#but recent things have me yearning to interact with theatre

[writeouswriter]

I should write a stage play

#i've read only one play in the last several years and it's one that considerably goes against common play structure 😭 #and i am a little obsessed with it but like that's one play abd i didn't even watch it but ough #i just had an idea that i think would ONLY work as live theatre and it's kinda cookin #like i've read other plays but it's been a long time 😭 #my fav was the cr*cible but we also read juli*s caesar rom*o and j*liet+m*cbeth back when in school so didn't get the full appreciation #but recent things have me yearning to interact with theatre #i think i might actually be better in that medium than a novel

[dreaminginsteadofsleeping42]

I was tagged by @girlbosscrawley (hi, liz!) to share 10 movies that I love. I can rant a bit, so I will challenge myself to sum up why I chose these movies in one (1) sentence. We’ll see how it goes.

Pride and Prejudice (2005): perfect comfort film because it takes an indisputable fact - men are morons - BUT mixes it with the ultimate fantasy of said men not only realizing their moronic status, but taking active steps to acknowledge and remedy their ills.

Little Women (2019): I left the theatre almost in tears after seeing this  because it was the first time I felt like I had seen myself - the entirety of myself - onscreen.

Beauty and the Beast (2017): I went to see this in theatres five times so I could get high on popcorn and the cathartic release of watching all the servants die miserable deaths, then - poof! they’re alive again and everyone lives happily ever after SO you get to cry like a baby with no consequences.

Four Weddings and a Funeral (1994): I watched this one recently - just over Christmas vacation - and my sister and I were just dying laughing the whole time at the sheer delight of 90s era Hugh Grant running around London in a state of unorganized adorable panic.

Star Wars Episode II: Attack of the Clones (2002): Listen: I have a stormy, storied relationship with the star war, but nothing will ever match the impact the alleged “cringe” romance of Anakin Skywalker and Padme Amidala had on my pre-teen self and it still SLAPS.

Sleepless in Seattle (1993): My aunt introduced me to this one while I was staying with her last year, and I was absolutely fascinated, not only by the fact that Tom Hanks was not always an old man, and in fact, once considered Hot, but how despite the leads barely interacting throughout the film, when they meet at the end, the magic and romance and the sense of a happy ending is undeniable and just pooling off the screen and making you, the viewer, feel all fuzzy inside. This is no longer just one sentence, but I have to say, it made no damn sense, but it was magical.

Frozen (2013): It was a game-changer for a reason, I do not care if this is cringe, Frozen (2013) slaps and I was obsessed with it for most of my teenage years and I proudly walked into Theatre Royal Drurry Lane and took my seat surrounded by five-year-olds to watch the musical version in London last November.

The Twilight Saga: New Moon (2009): The slapping soundtrack, the warm brown autumnal colour palate, the Pacific Northwest setting, the depression, the slow-burn, the yearning, the conflict, the angst, the love triangle, the offensively topless Robert Pattinson: this movie has it all: argue with the wall.

My Policeman (2022): I watched this instead of going out for fireworks on Guy Fawkes Day for I was sick (probably with covid, but I digress) and I felt that it was true, intelligent cinema that tricked my emotions and made me completely rethink everything after a Twist Was Revealed, which is what Art should do, methinks.

Sleeping Beauty (1959): The animation style, the score...I would watch this every day when I was four years old and I still maintain that I had taste.

Edit: I was so proud of myself for remembering not only ten movies, but ten movies I enjoyed, I forgot to tag anyone so 1) oops and 2) @sophisticatedswifts @thievesandtraitors @flixls @taylaswift @chiara-swiftiedreamer13 @cmc-things

[blondrichclosetwitch]

So, there are these tapes. probably about 200 of them. Alot of it was recordings from sessions with my astrologer, steel, or the tarot reader. But it goes back farther than that.

Because of being hit by a car, i had brain damage. the frontal lobes were most affected, but my memory went through different phases, so i started taping things, so i could remember them. From what i understand, I dissociated from a young age, and the accident made me more fragmented. I started to lose my ability to remember when my play went up. . It was as if i lacked the ability to remember the before and after of things, and i stopped being able to even have conversations with people in the flesh.

So i started recording voice memos. Also known as The Tapes.

First they were stoned ramblings to jakk. Then I’d record voicemails that I left for my inner circle so I could remember what I said. Then popcorn sessions for my theatre stuff, & phone calls with my former neighbor/astrologer/psychic medium big brother, Steel.

Glad I did that, because he’s dead now.

The first time i taped jakk was a few weeks after i was raped.

We’ll get into that later.

He called me to talk about what had happened; i think i hadn’t seen him since he came to my play. Five months. All i know is i picked up my other phone, and taped us. Probably out of a fear that i’d forget that we ever interacted as my memory dissipated.

Sorry jakk. Totally nonconsensual. What can i say. Ptsd makes people do funny things. That said, our conversations are made for the stage with no need to edit.

Btw, spirit is helping me edit this, since i have a tendency to ramble.

But all these details are important.

***

I’ve been hearing really strongly that I needed to transcribe the tapes starting at the beginning, but then there i was yesterday.

and some spirit is saying “the tapes, the tapes, the tapes”

And so I scroll scroll scroll, stop.

***

On Feb 26 at 3:33, the live version of ted, just admit it by jane’s addiction played.

I saw Jane’s addiction. It was at the first lollapalooza.

There was something about the album ritual de lo habitual that cracked me open. I was a totally sober virgin who looked 12 instead of 22, but somehow I totally related to this album about sex, drugs, and suicide. I was so into it that I memorized the liner notes, and performed it as my fall thesis.

No one got it.

That said, hearing Ted twenty years after seeing it performed hit home in a different way. This is a song that is famously about Ted bundy, the most famous serial killer of all time. I grew up hearing about him & john gacy. I don’t remember who was the one who put victims in walls, but I grew up with those images in my mind. I remember watching miami vice and them using that image in an episode where foreigner’s “I want to know what love is” played.

That is one of the defining moments of my childhood in that it is symbolic how deeply things would hit me. They hit me like a ton of bricks, and then it was with me for the rest of my life.

Hearing it this time opened up a different memory bank. Something much more recent.

The first few months after my niece died, I believed that Jakk could hear me. I would email him things, and he, or someone pretending to be him would answer through the pendulum. The emails were fast, like texting. I would fervently type my incessant thoughts, press send, and the pendulum would show a reaction, usually insinuating the same yearning for connection. It was thrilling.I thought it was so amazing that he could do the same

Thing my niece could. I was totally into my new world; I didn’t understand why it was happening but I didn’t question it.

