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Note that this does not reflect what plays are currently on the service.

Recommended Plays )

Take it or leave it )

Avoid avoid avoid )
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As I watched all of Wes Anderson’s films more or less in chronological order last year, I felt I had to watch his latest—in theaters this time! I went with my wife to see it. The only Wes Anderson she’d seen before was his short film “Poison,” so we knew this would be an abrupt entry into his filmography.

In brief—I enjoyed it. It’s very much an extension of the aesthetic he’s refined in The French Dispatch and Asteroid City. This is no brain all aesthetic. Yes, there is an overly complex plot, but it is mostly in service of incredibly twee sets and props and incredibly dry humor. But unlike some of his other films, The Phoenician Scheme has no heart at all. So if you want to spend two hours inside his doll’s house with quirky characters doing improbable things for inscrutable reasons, it’s a diversion.

There are...some issues with the setting )

Wicked

Jun. 20th, 2025 04:29 pm
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I am extremely late to this train, but I finally saw Wicked on Broadway, through a work event. (Which also meant it was fantastic seats.) I read the book an age ago, but hadn't watched any version of it.

Wow that is an unfocused mess of a musical, isn't it? There is so much plot happening in every scene--and then you hit "Defying Gravity" or "For Good" and tears are streaming down my face and I'm like, this is the best musical ever written.

Also, wow is that incredibly gay.
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Index of NTatHome reviews
(Yes, I finally caved and just spent an hour creating an index. If someone can tell me how to make Excel include straight quotes in concatenation I'd be much obliged.)

Part fifteen in the neverending series of Ivy watches all the plays on the NT at Home service. Why am I still going? Who knows!

The Father and the Assassin )

Constellations )

The House of Bernarda Alba )

The Effect )

The Other Place )

London Tide )

"Sabacc"

Apr. 6th, 2025 11:04 am
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When I visited Star Wars: Galaxy's Edge in 2022, I picked up a game of Sabacc--because it's Sabacc! The Star Wars space poker game that Han Solo used to win the Millennium Falcon from Lando Calrissian!

This week I played it (or rather, inflicted it on my friends). Well, it is awful.

It is a deck of 62 cards, half red, half green, in three suits (circles, triangles, and squares). The suits don't matter. Your goal is to have a hand that equals zero points--green cards are positive, red are negative. There are cards with pips worth the value of the pips--fine. Then there are face cards, with designs so greebled and similarly radially symmetric that I absolute could not tell them apart. I'd look at the instructions to look up the design (which are printed VERY small) and then the value would fall out of my head instantly.

That doesn't matter anyway, because at the end of each round, you roll a set of dice, and if you get a double, everyone dumps their entire hand and redraws (I guess to imitate the randomizer function of the actual game). This means it really doesn't matter what you do, the winner is arbitrary. Oh--and the design on the dice is light gray on a very slightly darker gray and all the designs are so similar you have to look VERY closely to determine if you've rolled doubles.

Also there's no betting. I mean, I suppose you could. But there's no point in having a mechanic for folding ("junking") if there's no betting.

And this isn't even Sabacc! According to wookiepedia, Sabacc has 76 cards in 4 suits (Flasks, Sabers, Staves, and Coins) and your goal is to get to 23 in your hand. And there are a bunch of special cards like "The Idiot" and "Moderation." So this is space tarot black jack poker. Cool.

This appears to be a variant of sabacc called Corellian Spike, but it's not even really that! If you look at the rules in wookiepedia, it's the deck of Corellian Spike, but none of the mechanics.

This makes me wonder if the people who made this game for sale were stuck with the graphic design from the movie Solo (since this is what they are supposedly playing) and then had to make...something.

The shape of the cards makes them really difficult to shuffle. It can be done, but I kept playing 62 card pickup, and the length was just longer enough that it was aggravating the tendon in my middle finger to hold them for a shuffle.

