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#will someone actually read through all this lmao

rainofthetwilight · 2 months

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hey hi hello hihi, welcome back to another post of me ranting abt sora <3333

(be aware...this got longer than I expected, also there's s2 spoilers)

smth I really wanna talk about is how much more cheerful sora seems in s2. she's more playful, and much more happier, more sillier, and it just means so much to me???

in s1, she was more resigned, more hopeless, she was still a bit playful but it wasn't like now. her time in imperium never left her mind, it basically haunted her and she hated it. she still wasn't able to be herself, it was already hard enough anyway

she was already alone before she made those photacs, and when she finally thought she got attention and more love, she got her dreams crushed. she saw the truth, she saw how horrible the situation actually is, and her idol wasn't who she thought she is. and before she knew it, instead of her parents standing with her, with no thought they immediately disowned her. everyone did, they all shut her out and gave her the cold soldier. she was lonelier than ever before. she was basically trapped in her home, and like she said, it was a prison. and for goodness sake, she was only like what, 10? she was a child younger than someone would expect. she had no one to help but herself, and the way she immedialetly left imperium with absolutely no hesitation just hurts dude.....

the only one who managed to shine some life into her was arin, he was basically a saviour to her. she knew him from the very start, and their friendship was almost unbreakable. but despite meeting arin, her past never left her. she was still frustrated and sad, she just couldn't move on so easily, and she didn't understand how arin still had so much hope in him

but then, she stood up to her parents, finally shouting to them who she really was, what her name always was. screaming her name did not only confront them to what her name really is, but the meaning of it had layers. sora means orphan, so her shouting it, she's basically saying she doesn't have parents. they were not her parents, never were. they were dead to her. and so, she finally let go of the thought that they could ever be redeemed, because there was no hope in them, yet she had hope in herself to finally let go. just like how she saw arin having hope that his parents will come back, she had hope that it was finally time to move on. only then did she understand his hope.

and she also got to expose beatrix's lies, showing the people beatrix's lies, despite them having disowning her once. she did not want another person to exprerience what she had, and to put an end to it for someone who was already experiencing it. after beatrix was defeated, after imperium was freed, she still felt that guilt and frustration, but with the help of her new family, she soon became prouder and stronger.

and now, in s2, she's so happy. she moved on, she's finally focusing on her new life and letting go of the other. she's just so cheerful and silly and animated, and just being herself. when she speaks, there's no guilt anymore, no sadness, no frustration, no hopelessness, no defeat, she moved on and is being treated so well by her new family. she's happy. the past still clings onto her from time to time, but when it does, it's much easier to actually handle than when the memories of that time were still fresh. and I think that's so goddamn beautiful

anyway I uh...maybe analysed a bit too much abt a silly lego character, whoops sorry guys 👍

save me dragons rising........save me sora ninjago......she's so me bro I literally can't, I love her so much 😭

#ninjago #ninjago dragons rising #ninjago spoilers #dragons rising spoilers #ninjago sora #levi's ted talks #levi's analysis #will someone actually read through all this lmao #when it comes to sora and arin I absolutely cannot stop yapping sorry guys 👍

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bagheerita · 2 months

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DS9's "Second Skin" once again shaming the Stargate Atlantis writing team by doing an episode they wrote but over 10 years earlier and 50 times better. I went on a rant about "Sunday" vs "Lessons" a couple years ago, but watching "Second Skin" is like seeing what "Michael" could have been if written by people who understood drama instead of only being acted by people who did. There are definitely differences, like we start out having a relationship with Kira which we don't with Lt Kenmore, but with the whole fake identity plot having the person's actual parent there makes it sooooooo much more emotional. (This is what I wanted from "Michael"!! Not just handing him a stock photo that literally looks like it came with the frame and telling him "These are your parents." But an actual emotional connection, any tie for him to cling to to believe your bullshit and not just Teyla being quietly agreeable like whoring her out is the only way you can sell your lies. Because, here in DS9 as well, the lies are so obviously bullshit.) But making it a double blind also, where you lied to the parent as well to make sure you manipulated that honest emotional connection into existing, fantastic, exquisite, Stargate wishes. And in the end the point of the episode is different, as Lt Kenmore is the focus of his episode and Kira is really just the excuse to expose the Legate by having him try to protect his "daughter," but (and as much as I love "Michael") the emotional content here is so much deeper and sweeter. Maybe SGA writers are allergic to honest emotions, or maybe the writers were trying to hedge their bets with not portraying their main cast as being as evil as the Obsidian Order... though if you're going to go with the war crimes go whole hog with the war crimes come on.

