#they'll be in a future post

[galehowl]

Tbh with the AI shit - only a matter of time until every place and platform we have will start selling data to them, and good if they deem to even let you know they're going to be doing so, and not just do it behind your back without even telling - in fact, I don't even trust the whole "you can opt out" thing lol, why would I assume it'll even work in the first place, and isn't just there to placate people in hopes everyone won't get TOO mad at them and look better in the public eye?

I think it's more of an annoying reality and nothing else, that will just need to be dealt with, until it either gets regulated, or dies off. I don't think there's gonna be many places left to run to, eventually, unless some safe sanctuary for creators is made that somehow GUARANTEES protection from all of this bs

[greenerteacups]

Half of the kingdom for Angelina, Fred and George dynamic! I shan't pretend I understand it but I sure as hell enjoy it!

You and Fred both!

Fred and Angie are the type of FWB couple whose reasons for not dating, inter alia, center on both of them just... not really caring that much. Romance isn't a priority for either of them; I think that when they started liking each other, it was a gradually developing case of mutual attraction under circumstances where neither one had time for a relationship. Angelina is busy trying to hold a quidditch team together, and it's hard enough without this doofus beater eating up more of her time than he already does. As for Fred, he's diligently preoccupied trying to put Minerva McGonagall in an early grave, and I think deep down he probably has a 17-year-old boy's healthy terror of commitment, too. But he does respect Angelina a hell of a lot, and he makes her laugh — something that she, as a generally serious person, could do with a bit more of. When he's not making a fool of himself, and she's not busy with the soul-eating job of being the following act for Oliver Wood, I imagine them having a comfortable, lowkey, no-strings FWB arrangement. Like, they were teammates before they were ever involved, and when you've seen someone's ass platonically, it takes the edge off seeing it in other contexts.

George is also here. The twins are such a social unit that anyone dating one of them sort of gets a two-for-one special, but the fact that Angie doesn't take it seriously helps to make things un-awkward. In fact, I think she's actually quite fond of George — he's more chill than Fred is, and a little bit sweeter, easier to get along with — and having known them both since first year, Angie probably understands that if you're involved with Fred, George is going to Be Around. It's like a love triangle where only one leg is romantic, and also everyone is eminently cool and happy to hang out with each other.

[dervampireprince]

If you're a UK citizen, please sign. (You cannot sign unless you are a UK citizen). We shouldn't be punished for falling in love with someone from another country. And certainly shouldn't have to earn above the average UK wage.

[ID: Text that reads: Don’t increase the income requirement for family visas to £38,700. Currently the financial requirements to bring your spouse to the UK is £18,600 per year and now the Government wants to more than double it. Most people in the UK don’t make that per year. We believe this policy punishes those who fall in love with someone with a different nationality. 59,809 signatures out of 100,000.]

Link to petition: https://petition.parliament.uk/petitions/652602

[ell-arts]

Does Hell and Heaven exist in your pmatga aus? If so, does the Netherworld count as it's own version of Hell or is it a separate thing?

If they're all separate things in your aus I'd be hocked! I'd love to see your interpretations of them!

I was writing a whole-ass essay to this question when I realised that I was drawing it out unnecessarily 😅 SO I've decided to rather move the bulk of what I wanted to write into a separate post that focuses on my headcanons for the Netherworld and its reason for being.

So, short answer:

Heaven and hell do exist in most of my PMATGA written work, but they are separate from the Netherworld, in which the Nether acts as a border between eternal life and eternal death. The Nether is where ghosts go when they are not at peace and remain in limbo (or have unfinished business, so to say.)

This is not comparable to the concept of purgatory though, nor could the Nether be considered an equivalent of hell, even though it may have similarities. The Netherworld doesn't qualify for the rules and definitions of purgatory, nor does it portray the same amount of suffering that you would find in hell. But I'll elaborate more in that future post about headcanons for the Netherworld.

On the other hand, I also feel a bit inclined to headcanon that the Netherworld is not the type of 'afterlife' that we think of when we think of heaven and hell - rather, I wonder if the Nether is just a different dimension entirely, and the only way to access it is either through portals or through an abnormal separation of one's body and soul (like bodystripping) in which a person's soul is trapped in a different dimension (Netherworld) while it's body remains unconscious in the former dimension (Pacworld).