And of course, there was my “niece” insisting it was really him.

Within a few weeks, psychic Jakk told me blond was being violent with him. That she was wearing a brunette wig when they had sex and making him call her tinka. That she was beating him with a strap, and that he was staying out til all hours drinking and taking drugs, because he was terrified of her. Often he would say he was sleeping on the couch, and that he would wake up with her riding him. All the while, he said he was trying to get a divorce.

And then the same day that I was told about her wearing the wig, I flipped out and messaged Jakk at 7 am. I told him he had to keep me out of their sex.

And then I messaged blond’s mother that I needed to talk to her.

Because my niece said that she was a taurus or

Virgo (all I remember was being told she was an earth sign like us), and that she would help us.

Well after that, psychic Jakk “came to me” hysterical, and said blond was now pregnant. This was early january.

Sometime around here, I was informed that Jakk was very sick from what was being done to him (this was the first time I was told he had schizophrenia) and that if I wanted to help him, I needed to have psychic sex with him once a day. At this point I was instructed to put the pendulum on a diaper pin, and hold it in my mouth, while Having a stick under

My feet, and absolutely every time I was to wear a strap-on.

Because Jakk loved strap-on sex.

Sorry, Jakk. Necessary part of the story.

This went on for four months. Very often, my head saw violence. Sometimes Jakk, sometimes violence like the shooting of MLK, often I’d see blond, sometimes the tarot reader. Sometimes something so fucked up that I would be sobbing. Shortly thereafter the devil appeared in

My sleep, squeezing me by the throat and my pussy, dragging me through air, water & land.

“Are you clear that I have you?”

It was the night that psychic Jakk led me to read to him from the internet, and I listed off everything it said on this one page, and he said “ all those things happened to me”. It was a site about satanic ritual.

And that’s when I understood I was in trouble. Also, I was starting to sound like I was metamorphosing into something indescribable when I came.

That worried me.

When they played “Ted” again yesterday, I knew the spirits were telling me it was time to share the tape.

“NOTHING’S SHOCKING”

“HER SEX IS VIOLENT”

“CAMERA’S GOT THOSE IMAGES”

The painting that the tarot reader made & sold me had a nanny cam in the back of it, and I was told to always have it in the room when I did this sex act. Soon I was told to bring it to hotels with me, and do the same. I saw the tape on the back of it, where the sun was, but I didn’t think twice. I just did what they told me, just like I did when I was told to put the painting in front of the church in May. Months later when I met a channel that all the women at Flower Power trusted, he explained that there was a camera in the painting, and that there was a massive hex in the southwest corner of my apartment...which was where the painting hung. (That man was my channel til I got myself free, and to this day, I probably owe my life.)

For those of you who don’t know much about satanic ritual, let me explain what I learned. It’s not like just because you stop the ritals, it doesn’t mean the influence is gone. Anytime I tried to self-pleasure after, it was still there. If I tried to think about jakk, I would end up seeing Blond, and hear her telling me she was going to marry me because Jakk was dead. Other times lower realm entities surrounded me; invisible to the eye, but sexually hungry & ready to invade. And more often than not, a song would play: the Asphalt World.

I took a 3 month break from anything sexual in 2020 (some of you started reading around then & know how bad it was) , and since then I engage..rarely. Very rarely.

...but let’s go to this tape.

April 2017. This is a conversation with Random, my master teacher (who died in 2012). “He” had just taken me to the trees where I was hit, and had informed me that Blond had done a sex magic ritual in her car in front of my apartment building with my exboyfriend, Soski, who hates my guts. Random was always telling me stuff, like how he told me Blond & the Tarot Reader sold him to the darkside. I mention that in the end of the recording.

Except I just asked Random, and he said…. he didn’t talk to me until 2020. He said I had a psychic binding on me that kept me from being able to hear my spirits. He said I could only hear those in control.

Oh, also they called me the Queen of the Light for some reason.

“Random/PJ mind sex spell 4/24”

That day...that you took me to where the accident happened...was that pure you, or was that...you had told everyone that no one was allowed to take me to those trees.

…

You brought me there yesterday. Are those trees..are those extra powerful for me?

…

K.

Um, everything that he’s told me about blond and soski is true?

And it’s...real time, right. Okay.

I’m trying to get him to understand that he needs to get to me.

Yesterday was the sun. (she counts)

(sighs)

I ...i really can’t take this last part.

I thought that ..finding out about you was enough. But...no.

I...i don’t know what to say or what to do.

I don’t know what to say or what to do.

What is the date that he is supposed to lose his..if they did it on the 11th….12, 13, 14, 15, 16, 17, 18, 19, 20, 21,22, 23,24, 25, 26, 27, 27, 29, 30, 31st.

(sighs.)

So what can i do to stop it?

Surely if i’m...as...if i am the queen of the underworld...along with the queen of the light..i have the ability ...to stop it.

………………….

My heart..my heart..my heart. It has to do with my heart? Instead of my head. Instead of leading..trying to figure it out.

My heart..

Let them both live in my heart, the shadow and the light. The shadow is different from the dark side, is that correct.

So instead of calling myself the queen of the light, i should call myself the queen of the shadow and light.

Cause we need both.

…

I don’t know how to get…..but how do i get him to me? I don’t know how to get him to me.

…

Don’t i have to get him to me.

Stop singing?

Or no.

What about the spinning?

I should still spin for him?

I can still spin, but i should stop singing, is that what you’re saying?

…

I should limit the spinning? How many times?

1,2,3,4,5,6,7,8,9,10,11…11 songs. A day.

That’s in the apartment, and in the park together..okay. But no more singing.

Ok.

What about..is having sex with him okay?

Ok.

What about..him bringing blond into the sex as punishment, is that ok?

Cause it’s coming up, and I’m angry.

Should i have him be there with me while I punish her...yes.

And punish her with sex.

------

But keep soski out of it. Okay.

Just Blond.

Just sorta do the same thing to her that she’s been doing to me and jakk?

…..

But make it….not as..just physical.

I mean, emotional always, but...

And just once a day?

Just once a day.

…….

What should the goal be with orgasm though?

To punish her for what she’s done, to hurt her.

Yes.

But punish with sex.

Usually with a strap-on?

Ok.

Ok.

…

Make her be in an evil contraption, like she kept him

…

And then put her back in the box

Ok.