I will say it's a very satisfyingly weighty box. But that's all it's got going for it.
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For the no one on my lj who is following Traitors...

Traitors Season 3 spoilers )
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So, Traitors.

My entire household has had COVID this last week, so I have started watching Traitors UK. (OMG illness is so much worse when it’s three people including a baby instead of just me. Now I get to feel guilty when I need to just lie down in addition to feeling crummy since my wife also feels crummy and somebody has to care for the baby who feels crummy.)

Traitors started in the UK and was adapted for the US. (There are also Australian and New Zealand versions I haven’t watched. Yet.) I’ve now watched the first season of Traitors UK and started the second. It’s filmed in the same castle and has (almost) the same challenges as US. But it’s a very different show.
- The host in the UK is Claudia Winkleman. If you’ve watched any British panel shows, you’ve seen Claudia Winkleman. She’s a television presenter and has hosted Strictly Come Dancing for the last decade and a half. She also makes appearances on everything else—Would I Lie to You, Big Fat Quiz of the Year, Taskmaster. Alan Cumming as host is camping it up all over everything. Claudia Winkleman is arguably a kind of camp figure—she’s got that eyeliner and those bangs and on the panel shows she’s not so much making jokes as being a joke—but she’s presenting with deadly sincerity. The whole vibe is: “It’s not me you’ve let down—it’s yourselves.”
- The UK version is all regular people, as opposed to US which was half regular joes half reality stars first season and all reality stars second season.
- Some of the challenges are different. The UK version had a sheep herding challenge. Can’t imagine why they didn’t do that in the US version.

The difference in tone is there from the start. In the first episode of Traitors UK (spoiler), the first thing Winkleman does is ask everyone to line themselves up from most likely to win to least likely to win. Two guys being chivalrous put themselves at the bottom. She then says to them, since you don’t think you can win, I’ll take you at your word. You can leave. This immediately puts an enormous pall over all the other players. This is a game you can fuck up without even realizing the stakes.

Having it be all regular people also makes it very different in feel. I was talking about reality show genres in the last post, but regardless of genre, people who’ve been on reality shows before have some understanding of what the stresses of shooting a reality show are and how they handle themselves under pressure. Not at all so for the regular people. The regular people start coming apart at the seams. There’s a panic attack. There are screaming matches. Spoiler for Traitors UK season 1 ) Worth it to point out that all the contestants in Traitors UK season 1 have publicly said they’re friends after the show. They have a group chat. (Except for one player who physically assaulted a waiter (after the show). No one talks to him.) Watching the show, you would not think that.

There’s also the fact that there’s an element of economic coercion when you’re talking about regular people. Yes, reality stars also want the money and also have a reason to have it, but they’re in the entertainment business first and foremost. For these contestants, the reason they are participating is often because they have no other way to get enough money to pay for their wedding, or their retirement, or in one case, to pay for a prosthetic arm. (I expect this reason in the US. NHS—do better.) Which of course makes the whole genre feel worse.

(As a total aside, I’ve noticed that British TV is way way more likely to foreground people with disabilities. Both seasons of Traitors UK have multiple contestants with visible disabilities. It’s not just this show, though. One of the comedians that makes the rounds of panel shows and is on the current season of Taskmaster is Rosie Jones, who has cerebral palsy. She is hilarious, and her comedy is neither all about her disability or portrayed with the “inspiring story” framing she’d get in the US. I honestly can’t think of anyone like Rosie Jones that’s successful on that level in the US.)

One of my takeaways is—no one can tell when other people are lying. The more certain they are that they can read people, the more wrong they are. And there are people whose jobs are reading people, who’ve joined the show because they have confidence in their abilities. A magician who does cold reads. A member of law enforcement. A retired schoolteacher. Someone who is hard of hearing who says that’s given her a lot of experience reading body language.

All of them all of them completely crap at identifying liars.

