i can’t be the only one who thought this
i can’t be the only one who thought this
laura’s german accent gives me strong haus of holbein from six vibes lmao
the fact that hamilton, which is arguably one of the biggest pieces of media in the past decade, is getting a professional release is a big deal. this is a huge step for making theatre more accessible for everyone.
like, for $10 (the average price of a movie ticket) you could watch the proshot of hamilton, with the original broadway cast. you could see the original broadway cast of hamilton for $10 dollars. you’re literally paying a hamilton to see hamilton. and you don’t need to worry about sitting in a rear mezzanine seat or having an obstructed view, since it’s a proshot.
and, since disney is producing it, they’ll most likely release it on DVD or on disney+ in the future. this is a huge step forward in making accessible theatre. you could watch hamilton multiple times a week (or multiple times a day!) for a low price.
It’s unfortunate that this is a Disney release, but I need to ask a favor of every person who wants to watch it:
DON’T PIRATE. PAY THE TEN BUCKS.
Musical theatre aficionados have been fighting for YEARS for this to be a regular thing. As far as I know, it’s only been done a handful of times: the final performance of RENT, the 10th and 25th anniversaries of Les Mis, the 25th anniversary of Phantom of the Opera, and there are a few “on a stage but reblocked and edited for video” shows like Cats, Joseph and the Amazing Technicolor Dreamcoat, Jesus Christ Superstar 2000, and Into The Woods. We have been FIGHTING for general releases of shows. This is an actual theatre industry thing.
You may notice something about the shows I listed above: only three of them aren’t Andrew Lloyd Webber shows. Love him or hate him, he’s a huge advocate for the idea that theatre should be accessible and preserved for the historic record; he actually arranged for a proshot of Love Never Dies on the basis that he was pretty sure it WASN’T going to be playing for very long, and future theatre fans who wanted to see it for any reason should have access to it. Webber has been in this industry since 1969. When a man with that kind of resume says “yes, this needs to be a thing,” it’s a fair bet he knows a thing or two of what he’s talking about. It’s one reason I love Webber: yeah, some of his shows are kind of questionable quality, but he’s on the fans’ side here.
(Also, I feel the need to defend him against the new CATS. He arranged the 1998 stage-but-edited version that was pretty good. He was PISSED about the 2019 version long before it was released.)
So basically: if you’re not a Webber fan, you’re screwed. If you ARE a Webber fan but you also want to see cool stuff like the bilingual version of West Side Story or the production of Fiddler on the Roof that was partly in Yiddish, you’re screwed. If you want to see cult classics that weren’t around long, like Spring Awakening or Spider-Man: Turn Off The Dark (or, for the REALLY obscure: Chess or Bat Boy), you’re screwed. If you want to see shows that were reasonably successful but require a huge budget and so don’t get put on often, like Aida and Little Shop of Horrors, you’re screwed. If you want to see shows that require a budget SO huge that no community theatre no matter how well-endowed will ever be able to afford them, like Wicked? YOU’RE SCREWED.
I am begging you. BUY HAMILTON. DON’T PIRATE. This is a fight 30+ years old and buying it will help demonstrate that YES, there is an entire audience outside New York ready and willing to buy in; YES, it’s worth the outlay of cash to do these recordings and mix and edit them; and, and understand I am saying this as a Webber and Les Mis fan, RECORDINGS THAT ARE NOT LES MIS OR ANDREW LLOYD WEBBER ARE WORTH RELEASING.
Help us fight the good fight and make professional theatre available to everyone. BUY HAMILTON. DO NOT PIRATE. YES, EVEN THOUGH IT’S A DISNEY RELEASE. YES, EVEN THOUGH NON-PROFESSIONAL RECORDINGS EXIST.
This is important. As a theatre advocate I cannot stress HOW important. If you follow me, you know I’m all in favor of things like streaming services and breaking up the Disney monopoly. But in this, my loyalty has to lie with a fight I joined in 2005 that was going on when I was still smelling markers in kindergarten.
If you have any interest in seeing Hamilton, no matter how casual, buy it. Please.
