#the writing in this show is incredible

[android-and-ale]

"FOR ALL MANKIND" SPOILER FREE REVIEW:

Watch it. Treat yourself. It's so damn good.

This is superb Character Driven Storytelling dressed up in a spacesuit. The writing is incredible.

If you're struggling with character motivations, this is a masterclass in taking a small, personal issue and spinning it up into an international incident one bad decision at a time. The plot is always personal.

For All Mankind also has some of the best female characters I've seen on TV. They get to be flawed yet relatable and compelling. The arcs for both Aleida and Margo Madison are fucking incredible. There are points where both women are totally unlikeable yet you are still rooting for them.

I'm reminded of Nana Visitor saying that when she first read the scripts for Kira all she could think was, "This is a man's character! They wrote her like a man!" And what a delight it was to play someone with that kind of depth.

Knowing that, it's no surprise that For All Mankind's creator and executive producer is Ron D. Moore, who wrote for Star Trek TNG and Deep Space Nine. The man loves his character driven space opera!

You want all the gay representation they couldn't overtly give you in DS9? For All Mankind has your back. You want complex issues with no single clean cut solution? Hoo boy are you in for a treat. You want character driven everything? OH GOD THE CHARACTERS! THEY ALL HAVE DEPTH!

Season 4 just wrapped up. This is a good time to sign up for 1 month of Apple TV+ and watch it all before canceling.

[withdenim]

So uh. How about that time skip huh. (Corvus composing and performing the best track in the show was so hot of him btw if you care)

[peacockrulz]

oooooOOOOOooooo digital circus upon ye!!!!!!!! (these characters are SO hard to draw ;;) ((Stupid-er doodles under the cut))

I love Cain I swear dsfklksldkflsdkf

[tulliok]

Rare little MLP rant from me incoming. (I don't like talking about my opinions on the show too much.)

I'm getting really fed up with a "debate" that keeps popping up every month in MLP's online fandom regarding the character, Cozy Glow, and how the show ended her storyline. The discourse is specifically about if her actions and motivations warranted her being sentenced to what is the equivalent of capital punishment in a children's show. 

This shouldn't even be a conversation.? Why are fans so eager to subscribe to the show's logic that a child character is irredeemable and evil and deserves to be punished that way? Like, are these fans not seeing the issue with a children's show about friendship and redemption having a storyline like this in the first place? Especially in the season that is literally about a friendship school.

The entire concept is the problem. It's ok to admit that as a fan. Watching the show's protagonists gleefully punish a young child is distasteful. Reading threads and think pieces on why it's actually ok is gross.

I have so so so many issues with season 8-9 but I'm really only willing to talk about it if I am asked about it.

[marley-manson]

the topic is Trapper and the army as foils, you have three hours, go

In no small part the satire of Mash, particularly in the first half of the show, is tied up with gender performance.

The army represents traditional, stifling and violent masculinity. This is shown through everything from freudian jokes about guns (eg Frank and Margaret's flirtations in The Sniper or The Gun), to Margaret trying to cajole Hawkeye into performing a more traditional standard of masculinity while treating him like a soldier in Comrades in Arms Part 2, to many jokes and comments about (usually) Hawkeye not being a real man in contrast to army standards and various specific army personnel (eg Lyle in Springtime, Flagg in White Gold), to Frank and Margaret's worship of the masculinity of the army ("He's twice the man you'll ever be," re: Flagg and Hawkeye, Margaret's lust for MacArthur, Frank pursuing the sniper in The Sniper in an attempt to be a "real man" in Margaret's eyes, etc) to many jokes positioning the military as a sexually aggressive man pursuing Hawkeye ("Sure, the sun the moon the stars, your high school letterman jacket. Same deal I promised nurse Baker." "A receipt please, and promise you'll go out with other doctors," etc.)

In contrast, the main characters all fail to perform traditional gender in some way, from crossdressing to immaturity to indecisiveness to peacefulness to Margaret's masculinity and Frank's pathetic failure to live up to his own masculine ideals, to just about everything about Hawkeye. His cowardliness, his jokes about not being a real man, his jokes about taking the feminine role in sexual encounters with men and women, even multiple double entendres about his average at best penis size.

Trapper is the most traditionally masculine of the main cast. He still subverts masculinity in some subtle ways here and there, such as the occasional feminizing joke and mentions of not being in great shape, but overall he's the more butch counterpart to Hawkeye's fem. He plays the role of boxer while Hawkeye plays the role of diva in their respective manager/star roleplaying episodes. He's broader and buffer and plays football, often seen playing catch with someone while walking around the compound, while Hawkeye disdains sports and doesn't participate. He reads Field and Stream which Hawkeye derides in Alcoholics Unanimous while making a wry comment about shaving his armpits. A past lover nicknamed him Big John.

And there are many, many jokes about Hawkeye and Trapper being sexual partners. The recurring Uncle Trapper and Aunt Hawkeye gag, if my father sees this you'll have to marry me, for me? only if you put those on, your father and I will tell you what we did to have you, that's when I fell in love with him, etc etc etc. It's constant. In these jokes Hawkeye usually takes the feminine role, though not strictly every time ("Me and the missus," is one exception in As You Were, the dance in Yankee Doodle Doctor is another).

Trapper's masculinity is differentiated from traditional military masculinity in a few ways. Most obviously, Trapper abhors the military's violence. He never uses guns and mocks Frank's obsession with them, he's a healer rather than a soldier, and he's disgusted by the results of military violence on the men on his operating table.

He's also secure in himself. The military's brand of masculinity is strongly characterized by insecurity and overcompensation. Frank is the main representative of this military insecurity - a coward who insists he's brave (The Army Navy Game), a man who clings to a phallic gun to compensate for his sexual and gendered inadequacies (a main theme of The Sniper, perfectly mirrored when the army itself comes in with a vastly disproprotionately powerful automatic machine gun on a helicopter to shoot down one sixteen year old), a homophobe repressing his own attraction to men (As You Were, the original script of George), etc. We also see this in Flagg, who implicitly sublimates sexual urges into violence (seen when he suggestively caresses his gun while describing how he wants to torture a boy in Officer of the Day).

Trapper doesn't need to overcompensate. He's well-endowed physically, he's portrayed as a competent and considerate lover, he's a brave man who doesn't mind being seen as a coward, and he may or may not be attracted to men but either way he's not a homophobe (George) and he doesn't express his sexuality through violence. When Margaret proves herself stronger than him, his response is to be impressed rather than offended (Bombed). When he dances with Hawkeye for a gag, he doesn't mind letting Hawkeye lead.