#mini rant #ds9 s3 second skin #not to say that star trek doesn't also have a whole HISTORY of issues with non-consensual body modification and their female characters #looking at you tng. Kira wakes up as a cardassian and I was literally like wait I already saw this but with troi and romulans #lmao it's okay SGA you trash show i rag on you but i still love you #can you imagine if Michael Kenmore was an actual soldier who died on the mission but he had a mother or a brother who was also military and #they get read into the stargate program and come to atlantis and get told 'hey here is your loved one. a building fell on him so he has #no memory and also looks different.' And Michael actually had an honest connection with someone and honest affection #AND THEN when it all comes out that he's a wraith with this violent nature (or whatever i think that's bullshit and his anger was about #the lies) he and this relative have to go through this whole heartbreaking realization that they thought they loved each other but #they're on opposite sides of this conflict and are going to probably kill each other. like it doesn't even have to end any differently #just give me deeper drama

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unproduciblesmackdown · 10 months

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more info, via a couple of reviews:

"Is this the best, most exhilarating, most close-to-perpetual dancing ever to grace the Goodspeed Opera House stage?

It certainly could be.

The new stage adaptation of “Summer Stock” at the East Haddam theater has plenty to recommend it in terms of the canny script and the hummable songs. But it’s the dancing that leaves the biggest impression.

The show is jam-packed with choreography from Donna Feore, who also directs, that is thrillingly executed by the cast.

We’re talking: Gravity-defying kicks. Head-spinning turns. Male dancers lifting and tossing and catching the female ones. It runs the gamut from Cossack-dance athleticism to soft shoe grace, tap precision to Lindy hop energy.

How the cast manages to sing after executing these (literally) breathtaking numbers, I have no idea.

And how do they make it through two performances on some days? Amazing.

Also amazing: the fact that they do all this on Goodspeed’s small stage without making the space feel cramped.

So, yes, the dancing is phenomenal. But there’s more to the show than that.

This stage version of “Summer Stock” — which is enjoying its world premiere at Goodspeed — is inspired by the 1950 MGM movie starring Judy Garland and Gene Kelly. Writer Cheri Steinkellner, though, has reimagined the piece in many ways, making it better, stronger and propelled by a more modern sensibility. (Steinkellner’s writing credits range from “Cheers” to the Broadway adaptation of “Sister Act.”)

The foundational story, though, remains the same: A no-nonsense young woman named Jane is trying to save her family farm. Her actress sister (named Gloria in the version at Goodspeed) brings her compatriots to the farm to rehearse a show. Jane first spars with and then starts falling for Gloria’s beau Joe, the production’s director.

Steinkellner has also changed up the score, to great effect. While some tunes from the movie remain, she has pulled others that are in the public domain (such as “Accentuate the Positive,” “Paper Moon” and “It Had to Be You”), and she has woven them perfectly into various plot points and important emotional moments.

As director, Feore makes sure the whole enterprise has a dynamic spirit. It’s a story and a production that brims with optimism and cheerfulness.

Leading the cast is Corbin Bleu, who became famous with his work in “High School Musical” and has gone on to star in several Broadway shows, as Joe. Bleu is a true, and truly talented, triple-threat. He has a warm, welcoming presence as an actor; he also brings an authority to Joe so you believe he’s someone the actors respect and will follow. Bleu’s singing is strong and lustrous, and his dancing — particularly his tremendous tap ability — is … wow.

Arguably the biggest scene-stealer here is Veanne Cox, as the wealthy, snooty owner of huge property surrounding Jane’s. The way she trills dialogue can turn anything into a punchline. She can wave her arms about as her character repeats “l’amour” and generate audience laughs. When her character falls for the egoistic actor Montgomery Leach (played by J. Anthony Crane with Barrymore flair), Cox burbles with girlish romantic giddiness.

Danielle Wade does her own take on the Judy Garland role. She gives Jane a swagger and a tough façade that reveals a more human self during the course of the story. Wade’s most important feature is her voice, which is potent whether she’s finessing a ballad or powering through a big number. While she can’t compete with Garland’s renowned version of “Get Happy” (who could?), Wade does a good job in the number — choreographed and costumed in an homage to the original — that serves as the culmination of the production.

