Storm Wolf

“My name is Jin Takaar Kaziroth. I am the last son of a forgotten family, last blood of a fallen nation. I stand for the Protectorate, and my boon, Your Grace, is the trial and execution of those who caused my nation's destruction.”

Cosplayed Jin finally!! (Character is from Gilded Thrones, played by Jon Champion)

End of August by Noah Kahan but make it Regolus: Dark Age!

Time for all the words!!!!

Reminder of the Rules: Send me an emoji in an ask, and I’ll write 3-5 sentences and/or paragraphs from that WIP! No limits to the amount of emojis you can request. I will, however, limit to a max of nine (9) sentences total per ask - You will get somewhere between 3 to 9 sentences, depending lol

[they’re all Steddie fics lol]

🪞 - Modern AU where Eddie’s record label wants him to ‘clean up’ his image a bit and brings in one Steve Harrington do perform said ‘makeover’ LOL

🪈 - I’ve been poking at a little thing expanding on these two mini-fics featuring Steve in a boyband and CC!Eddie

🦊 - silverfox!Steve x younger!Eddie (shy, homebody Steve with a more confident Eddie)

🧁 - Modern #steddie AU where Steve is a YT-er who does baking tutorials, but with a GoPro strapped to his chest so all the viewer hears is Steve’s voice and all they see is Steve’s hands as he works. He’s got MILLIONS of followers. Eddie Munson, lead singer of Corroded Coffin is one of them. Eddie creates an anonymous account to follow/subscribe.

🔐 - Methods of Keeping You Clean (Steddie Big Bang 2026 ) [I can finally share snippets for this!!!!]

Also gonna no pressure tag:  @shelleyminx  @battythejester,  @vthx,  @yesdangerpls,  @belladora,  @withacapitalp, @shares-a-vest,  @stevesjockstrap,  @turinspeachjam , @augustjustice and @onirislanding

cc: @strangerthingswritersguild

Have a snippet of 🔐 under the cut

In honor of Barricade Day, I'm drawing inspiration from @theseerasures' posts about "The Periodization of Wicked."

By now, I think I've watched and listened to enough bootlegs and cast recordings of Les Mis that I can start to identify the different "eras" of the musical's history, and how they've differed from each other in both content and tone. So I've decided to trace those eras from 1985 to the present day, a little at a time

Of course the real first era of the musical – the real Les Mis 1.0 – was the original 1980 French version of the show, as first heard on the Original French Concept Album, then staged at the Palais de Sports arena in Paris the same year. But since that version of the musical was so very different from its later form, and since five years passed between that production and the premiere of the English version, my focus will just be on the familiar version of the show that premiered in London in 1985.

Les Mis 1.0: 1985-86.

The first year and a half of the original London production, featuring the original London cast and their first few replacements. This was definitely a "work in progress" phase, with many different lyrics and some significant musical differences from the show as we know it today. The notable differences include Cosette's brief solo "I Saw Him Once" (later replaced by her solo verse in "In My Life"), Gavroche's full-length version of "Little People," a completely different version of "Valjean's Confession," and a different ending and different orchestration for "Stars," which was also placed before the nine-year time skip rather than after. Much material was either deleted or rewritten in the early months, until the opening of the Broadway production in 1987 finally settled the show into its "definitive" form. Yet this initial phase didn't fully end in 1987: some of the smaller music and lyric differences remained in the London production through the early '90s, even when no other productions used them. Some were also carried into foreign languages (e.g. the German, Hungarian, and Israeli productions), where translations of the 1985 lyrics are still heard when the show is performed in those countries to this day.

Les Mis 2.0: 1987-1996.

This was the version of the musical that premiered on Broadway and which went on to "sweep the world" in new productions throughout the late '80s and '90s. It was solidified by being preserved in full on the Complete Symphonic Recording in 1988. Its new features included (but weren't limited to) faster and more energetic orchestrations, the show's orchestral opening now consisting of the "Look Down" motif, the omission of "I Saw Him Once," the reduction of "Little People," revised versions of "Stars," "In My Life," "Drink with Me," "The Final Battle," and "Valjean's Confession," and assorted lyric changes. It wasn't an entirely uniform or stagnant phase, however. Small differences in the lyrics effectively became "regional differences" between British and Australian productions vs. American and Canadian productions. (For example, "And so it must be" vs. "And so it has been" in "Stars.") And as time went on, small yet significant new lyrics and staging details were introduced in certain productions. The first UK tour in the early '90s was an especially innovative production, and some of its changes were carried over to the last new production of this era, the 1996 German production in Duisburg.

Les Mis 4.0: 1997-2000.

In honor of the show's 10th anniversary on Broadway, and to breathe new life into the show, the NY production received an overhaul, with many small but significant changes in staging, costumes, lighting, and lyrics, and with the addition of the Well Scene between Valjean and Young Cosette. Soon afterward, these changes were implemented in productions everywhere: London, the US 3rd National Tour (the last of the original three US tours from the '80s still running), and new tours in the UK and Australia. Though, again, this new phase wasn't born suddenly: many of the changes had first been introduced in the early '90s UK Tour or in Duisburg in 1996. Nor was every aspect of it implemented everywhere: or example, the Duisburg production never added the Well Scene. At this point, IMHO, the show also became slightly more melodramatic in tone. In the name of adding more energy, the revised staging featured more wild running around, more violence, and more chaos among the ensemble than before.