Should he be allowed to hit her and hurt her also?

But i”m the one who has to have sex with her.

Ok.

And i should be angry.

I should let the anger out.

…………..

…………..

Heroin? Heroin? HEROIN?

…

(She drinks. We hear noise. )

-----

And that’s the only time to take her out of the box?

…

So as far as ..getting his mind back..and getting him here...when...when do you see him getting here? (whispers to self) it’s the 24th…

So the 24th, the 25th, the 26th, the 27th, the 28th, the 29th...the 29th.

Saturday?

Ok.

Should i do it during the day? Is that better?

But only have sex with him once a day. And only have it be when we punish her.

Do you think i will start to heal his mind? Okay.

Am i supposed to say anything nice to her, during?

She has to walk through -----.

Should i post now?

You think so.

Even though the dishes aren’t done.

You think i should?

Ok.

(sighs.)

There’s more to the spell for bringing his mind back, though...right.

Random, you can’t go into the dark. You can’t. I don’t know what we do to stop it, but….how many lifetimes, have you had, over a hundred right?

If i’ve had..90, you’ve definitely had, what, 200?

200 lifetimes?

You have to keep a picture of naussica in your mind, at all times.

If you have to have her tattooed onto your arm...onto your wrist, like you gave to her…”

End of tape.

#nothing’s shocking #a bunker in brooklyn #the tapes #jane’s addiction

[doublegro0ve]

Casanova and Bellino

so I’m going to write about this as best I can because I have a Lot of feelings about it and it’s late and it’s gay tenderness hours so. here goes:

[DISCLAIMER: I am only writing about the 2005 BBC series and NOT about any actual historical stuff because I am The Big Dumb and too lazy to research everything. also possible tw for transphobia just to be safe]

I recently watched Casanova starring David Tennant (mostly because I’ve fallen down a Tennant-shaped hole after watching Good Omens which once again sparked up my love for him and noticed this miniseries not only with Tennant but with Nina Sosanya who played Sister Mary Loquacious as well) and was particularly interested in the scenes between Casanova and Bellino. Now, as a young trans, seeing David’s character constantly insisting that Bellino was a girl despite Bellino’s constant denial of the accusation (first off, made me cringe a Lot) set off my trans character radar. I thought, “wow bold that they have a trans (or at least trans-coded) character in this, but really cool nonetheless!” 

So after their interaction at the theatre hall where Henriette dares Casanova to basically find out whats in Bellino’s pants (again, major cringe and second hand embarrassment there. this gave me super icky vibes from the whole ‘whats in your pants’ situation I’ve gone through before- but seeing as its a bit of an older production, at least before more people were aware not to try and see someones genitals on a dare just for entertainment- I decided to just get through it) Casanova comes to the realization that he loves Bellino regardless of what he believes to be a penis in Bellino’ s pants.

At this point I’m thinking: ‘ok so Bellino isn’t trans I guess which is alright, regardless of his AGAB, Casanova says he loves him so its still Gay’ which is still really cool! And then comes Casanova’s declaration of love which made me ache from the Gay of it all. It goes like this:

Casanova: “I don’t care. I love you.”

Bellino: “It’s a sin.”

C: “Then let me sin with you for the rest of my life.”

B: “We’ll be outcasts.”

C: “Together.”

At this point they kiss and my heart is REELING. I’m going absolutely buckwild. It’s so gay and tender and repressed (also the quote is even a bit Good Omens reminiscent but we don't need to talk about that) and I’m living for it all.

Casanova gets on the bed and asks Please, to which Bellino responds by unbuttoning his pants and asking, Is this what you want? Casanova’s simple response of I want you. makes my trans heart yearn because I realized Casanova loved Bellino regardless of his body.

Then comes the reveal that Bellino is in fact a woman who, due to her circumstances, took the place of a late male castrati in order to get out of poverty. She wasn’t able to live as herself because she had become famous for singing as a male castrati. Which is. Yeah. That’s perfectly fine.

What bothered me is Casanova’s reaction of relief, which is understandable from a cishet male’s point of view I guess, but from someone who was expecting the film to actually portray a gay relationship it was.. not so great. Casanova’s reaction of ‘oh god what a relief I almost had to fuck a guy but its okay I’m not actually gay because shes a girl!’ really just.. killed it for me. I mean, good for her, I’m glad she got to eventually live and present herself the way she wanted.

There’s a post I’ve seen recently (which I’ll link if I can find it) about how in fanfiction when a gay pairing is made that isn't canon it helps the reader feel valid about their emotions because it normalizes gay experiences and feelings wherein actual canon the straight pairing makes the viewer feel wrong for wanting the opposite of what the straight character ends up choosing.

This is kind of how I felt while watching this scene play out. From my mind going to ‘oh this is a trans character’ to ‘oh this is going to be a gay relationship’ to ‘oh it was straight all along and it was all just a funny situation!!1!’ It didn't make me feel too great to say the least.

I don’t know why I’m writing this its really late and I’m very tired and I pretty much gave up half way through because I’m terrified of saying anything wrong and like there’s a whole historical aspect of the Real people which I know nothing of and probably should have before writing this but. I just wanted to share my feelings as a trans person who watched this and was a bit disappointed with how things played out. Hopefully I didn't say anything incorrect or wrong and if I did please let me know! Also leave your thoughts on here too so I know I’m not alone.

thanks for reading this far pls be kind I am just a small gay who tries to find homoerotic undercurrents in every piece of media I consume ‘’’:)))

#casanova #david tennant #Casanova 2005 #bbc #giacomo casanova #bellino #nina sosanya #hopefully this post isn't a major trainwreck and causes all hell to break loose #im just stupid and have feelings #I could be completely wrong about all of this so please don't take me seriously at all #can i tag good omens? #fuck it i will #good omens

[theatredirectors]

Sammy Zeisel

Hometown?

Bethesda, MD.

Where are you now?

Chicago, IL.

What's your current project?

I just opened and closed The Late Wedding by Christopher Chen (one of my favorite contemporary playwrights) with a company called The Neighborhood. It was a strange, beautiful, and difficult play about Italo Calvino, heartbreak, and the transmigration of souls performed in the "Rummage Room" of a church. We sourced all of our props from the boxes of shit that were left in the space after the church rummage sale and got some great use out of the organ that happened to be there, too. The whole thing was kind of magical.

I also am in post production on a short film about a girl getting her period for the first time at her friend's birthday party titled The Care and Keeping of You.

