and a bunch of other great actors

anonymous asked:


Oh my gosh it was amazing?? Like I loved it soooooOO much. I’m trying to refrain from screaming but !!! The acting was great, the cast was so talented, and it was overall an amazing show. I’m just gonna list some things I LOVED

-Chris’s first line was “look I didn’t want to be a half blood” (my friend and I were screaming when he came on stage)

-Good kid live sounded so great. He climbed the set and scaffolding and I almost cried. I probably will cry.

-Mr. D was hilarious! George Salazar is such a talented actor

“Tartarus” “-Like the fish sauce?!”

My favorite easter egg was in one song when they were going through some of the quest moments their clue to leave the lotus casino was when a girl with a floppy hat and a braid came out and said “my brother and I just arrived here yesterday, may 1st…1939!”

Carrie Compere’s voice is so beautiful. She killed it. Sally, Silena, Charon, she was amazing.

-Sally in general! She kissed Percy’s forehead, sprayed febreeze whereever Gabe went, and was so caring and sweet

-Annabeth’s solo song was amazing and really in character! Grover’s was about Thalia and how he could have saved her (again, tears)

-The little percabeth moments sprinkled in! “You drool in your sleep”, “seaweed brain” “wise girl” they held hands for a couple seconds, and idk if it was just me but at one point they looked close enough to kiss

-we can’t have a scorpion on stage?? Why don’t we just fuckin stab Percy in the back


-Like everyone except Chris McCarrel and Kristin Stokes played multiple rolls and they were all so great at what they did

-At the end of the show I (and a bunch of others) got to meet some of the cast members! They signed things, took photos, and were so so nice (my current lockscreen is my photos with chris mccarrel, george salazar, and kristin stokes lmao)

I could say so much more but it’s like almost 1am and I’m delirious.

TLDR: The Lightning Thief was an incredibly amazing play with great talented actors and it was definitely worth it! I loved it so so much

Welcome to the Oscars 2017: who will win, who should win. My analysis and guide into the most important night of Hollywood.

We are back for another year of surprises, snubs and, at times, predictable awards. Tonight will be full of fancy dresses, brand new memes and political undertones in every speech of the night. But, in between a beautiful dress and an A-lister falling gracefully in the red carpet, a film will be crowned as the best of 2016 or, at least, Hollywood’s favourite.

Originally posted by junibie

I usually make several posts analysing the most important categories with a couple weeks to go before the big awards. But as this year I’ve been busy with some creative work of my own, I am going to try to summarise my usual rant in a single post. So prepare for a long, and hopefully interesting, look into tonight’s show. And if you need tips to fill your ballot, you can always count on me!

Actor in a Supporting Role

Originally posted by lettherightfilmsin

After the surprising turn it took last year when Mark Rylance (Bridge of Spies) took the coveted award over clear favourite Sylvester Stallone (Creed), it seems this year this may be one of the most predictable categories in this year’s Oscars.

This year, we have three first timers in this category, one of them as young as 20. Alongside them are veterans Michael Shannon (Nocturnal Animals, one previous nomination) and Jeff Bridges (Hell or High Water, 1 Oscar, 5 previous nominations). The awards season has been pretty divided (the Golden Globe went to an actor who wasn’t even nominated to the Oscars: Aaron Taylor-Johnson, Nocturnal Animals), but there seems to be a clear winner.

Who will win: Marhershala Ali (Moonlight) is the obvious frontrunner. He has won the Critics’ Choice Award and the Actors Guild. And although Dev Patel (Lion) snitched the BAFTA just two weeks ago, it seems Ali is a locked deal for every ballot around the net.

Who should win: Marheshala Ali isn’t only the favourite but, in my opinion, the best out of a bunch of really talented actors. His performance in Moonlight, although brief, was intense, powerful and moving. His character also drove the main character’s growth into the different stages of life.

Among the other nominees, it is worth to mention Lucas Hedges (Manchester by the Sea). Although only 20 years old, newcomer Hedges’ performance was incredible and touching, a great portrait of growing up and dealing with grief.

Actress in a Supporting Role

Originally posted by the-movemnt

A year after the Academy was called out for not nominating any people of colour in the acting categories for two years in a row, it seems it has finally reacted to the heavy criticism. And this is the category with the most diversity this year.

Everyone except Naomie Harris (Moonlight) has already been nominated at least once before. This includes two actresses who have already been winners: Nicole Kidman (nominated this year for Lion) and Octavia Spencer (Hidden Figures). Viola Davis (Fences) is a third time nominee and Michelle Williams (Manchester by the Sea), a four timer. 

Who will win: Viola Davis has this award in the bag. She has won big during the whole season: Golden Globe, BAFTA, Actors’ Guild, Critics’ Choice. It’d be a real upset if anyone else won. No one is even considering another possibility.

Who should win: Viola Davis has been playing incredible roles for years, both on TV and on film. After not winning for The Help in 2012 (film for which her category buddy Octavia Spencer did win), it is only right she wins for her amazing performance in Fences. Her portrayal is emotional and raw, difficult to find in cinema nowadays.

My personal favourite, though, had to be the incredible Naomie Harris in Moonlight. Her performance was, as Viola’s, raw and deep. However, Michelle Williams’ intensity was probably, and regrettably, the thing I liked the least about an otherwise beautiful film.

Actor in a Leading Role

Originally posted by gael-garcia

This may be the closest race of the night. Once a clear win for Casey Affleck (Manchester by the Sea), Denzel Washington (Fences) has sneaked into the predictions in the last few weeks and seems to be ready to win.

Although the race is clearly a 50/50 in between those two actors, months ago it seemed like nominee Ryan Gosling (La La Land) also had a chance. Unfortunately, his Golden Globe winning in January deflated and it seems it will be the film that takes the awards, not him. First time nominee Andrew Garfield (Hacksaw Ridge) is a long shot, but it is easy to see this has been his best year yet (also starring in Scorsese’s Silence) and we will probably see him back in the Oscars in many years to come. Finally, Viggo Mortensen (Captain Fantastic) comes to his second nomination in a little known but highly praised role that both critics and audience have acclaimed since the film premiered in Sundance last year.

Who will win: It is such a 50/50 that I have been struggling for weeks and still struggle to call a final choice. Although the maths clearly point to Casey Affleck (a 49.5% according to Ben Zauzmer’s Maths Predictions on The Hollywood Reporter), Denzel Washington is said to be the favourite by most experts (at least since he won the Actors’ Guild a few weeks ago). Affleck did win the Golden Globe, the BAFTA and the Critics’ Choice (an almost complete sweep), but scandal has been following him the whole race for a sexual harassment suit filed against him in 2010.

I wouldn’t say for sure, but the development in the last few weeks seem to give Denzel Washington a small lead. But don’t be surprised if Casey Affleck manages to win tonight.

Who should win: When all is said and done and if we leave out anything that isn’t just performances, I would have to say Casey Affleck should win. His performance was really good and he he carried the enormous emotional weight of this film almost sorely on his shoulders. Although Denzel Washington was great, Fences was a bit too theatrical to me, seeming to forget cinema doesn’t have the same rules, even for its actors.

Actress in a Leading Role

Originally posted by amela22

This is a category that has had me thinking a lot this season. Not because the winner is a tough call (it hasn’t been for the past few weeks), but because of how it is decided who is leading and who is supporting. Because, honestly, wouldn’t you say Viola Davis was a main character in Fences? I’m also conflicted by the wonderful Amy Adams not being nominated for any of her performances this year (Arrival, Nocturnal Animals).

But going back to the race, it is a pretty easy call. Natalie Portman (Jackie) may have had a possibility back in January, but the road to the Oscar has been pretty clear for Emma Stone (La La Land) ever since.E

In this category, we also see legend Meryl Streep (Florence Foster Jenkins) achieving her 20th acting nomination. French actress Isabelle Huppert (Elle) gets a consolation nomination after the film was forgotten in the Foreign Film category. Finally, Ruth Negga (Loving) gets her first nomination in a year in which she starred in both an incredible film (Loving, 89% on RottenTomatoes) and in a poorly received blockbuster (Warcraft, 28%).

Who will win: Emma Stone seems to have no competitors this year. After being nominated two years ago for Birdman or (The Unexpected Virtue of Ignorance), she has won almost everything this year. The only exception is the Critics’ Choice, which went to Natalie Portman. But Stone has her award pretty secured, a 67.8% according to maths.

