I’m loving all the unusual shows that the Punchdrunk cast are now leading me to. Protein Dance’s Windows in Progress was fantastic fun and I probably would never have caught it otherwise. You can still catch them for the next two weekends in Covent Garden (at 2pm and 3pm).




”… it’s fucking great. We were once the same egg.”   

WAIT WHAT. How did I miss the whole identical twin thing?

(I genuinely thought Luke-in-Attack-the-Block and Harry-in-Penny-Dreadful were the same person. Mind blown!)

as we tend to put it, double the treadaway, double the fun.

I spent quite a long time at work the other day explaining why it was so difficult to remember if I’d seen Harry in a play or not. Twins aren’t *that* mindblowing, are they?

Tribes, you saw him in Tribes. This is why he’s my favourite. (Sorry, Luke).

(Source: idalias)

(Reblogged from fuunsaiki)


modern pride & prejudice dreamcast

jane - angel coulby
bingley - eddie redmayne
lizzie - zawe ashton
darcy - tom burke

(Reblogged from sea-change)

Anonymous said: Have you heard about Peter Capaldi refusing to act a romantic relationship with Clara? Do you think he'll do well, or be smothered by Moffat?


From what I’ve gathered, Peter Capaldi is a huge fan of Doctor Who that pretended to be a huge Moffat stan until he’d signed an airtight contract, at which point he revealed he hates the direction Moffat was taking the show he loves, plans to systematically undo it to the best of his ability, has been openly mocking and refusing the participate in parts of the script he doesn’t think are true to the character, and insisting that they “won’t chase him off this show,” which is basically saying “this town ain’t big enough for the both of us.”

I think the new season of Doctor Who is going to be glorious.

Good grief. Firstly, what a superb rumour - if the series goes The Moffat Way (as perceived by the viewer) then Moffat has smothered Capaldi. If it goes The Non-Moffat Way (again as perceived by the viewer) then it’s because Capaldi has thrown a Malcolm Tucker-esque bitch fit and refused to film. Just for the record on this one, Malcolm Tucker is a character, Peter Capaldi isn’t Malcolm Tucker and almost certainly doesn’t behave in any way like him - because if he was behaving that way he wouldn’t still be working in the industry. Yes, there are probably lots of discussions and wrangling over the character as they work things out during the initial series but I seriously doubt any of the above is true.

Secondly, I highlighted the “perceived” by the viewer thing above because I am baffled by the implication that Moffat is trying to force a romantic relationship between the Doctor and Clara. Because I’ve not seen any evidence of that. In fact, Moffat has been fairly outspoken about the fact that he doesn’t like the Doctor/Companion relationships that were prevalent under RTD - there was a reason his first companions were a couple. There’s a reason that he was looking for an older Doctor since he took over (Moffat has said he almost didn’t audition Smith for this reason, but that Smith blew it out of the park). This may partly be because of his bizarre OTP feelings about the Doctor/River, but I find it highly unlikely that he’s trying to force a romantic relationship with Clara on Capaldi.

But the real reason this post has pissed me off, is making up shit like this that has no basis from anything we’ve seen onscreen detracts from some of the actual problems the show has been having. Why make up the idea of a Doctor/Clara relationship being the root of all evil when it’s not even been seen in any of the series so far, when we could talk about some of the following:

- Hire some more female writers and directors Moffat. The 3.9% of female writing/directing credits under your leadership, is starting to make RTD’s 5.4% look generous. Nice to see more directing roles for women in the new series, but still no writers. Could do better.

- Particularly, why not bring back some of the brilliant people who’ve worked on the show in the past. Like Hettie MacDonald, I mean maybe she’s just not interested, but I find it shocking that the director of the award winning Blink, hasn’t been wooed back to the show come hell or highwater. (Also, what happened to Paul Cornell? He wrote some of the best episodes under RTD and hasn’t been seen since you took over).

