☆ eyes on the stars and feet on the ground ☆

a lot of rpf can be explained by the fact that actors are all like that with each other constantly but i never want to say that on here because it feels like telling a 7-year-old santa isn’t real

actors hanging off of each other constantly isn’t a sign that they’re fucking it’s a sign that they were once in a BFA program and never relearned normal boundaries. when actors are fucking and it’s complicated they won’t even stand in the same room with each other.

jack icked kath out in tomodachi life and she no longer has a crush on him fuckkk girl ur stronger than ur on stage counterpart 🥀🥀🥀

HER CRUSH IS BACK JATHERINE BACK ON

okay my whole thing with the “will byers wouldn’t drink” discourse is that i think a part of it stems from how overwhelmingly young the ST fandom is, and when many of them analyze trauma, they don’t see as much nuance (this isn’t a generalization, many exceptions) as someone who has, for example, used substances themselves. that’s when it becomes a black and white issue and that’s a problem. additionally, i think society has always viewed use of substances as an inherently adult thing which just isn’t realistic or true but many people aren’t aware of that. and to top it all off, i’d say an overwhelming majority of us weren’t actually alive in the 80s and if we know anything about it, it’s usually through this colorful, rose-tinted lens which warps these kinds of things. people drank, people smoked—including children! anyway, this is just my two cents. believe whatever you want to believe, just don’t harass people about it.

My memory of The Birdcage (1996) is always that it's more dated and more difficult to watch than it actually is. You hear "drag-themed comedy from the 90s based on a musical from the 80s based on a play from the 70s" and you brace yourself just a little, right? But the film has a strong gay perspective, so the fruity fag jokes mostly come off as warmly affectionate. There is a surprising amount of poignancy in Robin Williams' portrayal of Armand, grudgingly agreeing to his beloved son's request that he go back into the closet for an evening ("do me a favor and don't talk to me for a while"). The drag club's staff attempting to redecorate the apartment with stuff straight people might like (a taxidermy moose head, an enormous crucifix, and Playboy magazine) is extremely funny. Albert's histrionics are a point of tension because he does often come off as a stereotypically pathetic/comic figure, but towards the end of the movie he makes it very clear that he's aware of how people see him, and asserts that trying to copy a stoic masculinity he doesn't possess for the sake of social approval would be more pathetic. In the 1983 musical adaptation, they give "Albert" (Albin) the only good song in the whole show, "I Am What I Am", which Gloria Gaynor covered to the delight of gays everywhere. Apparently Nathan Lane wasn't (publicly) out yet in 1996, which is amazing because it means that at one point in this movie you're watching a gay man playing a straight man playing a gay man playing a straight man, in a movie about how it's important to be yourself, an absurdity that does seem to encapsulate the state of gay America in the 90s.