Hello, my name is Lililian Ashcroft and I am a trans-fem writer. Okay, so I am looking for LGBT+ Beta-Readers to look over a bunch of episode scripts for a series of LGBT+ Audio-Drama series that my Audio-Drama House is working on. I have a wonderful team of very dedicated and passionate LGBT+ artist and voice actors who deserve to have these series they are working so hard on to pay off and so these episodes I wrote really REALLY need to shine and so I would deeply appreciate ANY constructive feedback I can get. I run all of this out of Discord and my Discord name is lexshira. I have many disabilities that make long-form texting hard and so any potential beta-readers must be willing to engage in some level of Discord voice calling. My works are aimed at an older audience so ABSOLUTELY NO MINORS PLEASE. I will post a basic summary of the series being worked on below:
The Piper Wars S1 Synopsis: The fallen Death-Reaper known as the Piper has gone rogue and is leaving a trail of destruction in his wake. He has made an infernal alliance with the cursed heathen gods of old, throwing all of reality into chaos in an all or nothing bid to become the most powerful being in the Multiverse. In Wonderland, Alice must make a terrible trek to find her way home before the Red Queen can claim her head as Captain Hook sails deep into the forbidden waters to seize godhood over the Neverlands. On Earth, The Darling Children and the Lost Boys face a fearsome battle for survival against dark inter-dimensional forces.
The Piper Wars S2 Synopsis: Time is running out for the multiverse and all life hangs in the balance as Alice races against time to complete her training to become the new Witch of Gates. John Darling does battle against demonic forces in a desperate bid to save the tortured soul of a young boy as Wonderland is consumed in bloody civil war. In the Neverlands, Hook launches a savage campaign of conquest against Pan and the resistance forces of the Ten-Nations while on Earth the K.B.I. braces for multiversal conflict as the Piper continues to pave the way for cosmic calamity.
The Piper Wars S3 Synopsis: War has finally arrived as the Piper makes good on his deal with the Lilithian Order to collapse the worlds of Oz, Wonderland, and Neverlands onto Earth merging realities into one and sowing cosmic chaos. The KBI must organize all the nations of the world to wage a global war to hold back the forces of evil while trying to save a cursed child destined to become the Abyssal God of a new Earth born of blood and destruction. Can the armies of light prevail or will all of humanity be lost to the darkness.
The Piper Wars S4 Synopsis: The Piper War may have been won but at the cost of billions of lives and the precious blood of friends. Mankind now struggles to rebuild from the most destructive war in history but evil never stays gone for long and new would-be gods are already positioning themselves to take advantage of the chaos and confusion. Wait… Did someone say Dracula? Wait you heard Dracula? I heard Cthulhu. I think we both have been working too many night shifts.
The Eternal Chronicles S1 Synopsis: In the year 1974 on Earth #8193 a small group of wealthy kids have their lives dramatically changed forever, sending their destinies on new and unexpected paths, threatening to unravel key points in time as an evil queen of unspeakable power watches with bated breath and wicked schemes. As on Earth N.E.V. #11 The Nazis have won WW2 and conquered the world using technology stolen from a crashed Time-Ship from another dimension but in a final-desperate effort to fix history, the global resistance sends a messenger running through realities to deliver a message upon which the fate of a million worlds now hangs.
On Earth #8193 in the year 1995, a lonely and workaholic therapist is assigned the three most deadly psychopaths in the world at the time... Psychopaths everyone else at the Ashcroft Asylum has failed to rehabilitate. In a world protected by extraordinary superheroes, evil rises to meet the challenge and the apocalypse is never far behind... soon there may be no tomorrow left for anyone. Oh, and did I mention on Earth #8189 a group of friends with superpowers must make a deadly trek in search of sanctuary from the zombie plague that has ended their world and turned them into prey.

Red brick castles stacked the suburban streets. Divided by side yards and dogs barking. The sun laid crisp over the spliced horizon, spilling yolk over the withering lawns.
Henry waited in his lawn chair beside the mailbox. As his body had taken recent liberties, he'd remained fit from his army training. His throat rumbled as he checked his silver watch. Finally, the postman flushed the corner, and stumbled to Henry's curb, to his bag, then to his letter.
"...you're late, Lenny," Henry pulled his readers.
Lenny, the paperboy, regained his choppy breath. Coke-bottle glasses stored his tortoise eyes. They surveyed the concrete corridor they called Gerben Street, "I'm sorry, Mr. Bronson, I really am. I never meant to keep you waiting... I'm sorry, Henry."
Henry didn't answer the boy, tore the envelope with ape's elegance. Pranced the script of his lover's ink. The letter had traveled from Paris, France, skidded the black waves of the Atlantic Ocean, hitched buses, bikes, and buggies, all to kiss the smooth of Henry's palms.
The words were from his lover, Amélie, he'd met at war in an escapade to Bordeaux. It was here he'd kissed her cherry cheeks, and they'd made love only a year before.
Amélie talked of finer things, life and love and silver tastes. She yearned for Henry, and hadn't taken a lover since. Sleeping all alone, cold as the sleepy ocean in between them.
Love,
Amélie
Those four letters, strung together. Followed by that name, that haunted, horrible, beautiful name. The music of Henry's life, a distant harp in a sway of windy trees.
Henry spent all night beneath a dancing candle. Scribbling, nixing, finding the perfect words. Rifling through Shakespeare, and Plath, and Wilde. It was at the page's end, Henry wrote, what he knew he'd write in the weeks and weeks before:
"Oh, Amélie, won't you visit me? Here in the States? I know you don't like the food. I don't either, but with each other, me with you, and you with me, we'll ever, never notice."
He entered the post office that morning, and his reply was off to France. The weeks and weeks had passed again, crawling to November's end. Henry waited by that same mailbox, and waited, and waited, but nothing arrived in the days after.
He entered the post office that cold evening, and met the clerk, who's eyes tired with crescent glints. Henry demanded his mail be delivered to him, scolding the patient clerk, providing his address thereafter.
The clerk, a powdered, faded beauty of a woman, "we had a change in paperboys. We're putting a new employee on that route by Gerben Street."
"Oh no, that's a shame," Henry dampened. He enjoyed the paperboy, Lenny, and his weekly company. He'd felt shame for their final, frustrated exchange. The clerk retreated to a backroom, and returned with a letter from France.
Henry couldn't help himself. He ripped and ripped the note naked. Read the first and fourth and tens of lines.
"There isn't a night I don't think of you. I wander stars wondering if you do too. Your touch, your breath, your arms. I receive the memory fondly in a summer's dream, and I don't forget a word you've said along the way. I love you, Henry Bronson. And this ocean, though far and wide, won't stop the heart from sailing. Because our children will know silver dreams too, and what parents we'd be to not make them true. You are the love of my life. The music of my night.
I'll arrive in Savannah on the evening of Christmas Eve.
Love,
Amélie"
The words strummed his chest. Henry rose his eyes to the world anew, because Amélie, his beloved Amélie——was coming to visit at last.
Henry was paralyzed in weeks to come. His lawn, unattended, his sink, stacked with dishes. He stared his only photo of Amélie, smiling at her blushed eyes for hours and hours and hours. In this love he'd been born again, a new meaning in every little thing.
It was finally time——Christmas Eve. Snow peppered the sheets of the crystal tarmac. Henry entered the airport, propelled by the stride of anxious confidence. He coursed the halls, until he'd arrived at the final gate:
PARIS, FRANCE [ARRIVING IN 4 MINUTES]
Minutes became years, years decades. He walked to the bar and asked for a glass of water. Flushed his throat with fretting sips, and noticed the custodian who mopped spilled coffee. A familiar face, though, Henry couldn't pin him. He approached, and to his surprise, it was the old paperboy, Lenny.
They shared a laugh and began to catch up. Henry's eyes flirting with the gate:
[ARRIVING IN 2 MINUTES]
Lenny rambled, "they canned me without warning, right before the holidays. I've struggled to make due, but——I guess it's all worked out okay," he paused, "funny enough——I was en route to deliver on your street before I got the call. Gerben Street, right?"
[ARRIVING IN 1 MINUTE]
Henry's heart thumped like a derby horse. He glanced the snow that flaked the window.
"Yeah, Gerben."
"Gerben, yeah, I thought I remembered," Lenny nodded, "you know, Mr. Bronson, I think I left your letter in my backpack, actually. Would you like me to check?"
"Sure."
Lenny was off, and as he left, Frenchmen, women, and decadent Americans flooded the gate's entrance. Pulling luggage, sighing stretches, lending hugs. Henry watched carefully for his cherry, silver dream. To each face, he paid his attention. Lenny nudged Henry, handed over the envelope.
"Thanks," Henry took the note, "Merry Christmas... I'll see you around, I hope."
"Sure," Lenny shuddered in embarrassment. His somber step parted from Henry, he replied with a mumbled, "Merry Christmas."
In the later minutes, Henry didn't see Amélie, or even a confused resemblance. He waited till the plane was empty, till the Spain-bound passengers began to board. He even checked the desk, where a pretty-faced lady exclaimed, "no Amélie here, I'm sorry." With great disappointment, Henry exited the airport, never leaving the sight of his fluttered feet.
Even for Henry, a man of hope and perseverance, it was too hard not to cry. He hailed a taxi, directed the driver with snotty tremble, and soon enough, he was home in his red brick house, at home where the houses stacked the streets, and the streets tickled with frost.
In that dark room, where Henry wrote Amélie, was where the music died. Where the wind had swallowed the galloped harp. Henry cried, cursed himself a fool. A fool, a fool, a fool. He'd hoped as a child, now damned a hopeless recluse. His sorrow turned to confusion, confusion to frustration, frustration to rage anew.
He leapt from his chair, struck a match, lit a wick, plucked a pen, placed his paper, and before the ink would paint the page, before he'd damn Amélie to Hell, her and her cherry cheeks, he remembered the letter the paperboy had given him.
Henry removed the crumpled letter from his coat, peeled the stick of the envelope. Slipped the letter from its sleeve, pulled his readers, and began to prance the ink in reading.
Amélie, again, talked of finer things. Gifts, and gods, and golden fountains.
She couldn't wait any longer, to meet her beloved Henry.
She couldn't sleep another night, with this space between.
The black waves, the buses, bikes and buggies. All the things from her to he.
It should not wait. No, it could not wait any longer.
Henry dabbed his eyes clear and clean, as he read the final words:
"Henry, oh, Henry, I never meant to keep you waiting. You never quite knew what you meant to me."
Henry lowered his eyes to the page's end, to the bottom of the longing letter:
Love,
Yours Truly,
Lenny

