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#it annoys me
avassiilva · 5 months
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ava silva | 1.06: isaiah 30:20-21
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salemontrial · 6 months
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I love Stolitz as much as the next guy but yall have GOT to stop pioritizing that over Blitzø's other relationships just because Stolas is his romantic interest. Blitzø seems to have accidentally set up Moxxie and Millie and I want to see them starting I.M.P together. Blitzø trying his best to be a good dad for Loona and now they're slowly getting to a less rocky relationship. I really want a Verosika-centric episode soon, I want to see an episode from her perspective because it seems like she really did love him. We've just barely scratched the surface of Blitzø's relationship with his parents. Fizz is the only person Blitzø has fully opened up to sober this entire show. Hell, we had a Barbie episode after a full season and a half of waiting and theorizing and we found out how messy their relationship is but most of this fandom was hung up on it being the hospital that Stolas was in (it literally wasn't? It was a rehab center).
His relationship with Stolas is very interesting and deserves all the analysis it gets. I just wished people paid attention to the non-romantic ones too :/
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bibliophilecats · 2 months
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Sounds like a really cozy book 😂😂
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hawkinslibrary · 6 months
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there's a new article out about the play. i think it's paywalled for people outside of the us, so here's a twitter thread with screenshots. i've also typed it all out under the cut here:
LONDON – Next month, the Upside Down extends its tentacles into London’s West End with “Stranger Things: The First Shadow,” a prequel stage production that expands the world of Netflix’s sci-fi/horror blockbuster. 
And the creative team behind it hopes the play will be as groundbreaking as the series itself.  
“We’re about to bring the actors, who’ve just been in this cocoon of a rehearsal room for seven weeks, into [the theater],” producer Sonia Friedman says of “The First Shadow,” which is set to open Noc. 17 at the Phoenix Theatre. “We’ve been making sure it can stand alone without the special effects, because it’s all about story. We are going to blow people’s minds. We are going to terrify with some of the most startling, extraordinary things with the physical production.” 
The project originated with director Stephen Daldry, who approached Netflix’s then-content chief Cindy Holland after the show’s first season aired.  
“One of the conversations Stephen and I had been having was, ‘What theater have we ever seen where you get genuinely scared?’” Daldry’s co-director Justin Martin says. “It was an interesting challenge and provocation. We talked about other [Netflix] titles, but this one felt like the most imaginative and the most challenging to try and find a stage language for.” 
“The goal was to figure out, what does a mega episode of ‘Stranger Things’ look like on stage?” adds Matt Duffer, who created the series with brother Ross. “It was a very long, multi-year process to figure that out. But where they’ve landed is incredibly exciting.” 
For the Duffers, the idea of expanding the “Stranger Things” universe in new forms was an exciting prospect. They're currently working on several spinoff shows, including a children’s animated series and an anime series. The play exists on its own, but it also informs the narrative and characters fans know.  
“The idea was to explore Henry Creel and his backstory and fill in a gap that we don’t explore in Season 4,” Ross Duffer says of the villain also known as Vecna. “The play was being developed simultaneously with us writing Season 4 so we were adjusting as we went. It was an interesting way to develop a story, but to do it concurrently like that made sure everything locks in mythology-wise.” 
Development on “The First Shadow” began during Season 2. Daldry approached Friedman after seeing the magic and spectacle in her company’s production of “Harry Potter and the Cursed Child” at London’s Palace Theatre. The creative team spent time brainstorming the story during the early months of the pandemic with screenwriter Jack Thorne, but eventually decided they needed someone who knew the series intimately. 
Kate Trefry, a writer on “Stranger Things” since Season 2, was an obvious choice for Daldry, despite the fact that she’d never written a play before.  
“Season 2 is really when we started to expand this world and mythology,” Ross Duffer says. “So Kate knows that as well as us. She's been with us in the trenches for so many years that we were so happy that she had this opportunity to do this.” 
From early on, no one wanted to simply remake the first season. Daldry wanted the story to be what Martin calls “in the center of the conversation,” rather than a secondary narrative, so a prequel made the most sense. 
“When we met with Stephen we had just cracked this Henry Creel stuff in the writers room,” Ross Duffer says. “We said, ‘Well there might be an opening here.’ And Stephen really fell in love with it.” 
“There are questions of ‘Why Hawkins?’ and ‘How did all this stuff happen?’” Martin adds, referring to the show’s fictional Indiana town, which becomes a hotbed of supernatural activity. “This felt like a good way to address that.”  