Who should win: Hard call. There were many amazing performances this year, all of them earning high praise. Personally, I loved Portman’s Jackie, but I have to say Emma Stone was my favourite. Although it isn’t a difficult role, she shined in La La Land. Particularly, her performance during the audition scene was one for the books. I already rooted for her two years ago (when, for me, she unfairly lost against an only decent Patricia Arquette), so she is my pick this year.

Best Picture

Originally posted by firatdere

Nine films will fight tonight for the biggest award of the night. All of them have been praised by the critics and, honestly, I think we have had one of the strongest years in the past few years. Also, it has been one of the most low-key. Many of the films weren’t very popular before awards season, and only raised to be well known once award season chatter started.

From sci-fi Arrival to the masterpiece that is Moonlight, these are all stories about humanity, finding oneself and, well, surviving in life when everything seems against you.

Who will win: It would be a surprise if La La Land didn’t win the night. It has tied Titanic and All About Eve at 14 nominations. It has won awards all over the globe. It has been highly praised by both critics and audience. It has even suffered the Frozen effect, meaning it had so much praise and hype around it, that people (even those who haven’t even seen it) are so tired of hearing about it, they seem to hate the film now. And although films like Moonlight may have a slight chance, it’d be a real showstopper if La La Land didn’t win.

Who should win: Although I really liked La La Land (artistically it was a masterpiece, script-wise it was good enough. As an homage to musicals it was wonderful), in a year so full of talent, it wasn’t my favourite. I think Moonlight and Manchester by the Sea were the greatest achievements this year. They are both masterpieces: amazing screenplays, outstanding performances, great cinematography and editing, perfect pacing… a long list of praise for both of them. They are very emotional and human pieces that really touch their audience in a way that films often aren’t able to reach.

Others nominees not mentioned before include Fences, Hacksaw Ridge, Hell or High Water, Hidden Figures and Lion. Although I didn’t quite love Fences (too dialogue heavy for my taste), they are all incredible films worthy of being in this category. Also, praise to the Academy for nomination a sci-fi (Arrival) that surprises being so human when it is dealing with aliens.

Animated Feature Film

Originally posted by mynamestartswithaletter

For the past few years, the Academy has decided to mix more popular all-American-industry films (Zootopia and Moana this year) with less known, usually foreign, underdogs (The Red Turtle, My Life as a Zucchini). This year is no exception, although it is remarkable to point out Disney earned two nominations, whereas Pixar (a usual contender, only three of its films before this hasn’t been nominated), even though it did release a film in 2016, got zero.

The five nominees are rounded up by the highly praised Kubo and the Two Strings, which took home the BAFTA only weeks ago. Kubo has been a surprise in the race, from being a not very well known film to being the second favourite tonight.

Who will win: From early on, Disney’s Zootopia has been the frontrunner. In the last few weeks, though, Kubo and the Two Strings has been coming closer and closer. Ben Zauzmer’s maths call a close 50.9% - 41.8% race in favour of Zootopia. And it is true no BAFTA animated winner nominated to the Oscars has ever lost the Oscar. But Zootopia long string of wins (including the Annie), plus the message of the film, will probably make it the winner. Be open to a surprise, anyway.

Who should win: Although all of the nominees are incredibly creative and Disney’s Moana has wonderful animation and sountrack (script a bit lacking), my vote would go for Zootopia. It is a beautiful and creative story that reflects today’s society while also telling the tale of an extraordinary friendship between unusual companions.

Writing: Adapted Screenplay + Original Screenplay

The writing categories haven’t been without controversy this year. The Academy has a different point of view of what qualifies as original and what qualifies as an adaptation. Surprisingly, Moonlight has been considered an adaptation when it was determined it was an original script in the Writers Guild Awards. It is true is was based on a play, but as they play was never producer, it is tricky to determine who is right. The Academy is very strict in this sense, though, Whiplash was considered an adaptation of Damien Chazelle’s own short film (which he made to get the opportunity to do the feature). Any sequel is considered an adaptation because it uses characters of a previous film.

Anyway, back to the race.

Originally posted by nerd4music

Who will win in Adapted Screenplay: It would have had tougher competition in Original, so Moonlight could actually be lucky to be in this category. It also won for original screenplay in the Writers Guild. Other nominees (Lion, Arrival) have gotten some awards, but highly praised Moonlight seems the frontrunner.

Who should win in Adapted Screenplay: Moonlight is one of a kind. The storytelling is sweet and moving, poignant and simply incredible. It is a simple tale told beautifully. Every person I talk to has been blown away by it. I have to say I also find Arrival was a great adaptation, and Hidden Figures has been incredibly praised. My only pet peeve here is Fences, as I wouldn’t count it as an adaptation because, according to all sources, director Denzel Washington didn’t want to change a single word of the play, so they didn’t. Is that adapting? Is just taking a script and performing it in another media worthy of this nomination?

Originally posted by replicants6

Who will win in Original Screenplay: Tougher race, one may say one of the toughest alongside Actor in a Leading Role. Because of the previously mentioned confusion with which film goes in which category, looking at other awards isn’t really useful. Moonlight won the Writers Guild, La La Land got the Golden Globe, Manchester by the Sea, the BAFTA. It should be a close call between Manchester and La La Land, but I feel like this is usually an award that is given to great films which wouldn’t get any recognition otherwise, so my bet is on Manchester by the Sea.

Who should win in Original Screenplay: Although I really enjoyed La La Land, I don’t think its screenplay is its best quality. It is good, but it isn’t outstanding. The Lobster was a very original film that really surprised me, so it is a close second, but my favourite was Manchester by the Sea, because it felt true and raw in the best of senses. I also went in with the feeling it’d just depress me, and it was actually the perfect measure of melancholic and sweet.


Originally posted by cpine

This is a category usually tied to Best Picture, and this year seems no exception.

Who will win: Damien Chazelle is clearly the favourite with La La Land. He won the Directors Guild, the BAFTA, the Golden Globe, the Critics’ Choice… So he is here on a landslide. Also, he is Hollywood’s golden boy, so it would be difficult for him not to win.

Who should win: I think many of these films are a big achievement, but I consider directing a musical is always a challenge, so my choice would be Damien Chazelle. I also have to confess I have a soft spot for him after Whiplash, which I honestly preferred to La La Land and thought was underrated.


Originally posted by amela22

For me, one of the most interesting categories of the night. Usually overlooked, cinematography is what gives a film its tone, its personality. This year, there are some great contenders. 

Who will win: La La Land seems to be going to sweep all the technical awards it can. In true Mad Max: Fury Road fashion, La La Land is a frontrunner because honestly, like it or not, it is technically great. As Ben Zauzmer points out, in the past seven years only Birdman has won without a production design nomination. That would only leave La La Land and Arrival on the run. And there has been a lot of buzz around the prettiness of La La Land and, of course, that wonderful last sequence.

Who should win: I was honestly surprised by how beautiful Moonlight was. Although the shots were kind of too harsh at the beginning for me, the beach scene completely made me fall head over heels. Although I think La La Land is a true beauty, Moonlight is my favourite.

Production Design

Originally posted by amela22

It also blows my mind how they create such wonderful worlds in film. Production Design is an underrated art that is able to create from spaceships (Passengers) to magical worlds (Fantastic Beasts and Where to Find Them) and make us believe for two hours they are actually possible.

Who will win: As I said, it seems like La La Land is going to win everything technical. It won on the Art Directors Guild (although Passengers did too, in the Fantasy genre) and it has been praised, particularly on that already mentioned last sequence. Fantastic Beasts did win the BAFTA, but I tend to think that might have been British voting for the British (although its production design was truly wonderful). All things considered, there could be a surprise in this category.

Who should win: It is a tough choice. All of these films have created such wonderful worlds. I particularly loved Passengers design of the spaceship and Fantastic Beasts take on the American magical world. Hail, Caesar! had a great look, but didn’t quite impress me. And Arrival was great, too, but once again it didn’t stay with me in the same way. But if I had to think of a film in which the production design really took my breath away, I’d have to go with La La Land because, above it, that film is pretty.

Costume Design

Originally posted by xwg

Another close call, and there aren’t even only two frontrunners.

