[…] Only the roar that greets Bette Midler’s entrance in Hello, Dolly! compares to the explosion in the Richard Rodgers Theatre when Javier Muñoz sings the words “Alexander Hamilton” in the opening number that bears his name. Granted, when you have waited so long, heard so much, and negotiated the soul-killing obstacle course involved in attending any Broadway show, you really want a spectacular return on your investment. In this case, however, the fact that I knew what was coming at almost every moment did nothing to diminish the feeling I eagerly shared with the audience. It was the exhilaration of collaborating, as every audience does, with a company on stage in creating something indelible, something transformative and something almost indescribably pleasurable.

Hamilton is in great shape. In the case of Muñoz, it’s not too surprising; he’s been with the show from the beginning as Miranda’s stand-by and performed the lead when the Obama family stopped by the Rodgers for a visit. Muñoz may be the better singer (Miranda is hardly shabby in that department). Miranda never let us forget the wince of an orphan’s insecurity buried deep beneath his layers of determination and self-confidence; Muñoz conveys tougher armor. I’m not going to declare one better than the other; they’re different and equally satisfying.

Indeed, it’s generally an odious critical gambit to compare performances. Who cares how many Uncle Vanyas I’ve seen, tell me about this one. There may be slightly more justification here because the original Broadway cast album is ubiquitous and many theater goers are familiar with the voices that created Hamilton. In this case they really are significant, but again, more because of their stylistic differences than because of any diminishment in the stature of the performances. Hamilton’s nemesis, Aaron Burr, is played by the exceptionally fine Brandon Victor Dixon replacing Leslie Odom Jr. The latter was steel cloaked in suavity, while Dixon is more severe in the opening number, which gives us both Hamilton’s back story and the seeds of a rivalry that will only conclude in a duel on the New Jersey shore many decades later. Delivering what is, to my mind, the show’s most astonishing number, “The Room Where It Happens,” Dixon’s another knockout.

The killer-comic dual roles of the Marquis de Lafayette and Thomas Jefferson, created by Tony winner Daveed Diggs, are now played by Tony winner James Monroe Igglehart [sic], who originated the Genie in the stage version of Aladdin. Where Diggs was sleek and carbonated with energy, Igglehart [sic] exudes a crafty jollity that’s irresistible in its own way, not so much playing to the audience as coercing us into abetting his antics. Lexi Lawson and Mandy Gonzalez have the formidable challenge of replacing Phillipa Soo and Renée Elise Goldsberry as Eliza and Angelica Schuyler, respectively, and they’re fully up to the task, singing gorgeously and plaintively. (I still wish someone would tell me what the hell happened to Peggy Schuyler, the Schuyler Sister Who Disappears, but that’s an old gripe.)

One extremely felicitous cast change is the return of Brian d’Arcy James as King George III. He created the role but had to leave while the show was still running at the Public to go into Something Rotten!. (He was replaced by Jonathan Groff and others.) Now he’s back and he’s great, especially in some deft interplay with Igglehart [sic] as Jefferson.

[…] this fourth visit to Hamilton allowed me to savor even more the truly astonishing work of director Thomas Kail and choreographer Andy Blankenbuehler (both Tony winners for the show, with Blankenbuehler repeating a few weeks ago for his choreography of Bandstand). Like Miranda’s score, which ranges restlessly from hip-hop to pop, blues to ballad to traditional Broadway belter, Hamilton itself is in constant motion, an organism whose multitude of parts (the company is fantastic) are seamlessly in synch in ways that just stop your breathing as one scene flows into the next, inventively, smartly, unexpectedly. That’s one of the things that makes Hamilton a truly great Broadway musical. But only one of them.


I think this is the fastest I’ve ever made a video about something. The SNES Classic is real and coming out in September. It has an amazing line-up of games including a lot of my favorites like Super Metroid, Earthbound, Yoshi’s Island, Castlevania IV and more. But the biggest thing about it is that it will be the first time Star Fox 2 is officially releasing!