Why and how did you get into theatre?

Well, my mom is the Associate Artistic Director of Imagination Stage, a children's theatre in Washington DC. I grew up in rehearsal rooms. As I'd imagine is the case for most of us, I started out acting at summer camps and in school plays. While I was playing Renfield in my high school production of Dracula, it occurred me that I might actually I want to do this for the rest of my life.

What is your directing dream project?

I always find this question difficult because I see myself as highly responsive to the people and places at my disposal. A piece of theatre does not make sense to me out of context.

THAT SAID I love me some Chekhov. Specifically, I've been on a bit of a Cherry Orchard kick recently. There are secrets contained in that play about the potential for (or futility of) human change that speak directly to this moment. The political and the personal are so beautifully intertwined. Plus, it’s goofy as hell.  Chekhov plays embrace the entire contradictory mess of being a human. How to not, as a director, deny those contradictions by providing easy answers? I see that as an ultimate directing challenge.

What kind of theatre excites you?

I like theatre that takes on the responsibility of its liveness. This can happen in so many different ways: virtuosic physicality (a tap dance?), engagement with the audience's imagination (a person becomes a bird?), direct engagement with the audience (playful meta-theatricality?), or--maybe my favorite--some sort of more subtle, silent communion (Annie Baker). A piece of theatre is not just a story, it is an event; a director is not just a storyteller, she is a coordinator of moments in real-time.

I like to see truthful characters interacting within strange theatrical forms. I think that is what we are: deeply human creatures inside of forms that we do not understand. I like theatre that embraces uncertainty and, in that way, coaxes us to into a more comfortable relationship with our own uncertainty. Violence (outward and inward) stems from a need for control within life, and so, theatre that makes us to sit in an uncomfortable state of unknowing has the capacity to make us gentler.

Finally, I seek out any art that contains a little hint of the inarticulable. A piece of art should contain secrets.

Also probably all theatre should be funny.

What do you want to change about theatre today?

We have a lot of conversations about the need for riskier choices when it comes to content. And we do need that. We should be constantly pushing the boundaries of content and honoring stories that have been neglected. But those stories should also be paired with riskier forms. From what I can tell, theatre companies are more frightened by experiments in theatrical form than almost anything else--probably because a challenging form has perhaps the highest potential of turning an audience off (audience members didn't walk out of The Flick because it is about three people who work at a movie theatre). In the age of Netflix, however, if we do not find forms that are inherently theatrical we will become obsolete. But if we find inherently theatrical forms that contain the electricity of live communion, we will be providing something that the world is desperately hungry for.

And obviously we have to figure out some way to make theatre more accessible. Theatre is basically a hobby for rich people. It's just true, and we all know it and are deeply embarrassed by it. But what can we do to combat this? I certainly don't know. But it might have something to do with returning to bare essentials. We need to be paying artists and we need to be lowering ticket prices, so what gives? What if we made our productions with fewer resources? What if we placed the storytelling weight firmly on the back of the actors and the imagination of the audience? After all--engagement, intimacy, communion--this is REALLY what we offer. Within greater constraints, we might cut costs and revive our medium in the meantime.

What is your opinion on getting a directing MFA?

Not sure. Probably right for some and not for others. I am personally intrigued. I would love some time to discover myself outside of the crucible of the "real world."

Who are your theatrical heroes?

Oof ok here are a couple that come to mind right now:

Anne Bogart (her discipline, her articulation, her curiosity),

Will Eno (his verbal playfulness, his sadness, the intimate communion of his plays),

Andre Gregory (his spiritual/minimalistic approach, Vanya on 42nd St.),

Mary Zimmerman (her theatrical imagination, her physicalization, her childlike wonder)

Annie Baker (her lessons in patience, restraint, yearning character),

Edward Albee (his social critique, his plea for honesty, his courage in the face of the void)

Sarah Ruhl (magic, poetry)

Charlie Kaufman (film director, a storytelling North Star)

My mom

Any advice for directors just starting out?

I am a director who is just starting out, so anything I say is also advice to myself. So here are a couple of things I have to tell myself over and over:

You are you. The more directors you watch, the more you see that no two directors do ANYTHING the same way. In fact, equally incredible directors do things in precisely opposite ways. What does that mean? What makes those directors good? They are good because they know themselves. They are working from a place of personal authenticity that no one could have possibly taught them. And so you cannot emulate them. Emulating a good director will make you a bad director. You can only work at getting closer and closer to the director that you were meant to be from the beginning.

Direct stuff. You can only discover who you are as a director by directing. Find cheap-as-shit spaces. Hold rehearsals in your apartment. Produce your own ten-minute play festivals. Do stuff that leads nowhere because it all leads somewhere.

Direct the kind of stuff you say you want to direct. I've had a tough time with this one. It can be scary to actually DO the work that you say you love. Because it's super vulnerable, I guess. But until you present the work that actually feels like your jam, no one will have any idea what your jam is. You probably won't even know. Be brave enough to do the work that turns you on.

Craft is generosity. It's not all about discovering who you are. Directing is a craft. And by that I mean, there are concrete skills involved: how do you create varied stage pictures? How do you make sure an audience hears important information? How do you stage compelling transitions? Maybe think of getting better at these things as acts of generosity. When you put work into these elements, you show an audience that you care about every second of their experience.

You will disappoint yourself. Making stuff comes at a price. You will feel inadequate, and you will make work that doesn't feel like you. Lean in. Hold on to faint glimmers of hope. Do better every time. Inch closer and closer.

Interrogate your privilege. If you are doing this, you are probably the beneficiary of a certain amount of privilege. I am the beneficiary of a massive amount. If this is true for you, acknowledge it. Interrogate the narratives you are drawn to. Think twice before putting yourself on stage. Doubt yourself and listen to the wisdom of the less privileged. Use the love and care you've enjoyed in your life to create loving, caring spaces for others.

Be kind. Be critical of the work you see, but be curious about where your criticism comes from. How would you like your own work to be seen? How can you approach other artist’s work with that same generosity? Separate intention from execution and acknowledge how terrifying it is just to be out here trying. Strive to be an enthusiast: you will learn more, people will want to work with you, and the inside of your own head will be a nicer place to live. (You will also be a better director if you are not driven by ego, insecurity, and a need to prove.)

Don't listen that hard to people's advice. Most people who are giving you advice are telling you what they need to hear, not what you need to hear. Nobody knows what they're doing, and no-one moves forward in the same way.