Who will win: Difficult to say. La La Land did get a Costume Designers Guild Award in its Contemporary category (unlike Jackie which lost to Hidden Figures, not even nominated in the Oscars; and Fantastic Beasts, that lost to Doctor Strange, also not nominated). But it is certainly difficult for a contemporary film to win this award. If we look into the BAFTAs, we see Jackiewon. It also won the Critics’ Choice. So, relying on numbers and Oscars tendencies, I’d say Jackie is my (uncertain) bet.

Who should win: Jackie may have wonderful clothes (it is Jackie O after all), and La La Land is pretty but not extraordinary. Fantastic Beasts and Where to Find Them was for me the most outstanding in this category.

Makeup and Hairstyling

Originally posted by goldenglider

I am always surprised there are only three nominees in this category. Also, they have nothing to do with the rest of categories, so it is hard to predict in relation to the others.

Who will win: There is not much to consider, not that many awards consider Make Up and Hairstyling. I’d opt out A Man Called Ove, because The 100-Year-Old Man Who Climbed Out of the Window and Disappeared didn’t do that good last year and I consider they were nominated for similar reasons. Between Star Trek Beyond and Suicide Squad, they have both won some awards for their makeup. I’d say it also depends on the effort the voters see in the creations, so this would be a matter of Killer Croc (Suicide Squad) against Star Trek’s aliens. As I think Star Trek Beyond was an all-around better film and it did better with critics and audience, that is my bet.

Who should win: I honestly have no preference.

Film Editing

Originally posted by mubblr

Who will win: Musicals always seem to be favourites in this category. Also, La La Land did win both an Eddie (Arrival also got one) and the Critics’ Choice. The race is also joined by BAFTA winner Hacksaw Ridge. As I think voters usually start voting on technical awards in group (they give them all to someone, look at Mad Max last year), I think La La Land will be it.

Who should win: I don’t really have a clear favourite here, but I did think Moonlight did a great job in pace, rhythm and structure. Its editing was really good, so that is my pick.

Sound Editing & Sound Mixing

Two categories not even the voters know how to differentiate, so it is tough to know what would win which. It is true musicals usually win Sound Mixing, whereas war/action films usually win Sound Editing. Also, I don’t know enough about sound to have a favourite, so I won’t make a personal judgement on who should win.

Originally posted by youtubersandothers

Who will win Sound Mixing: La La Land seems the favourite. It is a musical, which means there is a lot of work into the sound. It also has won a handful of sound awards already. Its fellow nominees are Arrival, Hacksaw Ridge, Rogue One: A Star Wars Story and 13 Hours: The Secret Soldiers of Benghazi. I can only think of Hacksaw Ridge as a competitor.

Originally posted by holyduude

Who will win Sound Editing: As I said, bet for the war film, which in this case is Hacksaw Ridge. It doesn’t hurt it won a bunch of Golden Reel Awards. Its fellow nominees are Arrival, Deepwater Horizon, La La Land and Sully.

Visual Effects

Originally posted by mythoughtsdecoded

Who will win: The Jungle Book is the big favourite for this category. Its creation of all the animals is truly remarkable, so it isn’t that difficult of a choice. It also won on the BAFTAs and the Visual Effects Society.

Who should win: Although I enjoyed The Jungle Book and always love a Star Wars film, I found outstanding the visual effects behind Doctor Strange. It is probably one of the most creative things I have seen in a while.

Original Score

Originally posted by ofallingstar

Who will win: It seems La La Land is also the favourite here. Although it isn’t that common for a musical to win original score (surprising, huh?), its wins on the Golden Globes and the Critics’ Choice give it advantage over the BAFTA winner (Lion) and fellow nominees Moonlight, Jackie and Passengers.

Who should win: I loved La La Land’s music and couldn’t stop humming its soundtrack for weeks, so it is my pick, too.

Original Song

Originally posted by fragileheartxxx

Choosing a song is always a difficult thing. Do you have to consider the song by itself? In relation to what it does to the film, how it contributes to its storytelling? It is lucky when it’s a musical, but otherwise, it is tough to vote.

Who will win: La La Land’s City of Stars is the frontrunner. Everyone hums it everywhere. It is a memorable and lovely song. And although there could always be a surprise if the La La Land lovers divide in between its two nominated songs, I think it is mostly a safe bet.

Who should win: I love some of these songs, so it if tough. Although Trolls’ Can’t Stop the Feeling is cute, I don’t find it worthy of an Oscar (also happened with Happy). I really love Moana’s How Far I’ll Go, an instant Disney classic written by the one and only Lin-Manuel Miranda. The La La Land soundtrack made me fall in love and, although City of Stars is wonderful, I find the originality and sincerity of Audition (The Fools Who Dream)to be my favourite.

Foreign Language Film

Here come the few categories which nominees I haven’t had the chance of seeing. So no personal opinions, just facts and predictions.

Who will win: It seemed Germany’s Toni Erdmann was the frontrunner, and Sweden’s A Man Called Ove was also well considered. But after Trump’s travel ban and controversy, I’d say Iran’s The Salesman seems like the probable winner. But don’t count the highly acclaimed Toni Erdmann out.

Documentary Feature

Who will win: O.J.: Made in America has been so praised it seems difficult it won’t win. It won the Critics’ Choice, the Directors Guild, the National Board of Review, the PGA… only thing it didn’t win was the BAFTA (13th won), but it wasn’t nominated. Consider Ava DuVernay’s 13tha true contender (after all, is has been highly acclaimed and it talks about a very relevant topic right now), but O.J. seems to have the lead.

Documentary (Short Subject)

Who will win: Not even the experts predict the shorts accurately. It is very difficult to know and these all talk about sensitive current topics. My pick, though, is The White Helmets.


Animated Short Film

Who will win: Again, difficult choice, but a bit easier. Pear Cider and Cigarettes has been highly praised, but it also has a more adult theme, and voters usually associate animation with a topic suitable for their kids. Also, as Pixar was absent from the big animated category this year, I’m inclined to think they will give them the award here as a consolation price, so Piper it is.


Live Action Short Film

Who will win: Silent Night’s director has already won on this category twice. Timecode won in Cannes, but that doesn’t really mean that much. Sing seems to be one of the favourites, alongside Ennemis Intérieurs, a thriller that deals with immigration and terrorism in the 90s. The latter seems to be slightly on the lead, but only barely.

Final thoughts

So these are my predictions. Who do you think will win? Who should win? Tune in to watch the biggest night in Hollywood and have fun!

Originally posted by maryjosez

PS: Am I going to be struggling in between Casey Affleck and Denzel Washington until the awards start? Probably.

so tired of defending someone who shouldn’t need defending from a bunch of nasty and vile idiots who are so obsessed with a ship that they hate and mock an amazing and genuine and incredible person

then these same people cry about one person maybe saying anything negative about k*tie even though they constantly hijack posts about chris, comment on his looks, call him an abuse apologist (which is so fucking disrespectful it’s unreal), and warp things he says to make out he’s anything other than incredible

these people used to say “i may hate mon-ew but chris is an a+++ actor and a great guy” yet when the ship became canon all of a sudden they hate chris, he can’t act, he’s ugly, he’s the worst person in the world etc

you all really need to get a hobby or something because this obsession with chris isn’t healthy, it’s quite concerning how you talk about him more than his fans

and if you even think for a second that you want chris off the show more than his fans then you are incredibly mistaken, i want this angel away from your disgusting and toxic fandom more than anything in the world, the sooner the better

Reiner Braun

So due to the last episode a lot of people is talking (and hating) on Reiner and calling him a great actor and I decided to give my two cents

Reiner is a very complex character and I don’t see anything wrong with people being angry at him and Bert, but I do think some people hate him blindly and don’t fully understand his character.

People are saying he was the best actor and all, but to me he actually started believing in his own lies. Don’t forget he, Bert and Annie were sent to kill a whole bunch of people when they were just kids. It wouldn’t be surprising that after 5 years of growing up among other kids and training with them they would start believing they were actually soldiers part of that people.

Do people really think that Reiner saving Connie was solely so they wouldn’t suspect they were traitors? He did because he actually saw all of those kids as their friends.

Yes he lied about many stuff, yes he decieved Connie into not thinking about the titan in his house, yes he is an enemy of humanity. Doesn’t mean that’s all there is to his character, doesn’t mean he is just evil, because this is SnK and nothing in snk is black and white.