He's also differentiated in terms of tradition, with the mliitary representing a more propagandic 50s traditionalism, and Trapper representing a 70s, countercultural freedom from tradition. We see this in the way Trapper has plenty of sex despite being married, while adultery is a court-martial offense in the military. It's notable that he's open and carefree about it, while Frank and Margaret are surreptitious and hypocritical in their affair. This lack of traditionalism is also shown in his disrespect for authority, often in direct contrast to Frank and Margaret's worship of it, and his allyship to George who the military would persecute for his sexuality.

So ultimately we can see that while Trapper and the military are both examples of masculine performance, Trapper's masculinity differs from the military's in being more flexible, less violent, less traditional, and more secure. The military's masculinity is far more toxic than Trapper's, particularly in the context of 70s counterculture media, which aligns womanizing with sexual liberation rather than a lack of respect for women, accurately or not.

This contributes to their respective dynamics with Hawkeye.

Hawkeye, we've established, is usually more feminine, and there are a myriad of jokes characterizing Trapper as his sexual partner, as well as the military as a sexual pursuer.

The jokes Hawkeye and Trapper make about their relationship tend towards cozy domesticity. They're Radar's "aunt and uncle," they directly roleplay marriage ("Martha, we're going to have to move, the people upstairs are impossible,") and less directly behave as though married (the bickering in Alcoholics Unanimous, the discussion about naming their pony in Life With Father). Occasionally they're treated as a healthy couple in contrast to Frank and Margaret's toxicity ("While I'm gone, promise you'll go out with other doctors," vs "Touch anyone else and I'll cut off your hands" in Aid Station).

In some instances the jokes lean towards predatory - "If you're trying to get me drunk, it'll work," or "Who is this man in bed with me?" "I followed you home from the movies," but they're always playful, always fond. If Hawkeye takes on a submissive or victimized role in these jokes, it's one he has fun with and discards just as easily in the context of the rest of his relationship with Trapper.

So, it's important to note that Hawkeye and Trapper support each other and look after each other in an equal, enthusiastic friendship. From Trapper ensuring Hawkeye gets to sleep in Doctor Pierce and Mr. Hyde, to Hawkeye supporting Trapper when he wants to adopt a child, to Trapper right at Hawkeye's side as they attempt to procure an incubator, they are there for each other every step of the way. If their relationship is a marriage in some ways, it's a healthy, strong, and non-traditional marriage, an equal and open partnership free of jealousy and insecurities.

Compare that to the military's relationship with Hawkeye. In jokes it's characterized as powerful and predatory, far from an equal partnership. Sometimes it approaches positive - in Carry on Hawkeye, much of the humour is derived from Hawkeye and Margaret's gendered role reversal as she assumes military command of the unit. Hawkeye playfully calls her sir, seductively lies on her desk like a secretary in a porn film, and most notably treats an immunization shot as sexual penetration in a prolonged gag about sexual role reversal. Hawkeye has fun playing a sexually submissive role to a representative of military authority in this episode, but it is a submissive role.

Several of the one-off jokes have a similar sensibility, such as the double entendre of "My bellybutton's been puckering and unpuckering all day," in response to a representative of MacArthur assuming their excitement over the general's arrival to the unit, or Hawkeye's "Okay, take me, I'm yours," to Colonel Flagg. They demonstrate a willingness to play the receptive role on Hawkeye's part, but they also, pointedly, disturb the object of the jokes.

When Hawkeye makes these jokes that sexualize military authority, he's attempting to be provocative as well as defiantly drawing disruptive attention to his own powerlessness as a drafted surgeon. The power dynamic between Hawkeye and the authority of the military only goes one way, and Hawkeye gets a kick out of pointing it out in ways that perturb the representatives of that authority, but it's a power dynamic that takes its toll on him.

Many of Mash's plotlines revolve around Hawkeye rebelling and attempting to seize some scrap of agency back from the military. Adam's Ribs, for example, in which he starts a mild riot over the food he's being fed and spends the episode attempting to procure barbecue ribs from Chicago (which Trapper procures for him), or Back Pay where he tries to charge the military for his forced labour. A particularly notable example is Some 38th Parallels, in which Hawkeye complains about being paid the equivalent of a nickel per operation, and his frustration manifests in impotency until he can perform a gesture of rebellion against the military.

One unfortunate consistency of these episodes is that the army ultimately retains its power. When Hawkeye achieves his goals, it's only in small ways that do little more than satisfy his own need to assert his sense of self. Often, Hawkeye doesn't achieve his goal at all, but is thwarted by the army, such as in For Want of a Boot. In every instance he remains powerless in comparison to the authority of the military.

So the context in which Hawkeye makes these sexualized jokes about the military literally fucking him is one of abject helplessness. In a sense, all he's capable of is pointing out what the military is doing and putting it in his own, audacious terms. He's not capable of preventing it. His jokes usually have an edge of bitterness to them in delivery, and when they don't, that tone is imparted anyway by the greater context.

With Trapper, Hawkeye can play-act a marriage or an assault, but in either case he's an enthusiastically consenting, equal partner. Trapper's performance of masculinity allows for Hawkeye to take any role from victim to wife to husband, and enables Trapper to respond in kind from a position of equality and respect. The military, in its insecure, domineering performance of masculinity, is a dictatorial authority, never allowing Hawkeye perform any role but a feminized, victimized one, and only ever giving him the choice of whether to perform with a wry smile or a sneer.

In short, Trapper is the cool, considerate service top to the military's insecure domineering boyfriend.

I'm tagging everyone who enabled this lol, share the blame. @beansterpie @majorbaby @professormcguire @rescue-ram

[yuwuta]

yuuta exhibits such previously abandoned, recently adopted dog behavior. incredibly anxious all the time, even though nobody’s out to get him or leave him behind. waits for you to return home or from school or from work excitedly, just to see you when you walk through the door. follows you around senselessly, hovering in your space just for the sake of companionship. initiates affection in prodding ways—starts off next to you, then a hand on your thigh, then deems it safe to lay all the way down, then slowly pushes his head into your lap. gets up whenever you need to get up, and resumes his position as soon as you’re ready. brings you gifts as a sign that he’s thinking of you, and maybe because he likes the affection it brings out in you, maybe because he likes the gentle affirming touches of a hand in his hair or a pinch to his cheek. rests his head on your stomach or his chin on your shoulder when he’s sleepy, stays there, immobile, and will not move unless absolutely necessary. sometimes he gets surprised when he hears you calling for him, there’s a moment of disbelief as he thinks “me? really? you need me?” but it’s very quickly overshadowed by this compulsive need to show up, to please, to do anything for you, which is why he always answers when you call. he doesn’t realize that he has puppygod eyes, especially when he’s excited or confused, but he does and it’s incredible endearing. very reluctant to share your space or attention after a while, considers that to be sacred and he won’t risk being let go or lost again, so as a safety precaution, he keeps himself right by you, waits for you always. 