Some of my favorite musicals are..... Phantom, Boook of Mormon, Wicked, Hades Town, Mean Girls, Chicago, Rent and while they are tv shows Schmigadoon and Hazbin Hotel
Of those I've seen Hades Town and Chicago on Broadway, as well as others

I recently saw a replica production of Wicked (Australia). All lighting appears identical to that of other productions (Broadway, West End etc). With these replica productions, I’d assume they would copy the rig, but are they then given the files that these other shows use (and make slight adjustments), or do they program from scratch? Thank you!

I finally wrote something that I think I am ready to shoot. It'll serve as a proof of concept short film and I am actively trying to develop the story into a feature. However, I'd like to focus on actually directing this. Said and done, the script will be anywhere from 9-12 pages consisting of two separate locations. The first half will practically be straight dialogue and the second 'half' will involve an action sequence (in one room). I have a good friend who is a videographer and has his own crew that would be more than happy to help - Like most people, I know some talent that knows some talent so casting it shouldn't be terribly difficult - With some effort I think I should be able to find locations for a decent price and I think if we dedicate two full days to each location that should be enough (I know its foolish but I'm just brainstorming here).
The only thing that leaves me scratching my head is how I'd go about integrating firearms into the film. It is not going to be a massive set piece like something out of John Wick, and I don't need AR's. Just a few handguns and some blood. The way I picture it in my head is something like the barroom shootout from Inglourious Basterds except heavily scaled down, of course. Important to note that I really do want to refrain from doing everything in post and want to take a relatively practical approach. Sorry for the drawn out post but just wanted to get some opinions from people who have done this before. TIA!

So i saw the tour in my state almost 13 years ago, im rounding up. I was just as moved by the tour yesterday (Saturday the 11th) as i was august 13 years ago. And i love the new projections and reworking. Spoilers beyond this point
The streamers and bubbles in no one mourns the wicked, as well as the moving elphaba silhouette
The wiring work on the lion cub scene
The projection of the flying house being a point for point recreation of the denslow illustration. Last time i saw it, it was a flying overhead in an arc effect. I was hoping for improvement in 13 years and i got it.
Im genuinely considering a trip to broadway on my own to see it at the gershwin. I hate that the tour takes so long to come aroundm
You wouldnt think a show youve seen before and know every beat of due to neurodivergencency would still make one emotional, but i still teared up at for good

So, I just got done with my 4th time seeing Wicked on Broadway, and today was a very disappointing viewing for me. I wanted to know if anyone else was at the same show today and felt the same.
While I thought the girl playing Elphaba (alternate) was a decent singer, there were a LOT of higher notes that she really struggled with, especially noticeable in The Wizard and I and in Defying Gravity. The girl playing Glinda was HILARIOUS, but a lot of her singing was flat. Same with Madame Morrible. Even the ensemble cast just felt very flat and unenthusiastic. I was genuinely surprised as the other 3 times I experienced the show, it was amazing!
The sound mixing also felt quite off to me? There were a lot of times where it was either too loud or barely audible, and some of the cast's voices sounded very muffled.
I usually go to evening shows so not sure if this was just a bad matinee experience?? But it was definitely a letdown for me.