REBLOGS greatly appreciated!


Hey tout le monde !

J'ai acheté (relativement) récemment un binder GC2B, du coup voilà une review rapide de ce que j'en ai pensé.

J'ai aussi un binder Underworks donc j'en profiterai pour faire une comparaison !


Je l'ai pris en S sachant que je fais 1m60 avec un torse je dirais “moyen” (?) en terme de “corpulence”. Soyons honnête je pense que j'aurais du prendre un peu plus grand, notamment parce que j'ai des épaules assez carrées et que j'ai énormément de mal à enlever mon binder du coup. (Le mettre ça va).


Je pense que l'efficacité est légèrement atténuée par le fait qu'il soit trop petit (il parait qu'il faut toujours avoir pile la bonne taille sinon ça marche moins bien). Je vais peut-être réfléchir à en acheter un la taille au-dessus du coup. Mais sinon c'est quand même raisonnable ! En fait ça dépend pas mal des hauts que je mets.

Pour le coup, le Underworks marche légèrement mieux je crois, en tout cas sur le court terme.


Le GROS point de différence entre les 2. Le GC2B est SUPER CONFORTABLE (et je vous dis ça alors que j'ai probablement une taille en dessous de ma taille réelle, donc). Il y a plusieurs différences notables :

- la matière, qui est 1000 fois plus agréable pour le GC2B ;

- la façon dont le binder est conçu : en gros, sur le GC2B, la matière élastique du dos comprend les épaules. Pour le dire autrement, le tissu qui passe sur les épaules est élastique. Donc je peux lever les braaaaaaas (eh oui, avec le underworks c'est difficile) ;

(On voit sur l’image de face la séparation partie élastique/partie qui binde)

- le Underworks me fait mal au dos très vite ;

- le Underworks me coupe plus la respiration.


Je préfère de loin le GC2B en raison de son confort. Pour faire simple, je renonçais souvent à porter un binder parce que le Underworks était trop inconfortable et me faisait mal. Là, je sais que je peux le porter toute une journée sans problème, et en oubliant même que j’en porte un !

Reste à tenter la taille au-dessus pour voir si cela convient mieux :)

Are young women prey?
Is that the catch of the day?
Danger, danger.
You’re oblivious to it,
but you’re the next target
in your life being
taken away from you.

The Queen of Tejano,
so trusting and kind.
And everyone was blown
out of your mind,
by your kindness,
love, and talent
in singing.

fellow YouTuber
taken too soon
but you conquered
your dreams over the moon.

aspiring actress,
this was the first mess,
you’re the reason
why more people
need to be more safe from harm .


Christina, Selena, Rebecca, you were all young, phenomenal women. You may be long gone, but your legacies will live on.



Review : A beautiful tribute to some beautiful people. I wish there was a little more about how each impacted you personally, but otherwise, this was a lovely piece to read. Great job. Keep on writing. ❤



06.07.17 | 19/100 hello! Aw man I haven’t been active in ages :(( Here’s my spread for June (which I was really not planning to make initially until I realized my life was out of sorts).

I don’t think I’ll make weeklies for June. I’ll just use it to track my study habits. I’m also liking the space theme and the brown paper trend I’ve got going. (Doodles were found on google images!) 

important: pls MESSAGE me if you have any tips/tricks/shortcuts for solving math, chem, physics, or any other kind of problem (specifically for TESTS)!! THIS WOULD TOTALLY BE SUPER APPRECIATED! Plsplspls message me even if you think it’s a commonly known trick! thank you loads <3 

notes | bujo | masterposts

“Pure Heroine documented feelings of teenage ennui in a way that was both self-reflective and universal; Melodrama takes a similar approach to the early years of adulthood - following a narrative that could almost be one night at a house party - in all its gory detail. Fuelled by a black humour that’s almost become her trademark, there’s heartbreak and ecstasy, desire, fear, uncertainty, acting on impulse, making mistakes and (maybe) learning from them. And those are tunes we can definitely dance to." 