[scealaiscoite]

appreciating physical traits prompts ˗ˏˋ ꒰ 🐚 ꒱

— counting their freckles

— playing with their hair

— tracing over scars

— laying their head down on the other’s stomach

— massaging their shoulders

— pressing kisses to their hips

— tracing the curves of their torso

— pulling them in by their love handles

— keeping a guiding hand on the small of their back

— cupping their jaw

— studying their birthmark(s)

— letting the other rest their feet in their lap

— tracing the notches of their spine

— laying on their chest

— squeezing their thigh

[caeslxys]

Something I think is extremely interesting thematically when it comes to connecting what Downfall and the ideas it tackled to the overarching narrative of campaign three is that the things Downfall made a point to showcase of Aeor—Cassida, Hallis, the visual of an aeormaton proposing to her partner, the specific and intentional decision to shed light on a far from insignificant amount of the population being civilians or refugees—is that it plays in perfect parallel across from what is happening (and, really, has been happening) to the ruidusborn on Exandria in present.

Bear with me for a moment. Aeor is ultimately a city that was collectively punished for the decisions of its leadership. We could (and, judging by the amount of discourse around this particular topic already, probably will) argue about what the Gods’ motivation for all of this was—whether it be that they could not, in the end, bear to kill their siblings or that they were terrified at the prospect of mortality—for me it is a very healthy dose of both—but for this I am much more interested in the latter. They were scared. That, really, is the driving force behind both this arc and their role in c3 as a whole.

Why I point this out is: It is far more interesting to me, especially as we go back to Bells Hells this week, to dissect the Gods and their decisions not purely on sympathetic motivation alone but as beings in the highest seat of power in the highest social class in Exandria.

So, having established that the Gods (in relation to mortals) are more a higher social class than anything we could compare to our real life understanding of divinity and that Aeor was eviscerated largely because of their fear—what is the difference between those innocents in Aeor caught in the trappings of their autocratic government leadership and a divine war on the ground, and those of the ruidusborn being manipulated both by Ludinus and by the very thing that inspired such visceral fear in the Gods to start with. I would argue very little.

I think of Cassida, doing what she genuinely thought was right and good and would save people, her son, and the object of her worship—and how that did not matter enough to any of them to spare her because of the fear they held at the very concept of mortality. I think of Liliana and Imogen, one of which we know begged for the gods to help her or send her a sign for years on years, and how every single one of their largest struggles could have been avoided had the gods loved them, their supposed children, as much as they feared what they could be. I think of how the thing that did save Imogen, in the end, was a woman who herself existed in direct defiance of the gods will. I think of that young boy, sixteen years old, that Laudna exalted on Ruidus.

I think it’s completely fair to judge Aeor’s overall society as deeply corrupt—it was!—but its leadership and police force are not a reflection of every one of its citizens. Similarly, it is fair to judge the Ruby Vanguard as corrupt—it is!—but its multiple heads of leadership and even the god-eater further are not a reflection of every one of its members.

Notably, and what I think the Hells will latch onto, this did not matter to the Gods. It did not matter that Cassida was trying to help. She was still too much of a risk. Will it matter, what Imogen does? Will it matter, if that young boy is in the blast radius when they decide to take no further chances?

I’ve seen a lot of people say that the Hells will side with the gods and I don’t think I agree. Especially as Imogen has been scolded and villainized over and over for daring to try and save her mother—who herself has been seen by some as an irredeemable evil in spite of her drive being the exact same—her family—but when it’s the Gods it’s justified? When it’s the Gods, it’s sympathetic? Too sympathetic to criticize further than “they’re family”?

I obviously do not think the Gods should die or be eaten or what have you, and I certainly don’t agree with Ludinus (though I find him much more compelling than just a variation of hubris wizard), but when talking about the Gods in Aeor and in present it isn’t really at all about their motivation or their family. It can’t be. Too many people, including our active protagonists, lives have been effected for it to be as cut and dry as “they’re family”. These are your children. They are your family, too.

[captorations]

okay i'm actually going to talk about the phrase "her necromancer" again in the context of TLT being a master class in proper and powerful epithet usage. because while the first time gideon's narration used it for harrow was after picking her unconscious body up and inspecting her after finding her passed out, and the second time after successfully removing her from the situation and having heard her recover enough to wake up and be bitchy for a moment, it was actually used for what i believe is the first time overall shortly before. still by gideon's narration, but for palamedes, referring to him as camilla's.

gideon has just met these people. camilla actually tried to kill her on sight, briefly presuming her a threat. but in that time, gideon has recognized that they *belong* to each other. palamedes is camilla's necromancer, camilla is palamedes's cavalier. with all the possessiveness and codependence and affection that entails.

so a part of her, the part that's been raised on the revered ideal of the necro-cav pair, recognizes them as embodying it. in a way that's actually far more intense than the standard, and in a way that serves only to highlight just how badly gideon and harrow are fucking it up.

but even as she sees their differences, she also sees their similarities. as camilla attacks her, gideon directly acknowledges: "here was a warrior, not just a cavalier." of course gideon would know and appreciate the difference; she was trained by a warrior to be a warrior. the cavalier thing is new, and a facade, and the latter is also true for camilla. both in terms of combat style and in terms of the expected subservience, as gideon is certainly not subservient to harrow in the traditional sense, and camilla and palamedes, as much as they embody the necro-cav ideal, also defy it in that they are *equal* partners. hell, in NtN, camilla teases palamedes for implying that she's mindlessly following his agenda and ignoring her own. "you thought it was your agenda? huh."

then, to drive the nail home, palamedes directly scolds gideon- and harrow- after they retrieve harrow safely. he tells them: "stop splitting your forces."

because pal has seen the similiarities too. not only is he also the young leader of an entire house burdened with an impossible task (saving dulcinea, vs. saving the whole ninth), he has the same issue harrow does, working himself to exhaustion unless someone stops him. so he's telling gideon: you have to be there for her, because she's like me, and if camilla wasn't there to step in, i'd work myself to death too.

it's worth noting that harrow recognizes the parallels between the two pairs as well. it's why she's so wary of pal, even as pal is all but making them friendship bracelets. i've said it before: harrow thinks of herself as a threat, and thus, anyone similar to her must be a threat also.

all this to say that gideon first calling harrow "her necromancer" in the immediate wake of being given an implict lesson by the sixth, doing so for the second time after an explicit lesson by the same, and going on to do so throughout the story, is an exactingly calculated move and devastatingly effective for it. this is what epithets can do in the right hands. and it fucks

[lockheed-martin-unofficial]

Starscream is given a bath, Part 1:

First 832 words out of a total 1773 and counting! I never expected this would turn out so long, but I’m not complaining. Aircraft sizes and possibly physics have been ignored to make this fic possible. Thank you for reading. This is my first time writing Transformers fanfics, so I’m kind of nervous. Laying out my heart to you guys here.