(An animation shows black and white clouds parting) Charles: (Off-screen) Once upon a time, there was a glowing city protected by golden gates known as Heaven. It was ruled by beings of pure light. Angels that worshipped good and shielded all from evil. Lucy was one of these angels. She was a dreamer with fantastical ideas for all of creation. But she was seen as a troublemaker by the elders of Heaven. For they felt her way of thinking was dangerous to the perder of their world. So she watched as the angels began to expand the universe in their ways. From the dust of Earth, they created Eve (I couldn't think of a female name that looked like Adam) and Lilian. Equals as the first of mankind, but despite this, Eve demanded control and Lilian refused to submit to her will. He fled the garden. Drawn in by his fierce independence, Lucy found him and the two rebellious dreamers fell deeply in love. Together, they wished to share the magic of free will with humanity, offering the fruit of knowledge to Eve's new groom, Adam, who gladly accepted. But this gift came with a curse. For the single act of disobedience, evil finally found its way into Earth. With it, a new realm of darkness and sin. And the order Heaven had worked to maintain was shattered. As punishment for their reckless act, Heaven cast Lucy and her love into the dark pit she had created, never allowing her to see the good that came from humanity, only the cruel and the wicked. Ashamed, Lucy lost her will to dream. But Lilian thrived, empowering demon-kind with his voice and his songs. And as the numbers of Hell grew, so did its power. Threatened by this, Heaven made a truly heartless decision. That every year, they would send down an army, an extermination to ensure Hell and its sinners could never rise against them. But Lilian's hope remained. And his dream was passed down to their precious son, the Prince of Hell. (The prince shuts the "Story Of Hell" book) (On-screen) Don't worry, Dad. I'll make you proud. (He holds a key) Vagner: Charles? Charles: Augh! (The key turns into a cat) Oh, shit. Did you hear all that? Vagner: Uh... Yeah, I was right there. Charles: Sorry. I get worked up after an extermination happens. This story helps. Vagner: (chuckles) I know. Don't worry. I enjoy your theatrics. Are you okay? Charles: I'm fine, just...Thinking, ya know, family stuff. Vagner: Did you hear from your dad yet? (Charles shakes his head saying no) Vagner: Oof. How long has it been now? Charles: Not that long, only...Seven...Years...Off something important, I'm sure. But this kingdom was something he really cared about. Something I care about. Vagner: Well, at least you aren't alone. Charles: I just hope what I'm trying to do here will work. Vagner: It will. I have faith in you. (The cat hopes on Charles) Vagner: All right. Come on. Alice says she has something to show us. (Vagner heads to the door and Charles look out of the window and see Hell on fire and goes) (A commercial plays) Alice: Well, hello there you wayward sinner. Do you like blood, violence and depravity of a sexual nature? Of course you do. That's why you're in Hell! But what would you say there was a place to stay that had none of that? Welcome to the Hazbin Hotel, a misguided path to redemption! Founded five days ago by Lucy's delusional son Charleson Morningstar! Come place your fate in his inexperienced hands as he tries to work through his mommy issues by fixing you! Here, we offer fun thing! Such as somewhat functional staff! And 24 hour Pest Control! Custom rooms, and just look at this tacky parlor! Enjoy riveting conversation with our singular resident. Wow! All this and more at the Hazbin Hotel! You last desperate attempt at salvation starts here. (The tv suits off) Alice: So, what'd ya' think? Vagner: I'm sorry, what the fuck was that?! Charles: Uh, yeah, one note...Alice, I mean...First off, thank you so much for making this, seriously, amazing, but um...maybe the tone is a bit...Off? We want people to want to come here, this makes it look...ummm... Vagner: Bad. The word you're looking for is "bad". Alice: Funny, I was going for hilarious! Vagner: It didn't explain anything about how we're trying to save demons from extermination, which is the whole fucking point. Charles: Vagner is right, Alice. The commercial was to let sinners know we are trying to help them. Alice: Well, my dear, I haven't been active in Hell for some time, and everyone remembers me from my radio show! The proper medium to express oneself! But YOU insisted on this noisy picture box adversiment! So I had a little fun with it. Vagner: Oh, fun? You had a little fun with it? (Stand on the sofa) Well, this is not what we want to represent us. When you showed up here a week ago, you told us you would help run the hotel! Instead, you're mocking us. Nobody's going to want to come to a place that a powerful overlord like you thinks is a waste of time! (A demon on a sofa raises her hand) Vagner: What? Angela: If'n ya filmin' a commercial, can I suggest you take better advantage of the talented celebrity you have right here? Vagner: Angela, you're a porn star. Angela: A famous porn star. I'll have the horniest sinners knockin' these walls down to get in. Vagner: We are not filming a porn as a commercial. Angela: Why not? Sex sells, don't it? I swear if you film me goin' at it with mistress fancy talk-creepy voice here, you'd rollin' in participants willin' to stay at this tacky hotel. Alice: Haha! Never going to happen! Charles: Angela, I appreciate you wanting to use you special skills to, um, attract folks to the hotel, but...I really don't want to exploit you, in that way! Angela: Oh, please, baby. This body was made to be exploited. I got the arms, I got the stamina, I got the legs. I got the lung capacity-- Oh-oh I got the legs! The gag reflex, the holes... (Charles laughs uncomfortably and his phone rings with his mom calling) Angela: The small tits that make everyone think I'm a man... Charle: Uhhh, hold that thought. I'll be right back! (Walks away) Angela: I could keep goin' all night, baby. (Charles breathes and answers the phone) Charles: Hello? Mom? Angela: Hey, I have a question. If freaky face over there is so powerful, then why can't she just make people stay here? Alice: Oh, trust me, (ominously) I can! Hisky: Why the hell do you think I'm here? (The camera goes to Hisky) Hisky: You actually think I'd be cleaning bottles and listening to you fuck's bitches moan all the time if she wasn't forcin' me? Niffter: I like being forced! Hisky: Keep that to yourself, Niff. Angela: What, you don't like being here with me, Whiskers? Hisky: Call me "Whiskers" again and I'll that bottle down your throat. Angela: Kinky. But I like pussies. But keep talkin' dirty. Vagner: Ugh, Angela, let Hisky do her job. And no, we can't force sinners to stay here. They need to choose to. Angela: I'm choosing to be here, and I think is all stupid. We're in Hell, toots. It's kind of the end of the road, ain't it? Vagner: Well, maybe it doesn't have to be. Just because nobody has made it before doesn't mean is not possible. (Angela pust her arm in his shoulder) Angela: Hey, whatever means I can keep crashin' here rent free. Crack is expensive. Charles: (excitedly) Yeah, I acn totally. Yeah, I'll head over there right away...Okay. (Turns off the phone) Hah! YES! YES!!Hahahaha!! Vagner! Holy