Shrimp

taller, shorter, slimmer, more muscular, purple hair, tattoos everywhere, tattoos nowhere, 

every single shoe would fit you every single time you tried it on, every single article of clothing would fit your perfectly, all you have to do is transform slightly, you’d never run out of ‘your size’ again

~cosplay

~Halloween costumes

~acting

~cosplay

~stretching to reach stuff and shrinking to fit through spaces

~cosplay

~cosplay

“Don’t antagonize the fae.”

Drained water from places suffering from drought for absolute pennies.

Made African mothers dependent on their milk formula, which they gave for free, until their milk dried up. Then they required them to purchase it, mothers could not afford it, mixed in too little to fulfill nutrient needs, and mixed it with polluted water. Children died.

Used slavery to produce their cocoa.

Pushed for water to be considered a “want” not a “need” and is at the forefront of arguments that water is not a human right.

Poisoned Chinese infants with melamine in their milk formula.

Demanded Ethiopia pay a debt owed to Nestle, during a FAMINE.

Price-fixed food items.

Contributed to deforestation for their cocoa farming.

The worst thing is, Nestle owns TONS of other brands, making it difficult to avoid for certain products.

Romeo, who breezes through the house like a ghost, never leaving a trail of footprints in his wake, who appears to his parents with pale skin and hollow eyes and blood dripping from the corner of his mouth, begging for them to acknowledge his pain, to see what his fate was, who knocks things over and slams doors as a last resort to get the attention of someone, anyone, who sits on Benvolio’s bed with him and confesses all his secrets, but all his parents can see is Benvolio talking to himself.

Juliet, who hides on high surfaces, out of reach of her father as he coaxes her to come down so he can clip her wings, who only sings when she’s with Romeo, who, if she stands on her balcony long enough, letting the wind rustle her feathers, can almost imagine what flying feels like, who lies awake for hours and pulls the covers up over her head to convince her parents she’s asleep, who wakes with the sun before the rest of the house.

Benvolio, who sits and stays when he is told, not daring to move a muscle with his eyes on the treat in his uncle’s closed hand, who learns to shake his paw and gets scolded when he shakes the rainwater from his fur, who stands guard in Romeo’s bedchambers despite how the thunder makes him tremble, whose confused head tilts are not met with explanation, but with coos and baby talk, who learned not to play-fight in the house, whose jaw clenches against the urge to bite.

Mercutio, who bares his teeth like a maenad when he laughs, whose lips are permanently curled into a slight smile, who always smells faintly of wine, who has tasted blood, who walks with a confident sway and talks too loudly and laughs too much, who could rip a man’s head from his shoulders with his claws, who would sooner spend all night out with a bottle in hand, watching the stars blur overhead, before he slept in his house.

Tybalt, who prowls on noiseless paws, who crouches completely still, tail twitching and ears perked, waiting to pounce, whose eyes glow in the dark, who naps in the sun and purrs in his sleep, who begs for affection and hisses at an outstretched hand, but rubs against Juliet’s legs and mimics her chirps, who slips out the back door and slinks around the city just out of sight, who raises his hackles to make himself bigger.

There is a lot of hamilton cut songs (more than people realize!!!) scattered everywhere so i thought id gather them all here. Im counting cut songs and also versions of songs that i think are different enough from the broadway version to make the list. 

THE ADAMS ADMINISTRATION (CUT RAP)

BEN FRANKLIN’S SONG

CABINET BATTLE 3

CHEERING FOR ME NOW

CONGRATULATIONS 

DEAR THEODOSIA REPRISE

DISCARDED JEFFERSON BATTLE #3

FIRST BURN

IN THE NEXT LIFE (it counts to me)

IN THE TIME IT TAKES THE BULLET TO LEAVE THE GUN

LET IT GO

MULLIGAN’S GOODBYE 

NO JOHN TRUMBULL

NONSTOP (DEMO)

ONE LAST RIDE

ONE LAST RIDE REPRISE

SCHUYLER DEFEATED EXTENDED

THIS ONE’S MINE

UNTO REVOLUTION / RIGHT HAND MAN OPENING

VALLEY FORGE

YOUR OBEDIENT SERVANT OFFBROADWAY

Its like. Reveal scene. With wilbur finding techno in the middle of getting rid of a body, and techno is like “ohhhhhh no” because he likes wilbur, man, he doesn’t wanna kill this guy— but also he’d rather not get his cover blown, and the second he takes a step towards wilbur, wil just goes “if i disappear my dad will find you and scatter your fucking bones into his garden”

Wilbur grows up with whispers and hints of death always at his doorstep, with the hands of a killer always gently tucking him into bed. Phil makes no effort to truly hide his habits from wilbur but he does shield him from the more gory bits until he’s a bit older. Wilbur doesnt care for the killing, but he doesn’t care for it in the same manner that he doesn’t care for spicy stuff on his food. He’s indifferent to it, in a way? A part of him wants for Phil to stop but he’ll never muster the courage to actually request such a thing. He just makes distance when he’s older, moves away to the big city in hopes of leaving it behind. (And then he meets techno and turns out thats not gonna happen)

Tommy mirrors him with his relationship with Techno— Techno being Tommy’s older brother and Tommy knowing full well of the bodies Techno drags home at night, but saying nothing of it. He wants no part in it, but won’t snitch anything of it, and finds a sort of companionship with Wilbur in the way they’re similar in that regard. Not murderers in action, but perhaps in their inaction. Their silence kept, for the sake of the bloody hands that raised them.

if you are in a country like the UK or australia with recent age verification laws, this changes nothing. if you are NOT in any of those countries, this will work the same way their age verification does.

on discord, this DOES NOT outright block access to the app. it will prevent you from accessing channels marked as age-restricted, and it will prevent you from viewing images that the automatic image detection software deems as "adult content". which is annoying, but that software doesn't pick up on too much. also, it doesn't stop you from sharing images with third party hosting services lol

again, you DO NOT NEED TO VERIFY TO CONTINUE USING DISCORD. DMs will work fine. most servers will work fine.