Note: “partner” in this context means they are working together as a pair, not a romantic partnership. I’m writing as if Starscream has entered an uneasy alliance with the Autobots in S2 but refuses to join them officially.

Part 2: here

——————————————————————————

“Okay, you can get in the water now.”

It was incredibly early in the morning, and the human had gotten up to drink some water only to see a somewhat dirtied up Starscream looking up at her through the window. The two were technically partners now, but they were still getting to know each other. It was a learning curve with Starscream, but he always seemed to respond well to positive feedback.

“Careful what you wish for, human.” Starscream had a suspiciously devious grin on his faceplate, and it only took a moment for his transformation sequence to finish and then the human was left with a full-size F-16 in her bathtub.

The vehicle mode somehow actually fit, with the landing gear deployed to hold it up just barely above the waterline. This meant she was going to have to do all the work herself, without any help from him.

“Seriously?”

Even without his face visible, she could practically feel that smartass smug look burning into her.

“Something wrong?”

“You know, if you’re gonna behave like a plane, I could always get the pressure washer.” She joked, the words accompanied by a smirk.

The rudder and ailerons moved suddenly in a slight panic, and the human could’ve sworn she even saw his wings themselves twitch, despite being in his altmode.

“THAT infernal device?? Do you take me for some kind of mindless, unfeeling Earth-plane you can just manhandle as you please?!”

His voice was filled with surprise, which over the course of his words gradually grew into offense.

She was trying to take him seriously. Really, she was. But there was an airplane. There was an airplane in the bathtub. And it was yelling at her. With a cracking voice. And it was five in the morning. The quiet must’ve felt uncomfortable to Starscream, because he chuckled nervously and spoke up again, this time sounding more concerned. He was using his kicked puppy voice, which he favored whenever he wanted to get out of something.

“You wouldn’t be so cruel… would you?”

“No…” she sighed. “No, of course not, I was only kidding.” The human smiled and rolled up her pant sleeves before doing anything else. She gave him a slight pat on the undercarriage, which elicited a “Hmph.” from the seeker.

“Alright, now how are we supposed to…” She tried, and failed, to bite back a yawn.

“I guess I could begin with the lower half of the fuselage… gear… engine intake…”

“I don’t care how you begin, just be quick about it! I can’t be sitting around here all day.”

She ignored the somewhat patronizing instruction, putting one leg over the side of the bathtub, and then the other. The human then reached behind him and grabbed a sponge, wetting it in the lukewarm water of the bath before pouring some soap on it. She moved a little closer, placing a hand on his nosewheel.

“Gonna clean the landing gear now. I’ll have to get all up in your wheel well.”

The reply came back uncharacteristically quiet.

“Alright.”

She stood up on the nosewheel, shower head in one hand while the other held onto the gear assembly. The human took her time, pouring warm water over the joints, the shock absorber, the steering system. The wheel wells, an area of the aircraft that were a mix between internal and external, made the differences between Starscream and a regular F-16 easy to spot. He was far more streamlined than his Earth-made counterpart, having little to no exposed cabling and appearing somewhat sleeker overall. He had several joints on the gear to allow better maneuverability on the ground, and it looked like he could even lower his fuselage closer to the ground if he wanted to. She repeated the process with his main wheels. The nosewheel’s well was relatively shallow, whereas she found the main wheels had enough room to almost be considered a crawl space. The human thought about these traits, trailing a hand over a thin line of blue light illuminating the area where the wheels would be stowed.

She didn’t know he had that until now, but it made seeing her way under the fuselage easier. Starscream occasionally shifted above her. He didn’t speak much, only commenting now and then on how long she was lingering, or that she was touching too much. She took notice that his tone of voice was not genuine. It did not convey the irritation Starscream usually made very clear that he was feeling. It was as if he was complaining out of obligation, as if he didn’t know how to feel about what he was experiencing. The feeling of being cleaned like this was…awkward, slightly uncomfortable, but not bad. Even after receiving a human partner of his own, he had never quite gotten used to something eerily squishy rooting around in his exposed parts.

The struts compressed without much resistance when the human pressed down on them, dipping the jet into the water.

[novembermorgon]

could you tell us more about myrielle and aerion’s twin sons?

YUPPPPPPPP!!!

whew . ok .

left is maegor right is aenys . maegor is a few minutes older than aenys

neither of these guys are anything like their namesakes. maegor from birth is small and weak and sickly - he's pretty easy to get along with and agreeable by targaryen man standards, very polite and soft-spoken. to me he's almost like a rapunzel figure in that myrielle keeps him inside most days because she fears he'll get hurt or sick - she dotes on him and cares for him but never truly offers him much freedom to do as he wishes, the way she does aenys. he wants to go out and wants to experience new things and be more bold like his brother but every time there's sort of a block in that he doesn't have the courage to or myrielle convinces him that he can't. he, in a sense, is raised more like a princess than a prince and sort of falls into that role despite his status. i feel like he's drawn to more feminine ways of presenting himself and more ladylike activities; dancing, singing, sewing, reading ..

whereas aenys is the complete opposite - he's essentially just a copy paste of his dad LOL definitely aerion's golden boy . he's strong and bold and good at fighting, does all his dad asks of him, goes off with him to hunts and tourneys and charms people at court without really needing to try . of course being a copy paste of aerion targaryen also means he's kind of an asshole and if youre hanging around at court and you think about him being a prince with real power for too long your stomach probably hurts a little . aerion telling him tales of how he aimed for the horse during one of his jousts once to win and aenys going ohhh!!! yess!! so cool!! i also want to be in the business of fighting dishonorably. gets a little too heated in the training yard with the other lord's sons and knocks someone's teeth out and they have to put him in timeout once a week.

they're. hmm. i think there's an inherent sort of resentment there between them that begins as soon as they're born, just by virtue of being so different, and by being named Maegor and Aenys. you cannot escape your fate you cannot escape the cycle of your family etc. and i think that there's a lot of things here that kind of work against them .... aenys resenting maegor for just so happening to be older and therefore being heir despite he himself feeling as if he's better suited, maegor wanting the freedoms that aenys is given by virtue of being their father's favourite and being a second son with less responsibility. they can find a thousand reasons to hate each other, but at the same time they do love each other and know that they are, inherently, tied together by virtue of being twins. the twins we see in asoiaf are very insistent on the fact that they are tethered, they are one soul in two bodies, they will never truly be apart.

