tomorrow
Always reblog NSYNC the day before May
Queueing this for next year
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RMH
Three Goblin Art
Lint Roller? I Barely Know Her

★
PUT YOUR BEARD IN MY MOUTH
2025 on Tumblr: Trends That Defined the Year
Stranger Things
trying on a metaphor
occasionally subtle

ellievsbear

titsay
$LAYYYTER
Peter Solarz
Sade Olutola

if i look back, i am lost
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TVSTRANGERTHINGS
Not today Justin
Keni
seen from United States
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seen from Australia
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seen from Chile

seen from Kenya
seen from Palestinian Territories
seen from Poland

seen from United States
seen from Indonesia
seen from United States
seen from United States
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seen from United States
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@iskippedfourthgrade
tomorrow
Always reblog NSYNC the day before May
Queueing this for next year
I decided to ask Amy to marry me all on my own on April 28th.
—insp.
shakespeare characters having weird reactions to deaths: macbeth / hamlet / julius caesar
sorry to be pedantic outside of the tags but i love these as exhibits a b and c of why the “shakespeare is meant to be performed” cliche is real; on the page they look wild but actors know how to read the embedded stage directions
two of these examples can’t be shared lines of iambic pentameter (both gertrude’s line and brutus’ are already rushed and irregular at eleven syllables, so laertes and cassius both get their full ten beats for two or three words) and one of them doesn’t have to be (macduff and malcolm’s lines add up to ten beats indicating that it’s shared but no one will call the scansion cops on you if you split it into two and divvy up the extra ten syllables between them, which imo is the more playable option)
remember that verse is symphonic and that those extra syllables are notes in the orchestration of the scene— they have to go somewhere, either into beats of rest or sound. there’s a lot of ways to score any of these moments but one possibile notation for the first is
MACD: your royal father’s murdered.
(rest/ rest/ rest/ rest/ rest/)
MAL: oh.
(rest / rest / rest/ rest/ rest/) ...
by whom?
all that silence affords the director a moment to let a lightning-fast scene (the entire cast pouring onstage in ones and twos, yelling over each other at varying levels of authenticity) come to a screeching halt, and the severity of the situation set in. for the actor it’s playable as all hell, and ultimately very human: the kind of raw shock that makes you ask stupid questions. you get the same thing with laertes. tbh i’ve always found “drowned? (rest / rest /) oh. (rest / rest / rest / rest/ rest /) .....where?” to be utterly goddamn devastating in how realistic it is, bc what else can you say to that? if someone told you with no warning that your sister drowned, what else would come out of your mouth in the moment but something stupid and mundane? oh. ..........where did it happen?
the other notable similarity in these three moments is the use of un-words: two ‘o’s and a ‘ha’ (they aren’t meant to be pronounced exactly like “Oh” or “Ha”; traditionally shakespearean un-words are performed as unarticulated sounds, sighs, groans, exhalations etc). un-words leap out to the actor because it is a character rendered speechless. i made a post a few weeks ago about how big of a deal it is when people written by william shakespeare dont have words for what they’re experiencing/when the pain is so big that even in a metanarrative universe where you are only the words you speak you are forced to admit that something is unspeakable, and every “o” or “ha” or “ah” etc is a moment of this horror, this defeat at the hands of your own medium
it’s a rich moment for actors because in classical text it’s frowned upon to act “outside” of the line (to waste vocal qualities on things that aren’t words, ie to take a pause from speaking your richly layered monologue to let out a pained exhale. “act on the line” says your director, smacking you on the knuckles with a copy of freeing shakespeare’s voice), it’s diva-y and amateurish to take more syllables than you’re given. but when you’re given the space of ten beats for “ha portia”, who will dare call you a scene hog for stretching that “ha” into five notes of agonized, wordless noise?
in the same way that lear’s “howl howl howl” is very much not just the word ‘howl’ said three times these moments demand full, shattering vulnerability from the actor, a dive into the place in the body where pain lives. maybe laertes and malcolm really do say “oh.”, quiet and childlike, or maybe that ‘o’ is a stand-in for the all-air sound that shakes out of you when you get punched in the lungs and try to talk through it, or for that deep animal groan you heard that made you think what was that before you realized it was coming out of your own throat
anyway you get what i mean. you wouldn’t look at a blueprint and say you saw the house, you wouldn’t read the sheet music and say you heard the symphony, etc
home is where your lover is -lyric comparison
“take me out, and take me home (forever and ever), you’re my lover” -lover, 2019
“Feels like home, stay in bed, the whole weekend, it’s nice to have a friend” -it’s nice to have a friend, 2019
“and when I’m feeling alone, you remind me of home” -christmas tree farm, 2019
“you know that my train could take you home, anywhere else is hollow” -willow, 2020
“and he feels like home, if the shoe fits walk in it everywhere you go” -long story short, 2020
ivy, single concept 🌘🍃( click for high quality) clover blooms in the fields spring breaks loose, the time is near what would he do if he found us out? crescent moon, coast is clear spring breaks loose, but so does fear he’s gonna burn this house to the ground
𝑒𝓋𝑒𝓇𝓂𝑜𝓇𝑒 𝖛𝖆𝖑𝖊𝖓𝖙𝖎𝖓𝖊𝖘 𝖈𝖆𝖗𝖉𝖘 🍂 𝚋𝚢 𝕝𝕦𝕟𝕒 & 𝕔𝕒𝕜𝕖 🍂
✨ eyes full of stars ✨
made some drawings for my favourite song, available here!
Lost again with no surprises, disappointments, close your eyes and it gets colder and colder, when the sun goes down
i was thinking again about what taylor said recently about gearing a setlist towards what the fans want to hear. and how she’ll perform songs like shake it off, love story, and blank space which she has played in like every show since their release, because the crowd loves it. and her enthusiasm is worth noting because it creates a fun environment for fans too. and thinking back to surprise song o’clock on rep tour and her reading up online what we wanna hear. her performing holy ground in live lounge because it’s a fan favorite. she does a lot of stuff with fans in mind and i just adore that
To All the Boys I’ve Loved Before (2018) dir. Susan Johnson To All the Boys: Always and Forever (2021) dir. Michael Fimognari
I just want everyone to know... All 7 of my followers, that Claire Saffitz, of BA and Dessert Person fame, gives off the most Hermione Granger energy ever, and this is a hill I will happily die on. Thank you for coming to my Ted talk.
Things we dont talk about enough: How Taylor admitted the only reason she was so vocal and proud about having that squad 2/3 years ago was because in her mind she was still a young girl who got bullied at school and had no friends so she wanted to show off to the world that she finally got them, then when they all left her and she went in hiding she realized that “No amount of friends at 25 will fill the empty seats at the lunch tables of your past, the teams that picked you last… but darling, you keep trying.”
folklore and evermore + names
“It feels like we were standing on the edge of the folklorian woods and had a choice: to turn and go back or travel further into the forest.” Folklorian Woods | Map
The only thing I’m looking forward to at this point is my Spotify wrapped playlist