“Their chemistry was palpable. They collaborated on his solo song "Two Ghosts” before Fleetwood Mac’s iconic “Landslide,” dueling harmonies and all, and finished with “Leather and Lace,” with Styles filling Don Henley’s shoes. “She’s the queen of anything,” he said, bowing down to her at the end of the segment. It was clearly the highlight of any of his promotional appearances over the last week, counting undersell shows in both New York City and Los Angeles.“ - Billboard

Less exhilarating than “Pillowtalk,” but also twice as smoldering: “Slow Hands” certainly ranks as the most jaw-dropping One Direction solo single to date, just because nobody could’ve seen a jam this bluesy, this gritty, this – yeah, let’s say it – sexy coming from 1D’s fairest alum. The secret highlight, besides the incomparable imagery of “sweat dripping down our dirty laundry”? The way Niall’s vocal on the first verse is ever so discretely chopped on the recording to a clipped staccato, a mysterious move that forces the singer into a less-is-more delivery that ends up being much more indeed.
—  Every One Direction Solo Single, Ranked (billboard.com)

‘Twin Peaks’ Makes A Moody And Eccentric Return To TV

Critic David Bianculli writes:

“Sometimes, this new Twin Peaks almost seems like a parody of itself. Other times, it just feels wrong, with scenes that could have been written more solidly, or eliminated entirely. But then there are times, in all four of these opening hours, when this new show feels so right — so dreamlike — so … so very Twin Peaks.”

SKAM S4: abrupt plot lines, cryptic carrots and the ultimate finale

The third season of Norwegian series SKAM ended with a bang: Isak‘s true to life story combined with an inventive approach to storytelling completely captivated the youth all around the world. The ecstatic, thought-provoking trailer for the upcoming Sana season lived up to viewers‘ expectations, but is season 4 a worthy ending to such influential series?

From season 1 to season 3, both main plots and sub-plots are coherent and well-structured. In contrast, season four seems to be a hamfisted attempt to tie all loose ends, while introducing new, but unnecessary drama solely for subpar shock value. To begin with, the love story between a religious person an a non-believer was never properly addressed or explored in the series and ended up with Yousef in Turkey, which qualifies as lazy writing. Sana‘s and Yousef‘s story had the potential to become another grand love story, but ended up being thrown in a nonsensical void. Additionally, season 4 contains a plethora of other flimsy plot lines, that make no sense on the large scale: the anticlimactic Balloon Squad versus Boys Squad drama that ultimately had no significant effect on the story; pre-hiatus Russ Bus conundrum; not to mention Los Losers scene that was both marvelous and illogical. What is more, Julie Andem continuously shows excessive love for Baz Luhrmann throughout the seasons: Noora‘s trailer was clearly inspired by „The Great Gatsby“; season 3 contains an abundance of visual parallels with „Romeo + Juliet“; in season 4, William‘s quasi-magical appearance is accompanied with „Who gon stop me“  from the above-mentioned „The Great Gatsby“. A borderline offensive „This is something like the Holocaust“ line paired with arguably the most notorious character coming back to the screen is a dystopia rolling before the viewers eyes. Another example of distasteful music choice in season 4 is „That bitch is crazy“, while the camera is focused on Even, without any further explanation.

Symbolism was at its peak in season 3, creating extensive dialogues between various medias such as classical literature, state-of-the-art music and contemporary cinema. Furthermore, prominent biblical allusions tied together a realistic tale and an ethereal love story, providing the viewers with a groundbreaking view on a same-sex relationship. The romance line of season 4 appeared to be quite promising at first, but fell flat after the first episode. For the majority of the season, the viewers are forced to engage in a dragged-out love triangle, filled with a sideline story of out-of-the-blue soulmates and perpetual appearances of a moody eye candy that is Noora alongside obscure carrots. Obviously, bright orange carrots are supposed to have a symbolic value, although the true meaning is open to interpretation. At first, a lot of questions arise: do carrots signify a faulty approach to relationships, are they a purely phallic object or a symbol for seduction and uncontrollable desire, but the puzzle gets mundane way too quickly. Moreover, recurring appearance of carrots comes off as overdone and forced, without sparking any interest amongst the spectators, who might experience plain confusion and even unfounded anger.