This Guy’s 30 Best Musicals of All Time

With the Tony Awards tomorrow night and Hamilton Fever coming out everyone’s ass, including myself, I wanted to do the Internet’s favorite things and rank my picks for the 30 best musicals of all time. Of course, this is subjective, it’s tainted by my taste at every juncture, and there’s significantly more Sondheim on here than Andrew Lloyd Webber. And of course, this is based on the shows as they exist on the stage, not their hit-or-miss film counterparts. Have at it.

30. RENT (1996)

Writers: Jonathan Larson (Book, music, lyrics)
Director: Michael Greif
Most Famous Song: “Seasons of Love”
Is there a movie: Yes.
Does it blow: Yes.
The Plot: A group of twenty-something’s avoid responsibility until AIDS happens.
Why it’s great: Fuck the flaws, amazing songs, makes you cry.
Tony Awards: 10 nominations, 4 wins (Best Musical, Book, Original Score, Featured Actor: Wilson Jermaine-Heredia as Angel)


Writers: Burt Shevelove & Larry Gelbart (Book), Stephen Sondheim (Music & Lyrics)
Director: George Abbott
Most Famous Song: “Comedy Tonight”
Is there a movie: Yes.
Does it blow: Yes and no.
The Plot: A slave tries to win his freedom by hooking his master up with a prostitute.
Why it’s great: Funniest book of a musical ever.
Tony Awards: 8 nominations, 6 wins (Best Musical, Book, Actor: Zero Mostel as Pseudolus, Featured Actor: Jack Gilford as Hysterium, Direction, Producer)

28. LES MISERABLES (1987 Broadway)

Writers: Claude-Michel Schonberg (Music, Book in French), Alain Boublil (Lyrics, Book in French), Herbert Kretzmer (English lyrics)
Director: John Caird & Trevor Nunn
Most Famous Song: “I Dreamed a Dream”
Is there a movie: Yes.
Does it blow: Yes.
The Plot: A man learns the hard way to never steal a loaf of bread.
Why it’s great: You’ve now got “I Dreamed a Dream” stuck in your head and that’s reason enough.
Tony Awards: 12 nominations, 8 wins (Best Musical, Book, Original Score, Featured Actor: Michael Maguire as Enjolras, Featured Actress: Frances Ruffelle as Eponine, Direction, Scenic Design, Lighting Design)

27. DREAMGIRLS (1981)

Writers: Henry Krieger (Music), Tom Eyen (Book & Lyrics)
Director: Michael Bennett
Most Famous Song: “And I Am Telling You I’m Not Going”
Is there a movie: Yes
Does it blow: No.
The Plot: Not-so-veiled backstage musical about The Supremes that makes the Barry Gordy character look hella bad.
Why it’s great: Jennifer Holiday. Michael Bennett. Nuff said.
Tony Awards: 13 nominations, 6 wins (Book, Lead Actor: Ben Harney as Curtis Taylor Jr., Lead Actress: Jennifer Holliday as Effie White, Featured Actor: Cleavant Derricks as James “Thunder” Early, Choreography, Lighting Design)

26. ASSASSINS (1990)

Writers: Stephen Sondheim (Music & Lyrics), John Weidman (Book)
Director: Jerry Zaks
Most Famous Song: “Everybody’s Got the Right”
Is there a movie: No.
The Plot: The men and women who attempted to assassinate the President of the United States (successfully or not) sing and dance about why they did it.
Why it’s great: It succeeds way, way, way, way more than it should.
Tony Awards: Off-Broadway, but the 2004 revival got 7 nominations and 5 wins (Best Musical Revival, Featured Actor: Michael Cerveris as John Wilkes Booth, Direction, Orchestrations, Lighting Design)

25. FOLLIES (1971)

Writers: Stephen Sondheim (Music & Lyrics), James Goldman (Book)
Director: Harold Prince & Michael Bennett
Most Famous Song: “Losing My Mind”
Is there a movie: No.
The Plot: A bunch of former Follies girls and their husbands get together for the most depressing reunion ever.
Why it’s great: Reminder that musicals can crush your soul just like Edward Albee, but unlike Edward Albee they can be fabulous while doing it.
Tony Awards: 11 nominations, 7 wins (Score, Leading Actress: Alexis Smith as Phyllis, Direction, Choreography, Scenic Design, Costume Design, Lighting Design)


Writers: Stew (Book, Music & Lyrics), Heidi Rodewald (Music)
Director: Annie Dorsen
Most Famous Song: “Keys/ It’s All Right”
Is there a movie: Spike Lee filmed the show.
Does it blow: Hell no.
The Plot: A young kid from South-Central LA tries to find himself while a fat sweaty guy sings amazing rock songs.
Why it’s great: Super powerful, amazing score. Least lame musical ever. Stew needs to write another one ASAP.
Tony Awards: 7 nominations, 1 win (Book)

23. HAIRSPRAY (2002)

Writers: Marc Shaiman (Music & Lyrics), Scott Wittman (Lyrics), Mark O'Donnell & Thomas Meehan (Book)
Director: Jack O'Brien
Most Famous Song: “You Can’t Stop the Beat”
Is there a movie: Yes.
Does it blow: No.
The Plot: A fat girl becomes the world’s first fierce dancer-slash-civil rights activist.
Why it’s great: Best possible version of the bubble-gum musical, with a surprising amount of emotional depth.
Tony Awards: 12 nominations, 8 wins (Best Musical, Original Score, Direction, Book, Leading Actor: Harvey Fierstein as Edna Turnblad, Leading Actress: Marissa Jaret Winokur as Tracy Turnblad, Featured Actor: Dick Latessa as Wilbur Turnblad, Costume Design)


Writers: Stephen Sondheim (Music & Lyrics), James Lapine (Book)
Director: James Lapine
Most Famous Song: “Sunday”
Is there a movie: The show was filmed.
Does it blow: Nope.
The Plot: Dude totally ruins pretty much everything in his life, but paints a pretty baller picture.
Why it’s great: Sondheim’s most personal. Completely beautiful.
Tony Awards: 10 nominations, 2 wins (Scenic Design, Lighting Design)

21. HAIR (1968)

Writers: Galt MacDermot (Music), James Rado & Gerome Ragni (Book & Lyrics)
Director: Tom O'Horgan
Most Famous Song: “Aquarius/ Let the Sunshine In”
Is there a movie: Yes.
Does it blow: I kinda love it.
The Plot: Don’t ask.
Why it’s great: Groundbreaking on so many levels, revitalized the musical, and you can still jam out to it.
Tony Awards: 2 nominations, 0 wins

20. MY FAIR LADY (1956)

Writers: Alan Jay Lerner (Book & Lyrics), Frederick Loewe (Music)
Director: Moss Hart
Most Famous Song: “I Could Have Danced All Night”
Is there a movie: Yes.
Does it blow: No.
The Plot: Flower girl gets turned into a lady by a prissy British guy who regularly misplaces his slippers.
Why it’s great: Great conflict, great roles, great Cinderella story, great score.
Tony Awards: 10 nominations, 6 wins (Best Musical, Actor: Rex Harrison as Henry Higgins, Direction, Scenic Design, Costume Design, Conductor & Musical Director)

19. MAN OF LA MANCHA (1965)

Writers: Mitch Leigh (Music), Joe Darion (Lyrics), Dale Wasserman (Book)
Director: Albert Marre
Most Famous Song: “The Impossible Dream (The Quest)”
Is there a movie: Yes.
Does it blow: Does it ever.
The Plot: Crazy dude in jail puts on a play about another crazy dude to prove his innocence. Still gets executed.
Why it’s great: Possibly best “triumph of the human spirit” musical. Makes you laugh, makes you cry.
Tony Awards: 7 nominations, 5 wins (Best Musical, Actor: Richard Kiley as Cervantes/ Don Quixote, Direction, Original Score, Scenic Design)