Arianna Rosario gets to play an interesting arc at Gloria. At first, Gloria seems to be a blithe, self-centered actress, but she later shows that she is quite the problem-solving producer. Rosario makes the transformation believable, as if Gloria is finally letting her real self come through.

The scenic design by Wilson Chin suggests the various elements of a Connecticut River Valley farm in the 1950s while still allowing room for the cast to burst into all of those big dance numbers. And the costume design by Tina McCartney provides a fun and functional take on country clothing of the era.

I will say that the second act could be tightened up (we don’t need to see so many beats of the rehearsal process), but, in total, this “Summer Stock” is sensational." [source]

(hooray for most directly explaining gloria's overall arc)

and the next review:

"A throwback to the golden age of Broadway and movie musicals, "Summer Stock" is a timeless, inspiring song-and-dance tale of good deeds, fairy tale showbiz, classic romance and backstage intrigue played out to such dazzling effect, you want to freeze frame it, take it home with you and watch it over and over again for pure fun and a let's-put-a-smile-on-your-face endorsement. This is Goodspeed Musicals at its best - old-fashioned musical entertainment designed to deliver by the bucket's load, stir the senses, rhythmically intoxicate you and dance up a continual storm of good cheer that's guaranteed to leave you breathless.

Animated. Airborne. Magical. Sweet-natured. Fresh-faced. Dance happy. It's all here, wrapped up in shiny gold ribbons and signature colors that complement and complete the picture with a technicolor flourish, a big bang and an internal logic that flows with appropriate style, stamina, full command and intent.

Adapted to the stage by Cheri Steinkellner, "Summer Stock" replays that popular let's- put-on-a-show conceit where everything rests of the big opening night, the box-office intake, the big kiss between the leading man and the leading lady and how a complete unknown saves the day right before the final fadeout. Here, struggling Connecticut farmer Jane Falbury decides to let her actress sister Abigail and her actor friends from New York use the family barn as a rehearsal space for their brand-new Broadway bound musical in exchange for doing the daily farm chores to raise enough money to keep the business from going completely under. One slight problem. During rehearsals, Jane finds herself falling for the show's handsome director, Joe Ross, who, happens to be engaged to the show's leading lady - her sister Abigail.

Staging "Summer Stock," director Donna Feore ("Chicago," "Billy Elliot," "A Chorus Line"), who doubles as choreographer, creates a loveable, intoxicating show that reels you in, grabs hold of you until the final curtain and lets you fall in love with every little detail, surprise, plot twist, joke, visual gag, one-liner and tilt of her jolly agenda while she articulates every element of this musical story with thrust, warmth, spin and splendid articulation. Directorially, she pulls it off spectacularly. No wrong moves here as "Summer Stock" catches fire with a spark, a gusto, a shine and a 1950s mentality infused with plenty of imagination, originality, style and flair. More importantly, the production never loses sight of its origins, its functional plotting and its love of musicals of yesteryear despite well-intentioned doses of kitsch, takeaway humor, giddy backchat and story arcs right out of the MGM library of backlot moviemaking. Feore, free spirit that she is, fuels the musical with a sharpened wit and sentiment that works especially well as does her decision to let "Summer Stock" remain rooted in the period from whence it came in terms of staging, development, expression and interaction.

Moving from screen to stage," "Summer Stock" retains only four songs from the 1950 MGM musical. The addition of several new songs to the original version of the score turns the two-act musical into more of a showstopping event and adds clarity, luster and vintage spin to its already proven material, its let's launch into another song and dance routine blueprint and its firm grasp on characterization, story evolution and its happily ever after conclusion. At Goodspeed, there are 28 important, recognizable, smartly placed musical numbers. They are: "Get Happy," "Happy Days Are Here Again/I Want to Be Happy," "Accentuate the Positive," "I'm Always Chasing Rainbows," "Always," "Always (reprise)," "It's Only a Paper Moon," "The Best Things in Life Are Free," "Dig for Your Dinner," "Me and My Shadow," "Howdy Neighbor, Happy Harvest," "Red Hot Mama," " 'Til We Meet Again," "You Wonderful You," "June Night," "Some of These Days," "Joe's Dance," "I'm Always Chasing Rainbows (reprise)," "It All Depends on You," "Always (reprise)," "Everybody Step," "Lucky Day," "How Ya Gonna Keep 'Em Down on the Farm," "Hinky-Dinky Parlez Vouz," "It Had to Be You," "Get Happy (reprise)" and "You Wonderful You (Finale)."