shit! Vagner: Ahh! What?! Charles: (through closed mouth) Get over here! (Vagner sighs and goes to where Charles is) Vagner: What's going on? Charles: (Inhales) My mom just called. She said that the leader of the Angel Army wants to meet. She asked if I could go instead. (Breathes deeply) Vagner: But... But-- But tbe extermination just happened. What would they want this soon after... Charles: (Singing) I can do this. Somehow, I know it I'll get Heaven behind my plan! Vagner: Charles, hold on. Charles: There's just no way I could blow it. Not this once a lifetime change! Vagner: It's just a meeting. Charles: To change their minds. And touch their hearts. Or whatever angels have. Vagner: This could be bad. Charles: Cheer up, Vagner. This could be swell. Something tells that today will be a happy day in Hell! Vagner: Okay, but just don't... sing to them. Angela: That motherfucker is halfway down the street. Vagner: Is he... Angela: Oh, he's dancin'. Vagner: Ugh, no. Charles: There's a warm fuzzy feeling that wafts through the air! Every street so revealing it's hard not to stare. It's a realm so appealing it beats anywhere! If you don't mind the smell! It's a happy day in Hell! Hi, miss! Demon: Go fuck yourself! Dead Sinner #1: There's a endless trash fire that's burnig my soul! Charles: Hello! Imp: There's a lot of barbed wire to shove in her holes! Charles: Uh, excuse me... Executioner: Doing what is required we all have a role! Dead Sinner #2: I'm not doing well! Ensemble: Another shitty day in Hell! Charles: If I can show them the dream I've dreamed, that any soul can change! Vagner: Those angels minds are hard to change! Charles: Then they know that everyone can be redeemed from the evil to the strange! Vagner: They're bloodthirsty and deranged! Charles: I can hear all their stories, the lost and the displaced! And I know that they're of an acquired taste! But if I open the door and give them a place at my Hazbin Hotel it'll be a happy day in Hell! (Jumps in the back of a truck) From the porn studio where the cinephiles go to watch award winning demon bukkake shows to the Cannibal Town where they don't wear a frown 'cause...Holy shit, ew, my gosh, why?! And I don't give a crow that her brains got in my eye! Cause I know I can spare them from Heaven's genocide! I can do this... Dead Sinner #1: There's an endless trash fire... Charles: I just know it! Dead Sinner #1: That's burnig my soul! Chorus: Ah! Charles: I'll get Heaven behind my plans! There's just no way I could blow it! Demon Sinner #3: I kinda like the barbed wire that's shoved in my hole! Charles: Not this once in a lifetime chance! To change their minds! Trenchcoat Demon: And touch my parts! Charles: Oh...No, thank you. I'm just gonna...Fullfill my destiny! Trenchcoat Demon: Your loss fucker! Charles: I can already tell! Today is gonna be a fucking happy day in Heeeeeeeeeeeeeeeeeeeeeeell! (Charles enters at the lobby) Charles: Hello? (echoes) Hello? Creepy...(He goes to the reception, rings the bell in the table and a paper and a feather pen appear in front of him) Oh, okay! Also creepy. (Signs the paper) (Elevator doors open, Charles goes to them and enters in a dark room) Charles: Hello? Is anyone here? (The lights turn on) Eve: 'Sup? Charles: Holy shit! (Falls in the floor and gets up) Hi, I'm Charles. My mom asked if I could meet you. Eve: Yeah, I know. Charles: Okay, well, it's nice to meet you. (Stands his hand) Eve: Totally. Nice to meet you, too. (Stands her hand) (Charles hand passes through Eve's hand) Charles: Ahh! Eve: Ha! I fucking got you! Did you fuckin' see that? (Luther shaves his head in yes) Eve: Good shit! Charles: Uh, so wait, you aren't here? Eve: No, you think I'd come down there? (Laughs) No. I mean, I love the vibe, totally, I love your tunes. Pretty fuckin' hardcore, don't get me wrong. But, it's such a bummer, man. Everything down there's just so "eugh" ya know? (Chuckles) Ew. Charles: Right. So I'm happy we got this opportunity to meet. There's a project I've been working on that I really want to talk to you about...(Eve puts her finger in his mouth) Eve: Hey, hey, hey, slow down. We got time. How about we get to know each other, mm? How about some lunch? You hungry? I got you! (Shows a plate with ribs) Here's my personal favourite. You'll love it. My husband's receipe. Charles: Uh, thanks! (His arms passes through the plate of ribs) Eve: (Laughing) I got you again, fucker! Haha fuckin' hilarious! Haha! (Back at the Hazbin Hotel, everyone is at the lobby) Vagner: Okay, so Charles is dealing with something very important, so while he's gone, we are making a new commercial. One that representants his vision and what we're doing here. So we need a camera. Alice? (Alice snaps her fingers and an old camera appears in Vagner's hand) Vagner: a video camera. Alice: Hmm? (Snaps her fingers) (A video camera appears in Vagner's hand) Vagner: All right, let's do this! (Vagner films Angela sitting at the bar) Vagner: And...Action! Hisky: "Welcome to the Hazbin Hotel, can I help you with anything?" Angela: "I've been a bad girl. And I need a big strong mommy to put me in my place...On the path to redemption!" Hisky: Ugh! "Well, you come..." Angela: "Oh yes!" Hisky: (boredly) "To the right place!" Vagner: Cut! Okay, Angela, I need you to be less horny, if possible. And Hisky, can you maybe not have a script in front of your face? Hisky: (Angrily) I ain't no actress, I can't memorize this shit! Angela: Well, we could improve this shit, baby cakes! (Purrs seductively and Hisky push her out of the counter) Ahh! Hisky: Whoops. (Drink a bottle) Vagner: Hisky, come on! (Meanwhile, Charles is bored) Eve: So I was playing this gig, and for some fucking reason this virtue boy was digging on the drummer, and it's like, do you know who I am? I'm fucking Eve. I'm the original pussy! All pussies descend from me. You think you drummer pussy? No way, I'm the Pussy-fucking master! (Eats sloppily) So anyway, then we fucked, and it was awesome. What'd you do this weekend? Charles: Wait, your name is Eve? Like the first woman? That means you...Ohhh...(Enlightened) That explains so much. Eve: I know. I fucking rock. Charles: Well, Eve, ma'am. Mrs. Eve, ma'am. Eve: Call me Pussymaster. Charles: Eve, you seem like a smart...well, stand up girl. Eve: (With the finger in her teeth) Uh-huh. Charles: And I know you are the leader of the angels. And you are a bigger, a revolutionary, a...A genius! Eve: I maen, yout words, babe. Charles: Who would really her name on something. Eve: Fucking love putting my name on shit! Shit's the best! Charles: It's a solution to our biggest problem! Eve: Oh, herpes. Yeah, that's a bitch. Charles: No! Our other biggest problem. Eve: Oh, uh...Ugly people? (Looks the camera) Math? Global warming? Nah, wait that's Earth's problem. Umm... (At the hotel, a bug walks in the floor and a needle tries to stab it) Niffter: Hehehe. Stab. Stab. Stab. Vagner: Alright Niffter. Niffter? Niffter! (Stops him) Your line is "We have the cleanest rooms". Okay? Niffter: Got it. I'm ready. Vagner: (Turns on the camera) Action! (Niffter looks at the camera with his pupil constricted and Angela and Vagner look at him confused) Vagner: Uhh...Cut. (Turns off the camera) (Niffter smiles again) Niffter: (Giggles) How was that? Vagner: Well, Niffter, you actually have to say the line. So let's roll again. Niffter: Okay! Vagner: Action. (Niffter stares deeply at the camera) Angela: You're doing great, Vaginer! Vagner: Cut! Alright, um, maybe wr can try to fix it in the post. Angela: Do you even know what that means? Vagner: (Angrily) I'll figure it out! (In lobby, Vagner is watching the video with the camera connected to the tv) Hisky: (On TV) Welcome to the Hazbin Hotel. (Vagner groans, covers his eyes and Alice appears in his side) Alice: Seems like you're having a bit of trouble there, hm? Vagner: Ugh, esta pendeja...Why are you even here? Alice: For the entertainment! I came here because I love seeing wasteful souls struggle to accomplish something meaningful and fail spectacularly. Like you are doing now! Good job! Vagner: (Turns on the camera) And here is Alastor, the egocentric piece pf shit that... (Alice gets static on the camera and it starts to spark and Vagner screams and knocks the camera down) Alice: I wouldn't try that, my darling. (Sinisterly) This face was made for radio. Vagner: (Gets angry) That's it! I don't care who or what you are! If you are staying here you are going to make this work! Beause it won't be so "entertaining" to watch an empty hotel will it, shitass?! (Turns around and walks away) Alice: Fair enough. I'll tell you what. Let's make a deal. Vagner: Pft! You think I'm that stupid? Making a deal with a demon like you. Alice: Not for your soul, just a simple deal. I do this for you, and you never ask me to engage with this frivolous television technology ever again. Or...Charles can come back to absolutely nothing! Your choice. Vagner: (Sighs) Fine. (Gets the video camera and raises in Alice's hand and green ghosted skulls fly around it) Alice: Now then! (Makes the camera disappear and snaps her fingers) (Angela, Hisky and Niffter, a lot of filming materials and a ghost recording team appear in the lobby and everyone gets tailor clothes) Vagner: Alright, everyone! Let's make a fucking commercial. (Meanwhile) Eve:...When you take him out for the fifth time and he still expects you to pay the check, but you're like, (In deep voice) "Hey I thought you wanted equality"! Charles: (Frustrated) No! Our shared problem of overpopulation in Hell! Eve: (Normal) Ohh! Well, that's not a problem! We got that covered! Luther, how many demons did you kill this year? Luther: Got a good 275 this year, ma'am. Eve: 275? Whoa, badass! Awesome job, danger dick! Pound it. (Punch fists with Lute) Charles: Uh, no, not awesome. Those are my people, you know that, right? Eve: Ohhh, yeah...That must suck for you. Pft...Hahahaha! Charles: But these are souls. Human souls, just the same as the ones you have in Heaven. Luther: They're not the same. They had their chance and they earned damnation. Charles: You're wrong. Sinners made mistakes, sure, but everyone makes mistakes. Luther: Angels don't make mistakes. Charles: You really think that? Luther: I know that. Eve: Yeah, I've never made a mistake in my fucking life. Luther: The only reason you're still here is because Mommy gave you and your Hellborn-kind a pardon from an exorcist blade. How does that feel? To know how little you matter. (Charles shrinks back) Eve: Oops, almost out of time. Guess we should get into it... Charles: Oh! Fuck!...(Get up from the chair) Okay. I've a lot to get through and not a lot of time and I feel like you weren't really hearing before, so here goes. (Clears throat) (Singing) I know Hell's population is out of control. It's a bad situation, it's taking a toll. If we rehabe these sinners and cleanse all their souls at my Hazbin Hotel! (Normal) Wait I'm getting ahead of myself! Right! Extermination! (Singing) I know you guys fly down just to kill once a year. And it must be annoying to schlep all the way here. If they join you in Heaven that trip disappears! You can wave that chore farewell! (Deep breath) It'll be a happy day in... Eve: (Singing) Let me stop you right there, save us all precious time! Charles: (Normal) Okay? Eve: If what you're suggesting is letting them climb! Up the ladder. Oh they rather cross the Pearly Gates! Sorry, sweetie, but there's no defying in their fates! 'Cause Hell is forever wheter you like it or not! Had their chance to behave better now they boil in a pot! 'Cause the rules are black and white there's no use in trying to fight it! They're burning for their lives until we kill them again! Charles: Okay, but... Eve: Just try to chillax, babe, you're wasting your breath! Charles: (Nervously) Hehe... Eve: Did I hear you imply that they deserve death? Are they winners? Are they sinners? 'Cause it's cut and dry! Charles: Actually, if you take a look... Eve: Fair is fair, an eye for an eye! And when all's said and done! (Said and done) There's the question of fun! (Fun) And for those of us with divine ordainment, extermination is entertainment! (Imitates guitar) Guitar solo, fuck yeah! (Imitates guitar) Hell is forever wheter you like or not! Had their chance to behave better now they boil in a pot! Charles: Where all this people come from? Eve: 'Cause the rules are black and white, there's no use in trying to fight it! They're burning for their lives until we kill them again! (materializes a guitar and play it) Fucking Hell is forever and it's meant to suck a lot! So give up your dumb endeavor 'cause you don't have a shot! (Charles groans, his paper gets on fire and his hair moves in the air and horns appear in his head) Eve: Long as I've got your attention, I guess In should probably mention that we made a determination (Shows a contract) To move up the next extermination! Charles: Can't wait a whole year to slaughter those little cunts! (Hold Charles' wrist) I know is just been a week, but we'll be back in six months! (Spins Charles out of the room and plays her guitar) Charles: Um, wait, didn't you...(Goes at the door, but it closes) Awh, shit! (Punches the door) (Charles returns sad to the Hazbin Hotel) Vagner: Charles! (Hugs him) How did it go? Did they listen? Charles: Oh, uh...They sure did...hear it! But, um... Vagner: Oh! Come here. We have something exciting to show you! (Holds Charles to the living room) Alice pulled some strings, and it's about to air. Alice: I pulled a few limbs too! Hahaha! Charles: Wait? The commercial? You all made a new one? Angela: Yeah, one of my better performances, if I do can say so myself. Charles: That's...That's amazing. Angela: Shh! It's starting! Vagner: (On TV) Welcome to the Hazbin Hot... (The TV changes to the 666 News channel and everyone complains) Kallie: (On TV) Breaking news in Hell today! We have just received word from the Heaven Embassy that the next extermination is happening sooner than ever before! Do you know what that means, Tomita? Tomita: No. What does that means, Kallie? Kallie: It means we are all royally fucked! (The clock in an hourglass changes to 176 with everyone screaming) Angela: Wait...What? Why?! (A drone laser scans a headless body of an angel laying in Hell and Eve and Luther see then from the ship) Luther: We found the body, ma'am. They've never managed to kill one of us before. We should just go down there now and destroy them! Eve: No, no. We can't risk them catching on. But don't worry, when we come back, there won't be a demon left to pull a stunt like this again. (Breaks the projector and her eyes and mouth glow in the dark) (The end credits start playing)
Sorry, Vivziepop, I had to