Finally, after a fair share of clips featuring various characters as main focuses, the last part of episode 10 was revealed, marking the end of SKAM with an inspiring speech by Jonas, meaning that the series came full circle, and an unexpected spectators point of view. What is more, complete obliteration of the fourth wall gives a sense of ultimate reality, although blurring the lines between fictional and real worlds was one of the principal ideas of SKAM throughout the whole series. The tastefully executed final speech, targeted towards a wider audience than only Sana, does not come off as useless preaching, but more as a tap on the shoulder and a friendly: „hey, would you mind listening to my thoughts?“. In conclusion, SKAM gave each and every individual the ability to pick and choose: live now or think of the future; spread fear or love and so on.

All in all, despite obvious imperfections, SKAM dignifiedly represented the reality, which is also heavily flawed and oftentimes unbearably chaotic. To my mind, it is only the beginning: the beginning of the viewers’ own SKAM.


So Today I Watched… Wonder Woman // Warner Bros (2017)

And so it is. The day has finally come. Before making the mistake of saying “The first ever Woman led Super-hero film” let’s remind ourselves for a minute that before this release we had over the past 25 years Supergirl, Tank Girl, Barb Wire, Catwoman and Elektra. No, Wonder Woman is not the first effort by a studio to have a leading superhero female character. BUT it’s the first one they finally get right. This movie it’s a letter of love to the character, one that Gal Gadot carries on with tenderness, strength, innocence and purity. I swear to God.  The best part of this film is this woman’s acting. She embodies all the traits of Diana of Temyscira, Daughter of Hippolyta. A child born from clay, and given life by the grace of Zeus to make the world a safer place.  She doesn’t know about her destiny and she’s refused to be told so by her mother who cares for her more than she should. Diana’s stubbornness and eagerness to learn make her the Amazon’s fiercest warrior until one day she meets Steve Trevor, a British spy on a mission to uncover a ploy by the Germans in WWI to strike the allies with toxic gas.

Diana’s first knowledge of the world of men by the words of Steve wakes her  warrior spirit but despise being a very wise woman in the ways of the Amazon she knows nothing of the world of man. Once she’s out of Temyscira she has to face the nuisances of the world in London on the year of 1918. From here on it’s an amazing experience to see this warrior woman who sees the world on terms of right and wrong, learn about compromise, patience, love, hypocrisy, the measure of principles, the way the world works and how this affect in the outcome of the conflict she faces. Every relationship Diana builds in the film reveals a new facet of the character; she truly is an ambassador for humanity, caring for everyone. As every origin story, this movie has “The hero’s realization” scene (the moment when the hero knows he has to step up and make a stand to prove his/her worth) and while we have seen this played out a thousand times over in a lot of super hero films over the past 12 years Diana’s realization is pure gold and a one the best moments to watch in the film despise being blown over in the trailers already. Diana is not an infallible hero she’s learning as she goes and as such she makes mistakes. Some of them cost her dearly. Some of them haunt her to this day and that’s why she put on the mantle again in Batman V Superman.

The movie did not receive the hype BvS had with a 3 years in the making process and that’s a good thing. This is a very solid film. One of the best origin stories ever told. Patty Jenkins outdid herself with this movie. The aesthetics are great and they suit the period the film is being set in. The music while not the most memorable makes good companionship to the drama unfolding over the 2 hours of story. Every actor is efficient on their contributions. You’ll get humor. You’ll get sadness. You’ll get moments of reflection. You’ll get empowerment. You’ll get action. But above all and everything else… We, the fans, finally have a Wonder Woman feature film and it’s an awesome one. If you are one of the few who haven’t watched it yet go and buy a ticket. You are in for a ride.

