there will never be anything as funny as the mutual disbelief between long form and short form fic writers about each other's style.
short form writers look at people writing 100k+ fics as though this is some sort of talent given as part of a fae bargain, that the commitment required shows some sort of ungodly mental fortitude.
meanwhile long form writers look at people writing 1000 word one shots like god I would cut off my left nipple to be able to say anything concisely. i would love to play with multiple ideas. free me from the shackles of this child I have birthed. i love them but I now must take them to t-ball and doctor's appointments and they're going to destroy everything I own.
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mri accident is literally one of my biggest anxiety freakouts. i dont care about being in the tiny loud tube, im so scared of a secret piece of metal i dont know about in my body will tear through me like a knife through butter. what if i ate a quarter in my sleep
TIME TO POST ONE OF MY ALL TIME FAVORITE IMAGES!!!!
Back when I worked at the hospital, I had to take MRI training and it was my favorite thing every time. It was only like 10 minutes long and went a little something like this:
Hey. The MRI is basically a really big magnet and by basically I mean it is and we literally never turn it off. It's like really big. Really really big and powerful and The Magnet is always on. We don't turn it off Ever, for any reason. We mean it bro, The Magnet is literally always on. It's crazy strong and will definitely kill you. So don't bring any metal into the MRI room, man. You will fuck up the machine (because The Magnet is always on) and then you will die (again, because The Magnet is always on). Here's some fun questions for you to test your understanding!
1) The ______ is always on.
2) The Magnet is ______ on.
3) How often is The Magnet on?
4) The Magnet is always __.
5) The Magnet is always on. T/F
6) The Magnet is usually on but we know to turn it off for you because you're a very special boy :) T/F
7) My weak fleshy body can survive the wrath of The Magnet. T/F
8) Look at this 500 lbs steel hospital bed, which The Magnet has crumpled into an origami crane. Imagine if that was you.
9) Is The Magnet ever off?
10) Sometimes we turn The Magnet off. T/F
Thank you for taking MRI training. We hope you learned that The Magnet is always on, because it is. It's on Right Now and it will be on every time you come to the MRI. Have fun and remember: The Magnet is always on!
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the thing about Tangled is that this is a story geared towards little girls (even if it's "fun for the whole family," it's a disney princess movie, it's geared towards little girls), and it says, "here is a girl who is naive and doesn't know anything about the 'Real World' or how to navigate it safely and correctly. now pay close attention: the good guys are the ones who help her grow and explore new things while still respecting her own perspective and feelings, not making her feel stupid. the bad guys are the ones who tell her that she is too weak/immature/naive to do the things she wants to do, because she is fragile and needs protecting." and I watched this when I was nine years old and it resonated deep in a part of me that I couldn't articulate with words yet.
Add 1 or 2 cans of diced tomatoes. Whatever makes the ratio of onion look right.
Add a ridiculous amount of frozen peas. Peas should make up a notable portion of this sauce.
Add frozen corn also if you wanna be real fancy. If I have bacon, I'll add that too, but I very rarely have bacon.
Cook on HIGH.
While sauce is cooking, grab the nearest bottle of mixed spices that isn't obviously for desserts. Add some. How much? I dunno, enough that you feel like you've added seasoning so it's technically cooking. (For me this is most often a mix called Moroccan, but it could be anything. I've reorganised my kitchen recently so tonight it was something called Pizza Topping.)
If you happen to have green herbs lying around, add those too. Whatever you have on hand that's green.
Let the sauce boil on HIGH until all the water is gone. Stir occasionally so the saucepan will be easier to clean later. Serve on cooked spaghetti noodles with no cheese.
Today I added a new step called "while the sauce is cooking, duck out for 15 seconds to post about spaghetti sauce on Tumblr, then get distracted and forget you are cooking." This adds a novel Extremely Burnt edge to the flavour profile.
I am not Italian, or of Italian descent by *any* stretch of the imagination.
I am also not one of those "cooking purists", who believes that everything must be done in a specific/ traditional way (unless you are making a cooking video with the title "how to make x" in which case if you don't specify mid video that your way is not traditional god help you).
I am a firm believer in "If it tastes good, then it is correct for you".
Except in this case.
This hurts every cooking bone in my body. The latent ancestors in my soul. The judgmental elf in my brain just bit a cyanide capsule.
Why? The spices.
Using a different spice mix every time, based on what is ready at hand just ... hurts.