“The First Shadow,” set in Hawkins in 1959, is told over two chapters. Several familiar characters appear, including Bob Newby, Joyce Maldonado and Jim Hopper, who are in their last year of high school when a new student named Henry Creel arrives. Nearby, Dr. Brenner is getting his start in his lab. There are also new characters, like Bob’s sister Patty Newby. Trefry calls it an ensemble play with Henry Creel as the “spine” of the story. Beyond that, everyone involved is as tight-lipped about the plot as they are about the forthcoming grand finale of the Netflix original. 
“It’s about outsider kids who come together to solve a mystery,” Martin says. “And in doing so find themselves and each other. That's really ultimately what ‘Stranger Things’” does so well and why so many people connect with it.” 
Trefry adds that it’s also “about the loss of innocence and coming of age and how you are changed and ruined and saved by these formative events that happened in high school.” 
“So, hopefully, you’ll see that Hopper and Joyce and Bob are all presenting echoes of the trauma that is at the center of this play,” she says. 
In the first season of “Stranger Things,” Joyce, Bob and Hopper seem surprised by what’s going on in Hawkins. But Trefry confirms there’s an explanation for why they don’t immediately connect it to their high school years.  
“The climactic events that happen within these two stage episodes had to be something that could be written off as not magical or science fiction,” she says. “It had to be spectacular and make sense, but we had to go forward in honesty with our characters.” 
As a TV series, “Stranger Things” has a recognizable aesthetic. The Upside Down and its monsters are familiar to viewers, so a stage version needed to incorporates similar visuals.  
Because Trefry had never written a play, she didn’t worry about whether certain effects or scenes would be possible, which upped the ante for everyone included.  
“She cross-cut scenes as she would in the show and wrote crazy visual effects sequences as she would in the show,” Matt Duffer says. “She wasn’t limited by that because it then just presented a challenge for Stephen to solve, which is fun. The opening sequence of the play -- I don’t think anyone even knew if it was possible. I'm still not sure how they’re doing it.” 
Friedman and Daldry put together a notably skilled creative team. Friedman set the bar high from the outset, telling them, “I need to be taken to a new dimension of what is possible with theater.” 
That team includes illusions design and visual effects artists Jamie Harrison and Chris Fisher, who are responsible for the onstage magic in “Harry Potter and the Cursed Child.” Harrison and Fisher spent nearly a year coming up with the effects in “The First Shadow” and have continues perfecting things during rehearsals. 
“It’s very pressurized because there is nothing worse than a bad effect because the audience knows straight away,” Harrison says. “We have to go through quite a lot of watching our work be quite bumpy before it gets smooth. And we have to bring the actors from zero magic skill to being very expert in a condensed period of time.” 
“When you have the world of ‘Stranger Things,’ people know it,” Fisher adds. “They have those big sequences, so we naturally are creating big sequences. We’ve pushed it and I think by us pushing, the directors and Kate have pushed us even more and said, ‘Now we know you can do that, we want this.’” 
As a series “Stranger Things” relies on CGI alongside practical effects, but onstage everything has to be done for real. 59 Productions are creating the video design and visual effects for the play, which will work in tandem with the illusions and Miriam Buether’s set design. Harrison says that “anything that can be achieved in film can be achieved in theater.” 
“In film, people want absolute reality,” Harrison says. “For the effects to be visually real. In the theater, we have a level of imagination that we can use as well. For example, in the piece we’re creating there are a lot more blood and guts.” 
Trefry adds that the stage show is genuinely terrifying. “It’s scary like ‘Stranger Things’ is scary,” she says. “There’s a little bit of like guts and gore, and then there’s also real trauma – people dealing with real stuff.” 
Other elements of the production will hint at the series as well. For instance, Harrison and Fisher met with the creature designer from the series during their design process to ensure “visual continuity,” although they won’t say which creatures appear in the play. And D.J. Walde’s original music recreates the familiar synth theme song with a theremin that matches the late 1950s setting.  
For the Duffers, bringing the “Stranger Things” universe to life on stage satisfies their love of practical effects.  
“The downside of CGI is that the audience is conditioned to the fact that we can basically do anything,” Matt Duffer says. “But there’s something about seeing it actually done. When I saw ‘Cursed Child,’ my jaw was dropping in a way it rarely does now with these big movies. We want to do the same here.” 
Because Trefry wrote the play while Season 4 was in development, the series’ writers were able to retrofit elements of that season to reflect the stage show. The events of the play will also help to “enrich” Season 5, Matt Duffer says.  
“There’s a ton of conversation and dialogue between this play and the events that happen in Season 5,” Trefry says of the final season, which is over halfway written. “It was about trying to create something that is canon, but where you don’t have to see it to see Season 5. But if you do see it, it’ll make Season 5 better.” 