aenys hates maegor for being weak and for being heir even though their father doesn't like him, even though he has none of the qualities aenys loves about himself, even though he's more like a daughter than a son - and even still, he loves maegor, he wants to keep maegor safe from the horrors of the world before anybody else ruins him and takes all that's good about him away from him. maegor hates aenys because he's rude and terrible to him, because he's never respected him, but loves him so dearly because he's the only person in the world who will look on his flaws and be able to feel some sense of genuine pity or affection - the only person who will always feel a responsibility to love him so entirely and wholly because they are twins and have that bond that will never go away no matter what.

in my mind the themes of gender in asoiaf is very interesting especially in relation to the targs in that their relationships are .. a lot stranger .. in a lot of cases. you are twin brothers, but your brother is more like a girl than a boy. you know that if things had been only the slightest bit different, you would most definitely be betrothed to each other because your family traditions demand it of you. how would your love be different, then? would it be any different at all? would that be better? would it fix any of our problems? what am i meant to feel for my brother when every part of our family history is built on a wife's suffering, an incestuous misery that never has an end, when we are so nearly brother and sister ...?

they're complicated . and difficult to describe ... a relationship built on shame and not understanding each other and not understanding what you feel for each other .

i'm a little undecided atm what to do with maegor .. he is a bit of a mystery in my mind but when he's ~15 give or take aenys suffers a little (bad) jousting incident and ends up with a bad leg that he pretends isn't there because he doesn't want to be deemed weak by his father or by court and a case of head trauma that makes him Worse . sort of henry viii esque . he eventually marries a velaryon girl ...

there's also the secret third sibling (bastard sister) but i'll discuss her some other time ....

[silverwhittlingknife]

hi Silver! o/ because that fanart made me wonder - would you happen to know when/where Dick's stuffed elephant plush Zitka turns up in the comics?

GREETINGS CAM <3333 THAT ART WAS SO CUTE

Yeah, I think your instincts are right - it's a truly adorable bit of transformative fandom, but I'm 95% percent sure it's not comics canon. Barbara has canon plushies, but I don't think anyone else does.

I got kinda invested in the investigation (it's hard to prove a negative!) and I ended up typing out an entire History of Elinore/Zitka, so, uh, if you're curious, meet me below the cut for:

Where does Elinore / Zitka - the animal - appear in comics?

Did Dick ever have a stuffed elephant toy in comics?

Where does Elinore / Zitka appear in comics?

We're gonna go in chronological order!

Dick's circus elephant friend was first created for practical reasons: in Batman 436, Marv Wolfman does a big expanded flashback to Dick's circus backstory as a way to subtly show us Tim before officially introducing him (so that we can have a technically-solvable mystery-of-Tim's-identity in LPoD). In this comic, there's an elephant named Elinore who loves Dick:

Aww. Such a cute elephant!

Batman 436 comes out in August 1989. New Titans 60 comes out a few months later, in November, and guess what? When Dick visits the circus, he is suddenly surprised by an unexpected blast from the past! It turns out that even though it's been years, Elinore still remembers him!

Here's the part where Elinore remembers Dick:

SUCH a cute elephant. I love her.

(Guess who else still remembers Dick even though it was so long ago. Guess which other character is about to be an unexpected blast from the past. Guess which character Elinore is directly paralleling guess guess guess sorry everything is about Dick and Tim in my mind but I can focus I swear)

Four years later, in 1993, Batman: The Animated Series retells Dick's origin story. They like and keep Wolfman's elephant, but they change her name to Zitka:

Wolfman doesn't return to the elephant beyond those two appearances, and a few years down the line, New Titans gets cancelled and Wolfman's not writing Dick anymore anyway. So the animal gets abandoned for a while, until Devin Grayson, a fan of both Wolfman and B:tAS, revives the Wolfman-era Titans team in JLA/Titans and then the ongoing series Titans 1999.

Grayson then brings back the elephant in a flashback to Dick's past in Titans 16 (Jun 2000), where she imports the B:tAS name. Sometimes I'm skeptical of TV-to-comics imports, but honestly, I endorse this one. You lose the alliteration, which is a shame, but IMO Zitka is a better elephant name than Elinore.

Here's Dick with the newly-christened Zitka in Titans 16:

Grayson also briefly references the elephant in Gotham Knights 20 and - in a final angsty callback - in Nightwing 88 (Feb 2004), where Zitka tries futilely to comfort Dick in the midst of his trauma conga line:

... And... honestly, I think that's it for comic appearances? The two Wolfman comics plus the three Grayson comics.

Both Wolfman and Grayson are writing multiple titles - Batman, New Titans, Titans, Gotham Knights, and Nightwing between the two of them, spanning a big chunk of Dick's post-Crisis canon - and both writers use the elephant for heartwarming moments of nostalgia, which means if you're doing a post-Crisis readthrough for Dick, Elinore/Zitka feels memorable. But I don't think she actually shows up that much.

For post-2011, I am not as well-informed - throwing this out to the dash? anyone know? - but I feel like Zitka the heartwarming symbol of Dick's heartwarming circus past is, uh, thematically very at odds with the Court of Owls evil!circus vibes, so my instinct is that this story element was almost certainly dropped in the reboot.

Did Dick ever have a stuffed elephant toy in comics?

In WFA, yes; in main comics continuity, no. Technically, I have not read every comic ever published, so I could be wrong!! But I don't think so.

Below, find my rambling reasoning on the tonal vibes of pre-Crisis, post-Crisis, and post-2011, and why this particular story element doesn't seem right to me for the first two.

Pre-Crisis (...okay, mostly the Silver Age): stuffed animal, yes or no?

tl;dr no, requires too much background knowledge on the part of the reader, plus the elephant wasn't a thing until later

Elinore doesn't get created until post-Crisis, but also just generally, pre-Crisis callbacks are more along the lines of this reference in Batman 129 (published in 1960), where, wow, Batman and Robin are hunting jewel thieves - and it turns out Robin recognized this strongman! BUT HOW?!

The comic goes on to recap Dick's entire origin story in flashback, on the assumption that you may not know it.

(BTW, if you'd like to know more about Haly's Circus throughout the years, nightwingology has a great post here summarizing a lot of fun plotlines and characters!)