I mean you can also do it in the same pot you're making the spaghetti sauce in! The important thing is the onions get a little cooked before the wet stuff goes in, so they're not so wet and limp and boiled....
Honestly this depends entirely on whether I remember to chop an onion first or I find the can opener for the tomatoes first. The ingredients go in in whatever order they go in.
Umamusume blogger points out something that I didn't notice about the main story - Gold Ship is not actually a member of Team Sirius! She's just hanging out with you for fun, I guess.
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It’s a cliche that there are always rpg companions who disapprove of you dragging the party around to help random people out of the goodness of their heart but honestly I’d probably be one of them. Like if I was grouped up under some incongruously beat face CC’d ig baddy or worse, some fucking guy, because we had a job of world saving importance to do and they kept getting distracted by every sad peasant who lost their family heirloom, insisting we help and not accept a reward, you’d be seeing Nico Disapproves in the corner too. Bitch we have a job to do the darkspawn tadpole chip in our head is going to summon the reaper Sith invasion of Hoover Dam any day now get with the fucking program
For a good chunk of Final Fantasy 7, you have more party members than can fit, but the game keeps contriving objectives that require you to split the party, so you only control three people while the others handle a side objective and then come back so you can swap out your party and head to the next objective.
And eventually they get tired of this and just give you a cell phone so you can switch out your active party at any time, but I feel like it was a good mechanic to manage the constantly growing party. And I think RPGs should be more willing to come up with things for your non-participating party members to do while you're on a mission.
This post contains major spoilers for Magical Girl Lyrical Nanoha (2004), and Magical Girl Lyrical Nanoha: The Movie 1st (2010).
Somewhere back in the late 2000s, when I was probably about 16, I watched Nanoha, and really, really enjoyed it. I had no clue what I was going into when I started it, which allowed for its major twists to really blow me away. I loved the way it broke out of the traditional monster of the week format about half way in and became a space opera about the relationship between its two main characters, Nanoha and Fate, who I became pretty invested into the yuri ship culture online for a time. When the movie came out shortly after, I loved it too, given it was such a stunning visual upgrade compared to the admittedly somewhat inconsistent animation quality of the TV series.
I’ve enjoyed Magical Girl shows as long as I can remember liking anime, and have revisited and found new appreciation for some of of the ones I enjoyed when I was younger (Sailor Moon, Cardcaptor Sakura, etc); but for one reason or another, I’ve not been back to revisit Nanoha since I watched it all back in the late 2000s, besides occasionally rewatching the movies or showing them to friends. I could dedicate an entire post to why I had a hangup about going back to watch it for almost 20 years, but for expediency’s sake, let’s just say that I had generally struggled to feel like my fondness for it was more than a comfy memory of my first yuri ship; that I wasn't going to find anything more than a clumsier, less visually appealing version of the movies. The convenience factor of the movies compressing 13 episodes into a single 2 hour sitting meant they ended up replacing the TV series for me, and gradually overwrote my memory and understanding of the story and characters until I completely forgot that there were any significant differences between them. I had the position that Nanoha was a cool, influential show but other series had taken its ideas and done more with them. I felt that there was so much going on with the drama and characters in more modern series like Madoka Magica to the point that even trying to do a serious analysis would not be worth the time and only make me like Nanoha less.
The announcement of a new TV anime for the series during its 20th anniversary and a few other events surrounding it fortunately helped me come to my senses; after all, I’d already done the same thing for other things I’d loved a lot when I was younger and only come away loving them more. I resolved to try to give the entire series a fair, serious re-evaluation. I appreciate immensely the recommendation of a manga based off the 1st movie with a slightly altered series of events (thanks Takamomchi!). It was only 2 volumes long, but I found it elaborated on and delved into a subject I’d often found difficult to fully understand; what kind of person is Nanoha Takamachi? What connects the different, almost seemingly contradictory elements of her character, someone who embodies both the kind, gentle nature of a magical girl opposed to conflict, and the confrontational, competitive behavior of an ace pilot?
Mahou Shoujo Lyrical Nanoha Movie 1st the Comics - Hasegawa Kouji
I found the portrayal in the manga of Nanoha as a girl whose motivations and behaviors are deeply connected to her own childhood trauma to be intriguing and compelling, especially in the ways it created a contrast with her counterpart in Fate (whose trauma is a central narrative set piece of the story). But, the first movie did not seem to have any of this content about Nanoha! Did the manga invent it? Were the rare allusions to Nanoha having serious self esteem problems, culminating in the finale of the 4th movie, something that had been lost in the transition to the cinematic format?