“There are hints of where [the show] is going to go,” Ross Duffer adds. “I think when [Season] 5 comes together, all of those pieces will hopefully click.” 
“The First Shadow” tickets are currently on sale through Aug. 25, 2024, although Friedman confirms the case signed one-year contracts and the production is open-ended. The plan is to bring the play to Broadway and the rest of the U.S. as soon as possible.  
“Hopefully it can get to as many places as it can so as many fans as possible can experience it,” Matt Duffer says. “That’s one thing we’re trying to figure out: How do we make sure people are able to see it before Season 5 releases?” 
“The First Shadow” marks the beginning of a broader universe for “Stranger Things.” The Duffers say they can’t “focus on the spinoffs until we’re landed the plan with Season 5,” but so far they’ve enjoyed letting other artists re-imagine their ideas. 
“This was originally pitched as a standalone story and so to be here now is surreal,” Ross Duffer says. “But this has been the most rewarding experience for us creatively." 
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toastybugguy · 11 months
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I really and truly need some of y’all to remember that you are inherently including trans men in any statement you make about men, and if you don’t actually intend for that to be the case, then you NEED to qualify that shit.
If you think talking about how men can be victims of abuse sounds like a “not all men” thing to say, you need to seriously reconsider why the hell your definition of men being in dangerous, vulnerable positions immediately excludes a group of people that is already, by nature, very at risk and vulnerable simply for existing (and by the way, fuck you in the highest degree if you think that in the first place, ignoring men being abused does nothing to help anyone and only strengthens and enforces the cruel, emotionless and rigid patriarchy that you claim to hate so much).
“Oh, I wasn’t talking about trans men.” Right. Because trans men don’t qualify as men to you, they’re an “other”. Trans men can’t be trans men without the trans, because when you say “men”, you mean the normal men. Oh, you weren’t talking about us, the “other” men, you were talking about the normal men! Got it. Royally fuck off.
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shit-talker · 2 years
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Ian has so many underage/with grown men arcs it's actually fucking crazy. The first is Kash, obviously, where Ian is 14 and sleeping with his boss who's around 40 and married with two kids. The worst part about it is even when people find out about it -no one does anything. Mandy treats it like it's a normal ass relationship, but maybe she can be slightly excused because she's also 14 and kind of known for sleeping around so her views on sex probably aren't the healthiest. Lip finds out and does absolutely nothing, he even pokes fun at Ian for it, which makes zero sense for Lip's character, because later when he finds out there's a female pedophilic teacher living near (arouns s3) , he's the only one who seems to have an issue with it, he even says "He was 14 and she was his teacher." Your brother was 14 and he was his boss but whatever, Lip. Linda, an actual adult who should have done something, allows the relationship to keep going, only telling Ian he could do better whoch has more to do with her dislike for her husband rather than the whole pedophile thing.
Then comes Ned literally the next season where Ian is only 15/16. Again when people find out about it, they seem indifferent to it. Jimmy/steve finds out his dad has been having sex with an underage boy who he's basically been helping take care of for a year and he's more concerned with the fact his dad is gay rather than a pedo. The whole thing is weird af and the show legit never mentions how this isn't normal.
And then the fucking club, I very rarely see people talk about the club but it annoys the shit out of me. Ian is working at a gay bar, serving alcohol (illegal) pole dancing (illegal) giving lap dances (illegal) and "working the back as much as the front) aka, prostitution (ILLEGAL) He films porn and all of the guys he's doing this with are adults, old adults too. When I first watched it i figured Ian must have turned 18 when he was away at the start of season 4 but no, in episode 12 'Lazarus' mickey says something along the lines of "you mean horny? What 17 year old gay kid isn't horny?" Again stating that ian is underage through all of this.
They are all really good storylines but they could have benefited from at least 1 person pointing out how wrong they were. Maybe Steve freaking out more on the fact Ian wasn't 18 and not that his dad was gay, maybe Lip making a bigger deal about Kash or Linda actually doing something, maybe mickey telling Ian how fucked up his job at the club is. Ian doesn't have to see how shitty these things are, but it would be useful if everyone just stopped acting as if it was normal.
And I get that the show is called shameless for a reason and it reflects how poorer areas are more accepting of all these fucked up things, but for how much they talk about how they hate pedophiles and all, they don't do a single thing about it when it happens to one of the main characters.
