under her skin

its a diary

[bloodfromhermouth]

if ur gonna hc rape kinks on a character or hang out with ppl with rape kinks on a character, ya better not act like a hit dog hollering when the tv series has the character raped

especially if ya act like a righteous fucking prick over anyone that says they dont see any love between an adult man and the child bride he married and raped

[bloodfromhermouth]

i still have hcs of alicnt as a lesbian in daemyracnt but in the sense i like to play with the idea that dæmon n alicnt tolerate the other on nyras behalf and slowly become almost like friends.

the other times i hc her with more of a fluid sexulity(*) is when im queering alicents gender. what if nyra wants her girlfriend wearing suits and boxers, what if nyra wants to see dæmon suck alicnts strap.

my most self indulgant of aus of them is definitely trans alicnt. tgirl, tboy, gnc alicnt getting pulled in by their belt loops onto a lap and being so pissed off about it. they always fight over nyra and thats my favorite dynamic of this ship

[andrew-garfielld]

Emma D'Arcy as Rhaenyra Targaryen HOUSE OF THE DRAGON Season 3 | Official Teaser

[i-am-countess-olivia]

The NY critics' reviews are a bit meh (mostly on Zeldin's script, not so much the performances which one called "superb"). Guess they weren't ready.

[miztetra]

i saw the other place the other night, in nyc. wrote about what I Witnessed… less of a review and more of a processing. but i go into what this staging did differently. i don’t consider myself a great review/analysis writer or anything but. here you go anyways. this shit changed me

I watched The Other Place when it hit National Theater At Home and have watched it three times since. It is a story I’ve been turning around my head for a year. So when it came to America, of course I flew from San Francisco to New York. I gotta see this shit for myself. And to experience Tobias Menzies 10 feet away from me. (thank you The Shed for $25 under 30 tickets!) 

Despair, that’s the word that comes to mind when I think of what I saw this night. Deep hopelessness and an acceptance of doom. Tobias Menzies is twitchy— his hands balling into fists, then relaxing; fingers tapping a leg, a table; eyebrows that fly up and down at the slightest comment a family member makes; a mouth that is constantly moving, whether speaking, biting, licking, curving, sneering, scrunching, and always chewing on the gristle of something tough. And of course, at the final moment of horror, open and gaping and completely useless.

No one spat in that mouth though! It was closed when Emma D’arcy lobbed their spit at him, refracting the light in a great big spray, and I heard and felt the audience recoil. But then an arm is wandering under their crotch, Menzies’ forearm pressing UP as he gropes their ass and rucks their shirt up from under their belt. I think I died. “Did we die?” (I’ll admit, as a proud Sicko I was disappointed we lost the intimacy of a niece spitting in her uncle’s mouth. Surely they don’t think us Americans as that pearl clutch-y. So whatttt could this change mean!!! Spitting in his mouth could be Annie embodying her father in that moment. taking a patriarchal position of power and punishing chris. To spit ON him feels more like she’s taking power back and doing it as herself. I spit on thee. Antigone as a rebel. She does not spare Chris for a moment.)

Gregg’s was changed to Burger King. Who the hell is spending 4 hours in a Burger King? What else had they changed, for the American audience? Compared to the NT recording, which had characters free falling in despair, this production felt somehow even more devastating. Lorna Brown’s Erica seemed completely and utterly broken. She doesn’t seem ready to forgive or move on. Menzies’ Chris is less violent than he was in London, but he still wriggles in under the skin. If NT Chris is a man who uses violence and anger to cover his repressed perversity, doing something he knows is wrong but blaming Annie for it, this Chris is the guilty predator, one who’s violence bubbles up despite his best efforts, weeps for himself and his victim but still will not stop himself from harming them. NT Chris seemed to want to run away with Annie forever— this Chris seemed like he wanted to light the house on fire and perish with everyone else. Chris, fundamentally, is an incredibly weak man. 

He is touchy with the children— Leni, and his younger niece Issi, whom he houses and gives money to. There was a moment, in the beginning, he wraps his arm around her in such a way I noticed, I noticed as Wrong. No wonder Terry, whom Chris had already confided in about his escapades with Annie, thinks Issi available for him. It’s impossible to experience this play, knowing it’s been recontextualized for a contemporary American audience, without thinking about the Epstein files. 

