the dictionary of obscure sorrows

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See, that’s what the app is perfect for.

Sounds perfect Wahhhh, I don’t wanna
adorabledestruction
weaver-z

By far the funniest transition timelines are the ones from trans men where the "before" picture is some teeny little guy with sad baby seal eyes and the "after" picture looks like Kratos

weaver-z

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This is one of the top posts in r/transtimelines and it really sums up what I'm talking about

weaver-z

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My irl saw this post and sent me this even crazier transformation today! The little guy to Kratos pipeline is real!!!

soidreamtiwasastarfleetcommander
thexfiles

i just told david duchovny he is a lesbian icon and he said that he likes that and shook my hand for it

thexfiles

he was like oh is this because fox mulder is kind of asexual? and i was like no, you personally have a lesbian aura. and he was like you cant just say something like that to me and not explain it. and i said i can’t explain it, it’s just your aura. and he was like i like that. and shook my hand. so david duchovny now knows he personally is a lesbian icon. you’re welcome lesbians

eatsoylentgreen

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soidreamtiwasastarfleetcommander
penfairy

oh! I have to tell you guys a great story one of my professors told me. So he has a friend who is involved in these Shakespeare outreach programs where they try to bring Shakespeare and live theatre to poor and underprivileged groups and teach them about English literature and performing arts and such. On one of their tours they stopped at a young offenders institute for women and they put on a performance of Romeo and Juliet for a group of 16-17 year old girls. It was all going really well and the girls were enjoying and laughing through the first half - because really, the first half is pretty much a comedy - but as the play went on, things started to get quiet. Real quiet. Then it got up to the suicide scene and mutterings broke out and all the girls were nudging each other and looking distressed, and as this teacher observed them, he realised - they didn’t know how the play ended. These girls had never been exposed to the story of Romeo and Juliet before, something which he thought was impossible given how ubiquitous it is in our culture. I mean, the prologue even gives the ending away, but of course it doesn’t specify exactly how the whole “take their life” thing goes down, so these poor girls had no idea what to expect and were sitting there clinging to hope that Romeo would maybe sit down for a damn minute instead of murdering Paris and chugging poison - but BAM he died and they all cried out - and then Juliet WOKE UP and they SCREAMED and by the end of the play they were so upset that a brawl nearly broke out, and that’s the story of how Shakespeare nearly started a riot at a juvenile detention centre

dukeofbookingham

Apparently something similar happened during a production of Much Ado at Rikers Island because a bunch of inmates wanted to beat the shit out of Claudio, which is more than fair tbh

maha-pambata-is-my-patronus

honestly Shakespeare would be so pleased to know his plays were nearly starting brawls centuries into the future

realphilosophytube

I played Claudio once and I fully support this

bemusedlybespectacled

“When we took Shakespeare’s “Measure for Measure” into a maximum security woman’s prison on the West Side…there’s a scene there where a young woman is told by a very powerful official that “If you sleep with me, I will pardon your brother. And if you don’t sleep with me, I’ll execute him.” And he leaves the stage. And this character, Isabel, turned out to the audience and said: “To whom should I complain?” And a woman in the audience shouted: “The Police!” And then she looked right at that woman and said: “If I did relate this, who would believe me?” And the woman answered back, “No one, girl.” And it was astonishing because not only was it an amazing sense of connection between the audience and the actress, but you also realized that this was a kind of an historical lesson in theater reception. That’s what must have happened at The Globe. These soliloquies were not simply monologues that people spoke, they were call and response to the audience. And you realized that vibrancy, that that sense of connectedness is not only what makes theater great in prisons, it’s what makes theater great, period.”

Oskar Eustis