People always interpret Burr’s whole “talk less, smile more” philosophy as some kind of moral restraint, like he’s being careful not to do harm. But the musical itself doesn’t reward that reading. No one else treats waiting as a virtue—certainly not Washington, and definitely not Jefferson or Madison.

Although people frame this song as three evil besties joining an Anti-Hamilton club, when Burr enters this song, he’s not joining a righteous rebellion. He’s joining a complaint session about Hamilton’s power, but Jefferson and Madison don’t even really include him. Because he’s not a Democratic-Republican; he’s a man looking for a team that will let him hate in peace.

Burr’s grievances are personal, not political. Listen to how he talks in that song (“look in his eyes!”, “somebody has to stand up to his mouth!”). These aren’t policy critiques. They’re insults. They’re the kind of petty interpersonal slights that matter to Burr, because Hamilton’s existence is a mirror to everything Burr refuses to be. And then, linguistically (!!!), Jefferson and Madison go “Southern motherf***in’ Democratic-Republicans!” while Burr just goes “—Democratic-Republicans!” He literally doesn’t say Southern, because that’s not his identity. He’s tagging along. He’s not fighting for the South or for states’ rights; he’s fighting against Hamilton because he’s jealous.

Jefferson and Madison are talking about national credit, federal overreach, the South’s economy—and Burr’s just like, “well he’s smug and I hate him.”

Burr’s tragedy is that he doesn’t belong anywhere. The song starts with:

“It must be nice, it must be nice to have Washington on your side...”

and it ends with:

“we won’t be invisible, we won’t be denied.”

But Burr is invisible. He’s denied everywhere. Jefferson and Madison have a shared cause. Hamilton has Washington. Burr? He’s got...nothing. And that’s what drives him to latch onto other people’s causes. He doesn’t actually believe in their politics—he believes in not being left out. So when he sings along with them, it’s hollow. He doesn’t mean “we won’t be denied” politically; he means he won’t be denied recognition anymore.

Nobody sides with Burr because Burr never really picks a side.

The genius of Hamilton’s writing is that even in this scene—where Burr, Jefferson, and Madison are technically united—they’re not on the same page. Burr is motivated by envy, the others by ideology. Jefferson and Madison are fighting a system, Burr’s fighting a person. And when you fight a person instead of an idea, you’re already losing.

What’s even funnier (tragically funny, you know) is how the song pretends to unite them by the repeated line of:

“It must be nice, it must be nice To have Washington on your side.”

They’re all chanting the same refrain but meaning totally different things. Madison means: “he’s got too much influence.” Jefferson means: “our system is unbalanced.” Burr means: “I wish someone powerful liked me.” They’re singing in unison but completely out of harmony.

“If there’s a fire you’re trying to douse / you can’t put it out from inside the house.”

That’s such a subtle condemnation of Burr’s entire philosophy. Jefferson basically says: you can’t fix corruption by playing it safe from within the system. You have to act. You have to risk. And Burr—who’s been “talking less” and “smiling more” and waiting for his chance—can’t do that.

Jefferson even calls himself complicit for staying in the cabinet too long. Like he recognizes the Burr-esque impulse in himself—the temptation to wait, to play along—and rejects it. So what does he do? He takes an extreme, does not throw away his shot, and he resigns. He leaves Washington’s cabinet (Hamilton’s world, basically) and runs for president. Which, hilariously, is actually a Hamiltonian move in how extreme it is. Jefferson resigns to pursue power directly, not by scheming quietly in the background. He throws himself into the political spotlight, exactly like Hamilton always does. He doesn’t wait for it; he moves. Burr could never.

In fact, Jefferson takes the Hamiltonian extremes all the time, such as...well, siding with your enemies, as proven with The Room Where It Happens and The Election Of 1800s. He needs endorsement from Hamilton. The same man he spent a whole act trying to dismantle. The same man he resigned over. In Who Lives, Who Dies, Who Tells Your Story, that ideology he either adopted from Hamilton or always shared with him, will make him Hamilton’s successor. He says:

“I’ll give him this: his financial system is a work of genius. I couldn’t undo it if i tried...and, I tried.”

That’s not just political acknowledgment, that’s narrative surrender. Jefferson becomes the man who carries Hamilton’s ideology forward because he failed to destroy it. He inherits it. He becomes the reluctant guardian of Hamilton’s creation.

And then there’s Burr. President Jefferson: ... President Madison: ... —Burr’s the one introducing them. Burr’s the narrator of the narration.

The man who killed Hamilton is reduced to setting up the men who carry Hamilton’s story. Burr never got to “live” in the story; he only ever “tells” it. And even then, it’s not his story anymore. He’s narrating his own erasure, because he gets his last real words in The World Was Wide Enough, and those words are him admitting he was wrong.

And that’s what makes Washington On Your Side song so interesting!! Jefferson and Madison are supposed to be Burr’s allies here, but even they operate on an axis of action and conviction that Burr doesn’t share. He’s standing there throwing in little snide comments about Hamilton while Jefferson is literally narratively outgrowing him in real time.

Meanwhile, Burr spends the whole show pretending he’s the “reasonable” one, but his neutrality is actually cowardice. By the time he acts, he’s too late, and the action he does take (the duel) is the one that finally destroys him. He never learns how to take action with conviction—only in retaliation.