This is a show where there is an objective truth that the viewers know. There are traitors, they are lying, you can watch them lie. But what people are identifying as indicators of lying are vibes. Exhibitions of stress (which—they’re all stressed, not just the traitors). Any kind of difference at all. The previously mentioned black trans woman incident. But any difference. Extroverts point out the introverts. Introverts point out the extroverts. People handling the stress badly point to people handling it well. People handling it well point to people handling it badly. And the biggest “indicator”—I just don’t like that person.

People start positing their theories of how you can tell: Someone has to be accused at the roundtable, then you can tell by how they react whether they’re telling the truth. One person said, well, I’m a faithful, and I know how I reacted, so I know if you didn’t react like that, you’re not a faithful. And—no! People react to stress differently! Some people fight back, some people cry, some people panic, some people shut down.

Really, this is an excellent demonstration of why confessions to the police are completely unreliable.

Ultimately, people decide who must be faithful based on who they like the most. And maybe in the real world, there’s reason to believe your friends wouldn’t betray you because they’re good people. But this is a game where the structure requires certain people to play as traitors. That doesn’t make them bad or shady people. That makes them game players. So I don’t know why people would expect the friends they’ve made in the game to be loyal to them when their role as traitor was chosen before they became friends. But every season, they do.

When I first started watching, I thought the physical challenges were wastes of time—I didn’t understand the point. They’re ostensibly to build the prize pot for the end of the game, but when you’ve split the people up into teams, they’re not competing for anything (until the shield mechanic in season 2). After watching a few seasons, the physical challenges are essential to the game functioning. I watched a BBC interview with the final five of season 1 of Traitors UK in which Claudia Winkleman says that the physical challenges are there as a mental health break. To get them out of the castle and doing something other than be paranoid at each other all day. It’s that, but it’s also trauma bonding. In the front half of the season, people often get targeted for elimination for not being team players. Usually by the end of the season, the challenges are people all working as one team, cheering each other on. It’s emotional whiplash, to go from one team, one goal, to voting each other off the show.

In season one of Traitors UK, there’s a moment in one of the final episodes where everyone is in the same room, talking about how much they hate the traitors and how much they want to make sure a traitor doesn’t get the money. And someone goes—you know what’s funny? We talk about them as if they aren’t here. But they are.

Much more in the UK seasons than in the US, there’s this identification of all the stress and difficulty everyone is going through with the traitors as the cause—I can’t have suffered all this for a traitor to win. Which means that when they’re sure someone’s a traitor, it justifies any rhetoric against them. And of course, over and over, as stated above, people are incredibly wrong about who the traitors are.

What keeps me coming back is that the game is so unpredictable. Even with the same format and same challenges, every season has played out completely differently because whether a strategy works or not depends entirely on the other players. The final fire has been a total shocker every season I’ve watched, not just in terms of what happened but in how everyone felt about it.

I expect I’ll have more thoughts as I inevitably watch the Australian and NZ versions.
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I just finished The Power Broker by Robert Caro. That is one of the best books I’ve ever read, and also one that is incredibly brutal to get through. Part of the reason it took me ten months is I had to set it aside at times because it made me so angry. Essential reading for anyone in New York City, or with an interest in how undemocratic power is accumulated and wielded in a democratic society.

Scuse me while I wallow in my bookover.
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I am most of the way through reading (listening to the audio book of) The Power Broker and I suddenly desperately want a fic where Steve Rogers reads the Power Broker.

[Sam Wilson mentions Robert Moses when complaining about traffic in New York.]
Steve: Robert Moses—the parks guy?
Sam: Oh. oh…. *hands Steve a beat up copy of The Power Broker*
Steve emerges two weeks later using all the cuss words he learned in the Army and on a mission to tear down the West Side Highway and restore the waterfront.

A cursory search of AO3 does not turn up anything. Or at least no one’s made a Robert Moses tag. Which is for the best really. I do not want that RPF.
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I have been doing some long overdue organizing of the 300+ files in my downloaded folder. I have a habit of downloading stuff there and not moving it on to a final location or not deleting it. Today was the day I tackled it.