Read more books, listen to more music, watch more movies, think about things a lot

Plugs!

Rumple: Last year, I developed a children's musical adaptation of Rumpelstiltskin with Chicago folk band, Friends of the Bog. It's a feminist re-telling of the strange old tale, filled with stellar folk jams and tap dancing puppets. It's weird, theatrical, and full of heart (think Pig Pen Theatre Co. meets Spongebob). And we are looking for a home for it. Hit me up if this tickles you and you have a lead.

Beth Hyland: One of the best young playwrights in Chicago or probably the country. She's also my pal. If you don't know her, you should get on that.

Chicago: The reputation that Chicago has for community and authenticity is grounded firmly in reality. Artists are struggling in Chicago as much as they are anywhere else but they are surrounded by their friends. There is vital, community-building theatre happening out here in church rummage rooms and abandoned storefronts. Just saying.

My website. My email: [email protected]

#Sammy Zeisel #askadirector #theatre directors

[giantpeachjournal]

BRUCH: WOMEN TO THE FRONT #2 Self-produced folk electronica artist BRUCH is making waves in the live indie circuit with her haunting voice and hypnotic melodies. We chat to the ethereal songstress about her inspirations, her creative process and what music means to her. WHERE DID YOUR RELATIONSHIP WITH MUSIC BEGIN? When I was very young, I would always sing random lyrics, make up songs as I was tidying my bedroom - I’d go, ‘ooh, this is good, I should write this down’ - then forget. I never thought of doing music seriously, as a career, putting my heart and soul into it. It just didn’t occur to me. But I always loved to sing and I always had a song in my head. I started getting involved with musical theatre through my early teens and thought that was what I wanted to do, but just before I left school I discovered artists such as Björk, Aurora, and Lianne La Havas, purely by chance. They had so much creative freedom, and were song incredibly, beautifully sure of themselves - they could speak their minds - I knew then that I wanted to create my own kind of music, instead of singing somebody else’s, or acting like a character. WHAT TRIGGERS YOUR WRITING PROCESS? A lot of the time, I will look at somebody I see on the train or when I’m out and about, and see the simple thing they’re doing; putting up an umbrella, standing in the wind - I realise that everyday life is so poetic, and even small actions, when put into lyrics, can spark strong emotions. Lately, I have been so busy with shows that I haven’t had much time to write, and during the time that I am rushing around and performing, I don’t have any yearning to write because I am in the ‘performance' mode. Then when I have a few days off, I get this surge of inspiration. I very recently had some days like this - hundreds of lyrics and melodies came into my head, I was recording little memos of each small thing that popped up so I wouldn’t forget - I managed to set up my home studio and write three songs out of all the lyrics and melodies I’d come up with. It’s funny and a little scary how my brain can work this way! But it’s also wonderful, getting so much inspiration all at once, seemingly from nowhere. I also take a lot of inspiration from nature. It’s so unpredictable, frightening at times, and beautiful, powerful and ugly, all at once. I think it also really highlights humanity’s flaws - when a crisis occurs, how do we act? I have very strong feelings towards climate change and environmental issues, so it fuels a lot of the meaning behind most of my songs. HOW DOES YOUR LYRIC WRITING PROCESS DIFFER FROM YOUR MUSIC WRITING PROCESS? WHERE DO THEY INTERLINK? Usually lyrics come first. Mainly because they can come to me at any moment, and they usually come to me at inconvenient moments, too - they’re unreliable like that! I can write the vocal melodies on the go too, but to form the musical aspect I need to be in the studio, at least somewhere with a keyboard or my laptop, so I can find something to accompany and enhance those vocals. For me, everything needs to fit perfectly - any tiny detail that is out of place can throw the whole song off for me. That’s probably why I find it so hard to let anybody else touch them! I always have a very clear vision in my head for my music, and I think the only way to fully materialise that is for me to put my whole self into it. FOLLOWING THE RELEASE OF THE EMPTY LAND VIDEO, HOW IMPORTANT DO YOU THINK VISUALS ARE TO MUSIC? I think visuals can be really impactful, but not necessary, per se. For example, if I hear a song for the first time with a music video, I will always associate the visuals, colours, lighting, images, with that song, with those sounds. However if the visual aspect isn’t there on first listening, it’s more open to interpretation by the listener - they see colours, images, and may have particular emotions, by translating what they themselves perceive through the sound, which I think is a beautiful thing. That song can be whatever they need it to be. The only time I think 'visuals' are really important is perhaps when an artist releases live versions of their songs - it’s really interesting to properly see how the artist interacts with the music live, how they feel when they perform it, and this can really take a track to a new place for me. I remember how the artist and audience must’ve felt in that moment, and it transfers that atmosphere to me when I listen to it. WHAT IS YOUR FAVOURITE PART ABOUT CREATING? Definitely seeing the end result. As a completely self-produced artist, it can be so tough getting a song off the ground in terms of production (not being able to find the right sounds, the right rhythms that fit with the emotion of the song). Sometimes it can take me months of changing things around to find the version of a track that really clicks. That’s why I find it so, so rewarding once a song is finished. I remember how many takes I’ve done, how much editing, cutting, mixing, altering, and how much time it’s taken to get to that final stage, and it’s amazing how good it feels to be self sustained, and at the end of it, to have music that is completely and utterly yours, and that sounds great. It's amazing to know that it wasn’t all for nothing - and to know that it can finally be heard by other people! WHAT PROJECTS ARE YOU WORKING ON? I have just announced that I will be releasing my debut EP this year! It will be towards the summertime, and I’m so excited to get new material out! I’ve been sitting on the news for a while, with lots of people asking for an EP or album, so it's great to finally have it out there, amongst such a supportive network of fans. I’m mostly excited to produce a piece of work that has all aspects of the music I create, not just one song, which only embodies one part of myself as an artist. I want people to know that I’m not limited by a single sound or genre. WHAT IMPACT DO YOU HOPE TO HAVE THROUGH YOUR MUSIC? I hope that people can take away something - even if it’s just that it makes them want to dance or wiggle, that can still be a strong feeling! Of course, it is incredible when people come up to me at the end of a show and tell me then connected to me and my music on a deep, spiritual level, I love that so much. But in the end, not everybody is going to feel that way. I’m hoping that, especially with some of my more meaningful songs, people are able to learn something. See things from, and understand, my point of view. Perhaps something in the lyrics might help them make a difficult decision they’ve been struggling with, or help them through a difficult time. At the end of the day it’s the emotion and feeling, some kind of connection that counts. SEE MORE OF BRUCH spotify: BRUCH instagram: @bruchmusic PHOTO BY INSTAGRAM @blackhamimages ‘WOMEN TO THE FRONT’ IS A SERIES OF INTERVIEWS EXPLORING WHAT IT MEANS TO BE A WOMAN IN THE ARTS, AIMING TO EMPOWER, INSPIRE AND GIVE VOICE TO FEMALE ARTISTS.