I recently accepted a role in Music Man - I'd never seen the show, but knew most of the gist of it when I accepted. I have since done some more research and seen there are some blatantly sexist/racist elements. I have read the revival on broadway changes some of those issues - my question is...
Is that "revival" version the verison that a community theater would have access to? Is it likely those fixes make the musical tolerable? I am nervous to partake in a show that shows such a disgusting Native American caricature like I have seen in recordings as recent as 2019.
I honestly don't know much about how rights to broadway shows work/what a theater has the discretion to change/omit in their show.
Rehearsals won't start for a few weeks so I won't be able to just look through the script to know, looking for info on this in the meantime - any info appreciated, this process is new for me!

I’ve never seen any shows on Broadway, but I am a huge fan of musicals and have seen a few off Broadway! I am traveling to NYC this week and can manage to go to two. Help me pick!
I have seen and loved Wicked, Phantom, Joseph, Thoroughly Modern Millie, RENT
I am considering: Hamilton Moulin Rouge Cabernet
My coworkers would like to do: Book of Mormon or Six (for one of the shows, and I’m not set on seeing one w them if I want to see one different!)
Can you please help this is such a big decision! Thank you 🙏

I left at intermission because I thought the show was dull overall and found George and Natalie’s characters to be quite grating. (I’m sure the actors are fantastic. Just wasn’t a fan of their characters, dialogue, cheesy jokes…) Also, costumes felt quite cheap/Halloween store. Especially the ensemble. I was underwhelmed by the weird choreography. Very 2000s pop star backup dancer… arm dancing.
However Eden was fantastic. Singing and acting. Quite a committed performance. I didn’t hear any super off notes… (i think there’s some strange choices with how some of the songs are written though… like I feel like I might go flat if I was singing “Unseen”… but not because it’s demanding, just some of the written notes are strange..???) I almost didn’t go because of Reddit comments about her voice being in bad shape. I don’t even mind “bad” singing if theyre acting their face off (Tonya Pinkins remains my favorite performance I’ve seen on Broadway and her voice was shot but the performance was devastating and stuck with me.) I also didn’t even think Eden’s songs were so “screamy” ??? Besides the end of I will paint her and woman is? She took a note or two down on woman is and I swear even mixed one of the high sustained notes. She sounded pretty trained and theater-y to me. Way more than when I’ve seen her in Brooklyn, rent, wicked etc. I was impressed. But not enough to stick around for the second act. (I got digital rush 35 dollar tickets in row f)
Amber has goddess pipes. What a voice and presence!! Happy for both of their Tony nominations.
The audience seemed to be into the show and laughed at all of the jokes. Atleast in the first act. Like they really ate up the Eden bit where she’s eating a pastry? I thought most of the songs were meandering and dull… some cheesy dialogue and staging. but definitely a talented cast and I was impressed with Eden and amber. And “Woman Is” is stuck in my head.