In there, I found two mp3s I have zero recollection of: Can I Sit Next to You by Spoon and how do you sleep? by LCD Soundsystem. A look at my order history shows I bought these in March 2021.

...why?

Normally I would think I heard them in a cab or in a show or something, but March 2021 I wasn't going f'ing anywhere. Google does not link these songs (as in, in a movie soundtrack) other than that they were both released in 2017.

Anybody have any idea why I would have heard these songs? I mean, I like them. But I usually immediately put purchased music into a playlist. It is weird to have two random mp3s I don't remember buying hanging out in the downloaded folder. Like the time I was downloading music from Napster and ended up with the song Darkness Darkness by Screaming Trees because someone had mislabeled a file.
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I have fallen into a deep hole of Evita love (the 1996 movie, to be clear). All it took was playing the soundtrack once.

I can't really defend it? It's a musical about a controversial Argentine political figure by a British dude based on an apparently ahistorical and defamatory biography that uses Che Guevara (!) as a narrator (I know in some productions the narrator is more anonymous but come on he's named Che there's only one Che) who criticizes Eva Peron but ultimately comes around to grudging respect, a thing it is in no way controversial to have Che Guevara do for the wife of the authoritarian that invited the Nazis into Argentina. Apparently Tim Rice became interested in the subject because he collects stamps and had some with Eva Peron on them. Then the movie is performed by Madonna, whose voice is not in the right range for the role, and Antonio Banderas who makes a creditable effort for not a singer. And some of the lyrics--woof! "And if I need a moment's rest/give your lover the very best/real eider down and silence." And my personal favorite terrible mixed metaphor: "Although I've been dressed to the nines at sixes and sevens with you."

And yet I love it SO MUCH. I would say I want to be in a fandom for it except I really don't. I told my wife I just wanted to find something else that made me feel the way this makes me feel and she said--so you want something that makes you feel like you did when you were 16? And--fair.

But if anyone knows of any other media that follows an arc of deeply cynical antagonism to sincere respect without being a romance, with a whole pile of emo, point me at it. Or if anyone wants to talk to me about Evita.

I did go look on AO3 and there are in fact fic. Five of them. One is a roommate AU where Eva Peron is a youtuber and Che is her nonbinary ace roomie with a crush and--how is this Evita fanfiction at that point. The other had the tags "Margaret Thatcher/Eva Peron" and "Eurovision song contest" and I did not investigate further.
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Part One
Part Two
Part Three
Part Four
Part Five
Part Six
Part Seven
Part Eight
Part Nine
Part Ten
Part Eleven
Part Twelve

I did it! I have watched every single play on NT at Home!* ** *** That is 84 shows, which is more than is on the service now, as some have expired.

The Crucible )

Blues for an Alabama Sky )

Much Ado About Nothing )

The Corn Is Green )

Kerry Jackson )

Hex )

Henry V )

Phaedra )

*Until they add a new one.

**There’s another Othello production. I’m not watching it. I’m done with that play.

***I’m also not watching Yerma, a play about a woman going insane after struggling with infertility. That one’s a FUCK NO.
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Raised by Unicorns: Stories from People with LGBTQ+ Parents
Ed. by Frank Lowe

This is a short anthology of essays written by people with LGBTQ+ parents—though it is 90% lesbian parents and 10% gay men (not surprising, really). Though the essay quality varies (like in any anthology) between both the writers’ facility as a writer and their level of insight into how having queer parents shaped their experience growing up, I found this a really informative read.

People have had queer parents forever, because there have been queer people forever, but being raised by openly queer people is so new. Therefore, the people in their 30s and 40s in this book (published in 2018, though from context it seems like most of the essays were written right after Obergefell in 2015/16) have completely different experiences than the few teenagers who contributed. And the people who are children right now will, I’m sure, also have completely different experiences.