So, to sum it up, I hc that Pacworlders do believe in a heaven and a hell, but the Netherworld is a separate realm that comes prior to any sort of final/eternal afterlife.

[artekai]

Those are her vibes

[post-futurism]

It is very disappointing to be connected to Australians on this website only to quickly discover they are terfs.

[twilit-tragedy]

Still watching the credits roll, but: She fought for them. She saw it all beforehand, saw her part through, but refused to let theirs end as foretold. Because she loved them. Her memory - physical and not - lead them all the way to the discovery of their own fate. And she committed her boys' story to stone and wood.

And after that, she left her love his own story. How it started and how it will go on. She painted him in her colour. He is worshipped. He is loved. He will know what that kind of love feels like. He has a role - one he never imagined, but one he will take. He has a reason to live.

To grieve deeply is to have loved fully. Open your heart to the world as you have opened it to me and you will find every reason to keep living in it.

He has a path. Both of her boys do.

[lavenoon]

Thought about

Maybe they just tolerate him, because they feel responsible - but would they choose him, if they ever had the option? Between his existence and non-existence, which one would they opt for? He's scared to ask.

this bit from this post a bit too long, have a little ramble:

Eclipse, one day, offhandedly, just making a joke about how they wish they'd have known what their Eclipse mode would cause, so they could have stopped using it in time

Sun and Moon just freeze - whoever's out immediately wakes the other, too, realizing this is a conversation between all three of them. What does he mean, "in time?"

"Well, before I popped up, obviously"

The terror of that realization. That their little brother would think they wish he wouldn't exist. That he thinks if they had the choice, they'd prevent him from ever being "born"

"Eclipse... We wouldn't trade you in, ever." (They swallow the "you know that" - because he doesn't. Just another instance of how they failed him)

"Oh yeah? So you're saying you're happy with how things went?"

"No." They need to be closer for that - put a hand on his shoulder, make him look at them. "We messed up so badly on so many accounts - you deserved so much better than what we offered you. That we would change. We wouldn't change you"

And Eclipse really struggles here - hope is so tantalizing when you're not used to it. Manages a crackly

"You mean that?"

"We do."

And that's all he needs - just wraps all four arms around them, trembling like a leaf as he squeezes them close, and they do their best to reciprocate while just whispering "We're sorry, we should have been clearer, we should have told you ages ago, we love you, we would never just give you up"

They stay like that for a long, long while - good thing they're animatronics built with better knees <3

[t-n-c]

The sexual/sensual coding in Aaravos and Viren's interactions: The Sequel

Also known as "Why I don't like the revelation in s5."

Trigger warning--This discussion is going to mention manipulation/coercion, homophobic stereotypes, and sexually-charged abusive/invasive behavior under the read more so please proceed with caution.

Alrighty so before I start talking about tdp s5's major reveal in the Viren + Aaravos relationship I'd like to discuss the interactions they had with each other before and after the reveal and my thoughts on them. Here we go:

First thing I'd like to note is that Aaravos is still showing the creepy, invasive behavior that concerned me in my original post. Throughout the scene he and Viren share he:

Touches Viren

Invades Viren's space

And manipulates/controls Viren's body

And in addition to controlling Viren's body, we've also find out that Aaravos can straight up move Viren's very soul if he wants.

And like I addressed in my previous post, he does all of this without asking for Viren's permission and/or showing any care for Viren's wishes--hell, he explicitly ignores Viren when the latter says he doesn't want to be in the prison with him.

That being said, these actions alone aren't the most concerning issue for me; that isn't to say that they're not concerning to me all, but it's nothing that hasn't been done before in their relationship--it's nothing new is what I'm trying to say.

However, the revelation about Sir Sparklepuff being their child is new--and imo it adds a whole new level of creepiness to the relationship.

Allow me to rehash what went down a bit:

Aaravos reveals to Viren that in order for his resurrection to be permanent, he needs to preform a spell that requires the "blood of his child"--Viren protests and claims that he'd never sacrifice his children.