Well, Yes!
Nanoha's malaise
I was shocked on rewatching at how much of the TV series was dedicated to something that was almost entirely cut from the movies; how uneasy, uncomfortable, and unsure of herself Nanoha is, how her friends and family view that side of her, and how hard she tries to not let them worry about her. Nanoha doesn’t suddenly become a more confident or capable person on unlocking her magical potential either, it’s only when Nanoha meets Fate that something about her starts to change, and her behavior feels a lot like a redirected expression of her previously emphasised complicated feelings! Even the lyrics of the opening, Innocent Starter, a song about shutting the world out and hiding behind a comfortable lie, that previously I’d always perceived as a song from the pov of Fate, now felt like it could equally apply to both of them!
Nanoha, far from feeling inadequate or simplistic on a revisit was only making me realise how and why it had such a big influence on many other emotionally intense, pain fueled stories in the genre that followed after it.
The final scene on the pier in the last episode that has always made me cry whenever I watched it. Going through the TV series and watching it again, it was stuck in my head for days afterward. I thought a lot about why it impacts me so much. And it helped make a few final important pieces really click for me about Nanoha herself, and why this scene means a lot to me.
You have warm hands...
I think this scene stands out a lot because it is a scene of contrasts, where Fate (stoic, love starved) is engaging with positive emotions and smiling and feeling uplifted whilst Nanoha (expressive, from a loving environment) is breaking down and crying, she's experiencing catharsis.
It's relatively easy to intuitively understand why Fate is smiling. She is expressing agency and reaching out and engaging with someone she perceives as an equal, and getting positive feedback. (She has had good influences in her life like Rynith and Arf, but as familiars, they by default serve and respect their master.) Fate's only source of affection from another human was her mother for the first days of her life and implanted memories that she comes to understand are fake. Her mother abused her in ways that made her view engaging with others as transactional; conditional affection was perpetually set on requirements that she could never meet. The only reason she was willing to believe that her mother would ever love her again is the faint memory of it once happening. She was incapable of trusting anyone else because of her trauma, and viewed herself as not even worthy of being cared for.
Fate is now experiencing what it feels like to move past her trauma and take a chance on trusting someone, it going well (instead of her mother punishing her for even considering it), and being allowed to explore that feeling in a safe environment. She is learning what it means to feel joy by expressing vulnerability, and coming to know and feel that she is not alone. She is coming out of her shell.
But why is Nanoha crying? Well the surface read is that she is experiencing a sense of relief from the anxiety and worry held in her heart for Fate. This is true! But Nanoha's deeper childhood trauma is a huge element in what has driven her to this moment too. Nanoha does not start reaching out to Fate purely out of the kindness of her heart, and she does not continue to keep pushing to get through to her out of a sense of commitment or moral responsibility (although, yes, she is a kind girl with a strong sense of justice!).
Extremely normal things to think about someone who just nearly killed you
Nanoha sees something of herself in Fate from the very first time they meet. It's in her eyes. Nanoha becomes, quite frankly, obsessed with Fate, because despite everything, Nanoha is incredibly lonely too, and struggles to accept this fact about herself. Her life is so idyllic, how can she feel so uncomfortable? Why is she lonely? Because she doesn't feel like her own pain is valid, and thus never opens up about it.
It feels like a throwaway moment at first, but when Nanoha's brother and girlfriend discuss how she seems to be down lately, they talk about how Nanoha never talks about it when she's worried about something. It rounds off with a platitude about how she'll be fine/she'll figure it out.
oof
But she isn't fine, and she hasn't figured it out! Nanoha was traumatized by the circumstance of her father nearly dying from severe injuries, the impact that event had on her family, and the resulting circumstances of her upbringing (being left alone most of the day, every day as her mother works to support three children and her siblings look after and help their sick and overworked parents). She was isolated, felt like a burden, and became frustrated with her own inability to help her family cope with the situation. She still hasn't been able to move past that period of time in her life.
"I'm not lonely, because I'm used to it."
Across the TV series, we see her express this through frequent moments of internal discomfort and uneasiness, a simultaneous sense of disconnect and overwhelming responsibility to the people around her. Her frustration with herself turns into guilt and self loathing, her genki attitude starts to represent something she's desperately trying to be, so as to not make people not worry about her, rather than how she feels deep down. In turn, the seemingly contradictory behaviors she expresses in her competitiveness and refusal to back down from a fight (to a self destructive extent), represent an expression of how heavily she feels the weight of her obligations to others, perpetually holding herself to a higher standard to push away the feelings of inadequacy.