(And while you’re at it: support your local community theatre. Most community theatres put on great shows on a very tiny budget and could, I say this totally unironically, use your $5-10 donation. It adds up and it helps keep the lights on.)
As someone who knows nothing about She-Ra reboot but keeps seeing the freakout over catdora, I’m curious about why you dislike it. Personally I don’t care for it either but that’s cause I don’t watch it lol but spill the tea sis I love controversial takes 👀
I just don’t think there’s anything romantic about 4 seasons straight of someone literally trying to viciously torture and murder someone else that they’re apparently secretly in love with
shadowgast noir au where Essek hires Caleb the PI on behalf of his employer Leylas Kryn to investigate the mysterious theft of the Kryn family heirloom (two dodecaheron shaped diamonds rumored to be magical and called ‘the beacons’) a crime of which Essek, who moonlights as the master thief Shadowhand, is the real culprit of.
its all fun and games, Essek thinks, until he genuinely falls in love with Caleb;
and then its a big mess.
so this fic now exists… 😳 😳 😳
You know what I love about the infamous 12 persuasion roll to convince Essek to tutor Caleb? What comes right before it.
Essek is there in full strut after gifting them the house, making sure they know he’s in a top den, and he avoids anything personal beyond that. But then Caleb asks about where he can study magic nearby, and Essek fucking stares at him. He gets the full eye contact right there, and right after is, “Show me something impressive.”
Which Caleb responds to with Cat’s Ire, right? A Bigby’s Hand reskin, which Essek recognizes, making him laugh. He finds it amusing, and that’s when the conversation turns. “What is your ultimate goal?”
Among other things, Caleb says, “What I am curious about is the arcane here in your country.”
Essek gets this little sexy smirky face on and he says, “Yes, you and many, many, many–”
And Caleb just cuts right across him, “Yes, but as you know, my people are perverting your magic. And we wish to work with you to prevent that.” He goes on to remind Essek of their contributions, but I think that moment was what caught Essek. What he knew he was a part of. That’s why the persuasion was such a low DC.
Watching Matt’s beautiful face journey during Caleb’s spiel, you can see the moment Essek fades from performative, his face falls and he just stares at Caleb again. I think this is where his path diverged from its expected course. The moment Caleb unknowingly offered him the chance to help fix his biggest mistake.
Theatre kid; Yeah, I’ve been going to ballet and tap classes since I was a fetus and I got the lead in the last three shows I’ve been in and my aunt is Idina Menzel. Anyway, what shows have you been in?
Me, with my zero ounce of talent but obsession with musical theatre;
don’t get me wrong,,, i love the blue, but someone said it and i immediately had to put nia in a pink dress
to think of Caleb and Essek.. who are thematically opposed
(foes)in the beginning and intended to be each other’s nemesis…. there is something incredibly powerful in looking your narrative foil in the eye (someone you were supposed to defeat in combat and in so, defeat that part of yourself still shackled to that guilt you carry with you) and seeing their loneliness, their anguish and their vulnerability and choosing to extend your hand and pulling them up towards betterment because they were alone and they can be better, you know it… so you give them the love they have always been deprived of and help them grow with you.
there is something incredibly powerful in staring at what was narratively constructed to be an opposing force and say, “I choose love instead” and to not only extend your friendship towards the person who was supposed to be your nemesis,,, but to love them fully, recklessly and unconditionally and in a way you don’t think you’ve loved anyone before. its love with intention, with purpose. because they remind you so much of the person you used to be.. and you can see so much of the person they can become.. and more than that you see the person they are within and know that with love and kindness they can become more, so much more. and so you love them. no strings attached. there is something so incredibly brave in choosing to love. not in spite of everything but because of it.
its such a narrative defiance in turning your narrative foil’s guilt-ridden gaze towards yourself, taking their face in your hands and kissing their forehead and offering them hope, in offering them kindness and a second chance to do better, to be better. to believe in it even when they don’t know how to. there’s something so incredibly defiant in love with a purpose, in meeting your narrative foil at their most vulnerable, on your knees and realizing that maybe you have been a little bit in love with them all along and if this is what love is… then so be it.