Hey guys! This is a script of a battle from a fan roster I came up with, and my friend made some drawings of. Some things might be obvious in this, but I'll explain anyways. Text in italics, like this, means it's an action. A name in brackets like [THIS], with a colon after, means it's what someone is saying, their name being in the brackets. Anyone with an (S) after their name is a spectator who is speaking, not someone in the arena.
Anubis's Spectators:

• Amon-Ra
• Tefnut
• Ptah
• Osiris

Sun Tzu's Spectators:

• Genghis Khan
• Shizhen
• Zheng He
• Confucius
• Helu

The following is the actual story. Please enjoy!

An announcer’s voice echoes throughout the stadium. A voice not heard in centuries.
[ANNOUNCER]: I am honored to announce to the god and human spectators alike… the first round of Ragnarok!
Millions of cheers echoed throughout the stadiums, both by the gods and the humans.
[ANNOUNCER]: Our first contestants are entering the arena! On the gods’ side, you know him, you love him, Anubis!
From one of the two large gates leading to the arena, a dazzling man outfitted with jewelry and a crook steps out. Most prominently is what seems to be the skull of a wolf covering his face. Under what can be seen, Anubis seems to be attempting to hold back a laugh.
[ANNOUNCER]: Most well known for being the youngest god in all of Egypt, Anubis protected the graves of commoners and pharaohs alike!
Time flashes to the past. Anubis is younger, yet not a child, outfitted only in simple rags with his signature crook. He seems to have been trekking through a desert, but has reached his location of a small town. He walks up to the largest building he sees, and knocks on it.
[ANUBIS]: Anyone hoooome~?
The door swings open. The building seems to be a hostel. In front of Anubis is a young man, and behind the young man is a woman behind the counter. The man introduces himself as ‘Eman’.
[ANUBIS]: Nice t’meetcha, Eman!
Anubis smiled with childlike joy.
[EMAN]: Nice to meet you too. The man nodded. What can I do for you?
[ANUBIS]: I’d like ‘ta rent a room, please! Also, pardon my invasiveness, but that wouldn’t happen to be your wife, would it? Anubis pointed at the woman behind the desk.
Eman gave a hearty laugh.
[EMAN]: Of course, who else would she be?
Eman leaned in next to Anubis, bringing his voice to a whisper.
[EMAN]: She doesn’t want me to be telling people but… she’s going to have our child soon!
Anubis clapped and smiled.
[ANUBIS]: That’s wonderful!
Anubis proceeded to pay for his room and lay in the bed. He waited until the sun had set, and the town was dark. He stepped out into the middle of the town and held his crook upright.
Anubis was not born as the god of protecting the dead, nor did he choose to become it. He was born without a title, and cast down to Egypt, where he was expected to find himself. After being cast to Earth, Anubis discovered his hatred of humans. For decades he would wander Egypt, punishing humans town to town. How many humans he killed is unknown. All that remains is that his actions were known as the Ten Great Plagues of Egypt.
[ANUBIS]: I curse these people. By my power as a god, may they rot.
Anubis proceeds to hold his crook up for several more minutes. The town buildings into flames, then a beam of light appears from the sky. He seems to know what this means, as he smirks and shakes his head.
From the light, a man wearing the skull of a large bird appears. The god known as Amon-Ra.
[RA]: Anubis. You continue acting like a child. When will you realize you have responsibilities?
[ANUBIS]: You told me to find out what purpose I serve as god. This is my purpose.
[RA]: Indiscriminately killing humans?
From the hostel, a loud banging noise can be heard. Anubis looks towards it and sees Eman slamming on a window, attempting to escape. He scowls.
[ANUBIS]: What’s wrong with that?
[RA]: That is the job of a human, not a god. I’ll ask you once more, what god do you wish to serve as?
[ANUBIS]: The god of death.
[RA]: Too late for that. Osiris has that job. You know that.
[ANUBIS]: Then I don’t want to ‘serve’ as a god. I’ll just be a god.
[RA]: This is not an offer, this is an order. You must serve as a god.
[ANUBIS]: Leave me, Amon-Ra. I have no interest.
Amon-Ra sneers.
[RA]: Then I shall choose your godhood for you. You shall protect those of the dead. Those who you have killed, and more.
[ANUBIS]: You bastard…
Anubis’s role as guardian of the dead was merely a punishment by the god Amon-Ra to put him in his place. As a result, his hatred was redirected from Ra, to humans. Every human he had to protect was his own personal hell. Time flashes back to the future.
[ANNOUNCER]: Would you look at that folks? Anubis is brimming with excitement.
Anubis’s face distorts into a devilish smile. He whispers to himself under his breath.
[ANUBIS]: The first time I’ve been able to kill a human in so long…
[ANNOUNCER]: We can’t give all of the attention to our god however, as our human contestant is entering the arena! Known as a master of war, even proclaimed the guardian of humanity… Sun Tzu!
Sun Tzu enters the arena. He seems disheveled. Upon further inspection, there is a light missing from his eyes. Time flashes to the past again.
540 BCE, China. After the Battle of Bi, tens of millions of citizens were left without food. Millions were left dead. Families were ravaged most of all by the destruction caused. Sun Tzu, only four years old, had been left with no family at all. He lived in the slums of the city, with his only way of eating being to beg.
[TZU]: Ah, please! Does anyone have food?
A crowd rushed by Tzu. Hundreds of people, ignoring his calls. Tzu had always viewed his life as meaningless, but surely people wouldn’t run away from him.
[TZU]: Where are they going..?
Tzu followed the crowd and discovered a government official giving a royal decree.
[OFFICIAL]: His majesty Helu orders the body of one young human. Your family will be compensated for the departing of your loved one, but you must realize it is for the greater good of the state.
The crowd goes silent. No one offers up anything.
[TZU]: I… I will! I offer myself!
The crowd parted, allowing the official to see the young Tzu.
[OFFICIAL]: Oh, no young one… His majesty Helu is requesting a deceased body.
Tzu’s face remained unchanged.
[TZU]: I know that... Please, let me do this! Let me do this for my people!
The official showed a face of unsureness, and spoke to his advisor, who looked at Tzu and gave a nod.
The officials took Tzu off on a long voyage back to the emperor’s castle. After 33 days, Tzu was put before the emperor Helu.
[HELU]: What is this? I didn’t want a slave. I need the bones, not the human.
[OFFICIAL]: He was the only one who volunteered. He said he was okay with being killed, your majesty.
[HELU]: Volunteered? Not only that, but he’s willing to die?
Tzu looked up at the emperor and nodded.
[TZU]: I have nothing but my country, emperor. Please, let me do this.
Helu sat up from his throne and walked up to the boy. He looked deep into his eyes, then shook his head.
[HELU]: You are incorrect, boy. You have your nobility. I will not allow you to die.
[TZU]: But-
[HELU]: You shall become part of my family. Do not misunderstand, you will never be recognized as a royal, nor will you be in the line of succession, but you will be under my care.
Tzu’s eyes widened. He began to cry. After his family’s death, he found no use in crying. A waste of energy. Yet, now he couldn’t seem to do anything but it.
Twelve years from then, by not just the effort of the emperor, but Tzu himself, Tzu led his first army into battle. Tzu would go on to lead thousands more soldiers into battle. Out of the forty-five battles he had ever been in, the only one he had lost was one he was a bystander in, at four years old.
Time flashes to the present.
Tzu stumbles onto the stage.
[ANNOUNCER]: Sun Tzu seems to have the shakes already! Could it be that he had a few drinks before the match?
Anubis stares into Tzu’s soul.
[ANUBIS]: (to himself) No… That’s not it. There’s something off about him. I can’t tell.
[HELU (S)]: What’s wrong with him?
[GENGHIS KHAN (S)]: Shell shock, PTSD, who knows?
Tzu’s valkyrie, Gleipnir, runs next to him.
[GLEPNIR]: Tzu! Are you alright? Listen, if you don’t think you’re ready-
Tzu gives a half-hearted smile.
[TZU]: I’m more ready than I’ve ever been. Let's do this.
He grabs her hand, and in a flash of light she turns into a crossbow. The bolts of the crossbow surge with electricity.
[ANNOUNCER]: And… Begin!
Tzu’s hands shake as he grabs a bolt from his sheaf and places it into his crossbow.
[ANUBIS]: What’s wrong with you, gramps? For such a legendary fighter, you seem no more than a scared child, honestly.
The audience makes a collective sound of intrigue. Tzu shakes his head.
[ANUBIS]: You fought in tens of battles. Did you ever act like this? Is a god simply too much?
Laughs sprout from the audience of the gods, while the humans look on in horror.
[AUDIENCE]: This guy’s representing humanity..? No way… We’re screwed.
Tzu lets out a cowardice laugh, and flings his arms in the air.
[TZU]: You got me. But, wouldn’t you be scared too? To know your enemy is to know yourself, and I don’t know a damn thing about gods.
As Tzu puts his arms back down, he fires a rouge shot at Anubis, hitting him in the shoulder. Anubis gasps, shocked at Tzu’s skullduggery.
[CONFUCIUS (S)]: He who hits the first shot shall win. Tzu’s victory is determined in fate now.
[GENGHIS KHAN (S)]: We will see.
[HELU (S)]: Shouldn’t you be cheering for him? He’s on our side, at the end of the day.
[GENGHIS KHAN (S)]: I am but a realist.
[ANUBIS]: T-That was a lucky shot. I just had my guard down.
Anubis attempts to run forward, but stops himself. As the bolt surges electricity through him though, he follows through with his dash towards Tzu.
Tzu stumbles to dodge Anubis’s advance as he reloads his crossbow.
[ANUBIS]: It’s kinda sad, y’know? I took pleasure in killing people, but this? This just feels like I’m trying to stomp out a dog.
Tzu’s hands shake, approaching his own crossbow.
[TZU]: There is no pleasure in the taking of lives. It is a last resort, and any man who does it of his own will should be ashamed.
[ANUBIS]: For me there is.
Amon-Ra’s scoff can be heard from the audience.
Tzu grabs his bolt on his crossbow, surging electricity throughout his body.
Anubis gives a mixed expression of confusion, yet excitement.