Nanoha becomes fixated on Fate because she subconsciously understands that Fate is a way for her to come to understand herself. She feels compelled to reach out and understand her, and to have Fate understand her in turn, because Fate's trauma feels valid and close to hers, because Nanoha won't deny the feelings of others, only herself.
None of this dialogue is in the movie!
When Fate tells Nanoha, whilst wiping Nanoha's tears away
"I think I understand something now...when you see a friend crying, you feel the same sadness."
Nanoha begins to cry so hard she can barely stand. She feels seen. For the first time in her life, she feels like her pain is real and valid, because Fate is someone she can believe understands how she feels. Her internal self denial starts to turn off and the years of repressed pain are being let out and purged. She is learning what it means to experience relief and catharsis from sharing her vulnerability with someone else, just as Fate is learning to feel joy from sharing hers. Together, they are not alone.
A girl who has only ever been told she's not good enough, and a girl who has only ever told herself that she's not good enough; coming together to help each other break free from their painful pasts, and embrace a happier future together. What is love besides souls trying to heal each other?
Ah, I'm crying again...
When I first watched this show as a very queer repressed and depressed teenager, I don't think I understood how powerful what was going on here was. I don't think either Fate or Nanoha do in this moment either! But as their tears flowed, and so did mine, and I never forgot about it despite growing older and more distant from the source material.
It spoke to my own similar struggles then, trying to conform to something I wasn't, and crushed by weight of responsibilities I couldn't live up to; even though I didn't really understand what I was going through. And it speaks to me now as an adult, where I understand and have managed to overcome those struggles, something I was only able to do by putting my trust in my best friend and now wife Holly, who helped me to start to believe in myself.
...did I mention Holly's favourite colours are black and yellow...
Revisiting Nanoha in 2025 helped me understand something not just about Nanoha as a character, but myself. I'm really glad I came back to this show, and now more than ever, I think it will always hold a special place in my heart.
She feels compelled to reach out and understand her, and to have Fate understand her in turn, because Fate's trauma feels valid and close to hers, because Nanoha won't deny the feelings of others, only herself.
Apparently my director went to see a production of West Side Story a few years ago, and the guy playing Chino forgot his gun before coming out for his final scene. Once it got to the big scene where he is supposed to shoot Tony, he screeched “Poison Boots” and kicked the actor playing Tony until he went down. The girl playing Maria then had to jerk the shoe off of Chino’s foot, and had to do the gunshot scene asking “How many kicks Chino? How many kicks, and one kick left for me”.
There should be a blog dedicated to theatrical urban legends. Like that opening weekend of Dracula where Dracula (still hungover) vomited all over the audience during the first stage direction that everyone has a friend of a friend that worked on the show and was there.
best story i heard was when a friend of mine saw a show where juliet forgot to bring the dagger out on stage so she just ripped the squib out of her chest and blood squirted everywhere
During a passion play a friend of my brother was supposedly in, one of the roman soldiers who was supposed to stab jesus on the cross and accidentally grabbed the wrong spear- he was supposed to grab one with a fake tip, but instead he grabbed one with an actual metal tip and, well
Jesus screamed “JESUS CHRIST YOU STABBED ME”.
Since that Jesus had to be taken down due to a bad case of stab-itis, the backup Jesus came in, but he weighed significantly less than the original Jesus- which would have been fine, except that at the end the cross was supposed to ascend upwards with Jesus on it, and the weights hadn’t been adjusted.
So Jesus, instead, ROCKETED UP into heaven (or, just, above the stage).
I was in Peter Pan once and one night at a performance, the adhesive holding our Hook’s mustache on was wearing off. It was near the end with a big fight scene and when he got attacked, he let his mustache fall and went “YOU RIPPED MY MUSTACHE OFF!” in a scandalized tone and it added a new note of hilarity to the whole scene (which was supposed to be funny anyway)
My junior year we were doing Romeo and Juliet and after Juliet poisons herself it was supposed to go dark and she’d get off the stage. well the light crew accidentally turned them back on and Juliet who was sitting up slammed back down on the wooden bed with a loud bang. To which my theater teacher says into the com “zombie Juliet” and everyone who heard that had to keep as quiet as possible while our eyes were filling with tears.
i attended my county’s performing arts high school majoring in vocal studies, (mostly geared towards musical theater and opera styles) and once a year we got a field trip to new york (we were in jersey, so it’s not exactly far). we would do one touristy thing, an actor’s workshop with friends of our teachers working in various performing industries in nyc, and then see a show.