18. THE PRODUCERS (2001)

Writers: Mel Brooks (Book, Music & Lyrics), Thomas Meehan (Book)
Director: Susan Stroman
Most Famous Song: “Springtime For Hitler”
Is there a movie: Yes.
Does it blow: Yes.
The Plot: Two guys swindle old ladies, objectify their secretary, and put on a musical about Hitler, and yet they are still lovable.
Why it’s great: I love Mel Brooks. Mel Brooks loves Mel Brooks. Enough that he cannibalized a Mel Brooks movie into a Mel Brooks musical, and it’s perfect (albeit largely thanks to that original cast, yes).
Tony Awards: 15 nominations, 12 wins (Best Musical, Book, Original Score, Actor: Nathan Lane as Max Bialystock, Featured Actor: Gary Beach as Roger DeBris, Featured Actress: Cady Huffman as Ulla, Direction, Choreography, Orchestrations, Scenic Design, Costume Design, Lighting Design)

17. A CHORUS LINE (1975)

Writers: Marvin Hamlisch (Music), Edward Kleban (Lyrics), James Kirkwood, Jr. & Nicholas Dante (Book)
Director: Michael Bennett
Most Famous Song: “What I Did For Love”
Is there a movie: Yes.
Does it blow: Yes.
The Plot: Dancers make pretty stage pictures and monologue about really depressing aspects of their lives.
Why it’s great: Michael Bennett.
Tony Awards: 12 nominations, 9 wins (Best Musical, Book, Actress: Donna McKechnie, Featured Actor: Sammy Williams, Featured Actress: Kelly Bishop, Original Score, Direction, Choreography, Lighting Design)

16. INTO THE WOODS (1987)

Writers: Stephen Sondheim (Music & Lyrics), James Lapine (Book)
Director: James Lapine
Most Famous Song: “No One is Alone”
Is there a movie: Yes.
Does it blow: Nah.
The Plot: A bunch of fairy tale characters get together and fuck up each others’ lives.
Why it’s great: Super fun, until it’s not. Then it has some really powerful things to say about responsibility and perspective.
Tony Awards: 10 nominations, 3 wins (Original Score, Book, Actress: Joanna Gleason as Baker’s Wife)

15. AVENUE Q (2003)

Writers: Robert Lopez & Jeff Marx (Music & Lyrics), Jeff Whitty (Book)
Director: Jason Moore
Most Famous Song: “It Sucks to Be Me”
Is there a movie: No.
The Plot: Muppets graduate college, their lives suck, then they die.
Why it’s great: So funny, so real, and remarkably original.
Tony Awards: 6 nominations, 3 wins (Best Musical, Book, Original Score)

14. CABARET (1966)

Writers: John Kander (Music), Fred Ebb (Music), Joe Masteroff (Book)
Director: Hal Prince
Most Famous Song: “Cabaret”
Is there a movie: Yes.
Does it blow: No.
The Plot: The Nazis come to power while Joel Grey looks the other way and sings fun songs.
Why it’s great: Brilliant concept (Hal Prince wouldn’t go full concept musical till Company, but still) and still powerful and relevant today
Tony Awards: 11 nominations, 8 wins (Best Musical, Original Score, Featured Actor: Joel Grey as Emcee, Featured Actress: Peg Murray as Fraulein Kost, Direction, Choreography, Scenic Design, Costume Design)


Writers: Greg Kotis (Book & Lyrics), Mark Hollmann (Music & Lyrics)
Director: John Rando
Most Famous Song: “Run, Freedom, Run!”
Is there a movie: No.
The Plot: Rebels attempt to overthrow a totalitarian state where they have to pay to pee.
Why it’s great: It shouldn’t work, but it does. One of the most original musicals ever - funny, insightful, with a great score.
Tony Awards: 10 nominations, 3 wins (Original Score, Book, Direction)


Writers: John Cameron Mitchell (Book), Stephen Trask (Music & Lyrics)
Director: Peter Askin
Most Famous Song: “The Origin of Love”
Is there a movie: Yes.
Does it blow: No.
The Plot: The glam rock star and victim of a botched sex-change operation Hedwig tells jokes, sings songs, and experiences general catharsis.
Why it’s great: Perhaps the only TRUE rock score for a musical (Passing Strange as well, probably), every song is great, every joke is hilarious, and the end is super cathartic.
Tony Awards: Off-Broadway, but the 2014 revival was nominated for 8 and won 4 (Best Revival of a Musical, Actor: Neil Patrick Harris as Hedwig, Featured Actress: Lena Hall as Yitzhak, Lighting Design)

11. CAROUSEL (1945)

Writers: Richard Rodgers (Music), Oscar Hammerstein III (Book & Lyrics)
Director: Rouben Mamoulian
Most Famous Song: “You’ll Never Walk Alone”
Is there a movie: Yes.
Does it blow: Nah.
The Plot: The relationship between a carnival barker and a millworker proves that domestic abuse is a-okay, provided the carnival barker’s ghost comes up to you after he’s committed suicide and tells you he loves you.
Why it’s great: As Sondheim puts it, “Oklahoma! is about a picnic, Carousel is about life and death.” Groundbreaking, and probably most responsible for proving musical theater can deal with as serious topics as drama.
Tony Awards: They didn’t exist.


Writers: Trey Parker, Robert Lopez & Matt Stone (Book, Music & Lyrics)
Director: Casey Nicholaw
Most Famous Song: “I Believe”
Is there a movie: No.
The Plot: Optimistic white saviors don’t know what the fuck they’re doing.
Why it’s great: Funniest musical in years, with a shocking amount of a heart and a beautiful message about faith
Tony Awards: 14 nominations, 9 wins (Best Musical, Book, Original Score, Featured Actress: Nikki M. James as Nabulungi, Direction, Scenic Design, Lighting Design, Sound Design)


Writers: Howard Ashman (Book & Lyrics), Alan Menken (Music)
Director: Howard Ashman
Most Famous Song: “Suddenly, Seymour”
Is there a movie: Yes.
Does it blow: No.
The Plot: An experimental botanist bleeds himself out to get with a drag queen.
Why it’s great: Master-class in economy, legendary score, wacky concept realized brilliantly and with utmost sincerity
Tony Awards: Off-Broadway

8. COMPANY (1970)

Writers: Stephen Sondheim (Music & Lyrics), George Furth (Book)
Director: Hal Prince
Most Famous Song: “Being Alive”
Is there a movie: No.
The Plot: Dude plays third wheel for two and a half hours until Elaine Stritch hits on him.
Why it’s great: Prince-Sondheim pinnacle. RIP Elaine Stritch.
Tony Awards: 14 nominations, 6 wins (Best Musical, Book, Music, Lyrics, Direction, Scenic Design)

7. HAMILTON (2015)

Writers: Lin-Manuel Miranda (Book, Music & Lyrics)
Director: Thomas Kail
Most Famous Song: “My Shot”
Is there a movie: No.
The Plot: Dude goes on for three hours about not throwing away his shot and then literally does.
Why it’s great: Too soon and too high on the list? The amount of people I know who are hardly interested in theater but know FAR TOO MUCH about Hamilton is staggering.
Tony Awards: 16 nominations, 11 wins (Best Musical, Original Score, Book, Direction, Actor: Leslie Odom, Jr. as Aaron Burr, Featured Actor: Daveed Diggs as Lafayette/ Thomas Jefferson, Featured Actress: Renee Elise Goldsberry as Angelica, Choreography, Lighting Design, Costume Design, Orchestrations)


Writers: Richard Rodgers (Music), Oscar Hammerstein II (Book & Lyrics), Joshua Logan (Book)
Director: Joshua Logan
Most Famous Song: “Some Enchanted Evening”
Is there a movie: Yes.
Does it blow: No.
The Plot: White people realize how racist they are amid gorgeous scenery.
Why it’s great: Rodgers & Hammerstein’s best, along with their richest score.
Tony Awards: 10 wins (Best Musical, Actor: Ezio Pinza as Emile, Actress: Mary Martin as Nellie, Myron McCormick as Billis, Juanita Hall as Bloody Mary, Direction, Book, Original Score)


Writers: Stephen Sondheim (Music & Lyrics), Hugh Wheeler (Book)
Director: Hal Prince
Most Famous Song: I guess it’s probably “Johanna,” although I’d go “A Little Priest”
Is there a movie: Yes.
Does it blow: I like it.
The Plot: Pretty much an episode of Jerry Springer with songs.
Why it’s great: Expertly-plotted, with Sondheim’s best score, and creates tension in a way that’s never been matched in a musical.
Tony Awards: 9 nominations, 8 wins (Best Musical, Book, Original Score, Actor: Len Cariou as Todd, Actress: Angela Lansbury as Mrs. Lovett, Direction, Scenic Design)