Ruby Strokes is brilliant as Issi. She felt just as young as the production wants us to believe she is, and her reduction to the little girl she was when her father died is completely believable and heart wrenching. Her childhood turning to be a lie, realizing she had no one she could trust— she feels less angry-betrayed and more disappointed-betrayed with Annie. 

Annie sobs, “I love you,” three times. In NT I felt like one of those was for Chris. Here, I did not. And in contrast, I feel Chris was softened here— no less monstrous, but more rotted, in acceptance of his sins; of course, still unwilling to actually do anything about them. 

The recording does not prepare you for the visceral experience of watching a family fall apart right in front of you. 90 minutes straight, no breaks, it sucks out your soul. The monolithic “sun” illuminating the stage also illuminates the front rows of the audience, so I was pleased to see people enraptured, leaning forward or back in their seats, hands on their faces, shrinking in on themselves or mouth and eyes wide open, unbelieving. I’ve heard NYC audiences have had mixed reactions to this play— but I can confidently say this night, everyone was on board. It was a standing ovation, Tobias was muttering something to himself as he took his bows, inaudible over the cheers. Clearly the actors felt our energy. I think this story is so important right now. I think the more uncomfortable a work makes people, the stronger it is. 

Adaptation is about themes, and understanding the intentions and meanings of a work. While changing many character dynamics and plots, Zeldin understands Antigone as a tragedy of patriarchy and places it in a modern setting, where incest is just as much a part of life as it was when Sophocles was writing, just much less talked about. Look it in the eye and let it shake you.

[deathgroupie]

normal play for normal people :)

[depressedraisin]

all the performances in the other place (2024) are stunning gorgeous brilliant etc. etc. but emma d'arcy in particular absolutely floored me. they were uncannily detailed in embodying in the murky-stagnant-water-in-a-clogged-drain quality of being in perpetual mourning/constant grief. and also in showing just how deranged that state of yours appears to a world outside you that has decided to move on. like i was going "is this fucking play about US??" every 2 secs. it was crazy.

[bloodfromhermouth]

my most self indulgent of hcs with alicent, one i wish to explore someday in art is her genderisms

[bloodfromhermouth]

agegap show rhaencnt in modern au but keep the fact that viserys is a predator that preyed on both aemma and alicent

alicent bein a child when viserys marries her, knowing abt aemma age n fate, and fearing something would happen to rhaenyra bc she doesnt trust men, much less fathers

only for alicent to become obsessed with her

[bloodfromhermouth]

i wanna draw alicent pegging daemon

rhaenyra gets front row seats and is enjoying the show immensely

[bloodfromhermouth]

liking daemyracent when i joined fandom only to hide it bcs rhncts r annoying as fuck and now i gotta dodge being anywhere near the ones that suddenly started shippin it now

[i-am-countess-olivia]

was missing The Other Place, thankfully this video from NYT had a rather intense editorial pic I'd not seen before — with a perfect caption to boot.

[nomilkinmyteaplease]

First look at the Other Place with Emma d'Arcy and Tobias Menzies at the National Theatre

[bloodfromhermouth]

am i gonna analyze why i come back here to thirst over annie n chris being terrible horrible tragic

no

[lesmiserabelles]

emma d’arcy and alison oliver in the other place / national theatre, 2024

[bloodfromhermouth]

anyone has the right to depicting or interpreting alicents abuse however ever they see fit, especially if they come from a place of that same/similar trauma, yes? then you cant bitch or complain when someone depicts it in a way that makes YOU personally uncomfortable. ya sure as fuck cant call it 'galling' because someone sees her taking her autonomy into her hands by not fucking wanting to be under a fucking person ever again or 'bottoming' as ya cunts like to throw out to silence and disregard a valid interpretation as some top/bottom discourse shit. or for daring to interpret her having fucking hate and rage in her heart for the fucker that abused her. just cus u love ur abuser doesnt mean the other abused bitch does.

fuck you, ya fucking cunts

that cunt viserys did not fucking love alicent, she was a warm young body and that was it YA VILE CUNTS

[bloodfromhermouth]

abuse perpetuates abuse perpetuates abuse perpetuates abuse