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@hermionecantdraw
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Absolutely dying over this photo, fucking terrifying
if you’re a starkid fan and you haven’t seen anything except hatchetfield you are missing OUT
Daily Lauren Lopez 26
I keep thinking about how funny it is that Lauren Lopez is literally making her west end debut but she doesn’t get to bow. Like she has to stay in character and yell and scream and be carried off stage. She literally directed the show and she can’t bow

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should we kill him
the fans voted for jeff to fuck that up
thinking about the audience capacity of the theater TGWDLM was originally preformed at compared to how massive the apollo theater in london is is so crazy. some clips i see of the curtain call you can barely hear emma screaming because of how LOUD that audience is. but dude i am thinking. the bigger the audience is at a show of TGWDLM the more terrifying its ending really gets.
of course you as the audience can't help emma even as she begs for you to, it's just a show, and it was fucking phenomenal so you are cheering. BUT so are the actors, who in the context of the story are the infected. and in the context of the story YOU are there too, cheering along with them. YOU are infected.
i think this is why inevitable and the ending as a whole make me sick to my stomach in a way my words will never adequately describe. we watch as the apotheosis strips paul and the others of their individuality, turning the world into one big musical number, and we are comfortable viewing it all from an audience perspective. but when emma cries to YOU, something shifts. the wall is broken. everything about the show is perfectly set up so that by the end you will be whooping and applauding at a character that so desperately needs your help.
it's set up so that you can initially feel you are in line with the heroes of the story, only for it to put you in the same position as the villain. because maybe in reality that isn't as uncommon of a circumstance as you might think. how often do we dismiss ourselves all the while viewing tragedy from a comfortable audience seat, treating it as a spectacle? i believe this is the question the show wants you to walk away with.
from emma's perspective in the original TGWDLM production its a moderately sized crowd of us against her (still terrifying), but in the west end theater it's this gigantic surging ocean of people all laughing at her desperation.
anyway all this to say what an insane way to incorporate the audience into the message of your story. riveting shit. live theater is so beautiful
hey everyone "I" have something to show "you"
Board af Legacy Family Lines as Bracelets.

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It just hit me that Katniss haunted Haymitch’s and Snow’s narratives in the exact opposite ways…
Where Snow sees the girl who tormented him, Haymitch sees the girl he’s still tormented over.
Where Snow sees the friend who didn’t think of him, Haymitch sees the friend he forgot.
Where Snow hears her song as a haunting tune, Haymitch hears it as literal music to his ears.
Where Snow sees her as a symbol to fear, Haymitch sees her as a symbol of hope.
Where Snow sees her as a past he can never forget, Haymitch sees her as the past he needs to remember.
It’s truly truly endless and I didn’t think of it till this very moment…
fun fact: if you watch We Fixed Twilight before reading the original book, when you finally start reading it you will read everything Edward says in Patrick Mcdonald’s voice
75th Hunger Games | 50th Hunger Games
Part 1
I love that most Paul and Ted interactions are Ted being like "haha yeah my best friend Paul he's gonna love this" while Paul is trying to psychic blast Ted with a million lasers until he explodes

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"orpheus looked back out of love," "to love someone is to turn around" ...yes yes i hear you! all of that! HOWEVER...
i'm on the train that says, in hadestown's iteration, orpheus does not turn around because he loves eurydice, but because he has been corrupted by the hegemonic capitalist system.
consider the parallels between "wait for me" and "doubt comes in." in the latter, orpheus' melody fails to bring in a chorus or move stones or grow flowers like it did before. he repeats the. same. words. that the fates tried to break him with in the earlier song (who am i? where do i think i'm going? who am i? why am i all alone?), but back then the melody worked against them bc he still had innocence and hope. THEN he takes it a step further in the next verse and really internalizes his new experiences (who am i against him?...why would he let me win?) — & yeah he's really truly cooked atp :'(
(i read that the fates can represent the mass media and i'm so with that. they both praise and criticize the rulers, but always manipulate/bring down the poor. we know orpheus has lost when he listens to them.)
eurydice and orpheus switch places from beginning to finale with their arcs. she starts out cynical and then is the hopeful one, SHE raises up the backing vocals in "doubt comes in." he starts out optimistic, ends up cynical (last words before he turns: "i used to see the way the world could be, but now the way it is is all i see"). bc we need both optimism & a sense of reality to change the world.
hades knows he would turn around, but due to his doubt rather than his love. inside, he is sure that can not overcome his doubt for his love, and he sees this supposed inevitability take root in orpheus, too. but when the young couple full of promise dooms themselves, the older, jaded couple, seemingly hopeless, agrees to try again (they switch!).
"CAUSE HERE'S THE THING: to know how it ends, and still begin to sing it again, as if it might turn out this time...i learned that from a friend of mine." :'))
obsessed with when aoaoaoa clips reach audiences that have no idea what the podcast is
this feels relevant to bring back