Aaravos responds that he never expected him to hurt Claudia or Soren and reveals that he has a third child he can use--

Viren is confused and claims he doesn't have any other children--then Aaravos reveals that Sir Sparklepuff is his and Aaravos' child

He tells Viren that Sir Sparklepuff is there for him to use for the spell and that he will teach Viren how to use his "living essence" to reclaim both his life and his "future."

There's a lot (and I mean A LOT) of things about this scene/reveal that worry me; I'll try to sum it up neatly, but it's probably going to be pretty lengthy regardless. Here we go:

Concern 1) Viren had no idea that Sir Sparklepuff with his child, but Aaravos did

No matter how many angles I try to see it from, this feels violating to me; considering how Viren didn't know what the spell would do and how desperate he was at the time, his willingness to perform the original spell is dubious enough already--to then have it revealed that the spell produced a child that's biologically his really disturbs me. It might just be my opinion, but I feel that it adds a level of predatory to Aaravos that's unnecessary at best and horrifying at worst.

Concern 2) The lengths Aaravos has gone to keep Viren alive (and presumedly on his side).

This includes:

a) Telling Claudia the spell that would resurrect Viren.

b) Preserving Viren's body for 2 years while Claudia gathered everything necessary

c) When they first met, he chose a spell that would create a being that would not only allow them to communicate, but could also be used to resurrect Viren if the need arose.

Now assuming the writers planned this all from the beginning (I have my doubts, ngl) this shows a great deal of effort and premeditation on Aaravos's part to make sure Viren sticks around--whatever his plans may be, Viren must play a pretty big role in them or else he would have just moved on when Viren died the first time. (It's either that or he has some strange sort of fondness for Viren, which leads me to Concern # 3)

Concern 3) As of now, we have absolutely no info about how their relationship is going to be portrayed going forward

While Viren's fate is a bit ambiguous at the end of s5, I'm 90% confident that he's going to live through s6 in one way or another and assuming I'm right and that happens, there are a few paths the writers could take in how they depict the relationship

Option A) They sweep everything under the rug and pretend the sexual coding in the relationship never existed.

Option B) They portray Aaravos as a complete monster who was just using Viren for one thing or another and has now discarded him since he got what he wanted from him.

Option C) They portray Aaravos as having some dark sort of attachment to Viren--one that won't allow him to let Viren "leave him"

All these possibilities are iffy imho, but I'm honestly not sure which would be worse.

Going with Option A feels lazy--like the writers don't want to deal with the dark themes they chose to put in and decided to take the easy out.

(Granted, it wouldn't be the first time the show has dropped important plot points/developments--no one seems to have found out that Viren and Aaravos sent the assassins at the end of s2, for example--but it would still feel cowardly to me)

Going with Options B or C both feel gross--with Option B it feels like Aaravos would be the epitome of the Predatory Queer-Coded Villain--he would have effectively used and abused Viren in a violating way (i.e coerced/forced him to bear their child) and abandoned him once he was done with him. It would be pretty hard to make a case for him having a "kind side" after that.

That being said, Option C isn't really any better--Aarvos would still be following the "Predatory Villain" stereotype, the only difference would be that he'd fall more into the role of an abusive partner than the "pure evil" role that some older queer-coded villains were placed in.

TLDR: I don't like the revelation of Sir Sparklepuff being Viren and Aaravos' child because I feel it follows the reoccurring theme of possessive/violating actions from Aaravos toward Viren that I've worried about all the way back in s3.

[widevibratobitch]

me when im obsessed with dead singers from 50 (well... mostly 70-120) years ago and im heartbroken to know i'll never see them on stage... never hear them breathe, never see them sweat, never even touch the hem of their garment...

it really is enough to drive a person mad...