- You really don’t need to write every special, honestly, RTD could manage it but your work started showing serious shakiness under the pressure of the schedule recently. Pleased to see the series has a much better spread of writing. 

- Pay more attention to representation generally, being aware of how you’re featuring characters of colour, characters with disabilities and lgbt characters is important. So, whilst it’s lovely that lgbt characters are finally getting happy endings in Doctor Who, it would be nice to see a more representative number of them.

- If a jokes punchline involves racism, sexism, homophobia, ageism, ableism or anything similar - cut it. The Doctor is a really important figure for shaping what young people think is acceptable (have you seen recent social studies about how Harry Potter seems to have actively shaped a more considerate society - http://thepeninsulaqatar.com/views/political-views/296659/how-harry-potter-shaped-a-generation-s-political-culture - that’s the sort of power you’re wielding here). Making jokes of the above without EXTREME care, particularly when it comes from the Doctor, normalises taking these issues lightly and leads to normalising the behaviour itself. Stop it.

Obviously, other people will have a different list to me (and for the record, I do still like Moffat more than RTD), but when you make up feuds or fictional issues with Moffat’s writing, it makes it more difficult for people to raise actual issues like the above.

(Reblogged from fuunsaiki)
perfectdisneychallenge: Day 10-Favorite Non Disney Animated Movie

I know this is not traditional in a Disney challenge, but I’ll admit, this was a excuse to make a cats don’t dance post. Most people’s post for this is going to be Anastasia, Cats Don’t Dance, takes the cake for me.I think we all have a movie and we say “oh I wish this was disney, so it can be one of my favorite disney movies, or for it to have more products to buy” Well, that’s cats don’t dance for me. A adorable story about Danny who moves to hollywood to become Danny the song and dance cat. But in a town that only allows animals to not talk and be animals in the movie, Danny tries to figure out a way to change that. And falls in love with Sawyer along the way. This movie has affected me so much, that I plan on naming my first daughter, Sawyer.

(Reblogged from perfectdisney)

Okay, okay, I’m going to tell you what Hermione sees in Ron.

A trio is a balancing act, right? They’re equalizers of each other. Harry’s like the action, Hermione’s the brains, Ron’s the heart. Hermione has been assassinated in these movies, and I mean that genuinely—by giving her every single positive character trait that Ron has, they have assassinated her character in the movies. She’s been harmed by being made to be less human, because everything good Ron has, she’s been given.

So, for instance: “If you want to kill Harry, you’re going to have to kill me too”—RON, leg is broken, he’s in pain, gets up and stands in front of Harry and says this. Who gets that line in the movie? Hermione.

“Fear of a name increases the fear of the thing itself.” Hermione doesn’t say Voldemort’s name until well into the books—that’s Dumbledore’s line. When does Hermione say it in the movies? Beginning of Movie 2.

When the Devil’s Snare is curling itself around everybody, Hermione panics, and Ron is the one who keeps his head and says “Are you a witch or not?” In the movie, everybody else panics and Hermione keeps her head and does the biggest, brightest flare of sunlight spell there ever was.

So, Hermione—all her flaws were shaved away in the films. And that sounds like you’re making a kick-ass, amazing character, and what you’re doing is dehumanizing her. And it pisses me off. It really does.

In the books, they balance each other out, because where Hermione gets frazzled and maybe her rationality overtakes some of her instinct, Ron has that to back it up; Ron has a kind of emotional grounding that can keep Hermione’s hyper-rationalness in check. Sometimes Hermione’s super-logical nature grates Harry and bothers him, and isn’t the thing he needs even if it’s the right thing, like when she says “You have a saving people thing.” That is the thing that Harry needed to hear, she’s a hundred percent right, but the way she does it is wrong. That’s the classic “she’s super logical, she’s super brilliant, but she doesn’t know how to handle people emotionally,” at least Harry.