There were some common themes, though:
- Most of the people who are currently adults were born into straight marriages that later divorced when one of their parents came out. Therefore, a lot of the pain and struggle is from being children of divorce—but with added strains around custody because one of their parents is gay. The lack of legal legitimacy of gay relationships also adds a layer when their gay parent has a new partner who becomes a parent to them—but doesn’t have any official standing in their life. So if that relationship breaks up, there’s no tie to this person who raised them anymore.
- People get bullied in middle school. The queer parents clearly changed the nature of the bullying, but people with straight parents get plenty bullied too—and a lot of these stories have in common moving to a more conservative area and/or going to Catholic school. In fact, Catholic school comes up a lot in this anthology.
- A lot of these children felt the need at one point or another to closet their parents. Some because they grew up in a time when people knowing their moms were their moms rather than mom and “an aunt” was a direct threat to the family and so were told to keep it a secret. But even for people who grew up in the oughts and the teens. Some because of explicit bullying. And some just because the relentless of heteronormativity made them feel different and they didn’t want to. We talk about having to come out over and over—well, so do kids of queer parents. And that’s a lot to ask of a six year old.

There were two main things that I take away from reading it.

One is that children of the LGBTQ+ community is such a new phenomenon that the community has not made any space for them. There were a couple of essays about this. One pointing out that she hates being called an ally, because the slurs thrown at her parents were also thrown at her and the rights denied her parents were also denied to her. She felt that being labeled “ally” after being in the fight her whole life put distance between her and her parents where she wanted solidarity.

There was another from a 21-year-old who grew up going with her brother and her moms to Provincetown every summer. And once she was old enough to be perceived as very very straight, she was suddenly seen as an outside voyeur in a place she’d spent her whole childhood. She went there once with a boyfriend because she wanted to share her community with him—and discovered it wasn’t her community at all. She refers to her moms as her passports to being allowed into queer spaces.

I don’t know what we in the queer community should do about this, but I do think we need to create a space to accept as part of the community straight people raised by queer parents. I feel like the Discourse has stopped at whether Pride should be kid friendly and hasn’t talked at all about whether we are in community with teenagers and adults who grew up in queer spaces and are now viewed as outsiders.

My other takeaway was from a story of a girl who heard people yelling slurs at her dads and was deeply traumatized by it—and they didn’t notice it. I think sometimes you can get so used to as an adult the “air you breathe” bigotry that you can miss that it’s something new to a kid. Don’t really know what to do with that thought, either.

But I would definitely recommend this anthology. I don’t think this is a part of queer experience that gets discussed a lot, and so far is mostly discussed from the parents’ perspective. But we’re starting to have a generation of adults who were raised by openly queer parents, and they have stories to share as well.
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I’ve been a big fan of Kenneth Branagh’s Poirot movies. I love Poirot (I’ve watched every David Suchet adaptation, and he adapted 100% of the Poirot novels and short stories), and I especially love when new adaptations have different takes. I also think that Poirot is Branagh’s highest and best use—he’s hammy and melodramatic in both his acting and directing anyway, why not put that to work in playing a character that is best served with all the ham.

The first two movies were arguably the most famous Poirot stories—Murder on the Orient Express and Death on the Nile. I’m most familiar with Death on the Nile, and Branagh’s movie managed to surprise me with some of the changes made, but ultimately the solutions to both mysteries remained the same.

Not so A Haunting in Venice. A Haunting in Venice is ostensibly based on the 1969 novel Hallowe’en Party except…not really. I just rewatched the Suchet adaptation of that book and other than being set at Halloween, the names of the characters, and one very memorable murder method, there is no relationship between this movie and that book. Which is for the best, really—the book was panned when it came out and, I have to say, the solution is duuuuuumb. Like. OMG. Christie wrote a lot of stuff, and for every real corker there’s one or two mediocre stories and a dreadful one. Hallowe’en Party, despite its memorable hook, is in the dreadful category.

