#sighs in adoration

[baeshijima]

OMG URE EXCITED FOR HSR TOO???? i swear i never see any of the blogs i follow ever talk about it but aaaaa im so glad to know ure hyped for it too ^^ out of curiosity, who are u most excited for in terms of gacha characters we have seen in cbt2? personally i am most excited for jing yuan (uGH hes so <3) and seele!

ALALALSLDFSD NONNIE UR EXCITED FOR STAR RAIL TOO OMGOMG MORE HSR WAITERS 😭😭🫂 and i know what u mean !!! me and two of my friends (coughs @stellumi & @kamiiyaka coUGHs) are the ones who talk abt it with each other the most HKLDF

AND YES OMG JING YUAN AND SEELE BELOVEDS <3333 for me, as ive talked abt when cbt2 first came out, the ones im saving everything for are blade and luocha !!! they just !!!! sighs.

[eelektroenthusiast]

☆☆☆

Here's the sketch + closeups!☆

+ silly lil bonus doodle! (done in like 3 min)

[kingkatsuki]

Imagine Dynamight going to a school to be interviewed by the little children there, sitting down in one of the chairs in their classroom that is far too small for his hulking form but he sits down in it without complaint as the kids sit down in front of him with crossed legs.

And he loves it, because they have no filter— just like him, and they end up asking him the most blunt questions without hesitation. And some of the questions he’d never usually answer if they were coming from broadcasters or reporters, but he can’t lie to these kids so he keeps responding openly and honestly.

Even when one of the little girls asks “Mister Dynamight, do you have a girlfriend?”

It’s a rumour that’s been circulating for months as the media try to work out who the mysterious woman is in his life (if there even is one!) and it’s confirmed immediately when Bakugou answers with a, “Yeah, I do.”

And as his PR manager is having a meltdown in the corner, Bakugou’s grin is wide when the little boys in the room sound out a simultaneous chorus of “ewwwwwww”

[dreamse]

[cheekylittlepupp]

Kiss me like you miss me

[tavysboy]

No other love can warm my heart, now that I’ve known the comfort of your arms.

Unedited version under cut 💛

[cometlevi]

MOST HANDSOMEST PRETTIEST MAN EVER 💕

[christronomy]

imagine sitting behind subby (possibly puppy?) chan with your legs wrapped around him, hands wrapped around his leaking cock, his back against your chest and his head thrown back over your shoulder as you jerk him off, moving your hand in swift motions, going from base to tip and letting them slide off every once in a while. he'd be so so whiny :( and those little breathy moans and soft pants (or little yips :( ), and the cute lil 'mommy' that'd escape his lips every few secs omg. poor baby's just in this state where he's mindlessly noisy cause he's so engulfed in the pleasure and can't help it. his thighs would shake so much cause he's so so close, but the way you let your hands slide off like that keeps his orgasm at bay, and he's trying so hard not to lose it cause he wants to cum so bad, but he knows better than to beg cause he knows you want him to "just be a good boy and take what i'm giving you."

[steveharrirngton]

happy birthday dreamboy ♡

[drawnfamiliarfaces]

hot man hot birdman im so sorry hot fire bird man?!?!

aka glorious gijinka!Tengu Jin design by @hirumi25 has made me 👀💦?!?! because wowie thats some hecking fire design!

and of course i couldnt just not draw Hirumi's Nomi-kun with him too

[ping-ski]

extra shirts i have but didn't include in my last post

[sanatomis]

content. fluff, mentions of nudity, usage of celsius (the only correct way of measuring temperature iktr).

it’s an unwritten rule in your relationship with satoru that you two must sleep skin-to-skin. it doesn’t matter if the room is -4 degrees or if it’s nearing 32. you’re bare—partly or fully—and you lay touching the other. on some days, you lay chest to chest, on others you’re spooning each other (satoru is mostly the little spoon, but on rare days he switches it up), and on others it’s merely your pinkies intertwining as you two sleep peacefully during the night.

some part of you, no matter if it’s big or small, has to be touching him. actually touching him. without the barrier of infinity, that keeps him from touching the world in its entirety. and without the barrier of clothing, that keeps him from touching you—from truly touching you. the two of you need to feel each other, to feel the other on your skin and know that they’re here and that they’re real.

to be so vulnerable together, and to have absolutely nothing separating the two of you. it’s just you, and it’s just him. and suddenly the world doesn’t seem all that bad.

. . .yeah, sleeping skin-to-skin is an absolute must.

[antrunner]

+ close ups. theyre so siblings coded to me

[whaliiwatching]

pining queer people stylin

[yonglixx]

cutie patootie

[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 you haven't seen it yet but are 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