My Faith in the DC Cinematic Universe has been restored to a 100%.

Melodrama // Lorde

Green Light: 9/10

  • I loved this song from the second Lorde released this as her debut single. It’s an absolute windows down, night drive, party song.  I was surprised it was the leading track, but it definitely helped set the tone for the rest of the album– that being that Lorde is an angelic and powerful bitch who will make beauty out of a mess.

Sober: 7/10

  • Has an insane beat that I’ve come to appreciate more the more I listen to it.  I think the chorus could be more powerful, but it also demonstrates that she doesn’t need to show off crazy vocals to make a good song.

Homemade Dynamite: 7.5/10

  • I’m going to be honest, I love a good swear word in the chorus of a song– makes me feel cool.  This is the kind of song I can listen to on the way to a party ((with the windows down of course))

The Louvre: 9.5/10

  • I. LOVE. THIS. SONG. The only thing stopping me from giving this a 10 is the fact that I was already completely biased to the title because I love Paris/art/The Louvre/etc.  I’m not going to lie, the first 3 seconds of the song already had me crying because I am in love with the sound she uses.  She doesn’t have a lot of songs with a softer, guitar feel.  The lyrics in this song are incredible and I am envious of what an amazing writer she is.  ((Also the humor about being hung in the back of the Louvre ARE YOU KIDDING)) Anyways,  I could talk about this song for hours so I’ll leave it there.

Liability: 9/10

  • I overplayed this right when it came out as the next single.  I felt a special connection to this song and the lyrics continue to rip out pieces of my heart with every listen.  Lorde is a princess.  I am blessed.

Hard Feelings/Loveless: 9/10

  • Look. I didn’t think she could surprise me anymore, this was already one of the best albums I’ve heard in a long time. And then she did THIS.  The mixing of the two songs is absolutely genius.  Plus the lyrics in loveless are just another reminder not to fuck with Lorde.  She’ll mess your life up in the most beautiful way.  This is the most dynamic song on the album.

Sober II (Melodrama): 7.5/10

  • I think the anticipation for this song is set high because of the fact it’s the album name.  Although it’s not my favorite song on the album, the more I listen to it the more it feels like Melodrama.  I couldn’t imagine something else in its place.  

Writer in the Dark: 10/10

  • You think this isn’t the best song I’ve ever heard? Wrong.  Of course I’m biased because I’m a writer as well, though.  This has to be one of my favorite songs on the album, if not my favorite entirely.  This broke my fucking heart and I loved every second of it.  Did you hear that chorus? I have never heard something this heart-wrenchingly beautiful.

Supercut: 9/10

  • This song starts out with such an enchanting beat and mix of her vocals.  It feels like a softer version of Green Light.  The way she incorporates specific sounds in different songs on the album helps link them together, and I think that’s really cool.  A few of them have that unedited voice where she sounds like she’s behind a curtain in a studio.  Or that certain piano pitch that finds it’s way in Green Light and Supercut and here and there.  The thought put in this album is incomparable.

Liability (Reprise): 7/10

  • To me, I wouldn’t listen to this as a stand-alone song, and that’s okay.  This adds to the album as a whole and gives it character.  It has an eerie sound that we link to no one other than Lorde.  I feel like Jack Antonoff might have helped out on this one?  (Peep his new album where he has a reprise of a song as well.)

Perfect Places: 8/10

  • That was THE MOVE to end the album with this song.  It’s a similar head banger to Green Light and is a great way to bring the album to a close.  I’ll be dancing.

All in all this is absolutely one of the best albums I’ve heard this year.  Lorde has such a unique way of blending beautiful lyrics with eerie, dynamic tones.  There is no one with a sound like her.  I am forever envious of the way she writes.  This album is a 9/10, easily.