Basically: Silver Age comics are very self-consciously episodic and kid-friendly; they're not generally gonna do overly-elaborate callbacks because they don't know what comics their kid readers may have randomly picked up or remember.

By the time of post-Crisis, comic books were being written for an adult audience buying from the direct market, i.e. readers who are collecting whole runs & don't need or want Dick's origin story to be recapped to us in full every time it's referenced. That's why in post-Crisis, we get stuff like "hey, neat, this particular soda brand is getting mentioned in several different books!!" or "in order to understand this story arc, buy SIXTEEN DIFFERENT COMICS in FIVE DIFFERENT RUNS and read them ALL ACCORDING TO A NUMBERED ORDER and also you better be following the individual plotlines and recognize these five minor characters who we don't bother to introduce!! Good luck!!" But the elaborate post-Crisis plotlines - and subtler worldbuilding like a stuffed animal callback to Dick's backstory - don't make a lot of story sense UNLESS you're imagining your readers as completionist adult fans.

So IMO a stuffed animal wouldn't be a pre-Crisis thing unless it was The Episodic Story Of the Week, and I don't think a stuffed animal is action-adventure-y enough for the fast-paced storytelling of the Silver Age. (Unless it, like, came to life and tried to eat you or something.)

Post-Crisis: stuffed animals, yes or no?

tl;dr: no, Dick's a manly tough guy, he's not gonna have a stuffed animal, that'd be lame, like something Tim might do

Part of the edgy grimdark adult vibes in 80s/90s comics is that some characters who used to be kinda silly & goofy & lighthearted - like Batman and Robin - get reimagined as Serious and Angsty and Edgy in a Tough Cool Manly Brooding Way. This massively affects characterization for Bruce, Dick, and Bruce and Dick's relationship.

(I obviously love this change & love the tense Bruce-and-Dick interactions, but plenty of fans of the earlier fluffy comics really disliked the edgy retcons of Miller / Wolfman / Starlin / et al.)

The upshot is that post-Crisis is a period when you could have a recurring reference like a stuffed elephant, but you wouldn't have a stuffed elephant, not for Dick. I think a toy like that would be too cutesy / childish / effeminate to give a male character in post-Crisis, unless you were poking fun at him.

Now, you could probably let Tim have a stuffed animal, because Tim is sometimes cool but also sometimes a tryhard loser who is faking being cool and not entirely pulling it off (see e.g. the Robin comic where he practices tough-guy faces in the mirror, or the Teen Titans comic where Conner discovers his cringy Enya CD, or when he's fanboying over Connor and it's awkward, etc etc.). A stuffed animal would be deeply embarrassing, and you'd have to be careful to compensate by having Tim do something cool afterward - but Tim's character concept allows for "he's kind of a loser sometimes."

But Dick isn't!! In post-Crisis, Dick's a tough / impressive / "cool guy" character, the kind of guy anyone would want to be, even in the flashbacks where he's Robin, and even in the stories where he's more lighthearted than angsty. It'd be kinda lame for Dick to have a stuffed elephant, so he wouldn't. I feel like Dick would be more likely to poke fun at it if someone had one, like when he's making fun of Wally for liking the Hardy Boys. Dick could have a Batman action figure, at most, and if he had one he would have it ironically.

Basically: in post-Crisis, a male character hugging a stuffed elephant feels more likely to be a punchline to me, not something poignant. (Even with Tim, Tim could have an embarrassing stuffed animal, but he couldn't hug it when sad - that's too far. Maybe Booster Gold might do this. Probably he wouldn't, but spiritually, he would. Sorry Booster ilu! <3)

Instead, Dick instinctively deals with his inner turmoil like the TORTURED ACTION HERO he is: by punching things and brooding and yelling and joining the mob and sleeping on rooftops and going on obsessive secret missions and acquiring Angsty Stubble!! Just like Batman!

(Technically I don't know if Bruce ever joined the mob but you know he would.)

Anyway as you know this is my favorite continuity and I am poking fun affectionately, but uh, yeah sdfsfdsfs. No stuffed animals.

Post-2011 / Infinite Frontier / Wayne Family Adventures: stuffed animals, yes or no?

tl;dr it's in WFA! Probably not anywhere else, but it could be.

Post-2011 stuff tends to be cutesier overall, most of all in the current Infinite Frontier era. So I don't feel like this would be tonally out-of-line with IF comics. Taylor tends to go for more meme-y references rather than fanfic references, though.

So the obvious best fit is WFA, which is aiming for a rough approximation of Silver Age family-friendly vibes - wholesome, episodic plots, Teaching Good Moral Lessons For The Youth, etc. - plus lots of Easter eggs for fanfic readers and some comic references.

And look, here we are:

Aww.

Whew - that's everything I could find!

Anyway as you can probably tell, I LOVE the elephant, so this was a very entertaining rabbit hole to go down, thank you <3

[uniiiquehecrt]

Voice actors are NOT the same as actors.

It takes a specific kind of skill-set and training to be able to warp and meld the voice. It takes a certain kind of talent and dedication to hone that talent into the ability to meld the voice and invoke emotion with one's voice alone. Actors are used to using their voice secondarily to their body language and their facial expressions. It's all mirrored back on camera. They do have nuance. But it's a different kind of nuance and a different kind of training to produce that nuance.

Voice actors might get their likeness transposed on their character's design, and maybe their mannerisms might seep into the character's animation. But when it's all said and done: their presence is in their voice. They are bringing a character to life, showing that emotion in their voice, trying to keep a specific accent, drawl, pitch, tone in that voice and keep it consistent for their recording sessions.

The voice actor is like a classically trained musician who can play first chair in a competitive, world-renown orchestra. The actor (who fills the voice actor's role) is like a moot who played violin in beginner and intermediate high school orchestra and thinks they can get into Juilliard with that 2-4 years of experience.

This doesn't mean that the HS orchestra moot can't play. They can even be really good at it. Maybe they won competitions and sat first chair. But they are not in the same league as the person who's been training their whole lives and lives and breathes to hone their craft using the instrument and all of the training they've ever acquired to perfect it. They are not meant for the same roles. They are not in the same caliber. You do not hire the HS equivalent when you want to play complex music in a competitive orchestra.

Actors are not the same as voice actors.

And furthermore, actors - especially big name actors - taking the roles of animated characters for big budget films or TV pilots makes no sense anyways when - at least in the case of TV pilots - there's not a point to hiring a big budget actors anyways. That money could be used elsewhere (like paying your animators), and the talent that is brought onto the screen for X character could then be hired on to voice said character no recasting required.