Musical director Adam Souza ("42nd Street," "Cabaret," "Next to Normal," "A Grand Night for Singing," "Because of Winn Dixie," "Rags") grabs hold of the "Summer Stock" score and allows it to breathe, gesticulate, excite, envelop and rhapsodize with the golden age sentimentality of MGM movie musicals and the timeless, larger-than-life spirit of old Broadway. Here, every song matters. Every song is important. Every song travels down memory lane. Every song is tuned to the max with sweet, centered, warm-heartedness. Every song fulfills its intended purpose. All of this is complemented by the strong, flavorful sound of Souza's orchestral team, all of whom share his tremendous sense of theatricality, musical interlude, impassioned communication and delight of the actual musical itself. They are: David Uhl (bass), Sal Ranniello (percussion), Liz Baker Smith (reed 1), Andrew Studenski (reed II), Travis Higgins III (trumpet) and Matthew Russo (trombone). As with other Goodspeed musicals, Souza doubles as conductor and keyboardist. As "Summer Stock" zings and pops, pretty music every song unfolds with a contagious orchestral musical glow, matched by the splendid musicality of the entire cast who address the catchy, homespun music and lyrics with perfect harmony, rhythm, phrasing and nostalgic commitment. These elements heighten the on-stage mode of the production, its progression from Act I to Act II, its send offs, its pastiche and its electrifying, barn-raising influence and thwack.

As with any big stage musical, choreography is key to a production's success, its fluidity of form, its artistic expression and its accompanying dance routines. Here, Feore, as choreographer, gives "Summer Stock" a highly personal touch of invigoration and speedy excitement that is tipped and generated with wonderfully elongated inspiration, stamina and determination. This is star quality choreography that peaks, shines and tilts with clever build ups, catchy dance steps and bold, concentrated rhythms, moves and beats that joyfully celebrate 1950's musicals in all their technicolor glory. As storyteller and dance interpreter, she brings great dimension and scope to the piece using techniques, styles, descriptions and an enriched canvas of thoughts and ideas that make their mark most engagingly. Everything that happens on the Goodspeed Musicals stage has been beautifully blocked, rehearsed and staged with such thrust and individuality, no two dance numbers are alike. In fact, once "Summer Stock" catches fire, there's no stopping it. Creating a freshly minted fusion of moods, tableaus, lifts, twirls and swirls, Feore pays homage to the actual vintage look and mindset of the musical, its dance-friendly art form and its free-flowing feel of excitement and exhilaration. Hands pop. Arms move heavenward. Dancers smile and glisten as they passionately ignite into joyful visions of sweetness, passion, frenzy and syncopation. Everyone is lost in the moment illustrating the traditions, the conscience and the power of musical theatre, giving and getting the most out of Feore's phenomenal, ovation-worthy choreography. Trained, drilled and confident, they each get a chance to shine - and shine they do - all making strong impressions that will live long in memory.

Making his Goodspeed Musicals debut, Corbin Bleu, as Joe Ross, a character originated by Gene Kelly in the 1950 film version, creates a "Wow!" song-and-dance-man factor chock full of charm, personality, self-confidence and full-beam, champagne delightness that astounds, cajoles and sparkles with leading man gait and luxury like no other. No matter what he does, he's a proverbial triple-threat (i.e., a player who excels at acting, singing and dancing) who makes everything that happens on stage feel fresh, spontaneous, real, raw and very much in the moment. It's in his eyes. It's in his moves. It's in his expressions. Exhibiting a sweet, contagious rapport that extends far beyond the footlights, it's the performance of the year and one that Bleu exudes with a Gene Kelly/Fred Astaire aura of showbiz savvy, knockabout whimsy, graceful athleticism and sterling encapsulation. "Joe's Dance," a solo dance number in Act II performed by Bleu only furthers that notion.