So in the books they are this balanced group, and in the movies, in the movies—hell, not even Harry is good enough for Hermione in the movies. No one’s good enough for Hermione in the movies—God isn’t good enough for Hermione in the movies! Hermione is everybody’s everything in the movies.

Harry’s idea to jump on the dragon in the books, who gets it in the movies? Hermione, who hates to fly. Hermione, who overcomes her withering fear of flying to take over Harry’s big idea to get out of the—like, why does Hermione get all these moments?

[John: Because we need to market the movie to girls.]

I think girls like the books, period. And like the Hermione in the books, and like the Hermione in the books just fine before Hollywood made her idealized and perfect. And if they would have trusted that, they would have been just fine.

Would the movies have been bad if she was as awesome as she was in the books, and as human as she was in the books? Would the movies get worse?

She IS a strong girl character. This is the thing that pisses me off. They are equating “strong” with superhuman. To me, the Hermione in the book is twelve times stronger than the completely unreachable ideal of Hermione in the movies. Give me the Hermione in the book who’s human and has flaws any single day of the week.

Here’s a classic example: When Snape in the first book yells at Hermione for being an insufferable know-it-all, do you want to know what Ron says in the book? “Well, you’re asking the questions, and she has to answer. Why ask if you don’t want to be told?” What does he say in the movie? “He’s got a point, you know.” Ron? Would never do that. Would NEVER do that, even before he liked Hermione. Ron would never do that.

Melissa Anelli THROWS IT DOWN about the way Ron and Hermione have been adapted in the movies on the latest episode of PotterCast. Listen here. This glorious rant starts at about 49:00. (via karakamos)
(Reblogged from fuunsaiki)

I seem to have loved you in numberless forms, numberless times,
In life after life, in age after age forever.
My spell-bound heart has made and re-made the necklace of songs
That you take as a gift, wear round your neck in your many forms
In life after life, in age after age forever.

Whenever I hear old chronicles of love, its age-old pain,
Its ancient tale of being apart or together,
As I stare on and on into the past, in the end you emerge
Clad in the light of a pole-star piercing the darkness of time:
You become an image of what is remembered forever.

You and I have floated here on the stream that brings from the fount
At the heart of time, love of one for another.
We have played alongside millions of lovers, shared in the same
Shy sweetness of meeting, the same distressful tears of farewell-
Old love, but in shapes that renew and renew forever.

Today it is heaped at your feet, it has found its end in you,
The love of all man’s days both past and forever:
Universal joy, universal sorrow, universal life,
The memories of all loves merging with this one love of ours-
And the songs of every poet past and forever.

Unending Love by Rabindranath Tagore (via oakhavens)
(Reblogged from oakhavens)


Fong Qi Wei

'Time is a Dimension' series, 2013

(Source: fqwimages.com)

(Reblogged from ivyarchive)


The Arte Sella, looks to be one of the most magical, fairytale woodlands in the world. Since 1986 this astounding destination in the Sella Valley in Italy has been dotting the landscape with the amazing works of over 200 contemporary artists from all over the world. A future holiday destination for sure!

(Reblogged from ivyarchive)

live-action modern day “the lion king”
NEW YORK, 1960s. The civil rights movement reaches its crest. Mufasa, a prominent activist leader in the city, clashes against his younger brother Scar, himself a prominent leader of the mafia underground. Politics against politics, brother against brother; Mufasa dies, Scar reigns. A new law governs New York in the 70s: blood and bribery.

Idris Elba as Mufasa, Michael K. Williams as Scar, Naomie Harris as Sarabi, Jaden Smith as Young Simba, Amandla Stenberg as Young Nala (not giffed), Taraji P. Henson as Timon, Mo’Nique as Pumbaa, Chiwetel Ejiofor as Older Simba, Kerry Washington as Older Nala, John Boyega as Kovu, Zoe Kravitz as Kiara.

(Source: stannisbaratheon)

(Reblogged from ivyarchive)