my first year doing this, our industry contacts were 1 actor, 1 casting director, and 1 producer to get different aspects of the business, and they all gave us amazing advice and told fantastic stories. the actor in question was Zazu on Broadway’s The Lion King for several years, and told the best story by far.
in The Lion King, there are only two pieces of pre-recorded noise in the whole show. one, when Pumbaa does a MASSIVE fart while fighting the hyenas, and the other being Mufasa saying REMEMBERRRRRR as Simba climbs Pride Rock. the actor told us while struggling not to laugh that, during one night’s performance, someone forgot to flip the tape of these pre-recorded noises.
so, at the end of the show, the great climax where Simba finally accepts his place in the Circle of Life, the heavens parted and-
During a high school production of Beauty and the Beast, where I was assistant costumer and assistant prop master, our director decided that we needed to spice up Gaston’s introduction. You know: in the movie, when Lefou runs in trying to catch the duck/goose that Gaston has just shot out of the sky?
Originally, the actors were going to stroll on stage with our Lefou hauling in the really neat (and real!) taxidermied deer head that we had found in a local thrift store. Now, two days before opening night, our director wants Lefou to run in from off stage and catch a stuffed duck that Gaston has just shot. This, of course, requires two things to work properly as a scene: a gunshot noise, and a stuffed duck.
The gunshot noise, we had covered. Blue-collar, redneck school? Guns a plenty to record. The stuffed duck? Harder than you might have thought to obtain.
Three hunting stores, two taxidermists, and one Pet Supply Store ™, I’d finally found a semi-realistic pheasant squeaky toy. What follows is an account of the ways this dog toy managed to be the nightmare prop of the six show run.
Opening Night: The stagehand, who was supposed to drop the bird from the ceiling catwalk, missed his cue and didn’t drop the it. Lefou’s actor rolls with it and does an excellent job of looking around foolishly before getting cuffed upside the head by Gaston. The stagehand then drops the bird squarely on Gaston’s head. Cue laughter.
Saturday Matinee: Different stagehand throws the bird instead of dropping it and beans Lefou directly in the face with the prop. Lefou falls over. Cue laughter.
Saturday Night: Bird is missing during curtain call. Director hauls the deer head down from it’s place on the tavern wall and tells Gaston and Lefou to revert to the old blocking i.e. no gunshot, no bird, just walk in with trophy. During Gaston and Lefou’s conversation, gun shot sound goes off and a stagehand throws the bird onto the stage…from the wrong side of the stage. Lefou and Gaston stare at it in awkward silence for a solid thirty seconds before Lefou makes off-script, subtle joke about Gaston’s gun going off late instead of early. Cue adults in the audience laughing.
Sunday Matinee: Director begs the stagehands to get the cue right at least once. Gunshot and bird prop go off without a hitch. Lefou accidentally catches the prop when it falls from the catwalk. He’s so startled that he caught it that Gaston runs right in to him. They drop both the gun and the bird props, and grab the wrong prop in their scramble. Gaston spends the rest of the scene gesturing dramatically with a stuffed pheasant, instead of a gun.
Sunday Night: Director is fed up with bird prop, decides that Lefou should just carry bird prop in after gunshot happens off stage. Lefou accidentally squeezes the prop during the intro conversation, startling both actors into silence with the squeaky toy noise - apparently, neither of them realized it was a dog toy.
Monday Elementary School Show: Lefou walks on stage with the bird. Accidentally drops the prop during conversation with Gaston. Gaston doesn’t notice the dropped prop and steps on it. Cue depressingly sad squeaky toy noise. Cue ten years olds laughing.
I was in Twelfth Night during high school and we were lucky enough to have identical twin girls playing Viola and Sebastian. Due to the blocking in the first half of the play, their characters didn’t appear on stage together but rather almost consecutively one after the other for a majority of the first act.
It was awesome because when people saw the play and didn’t know the girls were identical twins, it literally looked like it was one actor doing multiple, uber fast costume changes.
One of our first performances was for our peers and it was a big school so lots of people didn’t know the twins. This - for some reason - was also the performance they chose to record.
Listening to the confusion of the audience during the playback was fantastic and completely topped by the moment Viola walked off stage left just as Sebastian walked on stage right and someone right beside the camera goes “OH WHAT THE FUCK” so loudly it drowned out everything else.
The best thing? That was the copy of the play that was made available for purchase by family and parents. Haha.
