#quite a good time to be sure

[scribe-of-monsters]

I started watching Count Dracula 1977!! I've seen about half of it so far and it is very good, I think it does a good job being book accurate without feeling soulless

My thoughts thus far (with screenshots):

First I just think this image of the cast list is hilarious. All the actors are pretty good though, particularly Jack Shepherd and Louis Jordan, I appreciate them

They use this filter multiple times. I do not like it but it's funny

Jonathan looking at the brides is simply a mood. He just looks disappointed honestly

They replaced the wolf pack with one (1) dog. The dog is very cute I like him

Not to be dramatic but I would die for Renfield.

Dracula T-pose

Quincey is in this movie!! And he has a terrible southern accent!! Majestic

👁️👁️

The filters in the movie are truly something special. Also I love how they have like a stock magic wand sound effect playing every time Drac is on screen.

[scourge-sympathiser]

SCOURGE SUNDAY 031/???

i gor a laminator

[front-facing-pokemon]

[koszmarnybudyn]

The kids will some day be fine.

Cw. Blood on the second picture:

[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

[fictionadventurer]

There's something about reading really great writing that's so relaxing. You can just sit back and let the words wash over you, knowing that you can trust the writer.

[ickypuppi3]

# hint: don’t lie to a guy about the whereabouts of his kid stepsister

[laufxsons]

'Not even Hell will stop the Wrath of a retired Angel'

My hc is that Hell decided to yoink themselves one (1) retired demon to extract information or enact whatever revenge they seem fit for the whole bathtub debacle. What they hadn't account for was that a certain Angel, who is know to be quite territorial about the things he loves, would do anything to find their husband after weeks of missed calls.

Well, once he does which might have included summoning and trapping a very frightened and confused demon and pressing them very politely for information (after Heaven was useless as always), he comes up with a plan.

One might say Aziraphale was quite disgruntled, positively seething, maybe even willing to give smiting a try after finding out demons had abducted their partner.

So, filled with the wrath of God and being judt enough of a bastard to be worth knowing he decided the best course of actions is, of course, passive agressive diplomacy. I mean the demons don't know that he isn't actually immune to Hellfire and noone would be stupid enough to try the main entrance, so noone would actually expect an Angel to just waltz into the place like they own it.

Those demons certainly aren't immune to an Angel's Divine Intervention (of the lethal variety) and Aziraphale be damned if he didn't at least try and get their partner out of this in the most idiotically genius way.

[sysig]

Ellen McLain’s commentary from my trivia playthrough

[r-aindr0p]

Uhhh very messy sketch dump of my magical boys with various levels of cleaned up (but still very scratchy overall)

Wanted to scribble them a bit more in their everyday look/university uniforms ! each year has a different uniform color and they follow each other in a rainbow gradient order until year 8, year 9 and 10 students wearing all white and all black uniforms. (yknow like black belts and white whistles are for highest grades in martial arts/ made in abyss) Also added my main boy's rival ! He's really mad that Gloire gets to go on missions already and not him despite being as good as him at fencing ! Musketeers help the hearts in distress, an both may be good at swordfighting and dumb but Az is emotionally dumb which is why he cannot go on missions. (and usually very few to no first years can already go on official missions, which is quite normal, and there are emotional intelligence classes alongside fencing)

And relationships chart ofc ! I've always wanted to draw one with my own characters hehe. These are how it is between them in the beginning of the story. Idk if I should write their names or nah everytime, I'll add a link to the magical boys art specifically on my pinned post though ! (I'll do clean caracter sheets when I get the time to)

[moongothic]

...So Crocodile could beat Akainu

Good to know

Sidenote but that did make me realize how when we see the Impel Down prisoners in Level 4, Oda does semi-consistently draw everyone sweating their asses off, which makes sense, since they're in the Inferno Hell. It is focken hot in there.

But then there's Crocodile and dude never breaks a sweat

Like to be fair there are a few characters who don't seem to be bothered by the heat of Level 4 either (Iva-chan, Sadi-chan etc)

But when you considder the sheer amount of fucking layers this man is wearing, like. You know what. Crocodile being completely heat-resistant up to 1700 Celcius makes perfect sense to me, I'll add that to my worldview, it's canon to me now.