I wouldn't say voice acting as a profession is in danger exactly, but it's certainly being disrespected and overlooked for celebrity clout, and this has ALWAYS been an issue. Shoot, even Robin Williams knew that much - which is why he tried so hard not to be used as a marketing chess piece for Aladdin and got royally pissed off when it happened anyways. People shouldn't go to any movie (but especially not animated films) because "oh famous actor is in it". People should go because it's a good movie and the voice acting is good.

People who honest to god think that voice actors are replaceable because "oh well anyone can voice act" or "I like xyz celebrity so naturally it'll be good" ... Honestly I just wish you'd reassess your priorities because you're missing the point and are part of the problem.

Voice Actors ≠ Actors.

[crows-heart]

Howdy Pillar Headcanons :D

be aware this is my first time writing on tumblr so if its a tad odd in some places, i apologize :))) i should be doing my math work i missed or sleeping but guess what i wont

cw: staring mentions (?), howdy being cheesy, i think that's it? ( i do not know how to tag stories)

(look at the funky man!!)

Dating Howdy!!

i just KNOW this man loves to give hugs from behind

everytime you're doing literally anything that has you with your back exposed, he's going to pick you up

you could be in the middle of cleaning and next thing you know four limbs are wrapped around you and you're being picked up

he is both big spoon and little spoon, ignore the fact that he's like 7 foot/213 cm

if you don't like being hugged/touched, that's fine! he likes to make sure that you're comfortable with how he shows affection.

instead of hugging you, he tends to move things around to make it more accessible for you (especially if you enjoy cooking/baking, there are a lot of things in the howdy-sized cabinets but not the y/n-sized cabinets)

sometimes he does purposefully move things out of your reach to have you call him over for help so he can come bother you >:)

that is until you learned that you can climb on the counters... (as someone who is short, this is in fact the most effective way of getting things [dont do this])

he loves holding hands with you! regardless of whether you're in public or at home, he enjoys making sure that you don't get lost /j ("Its hard to see you all the way down there, neighbor!")

he is also a big fan of pinky holding <3

i hc him to have some anxiety issues, so this is a big reason why he enjoys holding hands/pinkys

it's become a big way to help him calm down, and if you start rubbing shapes (?) into his hand it makes things a lot better (he does it to you too <3)

after a long day at the bugdega (bodega? I've seen someone call it that so I'm calling it that bc it's funky!), he will fwump literally anywhere it is convenient for him to do so

let's just hope you're not on the couch/bed because you are a candidate for him to do so! (good luck)

he constantly is making sure that you're ok, mentally and physically! he is a great listener, and he gives great advice too.

everytime you try to help him out at the bugdega, he CANNOT focus

he will literally stare at you for ages until either you or a neighbor points out he's doing so ("howdy, are you ok?" "huh- oh yeah! it's just that you're really pretty...")

he also gives you an 100% discount if you agree to a kiss

either he's really cheesy, or he's reciting poetry to you, there is in fact, no in-between

"i love you berry much! *holds out a strawberry*"

"If i was to be given the option of eternal life, i would turn it down, for a life without you is not one worth living."

all in all, your relationship is berry sweet!! (help i regret writing that)

Being friends with Howdy!!

if YOU have chaotic energy, HE has chaotic energy

he could be cheerfully having an exchange with julie to chanting "thief" to wally in the corner with you (art idea??? might make this)

howdy is great at adapting to your current mood! if you're being funky and all gremlin-like, so is he! if you're tired or sad, he makes sure to give you your time and space to talk if you want!

regardless of this, he does give mother-friend energy

not in the sense of like making sure you're sunscreened, but just looking out for you and making sure you're ok :O)

he LOVES to spook you. regardless of how tall he is, he is in fact, great at sneaking around!

he is also good at being quiet on his feet, which does not end well when you're in the middle of doing something

i feel like he is genuinely a sweet guy, but when he's with friends, he's a totally different caterpillar

if tiktok existed then, you would constantly point at him and say "caterpillar" in that voice (y'know the one from the audio that everyone draws frank spying on howdy with [i absolutely love that audio])

HE KNOWS ALL OF THE GOSSIP OOH JUST YOU WAIT

"did you hear? frank and eddie are finally dating!" "HAH WALLY OWES ME HIS APPLE SUPPLY"

wally is definitely a part of your guy's shenanigans btw it's canon I'm howdys hat

if howdy needs something delivered (most likely wallys hairspray/apples) and eddie isn't available, he asks you! you're practically a second employee so you might as well ahshefs

you still get an 100% discount, since you know, you're kinda working there so that's fabulous!!

he's practically your babysitter at this point i just kinda imagine y/n being one of the leash kids

he can and will throw you on top of his shoulders, you think he's not buff under those sleeves? he has to carry around literal HUNDREDS of apples for wally pretty much everyday

i feel like he likes making things with his hands (I'm really projecting here arent i)

HE LIKES MAKING TINY THINGS OK OK GLAD WE CAN AGREE

random little figurines or things you enjoy will just appear. you have little to no clue where they came from but that's fineee

he knows some of the most obscure things, either about you, or anything really

he loves hearing people infodump about anything! he loves learning new things about people's special interests :D

at the end of the day, he appreciates being your friend so much! he's so glad he got to meet you <3

i am very tired so im probably going to sleep now!! i really liked making this but headcanons are not, in fact, my strong suit. requests are open, i would love to write some more for welcome home!!

[leuchtstabrebell]

just saw the Jesus Christ Superstar production in Nuremberg with a friend and thought i'd share some of my observations because this was WILD

details under the cut because i have a lot to say but this might be one of the queerest and boldest productions of JSC i have ever seen. the pope is herodes, nuns are participating in orgies, Mary is a mother, the catholic church is critizised every step of the way, hirarchies and power structures are questioned, and Judas wears a skirt. There are neon crosses and halos and a lot of blood, and so much thought and love put into this. The production value is very good as well. The cast is very young, especially the apostels and Judas and Jesus who are all in their early to mid-twenties, and the vibes are simply amazing.

This production is set in modern day rome and the vatican. jesus and the apostels are queer leftists activists trying to reform/act against the catholic church. like, this is the central element of this production.

(text on these signs reads, from l. to r.: No mandatory celibacy, God is a woman, Maria 2.0, #outinchurch, renewal now, the head of the fish is rotten. The banner reads "God is the love")

Many of these signs are references to reform movements inside the church and discussions around abuse of all kind in the catholic church, as well as demands for a more inclusive christianity (and society).