[theartre]

Gaming vs Art (and Minecraft)

Okay here goes.

I thought I’d start by giving you a sneak peek of a project I’ve been working on in the background for a number of years now.

I’m interested in exploring the relationship between gaming and the arts. A couple of my recent projects, including ‘Live.’, a live reinterpretation of ‘The Sims’ video game have previously looked at this angle.

This project takes that fascination a step further.

I’m intrigued in what at first glance seem antithetic fields.On one side, gaming is an insular, individual experience in your own home.The arts are much more discursive and public.

Personally I think there’s a lot more commonality than you might think. Both are fictional, alternate realities (even when they’re representing real life), with a sense of adventure, mystery, the unknown, and the boundless. They’re both creative outlets. Nowadays, almost all modern gameplay is open-format, allowing free exploration and the choosing of one’s own destiny. It brings gaming closer to an expression or application of human creative skill and imagination, and therefore the arts.

It’s great to see that, slowly, an overlap is emerging. Particularly in the realm of theatre, advanced technologies, world politics, futurism, have all led theatre-makers to consider new possibilities.

By the End of Us (Southwark Playhouse, 2016) is a prime example of this, giving control of the theatre to its audience, creating a ‘player-character’ relationship between audience and actor. And I think audiences want this. One only has to look at the astronomic success of Punchdrunk and Secret Cinema in recent years to realise audiences yearn for a sense of adventure and interaction.

So anyway, I decided about 3 years ago to get down with the kids, and started playing MineCraft. I’m not going to explain what it is, because if you don’t know, get with the times man! After a while, I was addicted. The endless (okay, it has its block limitations) creativity it offers is mindboggling. The possibilities, I thought…

To me, fundamentally this was a game in which you could create art; you could sculpt, concoct and invent freely, with no limit on resources (more on this later). 

I embarked on a project, which I’m still only about 1/5th of the way through- to build the Barbican Theatre. Granted, I rushed into it. I didn’t scale it properly, and when you watch the video, you’ll see, there’s bits that aren’t quite right- I got my scales wrong, and ended up running out of space sometimes. But still, even by my relatively small scale, the results, I think, are quite impressive.

What is more satisfying than anything is the amount of work that has to go into it; currently, I’ve spent over 450 hours on it, and it is nowhere near! In Survival mode, which I’m using, every block you use has to be mined. And there’s recipes too. You have to make tools, crafting tables, chests to store things, windows, doors, steps, everything! For example, the Barbican Library is still quite empty. That’s because it requires an enormous effort to make a bookcase- First, you have to find sugar cane. Cut it down, and 3 pieces crafted makes 3 pieces of paper. Then you need leather, so you have to find and kill cows. To make a book, you need 1 piece of leather and 3 pieces of paper. You need 3 books and 6 wooden planks to make a single bookshelf, 2 of which make a full height bookshelf. So, to create a library, I’ve had to create a Sugar Plantation with proper irrigation, a mini Spruce Forestry, and a Dairy Farm, otherwise I’d have to spend hours walking around looking for the natural resources. And that’s just the books.

Anyway, enjoy having a snoop at the video, I’m yet to find an outlet for this, but determined it IS art, and one day will get it’s grand reveal!

#minecraft #crafting #barbican #theatre #arts #gaming #what is art

[mrmichaelchadler]

Finding New Neighbors at the Movies: The Ebert Fellows on Ebertfest 2019

Editor’s note:  Last week, the 2018-19 University of Illinois College of Media Roger Ebert Fellows, Curtis Cook, Pari Apostolakos and Eunice Alpasan, covered their first full Ebertfest experience at the Virginia Theatre in downtown Champaign, Ill. Here are their impressions, from “Amazing Grace” to “Won’t You Be My Neighbor?” and beyond.

CURTIS COOK

An hour before the first screening of Ebertfest 2019, “Amazing Grace” – a long-lost concert film charting the creation of Aretha Franklin’s eponymous 1972 gospel album – longtime festival director Nate Kohn addressed a crowd of festival guests and participants Wednesday in Urbana, Ill., at the home of University of Illinois president Tim Killeen.

Like Roger Ebert himself, Kohn was raised locally, and he noted that one of his favorite activities of the annual April film festival was observing the change of the city, year to year.

Like the city, Ebertfest is an evolving beast. Under the tutelage of Chaz Ebert, Roger’s widow, for the past six years, the festival continues to tinker with its formula. With one foot firmly planted in the festival’s initial focus on overlooked films, the other foot – guided by Chaz’s emphasis on empathy, kindness and compassion – has branched out further, this year focusing heavily on the passage of time.

Throughout the 21 years of the festival’s operation, one of the few constants, alongside Nate and Chaz, has been Champaign’s Virginia Theatre. For anyone who has been to Ebertfest, they know the venue as a bit of an anomaly in its surrounding city. The Virginia features Corinthian-style columns adorned in cerulean hues and gold leaf, where the green and gold of the proscenium complement deep crimson curtains, and rows of red diamond-checked velvet seats and hundreds of feet of ornate trim occupy the auditorium.

This conveys an elegance glaringly absent from modern theaters. But there’s a more down-home flourish out front: a bronze statue of Ebert, seated in a movie theater seat, giving his signature ‘thumbs up’.

From the opening screening of “Amazing Grace,” which was followed by an onstage concert from the Martin Luther King Jr. Community Choir of Champaign-Urbana, to the show-stealing duo of Gina Gershon and Jennifer Tilly who spoke after Thursday night’s screening of “Bound,” to several screenings projected in 35mm film – a rarity in 2019 – the Virginia was packed with entertainment for film lovers of all kinds.

A Saturday highlight, director Morgan Neville’s enormously popular Fred Rogers documentary “Won’t You Be My Neighbor?,” came with the presentation of the Ebertfest Humanitarian Award. Neville was the third in the festival’s history to receive the honor.