Writers: Jerry Bock (Music), Sheldon Harnick (Lyrics), Joseph Stein (Book)
Director: Jerome Robbins
Most Famous Song: “If I Were a Rich Man”
Is there a movie: Yes.
Does it blow: No.
The Plot: Milkman is totally chill until daughters fuck with his vibe.
Why it’s great: Erase from your mind all the high school productions with 14-year-old boys wearing fake beard as Tevye and search your feelings. You know it to be true.
Tony Awards: 10 nominations, 9 wins (Best Musical, Original Score, Book, Direction, Choreography, Actor: Zero Mostel as Tevye, Actress: Maria Karnilova as Golde, Producer, Costume Design)

3. GUYS & DOLLS (1950)

Writers: Frank Loesser (Music & Lyrics), Jo Swerling & Abe Burrows (Book)
Director: George S. Kaufman
Most Famous Song: “Luck Be a Lady”
Is there a movie: Yes.
Does it blow: No.
The Plot: Basically Pretty in Pink with gangsters.
Why it’s great: It’s literally so perfect, even high schools can’t fuck it up.
Tony Awards: 5 nominations, 5 wins (Best Musical, Actor: Robert Alda as Sky Masterson, Featured Actress: Isabel Bigley as Sarah Brown, Choreography, Direction)

2. GYPSY (1959)

Writers: Jule Styne (Music), Stephen Sondheim (Lyrics), Arthur Laurents (Book)
Director: Jerome Robbins
Most Famous Song: “Everything’s Coming Up Roses”
Is there a movie: Yes.
Does it blow: Let’s just say they have yet to really nail this one.
The Plot: It takes a woman all her adult life to realize she’s probably a sociopath.
Why it’s great: Best book of a musical ever, alternately funny and devastating, and psychologically-compelling, featuring the incomparable role of Mama Rose and the greatest climax in musical theater history.
Tony Awards: 8 nominations, 0 wins


Writers: Leonard Bernstein (Music), Stephen Sondheim (Lyrics), Arthur Laurents (Book)
Director: Jerome Robbins
Most Famous Song: “Tonight”
Is there a movie: Yes.
Does it blow: No.
The Plot: Two lovers’ tragic romance stops rival gangs from dancing at each other.
Why it’s great: If musical theater really is the alchemy of drama, music, and dance, then you can’t really get much better than this. The combined talents of some of the greatest in the medium make it impossible to pinpoint its greatest asset, whether it’s the pitch-perfect score, legendary choreography, or stirring emotions it conjures from beginning to end.
Tony Awards: 6 nominations, 2 wins (Choreography, Scenic Design)

Agree? Disagree? Call me, beep me, if you wanna fight me.


anonymous asked:

You're not a bad fan for wanting him out. I want him gone as well. But the thing is. We know how amazing he is. We know how kind, sweet and compasionate he truly is, this is what matters. It doesn't matter what they say because it will never be truth. All they have are lies upon lies to hold on to, but we have much more than that. I know it sucks seeing your favorite actor being bashed like that, but you can sleep peacefully at night knowing that you've always seen the truth. (Part 1/2)

(2/2)  You can rest in peace knowing you never had to bash on other actors just to prove your point, and that many and I mean many people love him. However throws hate discourse are the ones who should be ashamed. Don’t put yourself down for a bunch of little evil minions and dangling puppets of an evil master. You are a great fan, don’t let yourself forget that. - Someone whose speech sounded like Cat’s.

i’m gonna put this under a read more because my answer is pretty long

Keep reading

What Leverage gets right (that so many shows get wrong)

So after hearing @postcardsfromspace recommend Leverage on @xplainthexmen I decided to watch the show and, much like the other things I’ve picked up based on Jay and Miles’ recommendations like The Demon Bear Saga and Walt Simonson’s run on Thor, it is fantastic. The characters are likable and like each other, the heists are clever, and there’s a great balance between humor and drama. But my favorite thing about the show is how it views acting.

I’m currently getting my MFA as an actor and one of my pet peeves about the portrayal of actors on a bunch of TV shows (Sense8 is one recent example) is the idea that great actors are brilliant liars. That’s horseshit. I’ve been lucky enough to be on stage with some amazing actors and they’re among the most honest people I know BECAUSE ACTING ISN’T LYING. It’s telling the truth as another person. And Leverage gets that.

I love that Sophie the grifter wants to be a legitimate actor but she just isn’t very good. She over thinks and indicates any time we see her on stage but she never has that problem when she’s running a con because Sophie is a GREAT liar. They don’t spend a lot of time hammering that distinction home, but it’s there and I really appreciate it. What a great show.

anonymous asked:

So I realized you're really into web series would u mind telling me some I should check out??

YESSSSS this is my dream come true :D okay here  are some  masterlists if you’re looking to browse, i’ll just talk about a few (read: a ton) of my favorites (and list a bunch more amazing ones!) 

also this flowchart is probably your best friend in terms of figuring out what you want to watch

short version: start with the lizzie bennet diaries, nothing much to do, classic alice, the misselthwaite archives, and carmilla 

okay so this is gonna be long so bear with me here..

Keep reading

ianc14  asked:

Hey Wil. You voice a character in Codename Steam. So does Adam Baldwin. Doesn't that make you a hypocrite? You think people shouldn't go to a panel with him but you are willing to be in a video game with him? You should have refused the offer.

I’m going to give you the presumption of sincerity in your question, though this sounds an awful lot like sealioning, and give you an honest and hopefully enlightening answer.

We all have to work with and for people we don’t necessarily like all the time. That’s a reality of life and earning a living. Choosing to attend a talk or a panel or something like that is entirely different from what we do for our jobs. You’re making a very specious comparison, which I’m having a hard time not deciding is just a straw man.

There are lots of people in the world of genre fiction who have different values and beliefs than I do, but he is the only one who consistently goes out of his way to be a dick about it. I won’t attend a convention if he is among the guests, because he’s a jerk (and I’m not alone). At Calgary Expo a couple years ago, – before he had ever said a single word to me in person – he talked a bunch of shit and insulted me in the green room, embarrassing himself and making the entire room uncomfortable. He went on a rampage against me on Twitter during ECCC that same year – again, before he had ever met me in person – and when asked him what his problem was, he made a bunch of excuses about being “provocative” because it’s great for getting attention from “all the idiots” who follow him on Twitter. Then he went right back to attacking me, and tried to send his little mob of protobullies after my wife, because of reasons.

And not that it matters, but when I was cast in Codename: STEAM, I didn’t know who the other actors were. I didn’t find out who else was in the game until months after I’d recorded my parts. And even if I had known who the cast was? I still would have done the job. It’s a great game, it’s a great character, and all the actors did a great job with their parts – including Adam Baldwin. 

This is Not An End-of-Year List (2004/2014 Edition)

If you know me, you know I don’t really care about end-of-year lists. So instead of looking at 2014, I’ve decided to look at 2004. No, I will not be posting a list, I’m just glancing at stuff. There is no list here.

I always find it interesting to see how well a film holds up years later, which I think is the only real judge of quality in filmmaking.

Keep reading

Daniel Radcliffe disliked using racial slurs in Imperium

Daniel Radcliffe apologised to his cast members after having to use racial slurs in ‘Imperium’.

The 27-year-old actor plays an undercover FBI agent who investigates a white supremacist group in the movie and has admitted he apologised to his fellow cast members for the horrible words he had to use after every take.

He said: “Whenever I was using racial slurs and stuff in the film I would have to go up to the actors afterwards and be like, 'I’m so sorry’. (I said), 'I just, like, have to say it. I know you know that I don’t mean this, but I still feel like I have to say it’. We were the most apologetic bunch of skinheads.”

Despite not liking the language he was forced to use, Daniel had a “fantastic experience” making the movie.

He added: “It was a very weird film to make in one way because it was a fantastic experience and it was a great crew.

"On the other hand, we are dealing with this very heavy stuff and filming, like, right-wing, white-supremacist rally scenes and we were all wearing T-shirts that said 'white power’ on them, and stuff like that is weird and horrible.”

And Daniel had to shave his head for one of the film’s scenes and joked he was glad to find out he doesn’t have a “strangely shaped” head.