[agentravensong]

post-hamlet thoughts

tl;dr my college did hamlet and i was in it and it was cool

first of all, in case i hadn't made this clear already, this was entirely student-produced. i mean, we got some money from the theater department, but people-wise, it was all students.

i've told the rest of the cast this time and time again, but they're so good. insanely dedicated and humbling in their talent.

our hamlet, horatio, ophelia, and laertes were all freshman, and they were all stellar. ophelia and laertes broke my heart every night in the second half with their anger and their sadness. horatio always brings top energy to scenes and had lots of funny moments (espec counting his doubling as the second gravedigger) but also made me feel things (we staged act 4 scene 6 as him alone on stage reading hamlet's letter to the audience and he killed it every time). and our hamlet was just incredible; a pleasure to act against as guildenstern and a pleasure to watch / listen to in their more emotional scenes.

and everyone else was great too! our polonius was always funny but also had genuine moments of connection with his kids; our cladius brought some great depth to the role (his take on the monologue in act 3 scene 3 was great) while still being despicable, especially in his manipulation of laertes; our gertrude brought our director's take on her to life impeccably; and, of course, i had a wonderful and hilarious partner in our rosencrantz :)

not to mention our quartet of players (who also filled out the other miscellaneous roles) who had a ton of great moments. shout-outs in particular to the guy who doubled as the first gravedigger and sang his sung lines as a sea shanty (honestly, i think he could have been a great guildenstern or rosencrantz in another universe).

the crew, of course, was also amazing. there were like 150 cues? my friend (the writer i mentioned in this post) did a fantastic job with the lights. the people behind the staging and makeup did just as well. and the costumes were so fun! everyone looked great; we had a consistent black-white-red-brown color palette that tied it all together. special shout-out to the player king wearing a white shirt with a black cape while cladius wore a zipped-up leather jacket and a white cape.

oh, and me and ros? we got fedoras :) i may share a photo later. maybe.

we did our show in the college black box theater (inside the fine arts building), which i do not currently have the brain cells to try and explain the layout of. it's a kind of weird space, but i think we made the most of it. for the majority of the show i was off stage left, meaning i was hanging out at the top of the stairs which serve as the main entrance and exit to the theater (sitting/standing where i couldn't be seen by the audience obv). you can't really see the stage at all from there but you sure can hear the actors, and by the time of the show that was (mostly) enough for me.

as far as how the actual shows went?

friday was our most engaged audience. their laughter was greatly appreciated in the early scenes ...slightly less so when everyone was dying in the final scene. i mean, i get it, people start dropping like flies and actually foaming at the mouth and spitting out (fake) blood; it's a lot. i applaud hamlet and horatio for staying in character through it. everyone did a great job that night; it was probably better than all our dress rehearsals as a whole.

saturday, at least from my pov, had kind of weird vibes at the start? i don't know how much of it was people getting to bed late the previous night, how much of it was overconfidence, and how much of it was people getting in their own heads, but it was our lowest energy show. the audience wasn't as audibly engaged either, but they did give us a big applause. i felt more good than bad about it by the end, for sure.

especially in retrospect, because, despite us having a smaller crowd at today's matinee, everyone was back on the ball. the ending in particular i think was the best we've ever done it. it was probably my best performance as well.

to be clear, i wouldn't rate any of our three shows below an 8 out of 10, for what that's worth. everyone gave so much to their performances; the funny bits were funny even when the audience didn't seem to think so, and i was always getting caught up in my feelings in the second act. you can't ask for much more than that.

now, here's a compilation of things from the production in no real order:

i already posted about this, but having the blood stains on stage where people die from the beginning of every show? *chef's kiss*

i'll also restate the thing i mentioned in the tags of that post: characters who were murderers had symbolic blood makeup after they killed someone. cladius had a bloody ear from the start of the show, the meaning of which becomes clear once you see the player king get poison poured in his ears; hamlet got blood on their face during intermission that's meant to be polonius's blood; and, arguably most significantly, gertrude had bloody handprints around her neck when she entered at the end of act 4, which, in addition to her hair and arms being dripping wet, is meant to suggest that the story she tells about ophelia's death is, in fact, a cover for something less accidental.

as mentioned above, our director's take on gertrude in general was, from my understanding, pretty different from the standard. to quote from his character spines, "you fundamentally want to prepare your son hamlet to be king; you are playing essentially a game of chess to do so." it was really compelling to see in action. the way she performed act 4 scene 7? chilling.