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im-just-tired2024 · 4 days
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PSA: I know not everyone had a good home life growing up. This is about me and my life and feelings. I’m not wishing bad things on anyone else or wish they can go back to abusive situations. (Feel like this needs to be addressed first cause people seem to lack critical thinking skills or straight up ignore things that are very clearly not about them)
*Sorry if that sounded aggressive or rude but I feel like media literacy is dying
Anyway, wishing to be an adult quicker and daydreaming about being an adult was the stupidest thing I wanted. Like don’t get me wrong it’s nice to have freedom from my parents and family; parents can’t really tell me what to do (in a way but even when you’re grown ass adult and move out they still tell you what to do) like they could and did as a kid/teen and I have my own home and can decorate the whole place and not just my room how I want.
But like I just miss that innocent and youthful time of my life where I didn’t really have a whole lot of responsibilities outside of school and chores. My parents were always really cool and pretty much gave us a lot of leeway to do things. Like late curfews and we didn’t have to have a job in high school. The only thing we needed to focus on was good grades and doing chores. I.e generally speaking I could do most things I wanted to do except like smoking and drinking and partying all night type of stuff (but I wasn’t interested in that stuff anyway so I guess that point it moot)
I know high school isn’t the best years of your life and it was pretty good for me but not necessarily something I’d desperately want to relive. But I just wish I tried more in school and paid attention and actually put effort into things and got my head out of my ass. But I just fucked around and acted like a dumbass.
Even in my early 20’s I just made bad decisions and made changes and made certain choices that I didn’t have to and was just being stupid and now I’m paying for the consequences. I did good my first 3 years in college but acted like an ass cause I don’t know why.
I’m just so tired and exhausted from work and life and I’m just thinking about everything I did and I realized I took a lot of my childhood for granted and screwed around and acted like a dickhead when I should have been focusing on school. But I was ungrateful and daydreamed and fantasized about life instead of enjoying the moment and being grateful for the freedoms my parents gave me that other kids and teens my age didn’t have.
I really just want a break from life and have someone else take care of me for a little bit. Im just tired of all the crap from customers and my boss and my every day life. Even stuff around the world seems to be getting worse and worse every day. I know things were always bad all over the place. It’s just 10-15 years ago no one really talked about it but idk I just feel like things are worse??
Anyway this is a rant and I’m not looking for sympathy and I just needed to vent and get my thoughts out of my head. Without an irritated sigh from my little sister followed by “i know. Me too” or my parents telling me “I told you so”
I’m just tired of dead end jobs, exhausted with everything and everyone and I’m unhappy with my life and my choices right now. It’s whatever and I’m sure in 5 years I’ll be fine and in a better headspace and job. I hope….
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clown-demon · 7 months
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((Pls dont shoot me but.. I'm moving all my muses but Nikolai to a side blog. I dont really wanna drop my drafts for my other muses-- but going on this blog and just seeing drafts I dont feel up to replying sitting there is starting to get a wee bit stressful.
This blog will be Nikolai only.
Please bare with me while I change and move drafts over to a side blog.
I DONT think I'll be getting to my side blog threads this week. Not only is it change over-- but over the weekend is my bday AND Nintendo Live.
I am really sorry for the change-- Nikolai was the final muse I added so if he showed up earlier in BSD I would have made him a sole muse.
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I can barely even enjoy dean & castiel scenes at all cause all I can think about when reminded of any of those scenes is the goddamn destiel shippers who I know are using them to go 'SEE? this is PROOF' all the livelong day and night
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mossfordays · 1 year
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If there’s a hundred Narcissa fans, I’m one of them. If there’s ten Narcissa fans I’m one of them. If there’s one Narcissa fan, it’s me. If there are no Narcissa fans, I’m dead.
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hermesfortknox · 30 days
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I kinda hate the fact its nearly impossible to get a pic of Will or Nico without eachother.. Sure there are some but most of the time you only get pics of them together.
Please learn that they also excist without their partner and got a life and interest and personality beyond the fact they are a canon couple..
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osamusbigtits · 1 month
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you know. you know that of ao3 is down, your favorite authors probably have like a tumblr or twitter. you know that there are oneshots on tumblr and twitter. there are. more options.
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theinkbunny · 2 months
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no I don’t WANT TO BE NORMAL I want to read FANFICS OF MY FAVOURITE CHARACTERS but all of them ARE FEMALE INSERTS RAHSHDDJDJJDKD
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erina-leah · 11 months
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Seeing Doflamingo’s laugh written as “fufufufu” fucking enrages me and I could not possibly tell you why
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aroace-polyshow · 1 year
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i somewhat enjoy seeing n25 wxs like unit swap stuff but it is ruined when the only possible reason people in the comments will give as like. the reason tsukasa wants to disappear is bc saki died. like. be more creative i’m begging you. please give me something else. anything else…please?????
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