Speaking on The Daily Show, he said: “I had to shave my head, which was on camera, and I was happy to find out I don’t have a strangely shaped or marked head in any way.”

somedayisgoingtobethisyear  asked:

I'm not sure I follow the argument with Agent Carter. So its a great show for feminism, but because it fails to adress racial issues (it just ignores them, it doesnt introduce and then kill POCs left and right - hi joss) it should be ignored and made to fail. Because what Marvel and other producers will take away from this is not "oh female super heroes suck"? We will get another show with a dude instead. I mean discuss it with the creaters, criticize it but watch the show. so it can get better

“So its a great show for feminism, but because it fails to adress racial issues it should be ignored and made to fail" 

I’m just… going to repeat the first line here, and let it sit: "So it’s a great show for feminism, but because it fails to address racial issues." 

Motherfucker, HOW can ANYTHING be "great for feminism” if it “fails to address racial issues”? 

I hate to inform you of this but WOMEN. OF. COLOR. EXIST. 

What kind of feminism are you practicing, exactly?

If something “fails to address racial issues” it is AUTOMATICALLY bad feminism, bad on gender issues, bad for women. You CANNOT have feminism without antiracism, because “women” are a racialized group, and women face racism. 

Like, jesus christ. 

I just… I’m so stunned by this assertion that something can be “great for feminism” while failing on racial issues. Great for whose feminism, exactly? For white women’s feminism? Because I’m not playing the “we’ll get to women of color EVENTUALLY” game. That’s not feminism. 

That’s white supremacy. 

(I mean, literally. It’s “white people come first, and THEN we’ll deal with people of color’s issues. It is LITERALLY white supremacy) 

”(it just ignores them, it doesnt introduce and then kill POCs left and right - hi joss)“ 

Y'all out there who think it’s somehow better to IGNORE people of color than to fridge them - you realize that ERASING people of color is violence, right? 

Ignoring black and brown bodies is violent because it’s the kind of discursive and aesthetic rhetoric that ALLOWS us as a nation to ignore black and brown bodies in our public policy. Because we never see black and brown people in our culture, they’re never made human for us. We’re given tacit permission to never give a shit about them, which is why we don’t give a shit when they’re *literally* murdered through economic and state-sanctioned violence.

It’s not "better” to ignore racial issues than it is to “introduce and kill POC.” Neither of them is “better.” They’re both racist, they’re both forms of white supremacist violence. 

But hey, AT LEAST the actors of color in Joss Whedon’s shows are getting PAID. 

“It should be ignored and made to fail." 

You realize no one is actively trying to make Agent Carter fail, right? 

What I’ve seen is people on tumblr saying that we MUST watch Agent Carter because it’s SUCH a good show on feminism and social justice, and so anyone who cares about those issues MUST watch it. 

And at a bunch of other people are pointing out that ACTUALLY, Agent Carter isn’t all that great on feminism and social justice. 

If your premise is that I should watch Agent Carter because it’s "great on feminism,” then it better be fucking great on feminism. And it’s not. 

Me pointing that out isn’t me trying to “make it fail.” No one is organizing a boycott. No one is writing letters to the TV studios trying to get it off air. We’re just resisting the idea that it’s the second coming of Social Justice TV ™. 

I love that refusing to buy into the logic that a show MUST be great social justice because it has a white female protagonist means we’re attacking it, and want it to die with fire. Please. 

“Because what Marvel and other producers will take away from this is not "oh female super heroes suck”? We will get another show with a dude instead.“

The fact that the entertainment industry takes the failure of female-led shows as a sign that ALL female-led shows suck is not our fault. That phenomenon is a product of misogyny, not of feminist not trying hard enough to make Peggy Carter a success. 

We are not responsible as individuals for magically changing an institutional problem. 

And the flip-side of this is that Peggy Carter succeeding does not automatically mean more female superheroes will appear. I remember a couple years ago with Bridesmaids, everyone was like "oh, you have to see this, or we’ll never get smart female comedies again!" 

And Bridesmaids did really well… and we didn’t suddenly get an influx of smart female-led, female-written comedies. Because *misogyny* is the problem. 

I happen to know that Marvel did a study after the release of Avengers to see what people thought of the characters, and two highest rated characters were the Hulk and Black Widow. 

Guess who HASN’T gotten a movie? 

Yeah, because actually, Marvel DOESN’T always listen to the market. Marvel doesn’t always listen to the fans. Marvel doesn’t always do what would make the most money. A lot of the time, Marvel will IGNORE THE EVIDENCE, because institutional oppression is not magically solved by capitalism, 

It’s not that we’re not trying hard enough to promote female characters. Misogyny is the problem.  

So please stop this bullshit guilt-tripping of people because they’re not watching #SolidarityIsForWhiteAgents. 

"I mean discuss it with the creaters, criticize it but watch the show. so it can get better." 

Ah, yes, I will just pick up my cellular telephone and call up the creators, who are close personal friends of mine, and tell them to cast Dichen Lachman, Q'orianka Kilcher, John Cho and Derek Luke. I don’t know why I didn’t think of that before! Racism solved. 

I hate to burst your adorable innocent bubble, but people asking the entertainment industry to cast more people of color has not worked out very well so far. 

Also, your logic is pretty classic abusive relationship logic. "Ah, yes, this show is terrible. But you must STAY WITH IT to make it better. ” Uh, no. No, I must not? The show is not going to get better because I watch it. It is not going to get better because it has higher ratings (if anything, that’ll convince the creators they’re doing something RIGHT). If I am not enjoying a show, for whatever reason, I am not obligated to stick around and “make it better” through the power of… osmosis, or something. 

On a sidenote, I was totally planning to watch Agent Carter eventually, once grad school calmed down a bit. But defenders of the show trying to guilt trip people into watching it because it’s greatest thing for feminism since Margaret Sanger, and then responding to criticisms of the show’s supposed feminism with white supremacist logic of “it’s good for WOMEN and it’ll get better on people of color EVENTUALLY” is… really turning me off the idea. 

If I ever needed more proof that Solidarity is For White Women, this discussion has been it.* 

*(I didn’t need more proof) 

su characters as roles in theatre
  • steven // director: creative, has great vision, loves to make things other people can enjoy and relate to, usually directs musicals and comedies or anything that will make the crowd smile
  • pearl // dramaturg: HISTORY BUFF, honestly didnt even intend to be in theatre but steven was asking her a bunch of shit for a show he was directing and then told her about the role of dramaturg and she was like well yeah sure and now she loves it, barely even needs to do research tbh just knows a bunch of shit about EVERYTHING
  • amethyst // actor: vivacious, loves to play different parts, leans towards comedy but can do any role very well, her favorite shows to do are musicals, she was classically trained and her voice is so amazing some people dont even know how to react to it, is a reeeeeallu good actor but doesnt seem like it, loves to take people by surprise with her skillz
  • garnet // stage manager: natural leader, very authoritative, knows when to be serious and when to have fun with the actors, very reliable, pretty much only works for steven but sometimes branches out to other theaters and directors, amazing at anticipating the needs of others, some people think she can predict the future
  • connie // assistant director/fight choreographer: she is the assistant director for every show that steven does and they make an amazing team. sometimes their differing opinions can complicate things but they always compromise, choreographs fights very well to where its almost a dance, always has people from other theaters asking her to come help them, loves to branch out to other places
  • lapis // props master: loves to create and design new things for the shows, very innovative and is great at creating something out of nothing, works at the coffee shop literally down the road from the theater so she brings coffee in for the crew during production meetings, keeps to herself a lot so none of the actors for the shows really interact with her but gets on pretty well with the production team
  • peridot // master electrician/props: so fucking great at not only working with the instruments and fixing them but also at creating the lighting for the shows, makes very complex lighting sequences, built an instrument that has a bunch of different effects and shit, also sometimes helps lapis with props if the props are technical/lapis cant think of a way to make something
  • jasper // technical director: is so good at putting up and taking down sets its no one’s business holy shit, really knows her way around a screw driver, is very resourceful, can lift 200 pounds, also helps with housekeeping shit around the theater, sometimes shows up randomly at rehearsals to intimidate the actors and hang out with the production team, has a feud with garnet but secretly respects her a lot
Ensemble stars announced

“Ensemble Stars” or anstars/enstars in short, is a male idol ccg game that has been released in 2015. Having nice graphics, a great cast and a bunch good voice actors (f.e. Morikubo Showtaro, Saito Souma, Hikaru Midorikawa, …) the game has been praised by lot’s of ppl, even overseas users (the game isn’t translated to English).