Jesus officates a wedding between two women apostels and everything is very gay. there are several rainbow flags involved. jesus is draped in a giant version of the flag at one point.

that being said, it is made pretty explicit that mary and jesus have some kind of relationship thing goin on??? They also sometimes seem removed from the rest of the group who have major found family vibes. they go on picnis and protests together, they care for each other, they dance, they sing, they cuddle. there was so much going on, I probably missed a lot of interactions between the apostels. Judas was very involved in the group, more than mary or jesus even, and judas and simon had a very cute friendship (they even play-fought in the beginning). They all hugged and kissed each other a lot as well. (Fun fact: many of the apostels are still in actors school and they did a cooperation with the staatstheater nuremberg which offered them the chance to participate in such a big production)

Now my thoughts on the individual characters:

Mary: sadly, my least favourite character in this production. i didn't really vibe with the actress, although she was great vocally. She rarely interacted with the apostels and kept mostly to herself and the apartment she shared with jesus and her child (I don't like the decision to have them live together almost like a nuclear family). it also did not help that she was noticeable older than the rest of the group and her costume wasn't great either. i loved her kid though, she was really cute (apparently, the gender of the kid changes depending on the child actor that day, here it was a girl). The child also connects the group, there were some cute found family vibes (although they could have done so much more with this ahhh). there are also several moments where the child symbolizes a brighter future to come, and hope, and innocence. she was such a cutie!!!!

This Jesus is a weirdo. Just a weird guy. Kinda Enjolras vibes, kinda angelic, kinda high as a kite beliefs in magic, depressed queer vibes. He would sometimes do weird motions with his hands to summon his powers to heal people????? his outfit was a statement as well.

I liked the acting, although the interpretation is one i had not seen before. The singing was pretty good, although the actors voice was a bit weak sometimes and he often had difficulty with belting higher notes. the actor has a very very soft voice in general??? it kinda contributed to the vibes of this jesus though and worked fine

I didn't like that they actually showed him being able to heal people, I like it more when it stays ambigious if he can actually do wonders/if he is actually the son of god. Interestingly, at the same time this Jesus felt very deserted by God to me? Gethsemane was very intense but also so absolutely defeated. it did not feel like a conversation with god but more pure desperation screamed into a void... This Jesus was really broken :( Also, the torture and whipping (which happens in the vatican???? kinda illegally???) was absolutely brutal and very bloody and he was sobbing in fetal position at several points of this production. also shaking like a little deer. in the last scenes, they filmed close-ups of his tortured face with a camera live and projected it on the large background screen which was very horrifiying and genius, especially during superstar. poor guy. he seemed very sad and burdened a lot of the time

Judas: There he is!!! My boi!!!! He was my absolute fave. The acting and singing was amazing, one of my fav interpretations of this character. The costume choices for him were amazing ( I mean look at him in that skirt and these boots) and this production chose to portray him in a very sympathetic light. He is the soul of the group in this production, while Jesus is the brain and Simon is the heart. (Peter is the bedrock, and Mary and her kid are honey-grease holding them together)

I mean, look at him!!! This judas cares so much, he contains multitudes. He is clearly loved by the people around and loves them back fiercely. He hugged people a lot and was very physical in general and the actor had so much charisma!!! In this version, Jesus and Judas also kind of seemed like two sides of the same coin, which I really liked. While Jesus is kind of otherworldy, charismatic, calm, and enigmatic, Judas is much more hands-on, real, passionate and energetic.

This Judas (like the whole production really) was very angry but he had every right to. In this production it also seemed like his anger at Mary and Jesus being with her was less about Mary (taking out some of the misogyny, luckily) and more about jesus retreating to something that could be perceived as a bourgouise lifestyle (my interpretation, at least). This judas seemed very queer but then again, most apostels in this production seemed to be queer. (The betrayal kiss was very passionate, btw)

Oh, and the cardinals waterboarded Judas with holy water in a church on wooden benches they put together??? And they also threatened and hurt him several other times??? I'm not sure what to feel about this because this makes the betrayal very very cooerced and that might flatten the character but it adds so many new layers as well. They also just push suitcase full of money on his arms and leave him there clutching the thing and sobbing??

Judas death ripped my heart out, it was so raw and cruel and also put emphasis on the cruelty of the catholic church and an uncaring or even cruel god?

and then he absolutely slayed in superstar. all the background dancers were the apostels (which was a deliberate choice because they had a huge cast they could have used for this), including Mary and they all had neon halos?? Judas descended from the ceiling. the staging was kinda similar to the 2012 revival with Judas as a show-caster and entertainer. there was golden glitter falling from the ceiling.

the whole production seemed very angry at institutionalized christianity and God himself but also full of hope and love, and superstar really examplified that.

Herode is the pope. Just straight up the pope. At first I was a bit underwhelmed because the set was very minimal bit then they revealed the pope and started their amazing choreography and I really loved that! just a good solid portrayal, very sexual as well. (this production was very much about hypocricy and not about condemming lust, the opposite really. this production is pretty sex-positive) 8/10

Caiaphas and Annas were pretty solid, like all the other high priests they were cardinals. I thought the actors did a good job although would have liked a deeper base for Caiaphas and a higher tenor for Annas. I thought it was interesting how often the priests/cardinals crossed themselves and blessed people and did christian gestures, especially during "This Jesus must die". They were also pretty violent both towards the apostels and towards jesus and judas.

Peter was really giving dark academia vibes except a bit more boring. I thought it was pretty funny that it was easy to tell that he was Peter just from the costume alone. he had a nice, warm voice and I liked the acting choices - he was very soft and calm, except for when he went absolutely wild on the SWAT team coming to arrest Jesus and broke a bottle to use a shard to cut of the ear (i suppose) of one of them. iconic. 8/10

Simon: what an icon! at one point, he carries petrol and a lighter around to fucking burn the whole thing to the ground. he is passionate and kind and ready to punch someone at any time. his acting and singing were really really good. At the last supper, Simon sucker punches Judas in the face and calls him a "fucking traitor" before shakily ending the song on his guitar to try and comfort the other apostels because their whole world just fell apart. I really love this Simon

Pilate: He had such a great voice and presence, and carried himself with a lot of gravitas. Pilates dream was very stripped down but it worked because of the actor. He seemed really desillusioned and kind but ultimately deafeated, conforming to the will of people around him (lower clergy and devout catholics in this version) (That reminds me, the ouverture was accompanied by various clergy making out in the vatican with each other while headlines about scandals in the church were projected in the background.

There are probably a lot of things I forgot to mention, and there were also some things I did not like about this production but overall, I am really really impressed and just happy that I got to see it live.

You can still see the production too btw, at least if you can make it to Nuremberg :)

[man-down-in-hatchet-town]

Every day I wake up, remember that a Miss Holloway musical HAS ALREADY BEEN WRITTEN, and feel myself go feral.