Oh my god. I went to one of the Spiderman shows where he flew out above the audience and then got stuck and had to awkwardly hang there for about 10 minutes, but these stories are brilliant.
okay so, my senior year of high school and I’m part of the stage crew for Peter Pan. There’s a scene where Hook and Smee are searching for Peter and the Lost Boys. Now the theater department at my high school isn’t very well funded (in the southern USA, football is king), so the sets we managed to make were pretty kickass for the money we had. We had a structure painted like a big tree stump for the entrance to the Lost Boys’ hideout. You could climb to the top of it, but also go inside it through a trap door that we kept locked up during most of the play.
It’s like our third show and everything has been going surprisingly well. Hook and Smee climb to the top of the “tree trunk”, supposedly looking for Peter and not knowing they’re standing above his hiding spot the whole time.
Turns out someone didn’t close the trapdoor properly, because the second Hook steps on it, he plunges through the thing. He’s able to catch himself, but he’s got his ass and one leg dangling through this hole where it’s like a ten foot drop to the ground. All of us stage crew are literally two feet away from him offstage, just gaping at him because???? Y'all this fall looked BAD. Looked like my dude did the splits in mid air. The whiplash caused his fucking wig to come off. The audience is dead silent, all of us backstage are dead silent, the director is like already looking up how to treat a broken groin.
The kid who was playing Hook was like a fuckin sophomore and he KILLED it. He gave himself a second to catch his breath, never broke character, just looked up at his castmate and growled “Smee, you fool, help me up!”. He ended up playing off the wig thing as an embarrassing comedic bit for Hook, and the play went on. He was completely fine. It was the best thing I’d ever seen.
There was an infamous performance of the opera Don Giovanni where in the last act Giovanni was suppose to be dragged into hell via trapdoor but the overweight actor got stuck, leading someone from the audience to shout: “Hey everyone, Hell’s full!!”
I was a costumer on a stage version of Titanic, and in the scene where the women and children are getting in the lifeboats, one of the men (who was supposed to be saying goodbye to his wife he knows he will never see again because his is about to die), realized his fake mustache was falling off and instead of playing it cool… he rips it off his face, and hands it to his wife with the line “Something to remember me by”…it was the funniest thing that I have ever seen in my 8 years in theatre, the entire cast lost their shit laughing at the most dramatic moment possible
I don’t have anything to add other than I saw a recording of a community (I think) production of Into The Woods and the Milky White prop died too early and everyone stares dumbly at the fallen over cow.
I think Jack ran over and adlibed something about, “I know it’s hard but don’t give up, Milky White!” while righting the prop.
My high school had a rogue director who seemed to choose obscure shows on purpose, and had us do a theatrical adaptation of one of the old Pink Panther movies, where I was incongruously and rather insensitively cast as the Chinese bodyguard, Cato (I am very female and very white).
Anyway, during one scene, I was supposed to be handed a ticking package that was very clearly a bomb sent by the villain. I would gingerly run offstage with the thing held at arm’s length before there was the sound of an explosion and a large puff from our smoke machine. Well, one night the smoke machine malfunctioned before the package even got delivered and smoke started filling the stage. Inspector Clouseau, without missing a beat, started ranting about how I was always burning his dinner.
During a college production of Jesus Christ Superstar, the cross started to tilt during the crucifixion scene. All of us in the audience were holding our breath, willing it to stay in place, but to no avail. The cross, with Jesus firmly attached, keeled over ¾ of the way through the scene. The actor (who wasn’t hurt, thank goodness) continued on as if nothing had happened. Unfortunately, the next line was, “My God, My God, why have you forsaken me?” Yeah, we all lost it.
Comedy of Errors. Antipholus was berating Dromio, and at the peak of the rant, a cell phone went off. Antipholus stopped, had mad gleam in his eyes, then said the next line
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one time I went over to a friend's house and their housemate was making paper in the living room, and we saw this big tub full of water they were using to dissolve old scrap paper into a slurry, and everyone was immediately like "oh, you need scrap paper?" and started turning out their jacket pockets and producing expired coupons and bus tickets and crumpled receipts and old shopping lists and whatever else they'd been carrying round with them for no good reason, and passing it all to the paper-making housemate to make sure it was suitable before it got torn up and dropped into the tub, while people took turns stirring the slurry with a big wooden stick. it was strangely ritualistic, like presenting an offering to some kind of temple elder for inspection before placing it in a watery shrine to be devoured and reformed. pulp for the pulp god.