The story of the game is about Yumenosaki Private Academy. A school located on a hill near the ocean. It’s famous for producing male idols. Due to special circumstances a transfer student (the character you play) is the only female student in the school. You’re also the first student that takes the producer course. In other words: your task is to produce idols. Through the game you meet, train and befriend other characters.

Just a few minutes ago, an announcement was posted that confirmed an anime adaption of the franchise.
There’s no more information about the matter yet, they didn’t mentionhow many episodes it will be, which characters will be included or if they’ll stick to the storyline of the game. As for now. The only thing we know is that it’ll be an anime.

I’ll try to be up to date!

anonymous asked:

what the hell is going on in this fandom?! I can't keep track anymore!

How does one sum up? There is just too much.

1. Josh went with a whole crew to Disneyland and got stalked by fangirls

2. We found out that Josh was in Morro Bay days before his trip to Disney

3. Everybody waited to see what joy would commence from Claudia’s Birthday

4. Jen went off to NY with DOR to start work on Joy

5. And she likes to wear her pants like MC Hammer when traveling

6. Josh is having a bro trip with Conner before Christmas

7. And everyone was shocked to find out Claudia was having a fabulous birthday in Spain with her friends

8. And then we learned that the trip to Morro Bay was apparently “Promotional”(yet all the other actors besides Jen are outside of CA).

9. We love Jen’s fringe purse and it’s great we got to see it up close because who doesn’t love to see fringe move.

10. And as always we’re all a bunch of drag queens in this crazy place trying to get along (and not quite succeeding).

11. So don’t forget your smart water:

12. And that burritos are the best

VANITY FAIR: Austin Swift, Taylor’s Brother, Gets Political in Megyn Kelly’s New Television Series


Embeds—a new streaming series premiering Wednesday—has a somewhat unexpected trio of executive producers at its helm: newly NBC-affiliated newswoman Megyn Kelly, Fifty Shades of Grey producer Michael De Luca, and former embedded reporter Scott Conroy (who followed both Mitt Romney and Sarah Palin on the campaign trail). As you might surmise, given their backgrounds, the series focuses on a group of young embedded reporters on a fictional campaign—with an added dash of sex appeal.

The series, from Complex Network’s Seriously.TV, features a group of up-and-coming actors including Austin Swift (yes, Taylor’s brother), who also appears in Ben Affleck’s Live by Night, which debuted last week. Swift, 24, spoke to Vanity Fair about his part on the show and what it’s like to watch his own work.

Vanity Fair: What’s the show all about? What makes it stand out?

Austin Swift: It’s basically the story of these college graduates, who get pushed out on the campaign trail. They’re working for the big news networks, and they’re covering the day-to-day-to-day operations. If you see a story about a candidate who has a cold, it’s probably by an embed. If you see a story about somebody who has a toothache, it’s probably by an embed.   They allow these networks to do that kind of detailed, detailed coverage on the campaign trail. But what they didn’t foresee was a bunch of twentysomething kids on a tour circuit, all together, all interacting in these strange circumstances, bred its own culture, its own unique little sphere of what they’re interested in and what they’re doing. But they’re also 20-year-olds, and they’re a little bit wild. You see this interesting intersection of the political world and the twentysomething world, which you don’t think about a lot.

What was the filming experience like? Was it fun to be around a bunch of other young actors?

It was really cool. I was on it very briefly, just [for] a little bit, but it was a really friendly set. Very cool people. I got to work with James Caan, who is just a living legend. That was a really great experience. Kelsey [Asbille], who plays one of the leads—it felt like good chemistry [with her], acting-wise there. I was really happy to be with that group.

Can you tell me about the character you played?

My character is heralded [and] started a one-to-one charity company. All the embeds know exactly who he is and are very impressed with the fact that Kelsey’s character is dating him. So he shows up, and he’s not exactly what they imagined, and at the same time, he’s completely there for her and their lives are drifting apart, and that’s where they are at.

Were there any particular inspirations—other shows, movies—that you guys had in mind while filming?

Luckily, with Scott [Conroy] being boots on the ground, with first-person experience [as an embed]—he was sending real stuff. I don’t want to say it’s all true stories [on the show], but he was sending real people, real examples, real ideas. So that was so cool. Your research is your backbone, whether you’re writing or you’re acting or whatever… . You want to educate. People love education.

Are you able to watch your acting work? Do you like watching yourself in the episodes?

Well, there’s such a time delay … but the way my process works, I work a lot with coaches, and I work a lot with video feedback when I’m prepping something, so I’m used to watching myself and critiquing and cutting it down. And then when you see the thing, it’s a little bit like, “O.K., so this is the final version?” But I think what’s more important than what I think of it is what other people think of it.

steveachilles  asked:

In the list of watchable Chris Evans movies, please watch Snowpiercer! It is so so good on so many levels. The acting especially was amazing by everyone and the story is phenomenal as well.

Oh, I assure you, I am waiting with GREAT ANTICIPATION for Snowpiercer. I have been waiting with great anticipation for Snowpiercer for LO THESE MANY MONTHS and I am SO FUCKING EXCITED that it is finally coming out in a few weeks.

FOR AMERICANS WHO DO NOT KNOW THE SAGA OF SNOWPIERCER, LET ME GIVE YOU SOME BACKSTORY. First of all I should say that I basically never pirate movies; as someone who has A LOT of knowledge about/connections to the industry I just… don’t do it. It is so fucking hard for movies to get made, particularly movies like this, and the more people don’t pay for them the harder it is. I know I sound preachy and it’s because I’m being preachy but like. That’s the reality of it. I know it’s hard but it’s something I consider pretty important.

HOWEVER, even if you (meaning the general you, I’m not at all going after you in particular! I know like 8,000 people who have already watched this movie, and for all I know you are French or w/e, I DO NOT JUDGE) just read that paragraph and were like, wow she’s an asshole and I’m not listening to anything else she says, I WOULD ENCOURAGE YOU TO READ JUST A LITTLE BIT FURTHER, BECAUSE SNOWPIERCER IS A PARTICULARLY WEIRD SITUATION. What basically happened was that Harvey Weinstein, who is an incredible dick, bought the US rights to the film, but then before distributing it wanted to a) cut like 20 minutes and b) add a voiceover, all so the dumb plebes in middle America could understand it. Because obviously they would not have been able to otherwise.

Shockingly, the director, Bong Joon-ho, was like, fuck you, no, and so began a legal battle that lasted A TRULY INTERMINABLE PERIOD OF TIME, and ultimately resulted in a compromise, this being that a) the original cut of the movie would be released (thank god), but that b) it would be released on a limited number of screens, like a little indie film (which of course it is, in a sense), to see how it performs, instead of opening it wide with a huge marketing push. Basically Harvey is screwing it over out of pique. Because he’s an asshole. And the real crux of this is that most of the people who would be there on opening day to buy tickets have… already seen the movie online, because it’s been out elsewhere for A ZILLION YEARS. Because Harvey is an asshole. So basically if the movie doesn’t do well, it will be as a result of his own actions, but he will be able to point at the box office results and say, I told you so.

ALL OF WHICH IS TO SAY: EVERYBODY NEEDS TO GO SEE SNOWPIERCER ON THE WEEKEND THAT IT COMES OUT. IF YOU DOWNLOADED IT AND LIKED IT, GO SEE IT IN THE THEATER. IF YOU HAVEN’T SEEN IT YET, GO SEE IT IN THE THEATER. CHRIS EVANS WILL BE GIVING GOOD FACE, AND THERE ARE A BUNCH OF OTHER GOOD ACTORS LIKE JAMIE BELL AND TILDA SWINTON AND OCTAVIA SPENCER, and literally the whole rest of the world has already seen this movie and assures us that it is great. So. INVEST YOUR MONEY. PROVE HARVEY WEINSTEIN WRONG. He needs to be proven wrong, because he is a nightmare human being, and also because the film doesn’t deserve what’s happened to it, and also because Chris Evans really ought to have had a respectable movie from a Serious Director come out like a year ago to feel good about, and that didn’t happen. SO MANY REASONS TO GIVE THIS MOVIE YOUR HARD-EARNED CASH. VOTE WITH YOUR MONEY. CAPITALISM. WOO. THIS HAS BEEN A PSA.