joe and louis were my heartstopper
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@louisironson
joe and louis were my heartstopper

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possibly fun ask game: make assumptions about me based solely on my tumblr and Iāll tell you how accurate they are
GLENN HOWERTON attends the FX Ad Sales Upfront in New York City on March 29, 2012.
It's gotten to the point where someone describing media as a "turn your brain off and have fun!" thing just pisses me off. I don't want to turn my brain off. I would like to keep it on to have fun.
i agree with your take on the og producers film, i just dont understand what the joke with ulla was supposed to be (is it the language barrier?). definetly the most dated aspect of the entire script.
i would say the joke is that sheās a sex object, and that the joke with the language barrier is that they donāt need her to speak the language as long as she can be fuckable

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Richie jumped to his feet a second time and pinched Eddie's cheek. 'Cute, cute, cute!' Richie exclaimed.
You guys remember the Rankin Bass Monkees Christmas special? Me neither.
it is impossible to watch a movie. every night i think i want to watch a movie. no movie gets watched. because it's not possible
please share more of your thoughts on the producers
so all in all i do enjoy it BUT it has a serious misogyny problem that is pretty glaringly obvious. i could elaborate on this (and in fact had typed it out) but as i said itās pretty clear and surface-level. the musical does its best to improve on this by making ulla an actual character but because itās also trying to be a faithful adaptation of what people like about the original, it preserves the actual plot of the movie and thus ulla canāt really drive much of it (outside of convincing leo to run off to rio with her). again, i like that the musical preserves the plot because i like the movie, and i do think this was the best point to give ulla agency in the added love story. however, in order to keep the plot moving, it has to be undone, and this is leoās idea that ulla just goes along with?
as far as other main adaptational differences go, gay hitler definitely has more staying power than hippie hitler, just because the hippie stereotypes havenāt persisted as much as the gay ones (although one could argue that some of the stereotypes are the same). i found myself thinking of the unfunny (and coincidentally also jewish) movie I Love You, Alice B. Toklas!, which also relies heavily on hippie stereotypes and jokes that donāt age well simply because theyāre no longer relevant. (also: eagle-eyed mash viewers will recognize the director of the movie, hy averback, as a frequent mash director!)
i really love leo as a character because his various neuroses are both entertaining and relatable to me personally (iāve attached my autism and ocd to him for reasons that, again, should be obvious, and naturally the judaism factors in as well). i really love gene wilderās performance (he is after all the blueprint), and i felt that matthew broderick was just kind of copying what made gene wilderās portrayal so great. as i put it in my letterboxd review of the 2005 movie, āMatthew Broderick you will never be Gene Wilder. Nathan Lane you can do whatever you want forever.ā boy do i love nathan lane. i wish billy and julie from difficult people hadnāt killed him
anyway i enjoy the comparative understatement (which is wild to say) and the timeliness of the original film as much as i enjoy the bombastic theatricality of the musical, which is why they both generally work so well for me, thus i consider them separately

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watched the producers (1967) last night but i tried to do it through @godlessondheimiteās eyes and i CAN see how the movie would be disappointing if the musical was formative for you (the producers musical benefits greatly from its added theatricality), but i think even though the musical takes so much directly from the movie, i view them as separate beasts in huge part due to ulla being fleshed out to be an actual character
this may just be me going into overanalysis mode but i feel like the choreography of spellcasting can tell you so much about a magic user. a snap of the fingers, for example, implies confidence, even arrogance, while hands thrust out and straining to the fingertips suggests desperation, throwing one's whole body into the spell as though hoping the physical effort will make a difference. rapid, jerky body language tells you that a spellcaster is passionate and reckless, while graceful, fluid movements demonstrate calm and concentration. some magic users may choose to stomp their feet or clap their hands when casting, channeling power through percussive motion, whilst others may see magic as a tool separate from the self, and focus it through objects like a wand or staff. a new spellcaster just coming into their power may be tentative and slow, but a practiced study of magic will be able to rely on muscle memory to guide them.
I love all the possibilities. There can be tiny differences like the way two spellcasters will make the same motion with a wand, but the one with all the schooling will have it pointed with perfect form, while the one who learned on the fly is yelling incantations from the moment their arm started to move.
There can be cultural differences, like the social importance given to which focusing crystal someone chooses -- a type of gemstone that's rare and valuable in one land, but commonplace in another; a specific faceted shape that matches the architecture back home, versus something unaltered straight from the ground because it would insult the gods to change it.
Personal flair, like the choice between a broomstick or a flying carpet or a vacuum cleaner or a Roomba.
And the motions that these spellcasters use when operating all of this can tell us volumes.
what if we āreimaginedā [redacted play] in a way that completely ignores the themes and thus nullifies its impact and meaning
fuckkkk my sacrificial lamb has started hanging out with the scapegoat

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blond people are either laura palmer or jake paul
lestat is jake paul. stop your madness
This remains one of the funniest pictures of Alan Alda