The film itself is a perfectly nuanced character study of a TV celebrity famous for his compassion and empathy around the world. Neville’s documentary looks beyond the surface of Rogers’ small-screen persona and examines how his kindness manifested itself on a daily basis.

“The question is not ‘What would Mr. Rogers do today?’” remarked Neville in a post-screening talk. “The question is: ‘What are YOU going to do today?’”

The festival named after Ebert means a lot to me personally. Growing up in Urbana, attending Ebert’s high school and then the university where he first made his name, it’s natural to sense his shadow looming over other people’s lives, especially film lovers. Until this year, my only interaction with the festival was a one-movie taste of the 2017 festival: Park Chan-Wook’s “The Handmaiden.”

Visiting the festival this year in full was an eye-opener to say the least. In 2005, Ebert famously declared film to be “a machine that generates empathy.” This festival captures that sentiment perfectly.

To watch hundreds of patrons interacting with each other throughout the week, mingling along the streets of Champaign, walking around West Side Park on a blustery weekday afternoon, perusing records at Exile on Main Street just a few blocks away – all of it was rewarding.

Hearing people converse in the lobby of the theatre, under the marquee, even in the bathroom, after screenings gave the sense that people here were not just paying to see a movie, but deeply invested in what they saw. As one guest put it: “It’s nice to go to a festival where people actually care about movies.”

Even in the short time that the festival runs, the openness and kindness of everyone involved is so inviting that one can’t help but feel the warmth of the community at their feet when they step under the Virginia’s laurel green marquee. For 98 years, the Virginia Theater has stood tall, a local relic amid that ever-evolving cityscape. And with the recent addition of several new luxury high-rises in a downtown area under perpetual renovation, that cityscape continues to evolve.

Whatever the future brings, Ebertfest and its longtime home serve as a testament to longevity and to cultivating a sense of community beyond proximity. In coming years, in this great era of local change, the Virginia’s presence – along with its long-running festival tenant – will be even more appreciated.

PARI APOSTOLAKOS

Ebertfest 2019 was a true learning experience for me, but not in the way I expected.

For example, Alan Elliott, producer of the Aretha Franklin concert documentary “Amazing Grace,” revealed details in Wednesday’s pre-screening discussion not just about the film, but about his life, right down to the story of his family adopting a friend of Elliott’s named Benny. The real-life scenario, improbably enough, went on to inspire the ‘90s TV sitcom “Fresh Prince of Bel-Air.” Elliott received confirmation on that anecdote, from another Ebertfest guest, actress Gina Gershon, Elliott’s cousin. She was there in the Virginia Theatre Wednesday, and from her seat she shouted out: “It’s true!”

Gershon and her “Bound” costar, Jennifer Tilly, delivered one the most entertaining post-screening discussions of the festival after the Thursday night showing of “Bound.” Their chemistry on-screen 23 years ago translated to the 2019 stage with ease.  I wanted to befriend both of them instantly. Between takes of their hot-and-heavy love scenes in “Bound,” they recalled, they’d eat donuts and discuss the shoe sale at Barney’s.

Even more intriguing were one-on-one discussions with festival attendees like Rita Coburn Whack, co-director of the Maya Angelou documentary “And Still I Rise” who strongly recommended I watch “The Crown” on Netflix (apparently Princess Margaret is a mess). On a brief stroll over to the “Bound” screening, Coburn Whack told me she thought Angelou would’ve been a fierce advocate of the #MeToo movement if she had lived to see it. It’s unfortunate the world will never see what that movement might’ve sparked in Angelou’s writing.

If Ebertfest were structured like most festivals, that brief encounter might never have happened. Since only one film is screened at a time, with all attendees watching the same thing at the same time, Ebertfest sparks conversation amongst the festivalgoers. May that aspect of it never change.

Following Saturday’s screening of “Won’t You Be My Neighbor?” Chaz Ebert took the stage in tears, overcome with emotion as she remembered her late husband, whom she described as her own Fred Rogers. “Neighbor” director Morgan Neville took time afterwards to tell the Ebert Fellows a bit more about the film. One of the best moments in the documentary, 1960s archival footage of Rogers convincing, patiently, Sen. John O. Pastore to continue funding national public television, has a larger story behind it.

Neville told us his that his research revealed Pastore did not have much of a childhood of his own. Growing up during the Great Depression, he was put to work in a factory at an extremely young age. Something happened when Rogers candidly shared with Pastore the compassionate message he was sending to children in his television program. Neville speculated that it must’ve touched the inner child of this senator who grew up too fast.

Mr. Rogers was a true embodiment of empathy. It’s that quality that has grown into a central theme of Ebertfest. “If somebody is disabled or of a different race or ethnicity or religion or what have you, kids are just kids,“ Neville said. “Most of the differences we have in our world are taught. And not always for the better.”

EUNICE ALPASAN

After the Saturday screening of Morgan Neville’s 2018 documentary of the life of Fred Rogers, “Won’t You Be My Neighbor?”, Ebertfest co-founder and host Chaz Ebert came on stage in tears, mirroring the emotional state of many audience members.

“I had my own Mr. Rogers,” she said of her late husband, Roger, “someone who was so kind, so compassionate. Nobody's perfect — we know that — but the depth of Roger’s compassion and goodness was astounding. It was amazing to be able to peer into somebody's else soul and see how much they cared about other people, and to see the things that they wanted to change to bring goodness into the world.”

Attending the 21st edition of Ebertfest reminded all of us of Roger Ebert’s legacy. Despite his passing, his spirit permeated the four-day film festival and could be found in the people in attendance who knew him, as well as the movies shown on the big screen of the Virginia Theater in downtown Champaign.

Filmmakers, critics, actors, musicians and movie distributors came from across the country to take part in Ebertfest, a festival that’s unlike any other. Empathy, forgiveness and compassion were major recurring themes found throughout this year’s work. Movies like “Rachel Getting Married” and “Won’t You Be My Neighbor?” stood out for the way they helped fulfill a heartfelt collective yearning. It was personally very much needed.

“Won’t You Be My Neighbor?” tells the story behind the children’s TV show “Mister Rogers’ Neighborhood” and the story of the man whom filmmaker Neville reveals as being more than just a two-dimensional character.

“One of the big questions of this film was — it’s in fact, the fundamental question that I got when making the film – ‘Is he really that guy? Is he really who he seems?’ That’s the most common question I got,” Neville said. “And the answer is, he’s even better.”