Which leaves A Haunting in Venice to be entirely its own thing—and it’s a supernatural thriller. It still feels very much like something Christie would have written. I didn’t know the solution, but general genre awareness had me guessing a few of the key twists (but not all of them). It’s beautiful, the mood is fantastic, and like the others, has some really delicious performances (Tina Fey and Michelle Yeoh are stand outs). It is, however, edging into horror a bit more than I generally like.

Christie, though she’s considered the progenitor of the cozy mystery, did not shy away from the darker parts of human nature in her stories. This adaptation leans into that, with a Poirot in retirement because after years of being around murder and two world wars, he is weary of the world. (In one of my favorite lines from the film, Poirot explains his method as: “When a crime has been committed, I can, by application of order and method, and the slow extinguishing of my own soul, find without fail or doubt, whodunit.”)

There are quite a few jump scares, which will either be pleasantly mildly spooky for you or Too Much. I’d definitely recommend this, but understand that it’s genre bending a little while remaining very true feeling to Christie’s work. (I mean—she wrote horror sometimes. What else would you call And Then There Were None?)

Mostly, I just want to keep getting more of these and more Christie adaptations in general.
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Part One
Part Two
Part Three
Part Four
Part Five
Part Six
Part Seven
Part Eight
Part Nine
Part Ten
Part Eleven

I got down to just a rather poor Henry V adaptation on the service that I hadn’t seen (and am stuck halfway through) and paused on keeping up with National Theatre for a bit. Now that they’ve added quite a few more, though, I’ve come back around and in this batch there are mostly bangers and no real stinkers.

The Seagull )

Best of Enemies )

Straight Line Crazy )

Jack Absolute Flies Again )

Wife of Willesden )

Dixon and Daughters )

Old

Oct. 1st, 2023 11:07 pm
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Today is my 20th ljversary. And what a weird sensation that is. I still have an LJ, though I don't post. I bought a lifetime subscription sometime in '04 or '05, so I leave it up as a record.

But here I am on its spiritual successor twenty years later as my main social media. Who knew I'd friend a bunch of people more than a decade ago cause I liked their fic and now we basically all just follow each others' lives. Hello!
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I have not seen the movie Oppenheimer, but it has gotten me thinking again about a book I read recently, Command and Control: Nuclear Weapons, the Damascus Accident, and the Illusion of Safety by Eric Schlosser (highly, highly recommend).

In which I have feelings about the Manhattan Project )

"Art"

Jul. 7th, 2023 02:17 pm
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Yesterday I went to the New York Earth Room and the Broken Kilometer. The Broken Kilometer is a storefront in Soho filled with 500 2 meter long brass rods arranged in rows. The distance between the rods increases by 5 mm each iteration, so looking towards the back of it creates a weird floating effect as the spacing fights against the perspective.

The New York Earth Room is a second floor room filled with 140 tons of dirt. To see it you have to get buzzed into a random apartment building then go up the steepest staircase in NY. I felt like I was trespassing.

Both of these things are maintained free to the public by the Dia Art Foundation. So then I started going down a rabbit hole about Dia, and why one would pay the rent to keep an apartment filled with dirt in the prime real estate of Soho. (The short answer is oil money. The long answer is the land art movement is deeply weird.)

This led me to another of their installations: Times Square. This is a grate in Times Square that emits a hum. It has been there my entire life. It is not signed or labeled in any way. I have spent significant time in Times Square as my office was there and never ever noticed this. What the fuck. Seriously, what the fuck. Is art that is imperceptible unless you went down a wiki rabbit hole still art in any way?

PS I feel very New York right now.
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Title: What Forty Urns
Fandom: The Witcher (TV)
Summary: The “Geralt hears ‘Burn, Butcher, Burn’ for the first time and decides to give Jaskier shit for it” fic that nobody asked for.

What Forty Urns on AO3

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