In the role of Jane Falbury, a role made famous by Judy Garland in the original "Summer Stock" MGM musical, Danielle Wade lights up the Goodspeed Musicals stage with a breezy, intuitive musical comedy performance of real warmth and spirit that is a constant joy to watch. Veanne Cox, cast in the role of the wickedly devious Connecticut farming magnate Margaret Wingate, is jaw-dropping brilliant, using humor, music, dance and melodrama in divinely daft and glorious ways that prompt applause and laughter whenever she's in the limelight. It's a scene-stealing performance so seamlessly entrenched in glee and fiery abandon, Cox, would be the ideal choice to play narcissistic Broadway diva Dee Dee Allen in the 2024 summer presentation of "The Prom" at Playhouse in Park in West Hartford. I'll personally deliver the contract. Other memorable performances are delivered by Arianna Rosario (Gloria Falbury), Stephen Lee Anderson (Henry "Pop" Falbury), Gilbert L. Bailey II (Phil Filmore), Will Roland (Orville Wingate) and J. Anthony Crane (Montgomery Leach). A musical escape brimming with delightful songs, engaging performances and full-beam dance numbers, "Summer Stock" is not only a bubbly tonic for theatergoers of all ages, but one that kicks nostalgia into high gear with uncomplicated bliss, fizz and vintage sparkle. It sings. It dances. It pops. It dazzles. Like "42nd Street" which played Goodspeed Musicals last season, it overflows with Kelly/Astaire lightness, punch and precision, sunny vibes and well-played exactitude. The energy displayed here is fast and furious with first-night exhilaration and thrill paired especially well with Corbin Bleu's charming star turn, Danielle Wade's joyous "Get Happy" abandon and Veanne Cox's well-prepped, icy cool villain. This is musical theatre of the highest order - infectious, irresistible, glorious. Its leave-your-troubles-at-the-door/Let's-put-on-a-show mentality accelerates with sparkle and cherry pie goodness. And boy, do we need it now!" [source]

(the reference to jane's sister abigail uses the film's names: abigail becomes gloria in this production, which is the name of abigail's actor in the film, which also mirrors how the role of herb is now phil, also the name of herb's actor in the film)

(also shoutout to providing A Full, Chronological List Of Songs. noting that according to another interview, intermission would be between "you wonderful you" and "june night")

#summer stock #dearth of peak relevant info for our purposes otherwise lol but hey #pressing f for danielle wade's performance Tending to be juxtaposed w/either corbin bleu's or judy garland's #which in fact doesn't always mean their going ''eh comes up short Relative to that comparison but good enough'' but yknow #also that role just isn't gonna be designed to be the most thrilling lol...let's get those character(tm) parts babeyyy #further photos of that preview performance do suggest there's more like midshow conflict b/w jane & gloria vs Only getting along great....#and intrigued here if it's like yeah gloria can be written to have Flaws kiiinda like the film dunking on her though not as much as it #(though not as much as it might've; parallel to orville; relevant to their compatibility lol though in this show it indeed just might not #go for ''conveniently gloria's also always already liked him & orville's just glad someone's being nice to him'' lmao. & in fact yes the #material already in the film was like hm sure could be the queer readings in these ''so you're doing cishettery wrong'' roles here #and going aw man wrt the comedy boys herb/phil & orville/orville not getting to interact more #herb getting to make One reference to kinda being the outsider/misfit even amongst the troupe like hey more abt that? what's your job also #meanwhile yeah you can do something like ''oh gloria has this idea re: being The Star but isn't actually as interested in that Process''#but that then instead of that Just being her at odds w/jane & her coming up short she can have her own arc still #finding out what behind the scenes work she Does want to do; jane & gloria of course ending up being mutually supportive one imagines #rather than jane Just being freer from Dealing With her lesser sister or what have you; whom can graciously enough accept this #and ofc we don't Need the partner swaps for everyone's guaranteed happiness communicated through ''they're not single''#whilest the lack of [oh this backup relationship was here the whole time kind of] does make your potential love triangle trickier then lol #hence perhaps some more significant conflict if you're like kissing your sister's date or what have you & she can't Just(tm) have yours #but then being The Lead can't be the ultimate of All [doing theatre]; having kissing status w/a guy isn't the ultimate of all Arcs/Life #(though noting tim wasn't Relieved if another ostensibly straight romance; a cliche in the modern musical; wasn't shoehorned in there...)#(also the awkward notes about Male Dancers and The Female Ones like alright? supposed relevance Where?)#long post ///

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jlf23tumble · 8 months

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What's the blog that went over 2015 larry? There's the one video from the Grimshaw interview where louis looks hella in love with Harry. Literall heart eyes gazing up at him. But I'd love to read some counter thoughts to them not being together at that time.