Even if you’re too young to have watched “Mr. Rogers’ Neighborhood,” the film still finds a way to connect with audiences unfamiliar with the subject. The film doesn’t portray him as a saint, which Mr. Rogers’ widow was insistent on when speaking with Neville about the film.

The kindness of Fred Rogers was refreshing and therapeutic to see on the big screen. But we also saw the vulnerability and internal struggles he faced and shared with the world.

“When I saw this movie in the theater,” Chaz Ebert said Saturday, “it was the men in the audience who were crying. I was asking someone, ‘Why do you think that is?’ And they said, “It’s so much more difficult for men to be able to tell someone that he needs them, to tell them that they love him or that they’re accepted. Or that they’re just fine just the way they are.”

Director Jonathan Demme’s 2008 drama “Rachel Getting Married” starring Anne Hathaway screened two days earlier, on Thursday. The film follows the character of Kym, released from drug rehab so she can attend the wedding of her older sister, played by Rosemarie DeWitt.

Kym finds herself in a tug of war with her family, and screenwriter Jenny Lumet delves into the complicated nature of families. In one sequence, a dishwasher-organizing competition sprouts out of lighthearted fun between Kym’s father, played by Bill Irwin, and Rachel’s fiance, played by Tunde Adebimpe. The scene takes a sudden, stark, poignant turn that sucked all the air out of the room on screen – and out of the Virginia Theatre auditorium.

Another Thursday screening, Jean Epstein’s 1923 French silent film “The Faithful Heart,” made my list of Ebertfest favorites, as well as one of my favorite movie-watching experiences, period. The screening featured a live musical performance of the Alloy Orchestra. As someone who doesn’t often run into the opportunity to watch silent films, I found my jaw dropping thanks to the stunningly restored visuals combined with the seamless music performed live. The Alloy Orchestra included instruments like junk percussion, accordion, clarinet and synths.

The intense close-ups revealed the deathly glisten of the character’s eyes and the detailed texture of their skin. The cinematography was shockingly detailed, even psychedelic with the use of quick cuts, kaleidoscopic and distorted camera shots. The ambiguous ending to this melodramatic love story added a layer of depth that was unexpected and thought-provoking.

Ebertfest recognizes a variety of films differing in genre, time period and representation. I hope in years to come, the festival’s breadth becomes more clearly reflected in who attends the festival. More community members and students of different ages and backgrounds should take the chance to attend.

As a College of Media Roger Ebert Fellow, and first-year college student, it’s incredibly humbling to attend a film festival whose co-founder, Chaz Ebert, provided me this opportunity. To be surrounded by people who do so much to champion filmmaking makes for a celebration of the movies, and stories, we all share.

from All Content http://bit.ly/2GiLLlf

[meaningfound-blog]

MUN STUFF. remember to repost, not reblog.

NAME:  genevieve! though i answer to gen, g, or even ego if it’s easier to remember. pretty much anything is cool by me as long as it’s not rude tbh. GENDER:  cis female! EYE COLOUR:  blue, though in the right lighting, sometimes they get mistaken for green. HAIR COLOUR:  brown! i’ve always wanted to dye it dark red but i’m too chicken to do it lmao RELATIONSHIP STATUS: single af, but i’m perfectly happy because i recently got out of a kind of toxic relationship so yeah. i feel like some me time will do me good. ZODIAC:  capricorn FAVOURITE COLOUR:  royal blue! but i also love silver, pastel pink, and mint green. FAVOURITE SEASON: autumn, probably! it’s so comfortable outside and all my spring/summertime allergies finally go away. but summer’s in a close second because that’s when i do my favorite thing in the world ( music & theatre ) for two/three months straight. FAVOURITE PLACE:  literally walt disney world. i just got back from a trip last week and it was sO much fun even though the crowd levels were nightmarish. FAVOURITE HOLIDAY:  i’m a sucker for christmas. or halloween. FAVOURITE VIDEO GAME:  i don’t know if i really have a favorite, but i love the ace attorney series!  LAST SHOW YOU WATCHED:  better call saul on amc. WHAT’S YOUR HONEST OPINION ABOUT YOUR MUSE?: listen. i love my garbage space son. love him dearly. but he is a tremendous asshole. like, seriously, undeniably evil. in writing ego, i want to do whatever i can to keep from shying away from that side to him; i want to acknowledge all those bad, awful parts of him and keep them intact, while humanizing his motives a bit and exploring that conflict and what causes it all. i don’t want to coddle my muse and pretend that he’s never done anything wrong, because HOLY HELL is he a dick. but yeah, i do love him -- and when i say that, I mean i love his character and how inherently flawed he is. it’s so interesting to me! WOULD YOU DATE YOUR MUSE?:  well, you see, i value my life and my sanity, so yeah, no, probably not. WHAT ARE YOUR FAVOURITE KINDS OF THREADS?: probably not an unpopular response here, but ANGST. i love it. i can’t help myself. and with a backstory like ego’s, so centered on loneliness and a yearning for something more, it lends itself naturally to angst-ridden threads tbh. ARE YOU A SELECTIVE ROLEPLAYER?: i’m only really selective in the sense that i have to be able to envision our muses conceivably interacting with each other to try and write together? if i don’t follow people, it’s really just to keep my dash clean and keep myself from being overwhelmed, because in the past, rp has pretty much swallowed me whole and i’d like to be able to create as calm and balanced an environment here as i can. DO YOU HAVE A FAVOURITE MUSE?:  honestly??? is it too early for me to say Ego? this fandom has been legit sO COOL to me ever since i popped up quite literally last night! so much support and love already pouring in and i’m all about it fam. WHAT MADE YOU DECIDE TO JOIN THE FANDOM?:  years and years ago, i was a part of the marvel fandom! i never actually rped for any of the characters ( always wanted to, but at the time i was running another blog that took up a lot of my time ) but when gotg2 came out, i really got the inspiration to write for the villain! something about his story and the destruction that came from him and his selfishness really compelled me to explore that and see what i could do with him. DO YOU SEE YOURSELF STAYING WITH THE FANDOM FOR A LONG TIME?: well, i’ve been a part of it for years, so i hope i continue to do so! marvel has really been on a roll lately, so i think i’ve got a lot of fun times ahead of me in the future! Tagged by: @ofst4rs ( thank you so much friend !! ) Tagging: @cfeternity, @xgamora, @chariotsofthegodsman and anyone else who wants to do this, because i have no idea who’s already been tagged lmao

#[;out of the stars;] #(&&. MUN STUFF.) #[this was so fun!!]