

It’s fine if you think the “fanon” Daisy outshines the “canon” Daisy and you dislike that. But to say that she has no personality aside from fanon interpretations just tells me that you have a very narrow idea of what counts as “canon” in an already rather simplistic world. The Mario games are very simple and straightforward without much consistent lore that actually makes sense cohesively, but the characters are what keep everything tied together despite that. The characters are nearly always consistent, and that includes Daisy. Even when the setting is completely different and some random new villain shows up with some random new power source to steal or species to torment, our same well-known lovable characters will be the center of the story and that’s what makes it fun!