speaking of those character spines, the first line of horatio's is literally just, "You are in love with Hamlet." and boy howdy did that come through

prime example of that (other than just, all of his and hamlet's interactions, which were wonderful): when horatio finished reading the letter from hamlet, he sniffed it, in a very sweet and very not-platonic way

it was an unintentional running gag throughout the whole process that other cast members would forget between ros and me which character we were playing - to the point that every performance, when hamlet first greeted us, even though i would get to them first, they addressed me first, and it's written that they say my name first, they would call me rosencrantz and our ros guildenstern. ...someone should write a play about that.

i might have posted about this already, but in ros and i's first scene with hamlet, when the two of them start talking about child actors, hamlet made us sit in the thrones, and we would make moves to leave of varying boldness that they, of course, never let us follow through on. this then got basically repeated in act 3 scene 2 except that horatio got to join in on the fun of relentlessly mocking us

(the thing where hamlet handed me their copy of william shakespeare's complete works while they dud the "what is a man" mimi monologue got dropped at some point in the dress rehearsals, unfortunately. they did flip through it with the players though)

during the play within a play, polonius would keep falling asleep and ros and i would keep waking him up

(we also got to do some fun silent banter back in act 2 scene 2 while hamlet and the players were doing their thing)

then the bit after that with the recorders, aka guildenstern's defining moment, was just so fun. hamlet and horatio basically sandwiched ros and me between the two of them, and hamlet and i played off each other very well (at least imo), and though i couldn't see what horatio and ros were doing behind me i know that it got some good laughs. and i could tell every night that the scene landed despite the shakespearean language barrier, so i can't help but be satisfied.

my other best moment was when the king told me to go get polonius's body from the stairs and i got to slump and make a "do i have to?" face before my (final) exit. i managed to actually get some chuckles from that tonight, from the crowd that, again, laughed the least in general, and i can't put into words how euphoric i was to have that be my last moment playing guildenstern.

from the rest of the second half of the show, which i am not in, i will highlight a) the gravedigger eventually realizing after shoveling for minutes on end that he's been shoveling literally nothing (love me a good little fourth wall break) and b) when hamlet and laertes come to physical blows over ophelia, horatio, on his line, steps between them, draws laertes's sword, and takes a stance pointing it at laertes to hold him off, all in basically one glorious motion.

oh, and the ending, of course.

as i alluded to way earlier, we had fake blood and alka-seltzer tablets that the people who died in act 5 scene 2 used to great effect (particularly the people who died via poison)

speaking of that scene, the sword fight was very neat! well-choreographed and well-enacted. real foils btw

and the way hamlet and horatio performed the ending? more than anything, the way hamlet said "give me the cup; let go!" - that shit hurt, in the best way, every night. (and though hamlet died in the king's throne (with the king's crown on), horatio held / clung to them the whole damn time)

for a lighter final note: our polonius doubled as fortinbras and came on at the ending in this huge, heavy, vampire-ass cloak, accompanied by our director as the messenger from england who announces my and ros's death :)

thankfully, we did record our last dress rehearsal, so we do have a version of it that we'll get to watch back in the future. i won't be able to share it with any of y'all (we will apparently be in BIG trouble if we post it anywhere online) but it'll be nice to have for me.

funny thing that happened while i was typing this long-ass post out: i kept using present tense and then realizing i had to change it to past tense. and by "funny" here, i mean, uh... oof.

we never got a perfect run-through where no lines were skipped over, but, i mean, it's fucking hamlet. we did this shit in like a month and a half (with a week lost to spring break); it's more than impressive that the show turned out how it did. it was a group labor of love, and one of the best things i've ever gotten to be a part of.

and i miss it already.

...at least there's movie night on tuesday :)

[lisbonsteresa]

oh it's horrible; i love it

[ancicntforged]

Old HSR 0.56 Beta stuff Part 3

[lemmming]

The disability approval process is such a bullshit scam

Insurance companies will see no less than 7 medical professionals say you have a thing and are disabled and then pay a doctor to skim through your chart for an hour and say "nuh uh", and then get back to you like

"sorry our medical professionals who've never met you said 'nuh uh' so our hands are tied :( yeah they talked to your doctors. They said 'nuh uh' to your doctors too."

:)

[mashmouths]

it's supposed to be 85° tomorrow are you fucking kidding me