[smilesrobotlover]

*head in hands* oot link is such a tragic character and it makes me so sad

[front-facing-pokemon]

[thelostgirl21]

"...there’s something star-crossed about these two. There is a deep connection there, but the turmoil, war and politics of this world are pretty intent on pulling them away from each other." - Joey Batey (x)

Yeah...

Just so you know, if you're a guy with a 3 syllable name that begins with "R", and you so happen to experience a strong case of love at first sight for someone that sort of happens to be named "Juliet" or "Julian", you might find yourself facing a few obstacles getting in the way of your relationship.

Just saying!

[edwardwonghaupepelutivrusky4th]

wah i looove their designs and animation...

[thatstroubling]

Poll: What is, on average, the best Danganronpa chapter across the 3 mainline games?

AKA all Danganronpa murders are the same <3.

Parallels among the murders of the same chapter are listed below:

Chapter 1, AKA: "In a murder committed out of fear and panic, after dusk, in a location where the protagonist appeared shortly before, a strongly motivated individual, after taking initiative on their own, is murdered as a result of a betrayal by the protagonist's best ally, after which the corpse of the victim is found slumped on the floor and during the trial for which the blame is for a prolonged time placed on the protagonist or their ally (who was indeed involved, but ultimately is not the blackened)."

Chapter 2, AKA: "In an attempt to maintain allegiance to an important individual and to uphold a sense of honor for their Ultimate title, a capable classmate bludgeons to death the mentally strong yet physically weak (or mentally weak and physically strong) fan favorite (who therefore ends up dying too early) in a hands-on-hands physical confrontation, after which the placement of the corpse as well as the "perceived" crime scene is messed with to pin the blame on another person."

Chapter 3, AKA: "A-not-mentally-well-adjusted individual commits an immaculate and complicated double murder for a unthinkably irrational or amoral cause, which includes a body appearing at the crime scene out of nowhere in a seemingly impossible fashion, and in which one of the victims is the one who was lured out by the killer and willfully takes part in the action (but unknowing that it will result in their own murder) and in which the other victim ends up being the socially ostracized individual, simply because they happen to be at a wrong place at the wrong time."

Chapter 4, AKA: "Within a set-up for a locked room murder mystery, the good-hearted fan favorite becomes a part of a two-person life-and-death allegiance to perform a heroic act of self-sacrificial killing using an unknown murder method with the intention of getting themself killed so that everyone else may live, while one person is revealed to have had a deeper insight into the killing game for some time."

Chapter 5, AKA: "In an unsuccessful attempt to bring the killing game to its conclusion, the most malicious student of the class orchestrates an almost perfect, convoluted and seemingly unnecessarily but indeed intentionally violent murder (which serves as a way of mangling the corpse to a point where the murder method is concealed), whose solving hinges on the protagonist's new but trusted ally's confession about their not-really-consenting involvement."

Chapter 6, AKA: "After a retrospective investigation that brings to light new circumstances about the game's setting as well as its previous events, an existential crisis consumes the remaining survivors as the identity of the class and the killing game itself is revealed, during which Junko Enoshima appears (of course), and which ends with the true protagonist killing the mastermind in order to seek redemption, freedom and hope for their classmates.

P.S. This whole thing was primarily inspired to by my desire to prove Nagito's assumptions from chapter 4 wrong:

Most of these are fortunatelly not true when we also take V3 into account: while Rantaro was important, he wasn't stabbed; a serial killer was revealed in the third chapter, not the in the second; and I wouldn't exactly classify chapter 4 murder as a suicide in either sdr2 or v3 (though we DID have two people playing Russian roulette in the Funhouse, yikes). All in all, the murders wouldn't have been nearly as shocking if they correlated with what had been already pointed out in the second game before, so I'm not really surprised that there ended up being other similarities among the murders.

That's all, thank you for reading <3