I just spent a chunk of time digging, and those convos all happened, like, a year ago, rip me! So if you want to see some older posts, here's one and here's another one. There's no real timeline/masterpost that I remember seeing, but there were other people chiming in around then, too--I think it *does* help, though, to look at those interviews, as short as they are, in full vs. gif recaps. That context, bb! You can read it at least two ways!

#can't remember where i saw it when i was digging through tumblr's maddening search 'function' yesterday #but someone mentioned harry rolling his eyes during carpool karaoke's drink ordering sesh seeming like a genuine eyeroll--stuff like that #it's all conjecture of course--none of us knows anything #but for me--being able to read it as fwb or messy or open is actually possible/plausible #that time is a crunchy one and the eleanor breakup is a big indicator that things were frothy below the surface #all the people that talk about harry singing along happily to i will survive #like has anyone listened to the lyrics to that song lmao

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politicallyinvolvedpandabear · 2 years

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Wow, I really love radfems so much. Anyone who, like, gets it. Understands.

I like consuming entertainment/media a lot, and I especially do it now that I have more free time and want something to enjoy during these trying times, but it just occurred to me why even though I usually like what I watch, it’s been doing nothing for me for the most part.

It’s the men. It’s because it’s made by men. Not only is the fandom super male-dominated and therefore male (looking up an underage female character and getting unwanted porn of her lmao), I’m so used to the disappointment and whatnot that I forgot what the cause and reason was.

Basically, when I surround myself with women or see female takes, I feel much happier and connected to others/positive/cheerful. But when I watch something made by a man and can feel it through the sexualization and uncomfortable everything and all of that, then I totally clock out and am disconnected from humanity/others like, “Ok, disappointment. No thanks. No more.”

I like to check tumblr quite often and sometimes I know outright that it’s because I want to see radfem blogs and regain my sanity, but yeah.... It’s really true that who you surround yourself with can influence you and your mood. Coming to this realization was nice. “It doesn’t have to be this way” <-- me and my lack of expectations for media/others

No one’s perfect, but I certainly feel a lot more love towards radfem/”TERF” blogs than I do anyone else I know (since they’re either male or are sipping the libfem Koolaid and probably wouldn’t get it).

I hope all of y’all keep it up, being so cool and all. I’ll definitely fight for us! ✊ You’re all great. c:

#my own rambles #i purposely don't specify or name a lot of things in detail because i dont want to be found out lol #right now my dash is divided between the radfems and the libfems i used to follow and #the difference in posts is so stark lmao #i dont unfollow because i dont mind seeing both sides #but since becoming acquainted with radfems... the libfem side is SO unintelligent hahahaha #anyway i'm surrounded by men in my fandoms but i dont HAVE to interact with them #or take the entertainment that seriously too #this is coming from someone who likes art a lot #this is quite a freeing thought...#i'll spend my time reading that article i had open from that one radfem post #i shouldnt waste my time on/with men #even by proxy through their shit art... trying to find what i want/makes me excited #yeah this is quite the revelation. i hate men after all so why am i even giving them a chance?#i wanna fix my thoughts regarding this and be more conscious about them. i definitely wanna be around women more #talking to myself haha. ok! i like this post.#i'm really so grateful and glad i found radfems #they are the coolest people i know. like... usually i feel nothing towards people. no expectation. only disappointment #but radfem posts can actually make me smile. and FEEL things. actual connection/love to other humans wow!#not just my own morals guiding me on.... me actually genuinely liking people and being curious about them #not wanting to disappoint some of my fave radfems lmao #i'm writing posts at like 2 AM again but i'll try to take these lessons into tomorrow/the future ^^#tbh though i actually feel unused to sharing my thoughts since regular people are SO hostile and i dont want them in my notifs #radfems are human too so i dont really expect a warm welcome from them or anything #but i'd be happy to throw my thoughts into the void without the worry of someone bothering me over it... like picking a fight/being rude #this is the internet though so i'll brace myself as always i guess xD #i wanna make a post talking about my other feelings/the other aspect of my identity but idk when i'll do it #i know people have mixed opinions but i'm not doing it for THEM necessarily. i'd just like to share for fun

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