I've heard somewhere that after we die, means when heart stops pumping blood through the veins and all our organs stop functioning, our brain will still be active for almost 7 minutes. in theory, in that 7 minutes the brain reminisce everything, every second that had happened in our life in a fast-forward mode. it's like living twice.
and the idea that stuck with me is, aren't we actually living that second life? like maybe we all died in a natural disaster or maybe a meteor hit our earth. maybe it's a death of a single person, mine. maybe we all were dead and reminiscing our life altogether. maybe our lives were just a memory of a dead body.
uh, how silly.
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From episode 1 to episode 7, in which Sunshine is literally destroying Q, hurting him, leaving him darker and darker and slowly stealing his light because he just can't stop himself and just can't learn.
Or maybe he can... maybe he needs to give his darkness, needs Q to take the darkness (the darkness that neither of them can wash off, the spot that won't come out but can be given...)
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I don't know how to think because trickstar is frying my brain but
Hokuto's body temperature is always low
In SS, everyone holds onto subaru while he was in shock. All of them note how subaru got cold. Like, physically cold.
Subaru says that once his dad got imprisoned, his health got worse and worse, because akehoshi papa's health was tied to his mental state. Additionally, the worse he got, the colder he got, until he died.
And finally, of all seasons for them to hold the trickstar climax in, they chose winter.
I have no idea where i'm going with this
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We all know I shouldn’t be allowed to make Tumblr posts after 1 AM, but here we go again… This has been in my brain for so long so now I am going to ramble about it (shoutout to the Hamlet Discord server for joining in the Thinking)
Surveillance Hamlet!!!
(Or, rather, the theme of surveillance in Hamlet and some fun and exciting ways I’d like to see it portrayed on stage assuming this mythical theater program has unlimited money)
(Warning- this thought is undercooked. This is going to get rambly…)
Surveillance is a major theme in Hamlet. Nearly everyone in the play engages in some kind of spying or scheming or is the victim thereof (or both). I love plays as a medium for the fact that each individual performance has the opportunity to completely change which themes get the most emphasis and surveillance is a theme I’d love to see take center stage with Hamlet specifically!
Hamlet is a pretty meta play. It ends with a message on the act of storytelling within the specific context of the story the audience has just watched just after it calls out the “mutes and audience” to the ultimate tragedy for their inaction during the runtime of the play. It’s also been performed and adapted plenty of times with a modern lens. Grief, depression, existential anxiety, and gay people are, apparently, universal pieces of the human experience, but if anything looms larger than ever over today’s society, it’s surveillance. Hell, I’m typing this on a device that is for sure selling my data to the government and probably also scam artists! So give me a performance where extreme surveillance heightens all the other aspects of the play, where Hamlet’s paranoia is exceedingly justified.
First, choose a good venue. Outdoor theater is almost always my favorite, but in this case, choose a massive indoor theater with a movie theater style sound system. Hang massive screens above the stage like you’d see at a big concert.
Now, these actors are going to be doing some major method acting. Put cameras above the stage at all angles. Put cameras in the wings. Put cameras on the crew. Put cameras in the audience- maybe some employee plants instructed to stream the show to the screens from their view or even to obnoxiously take photos and video throughout the show. No matter where these actors go, so long as they’re in character, there’s a camera on them. Put mics everywhere too, so even low whispers are heard from the backrow.
I want this play to start with an attempt at secrecy. The ghost appears, Hamlet begs his friends not to speak of it, but he can hear his whispers echoing right back to him and he knows it’s useless. The curiously missing line where Marcellus, Horatio, and Barnardo do finally swear upon Hamlet’s sword isn’t implied to be there as usual. It doesn’t exist. The ghost is only “satiated” by the coming of dawn, even this first, simple wish remains unfulfilled.
Hamlet spends the end of act 1 wavering between a genuine breakdown and an acted portrayal of madness. Pretending shields him from showing legitimate emotion on those screens.
To be or not to be is performed offstage, but on camera. Hamlet seems to think for a moment that he’s truly alone or perhaps it’s all part of the facade. Either way, emotion gets the best of him eventually and he realizes he can’t escape the cameras (or mortality). He comes on stage for get thee to a nunnery, frantically trying to get away from his ever-echoing voice, only to find a spotlight on him. The lines come across as cruel as they are pathetic. Ophelia is also being watched. Ophelia didn’t decide alone to speak to him. In some ways, she has far less privacy than he does, but Hamlet isn’t looking for solidarity in the watched. He wants to be alone. He wants to not be seen.
When he stabs Polonius, Ros & Guil track him down on the cameras. There’s no need to run, but he tries.
The only time Hamlet is truly outside of surveillance is on the ship to England (and then with the sailors who return him to Denmark). Maybe Claudius doesn’t want the world to know he has sent the prince to be executed, but it is clear that he too has lost any real control of this surveillance system. You saw him praying. Or was it a publicity stunt? Hamlet returns and simply tells Horatio (and by proxy, you) what happened on the ship, maybe resentfully. The only time he gets privacy, he doesn’t need it.
By the final scene, he no longer wants not to be seen. He isn’t sure you see him at all. No, you mutes and audience look right through him as if you know infinitely more than him, as if he hasn’t proven that he knows he is a sparrow that will fall. But you know the lines and he doesn’t.
He asks Horatio to tell his story. Maybe there’s something personal about being told a story rather than watching one play out. Maybe you can’t look through a storyteller.
Hamlet canonically knows he’s being watched. He uncovers Ros & Guil’s spy mission in the span of minutes, kills Polonius in the act of spying on him, and comes to mistrust the people around him because almost no one seems to be genuine with him (besides horatio). But it’s not just the characters, it’s the audience. In his darkest moments, he looks out for just a second, almost begging for help, only to discover that no one is coming to his aid. When he tries to exit, the spotlight follows him and so do the cameras. It’s inescapable. When he delivers the “mutes and audience” line, it should be as accusatory as it is pleading. You, the audience, have seen his life projected on massive screens, you’ve heard his every word and whisper, you know him, don’t you? Yes, you know him better than his closest friends. He’s spilled his soul to you because he knows you can’t be escaped, that you, rows upon rows of darkness to this actor blinded by spotlights, are always watching. Will you help? he asks, one final time. The answer is an obvious no, not because you’re heartless but because that’s not why you’re here. You’re here to see a play.
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