A dumb lil headcanon I have is that Yamato was assigned Naruto’s legal guardian in shippuden. (And that before it was Hiruizen, then Kakashi, then Jiraiya) just for convenience because he’s watching over Naruto all the time anyways.
oh god. sorry my response got really long but the fact is anyone even breathes a word of yamato being fatherly to naruto and i lose my shit and start beating my fist against the earth sobbing and shaking and etc.
now TO BE FAIR. i think if anyone should be naruto's legal guardian it should probably be iruka because iruka was the one who took care of naruto when naruto needed it most, and canonically naruto thinks of iruka as a father figure so much that he like, asks him to act as his father at his wedding, and he has this whole moment as a kid
THAT SAID. i like ur ask, and when it comes to the idea of legal responsibilities, i find the idea of Yamato being granted (even temporary) guardianship over Naruto to be extremely funny and entertaining.
i think yamato would personally take a lot of pride in that and really enjoy it. i think he would love nothing more than to have a practical, obligatory tie to enable him in his desire to take care of the people he loves. i also think that he would be obnoxious about it, at least a little bit. partially because his sense of humor is a little weird, and partially because he has no idea how to act as a guardian figure.
like i think he'd say shit like "bedtime! that's an order!" and naruto would be like "oh, piss off!" and then yamato would use his scary face and naruto would get even more frustrated, and the whole time yamato would be like "wow, naruto is a great kid (if a little disobedient!) and this is such a fun game we are playing, even if it tires me out :)"
unfortunately i think, out of all the guardian/mentor figures that naruto has had, (sandaime, iruka, kakashi, jiraiya, tsunade, those elderly frogs, yamato...) i think yamato is the one he is least close with, and would least like to be a permanent fixture in his life.
i'm not saying that he doesn't like yamato, just that...i would be really surprised if there's a point after yamato gets captured, where naruto is like "man, we should really save yamato!" y'know?
i could be wrong! i haven't gotten there yet. but like. i'm not anticipating it. thats okay tho i love naruto and hes got a lot going on.
picture below is more related to the tags than the text
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been working my way through the lovm s2 q&as that are on youtube
and like! love them as always, the cast is great, great to hear them talk about this stuff
but also. i took like a year ish hiatus from this fandom before tlovm pulled me back in, and in that time i, among other things, finished my theatre degree
and god does this hit different when you're a week out from the professional opening of an original musical you wrote with like 7 other people, and are also not just a performer in but the music director of
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i'm not saying this to make any sort of point but as someone who works in canadian theatre, the wga strike is going to have an interesting effect on live entertainment too, like i know multiple people who have lost their jobs or will lose their jobs soon because so much american television is produced here and obviously the iatse union is standing with the wga which it should and i also know that when film crew are out of work like this they often turn to theatre because it's a different local of the same union (and a lot of them started in theatre) and they wind up pushing permits out of work because film crew are usually members which means they get first dibs on all calls even if they don't have much live entertainment experience and even though attitudes in theatre and film are VERY different. And i really really hope the wga gets everything they want, they deserve that and more, but i also hope it happens quickly before young iatse permits get priced out of this city and we get into into another situation like the one right after the pandemic
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College theatre really expects you to work 4 hours a day for 5 or 6 days out of 7 on top of being a full-time student and whatever actual paying work you might have, and not only do you not get paid for what is essentially a part-time job...you also only get 1/3 of the credit compared to a class that meets for 55 minutes three times a week.
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long post re theory pedagogy again
the other thing about that vid (and another thing! lol) being that hierarchically a lot of the people doing the more interesting or out-there research and diversifying the field from a content perspective (and, tbh, demographically) are like grad students or early-career people who don’t even necessarily have any pedagogical flexibility & tend to be slotted in to teach lower-level theory courses-- whose outcomes are predetermined not only by general screwy nasm strictures but by whatever the professor down the line in the curriculum is teaching / expects people to know when they get there. and we get paid (much) less also than tenured professors. which is really a generic “thing about all academia” that doesn’t necessarily become a nefarious personal flaw on the part of said scholars and instead ought to be addressed at a structural level bc the scale of the issue exceeds individual instructors’ spheres of influence.
BUT music occupies such a fucked “totally separate from society” space in many ppl’s imaginations that it’s like oh man how dare it have the same issues as every other field of scholarship bc it shouldn’t “really” be a matter of scholarship in the first place. ie music is culturally rendered a “nothing matters just feel it” / “everything is ephemeral and there is only Innate Talent and nothing can be taught” sort of field such that any intellectualizing thereof &/or suggestion of learnabilty / non-innateness is deemed, like, boring & regressive by some people & i’d say especially people raised with a certain awareness of the “composer-genius” culture of wam education. like i’m completely on the “fuck partwriting parallel fifths are awesome” train as a matter of taste (for example) but that does not mean that learning what parallel fifths are-- and why some old european guys didn’t like them *bc they preferred it to sound like there was more than one voice and it’s easier to create that perceptually w/o an overtone effect* (eg)-- is going to like destroy your artistic Essence and make you a worse musician bc now you’re no longer an empty vessel put on this earth to channel brahms or whoever. & plus i think perpetuating the synonymizing of theory-as-field with wam harmonic rules not only is like factually misrepresentative of current research but also is sort of a self fulfilling prophesy such that ppl who would otherwise have completely fascinating things to say & questions to ask are discouraged from non-platitudinous & open-ended (theoretical) inquiry re the content and aims of their own rep & listening, and tacitly learn that composers’ ~~genius~~ descended from the heavens & you either get it or you don’t, you either “have talent” as a composer or you don’t, et cetera
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i Do want to get a job (i don't WANT to but i need money & let me tell u my art is nottttttt helping me survive) but i genuinely dont know if theres anything i could do except like. data entry i guess. but even then everyones so hellbent on how you need five years of experience & three diplomas bc they cant be fucked giving you proper training so what now
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