[ANUBIS]: Is this guy insane?
Tzu looks up with a newfound confidence.
[TZU]: I didn’t spend my life fighting millions so I could cower when I met someone slightly stronger. Even if my body isn’t ready, my mind always is.
[ANUBIS]: I see… Then this will be fun.
Anubis dashes towards Tzu again, swinging his crook rapidly. Tzu dodges back.
[ANUBIS]: You can’t keep running!
[TZU]: Everything is fair in war, no?
Genghis Khan laughs in agreement from the stands while the other audience members look at him in horror.
Anubis throws his crook at Tzu, hitting his left leg and sliding back to Anubis. A small black patch appears on the area it hit.
[TZU]: What is this..?
[ANUBIS]: That’s your leg. It’s rotting. Anything my crook touches rots.
Anubis holds his crook to the sky, looking at it with an indiscernible expression.
[TZU]: If you think this means your victory, you have already lost… This is nothing.
[ANUBIS]: Oh really? Because it’s quite a shame. That leg will probably be gone soon, you know? The rot spreads quite fast.
[TZU]: I only need one.
[ANUBIS]: Minute? Or leg?
Tzu smirks and fires his crossbow, hitting Anubis in the stomach.
[TZU]: Both.
Anubis rips out the bolt and jumps towards Tzu, backing him into a corner and quickly closing the distance between them. Tzu begins fidgeting with his crossbow
[ANUBIS]: Don’t surrender now. I haven’t even gotten to the best part.
The entire stadium begins rumbling. Anubis holds his cane to the sky once again.
[ANUBIS]: You’re a good enough fighter to cause me a little trouble. So I’ll use it.
[ANNOUNCER]: It seems like Anubis is enacting some sort of grand finisher move… What could he be doing?!
[ANUBIS]: The Plagues of Egypt!
The entire arena becomes clouded in a dark thunderstorm.
[AUDIENCE]: What’s going on?
[RA (S)]: Here he goes again…
[TEFNUT (S)]: You think too little of him, Amon-Ra.
[RA (S)]: No matter what happens in this battle, he will always be a failure of a god.
An open gash appears on Tzu’s side, then a wound on his chest, then another, and another.
[ANNOUNCER]: It seems like Anubis’s move is opening all of Sun Tzu’s old wounds!
[ANUBIS]: I’ve brought back all of your old mistakes… Welcome to Hell.
Tzu gives a weak laugh.
[TZU]: This? This is nothing.
Gleipnir manifests next to Tzu.
[TZU]: I need you to lend me your strength, Gleipnir.
[GLEIPNIR]: I’m sorry, Tzu, but I cannot heal your wounds.
[TZU]: All I need you to do is make sure I keep producing blood, I can’t die of blood exhaustion, that’s pathetic.
[GLEIPNIR]: That I can do.
Tzu takes blood from his wounds and spills it on the ground.
[ANUBIS]: What’s that? Some human tradition or something? You’re trapped either way.
Tzu shakes his head.
[TZU]: Always offer your opponent an out, lest they get desperate.
Tzu fires three consecutive bolts into Anubis’s waist and leg. Anubis lets out a groan of pain.
[TZU]: While you were summoning your plagues, I modified my crossbow to become a repeater! Amidst chaos, there is opportunity; you should know.
Zheng He nods in agreement from the crowd.
Anubis lets out an exasperated laugh.
[ANUBIS]: Then I suppose it was an equal trade. Check your neck.
Tzu wipes his fingers on his neck to discover it too has begun turning back.
[ANUBIS]: You ran past me, but I managed to clothesline you with my crook. You probably don’t have any more than two minutes until it reaches your brain.
[TZU]: Then let this be a declaration of my will to live.
Tzu proceeds to take his last bolt from his pouch and cast it into the abyss. He puts his crossbow on his back.
[TZU]: I will defeat you with no more than my fists and my mind. You must be ready to put everything on the line to win.
[CONFUCIUS (S)]: What… is he doing?
[GENGHIS KHAN (S)]: He realized it. If he can’t win the war physically, he must win it mentally first.
Anubis throws his crook to the ground and dashes towards Tzu, grabbing him by the throat with his claws.
[ANUBIS]: Out of all of the humans I have killed… You were truly the most fun.
Before Anubis can kill him, Tzu hits Anubis in his kidney, causing him to fall to the ground.
[TZU]: Thank you, but our battle is not over yet.
Anubis laughs on the ground as he writhes in the pain.
[TZU]: You must continue to fight me. I cannot defeat you like this.
Anubis stumbles to his feet.
[ANUBIS]: You could’ve stomped on my head while I was on the ground… You could’ve finished me.
[TZU]: That is not how battles are to be won. It should be won with a fight of all of the power. Not just my power, but yours too.
[ANUBIS]: All of my power, huh? No, I think this is just enough.
Anubis walks towards the unarmed Tzu, and deals a kick to his chest, audibly shattering multiple ribs. Tzu’s blood spills everywhere. Anubis attempts to wipe it off his shoes.
Blood spills from Tzu’s mouth.
Tzu doesn’t move.
[SHIZHEN (S)]: You don’t think he’s…
[GENGHIS KHAN (S)]: Impossible! You think of him weak? If that was enough to kill him, he would already be dead.
[ZHENG HE (S)]: Get up, Tzu!
[CONFUCIUS (S)]: As long as you have us, you are not defeated, Tzu.
[HELU (S)]: Remember that boy who attempted to throw away his life! I didn’t let it happen then, I won't let it happen now! Fight, Tzu!
A bead of blood drops from Tzu’s head.
[TZU]: I know…
Tzu coughs.
[TZU]: I know that’s not your all!
The audience cheers for Tzu.
Anubis scoffs, and stands over Tzu menacingly.
[ANUBIS]: (reaching toward Tzu) When will you realize I’m not giving you-
Within less than a second, Tzu swiftly grabs Anubis’s left hand and breaks his wrist cleanly.
Anubis falls flat on his back, crying out in pain.
[PTAH (S)]: This is… embarrassing.
[RA (S)]: Pathetic, if anything.
[ANNOUNCER]: It looks like… Sun Tzu has totally immobilized Anubis’s left hand!
After a few seconds, he gains his footing.
[ANUBIS]: F-Forgive me for underestimating you, old man. But please, allow me to call you by your name.
[TZU]: I am Sun Tzu, Master of War.
[ANUBIS]: Sun Tzu, I give you my word, I will make this quick.
Anubis slams his crook into the ground and closes his eyes, he begins humming.
[ANNOUNCER]: What could this be? Is Anubis meditating?
The clouds from before begin to reappear. Droplets of blood begin raining from the sky. The moat surrounding the arena quickly turns blood red.
From the moat, a massive snake rises. Its eyes pour with blood. Anubis steps towards it.
[ANUBIS]: Shhh… Child of the Duat… Lend me your power.
The snake begins to dissolve, and Anubis turns back around. As he does so, his eyes can be seen pouring a black, viscous, liquid.
[ANUBIS]: Human… You have inconvenienced me greatly… So how about a deal? I’ll bring you Unyielding Death.
[OSIRIS (S)]: ‘Unyielding Death’, huh? Never heard of that before.
[RA (S)]: I believe he mentioned it to me before, but this is the first time I’ve ever seen him use it. He takes the strength of one of his undead creatures. If he kills anyone when he’s like that, they are sent to a personal Hell he created for them.
[TEFNUT (S)]: (scoffs) That cocky bastard. He doesn’t need to do this, he just gets some joy out of it.
Anubis dashes towards Tzu again, but this time differing. His dash was hasteful, over in a blink. He had used his claws to slice Tzu’s knees, causing him to fall to the floor.
[ANUBIS]: Death doesn’t come that fast, though.
Anubis takes his claws and begins to burrow them in Tzu’s neck.
[ZHENG HE (S)]: That bastard! He’s never taken a life honorably ever, has he?
[TZU]: You coward… Even as a god against a human, you couldn’t have an honorable fight?
[ANUBIS]: Honorable? You threw that out when you fired that shot at me. I was unprepared!
[TZU]: Yet it was your fault… (Tzu wails in pain) T-The round had already started.
[ANUBIS]: Either way, I have no concern for ‘honor’. Especially not against a human.
[TZU]: If you abandon honor, then so too must I.
Tzu quickly takes out his crossbow and loads it with a hidden arrow he had put under his sleeve. He fires it, but it misses and flies off into the sky.
The audience goes silent.
[HELU (S)]: No… No way…
Genghis Khan holds a solemn expression on his face.
[SHIZHEN (S)]: That’s it… I only wish I could say he fought honorably to the bitter end.
Anubis lets out a wicked laugh.
[ANUBIS]: You had me going there for a second man! I really thought you had an ace, but nope!
Tzu’s blood begins seeping from his neck, slowly weakening him.
[TZU]: Anubis… Do you know what trigonometry is?
[ANUBIS]: … Why the hell would I know what that is?
[OSIRIS (S)]: What is Anubis doing? He should kill him right here and now.
[PTAH (S)]: It’s one of his pitfalls. He’s too damn curious.
[TZU]: It’s a human invention. I only learned about it after I was summoned for Ragnarok. It didn’t exist when I was alive.
[ANUBIS]: Yeah, yeah? So? What’s the point here? Are you forgetting you’re on borrowed time?
Anubis pushes his claws deeper into Tzu’s neck, getting closer to his artery.
[TZU]: I-It’s the concept of triangles, and it allows you to calculate things like trajectory. Does it not make you mad you don’t know something that humans do?
Genghis Khan’s eyes widened, as if he had figured out something.
[HELU (S)]: What’s he doing?
[CONFUCIUS (S)]: Filibustering for his last moments alive, I believe.
[GENGHIS KHAN (S)]: That’s not it… He’s doing something… This match isn’t determined yet!
[ANUBIS]: No… It makes me happy, if anything. Humans waste their time doing stupid things like that, while I have no purpose to learn it.
[TZU]: It was used by men who launched cannon balls from cannons, though. Couldn’t it help you protect yourself from things like that?
[ANUBIS]: When would I ever get hit by a-
Anubis coughs up blood as a bolt goes into his back, barely stopping before the heart.
[ANUBIS]: W-What… I thought you only had… one..? Where… did that come from?
[TZU]: That was my ‘one’. I calculated its trajectory, and from that I knew it would come back and hit you, dead on.
[ANUBIS]: Guess that… didn’t work out how you… thought though, right? ‘Cause… I’m still alive.
[TZU]: That is your problem. You are too quick to expect results. You must learn to let time take its course.
[ANUBIS]: What the Hell is that meant to-
Before Anubis can say another word, Tzu’s bolts deliver a lethal dose of electricity into Anubis’s heart, killing him instantly. Anubis begins to fade away.
[RA (S)]: I told you from the beginning. He’s a failure.
[PTAH (S)]: A failure to the humans, not to us.
[TEFNUT (S)]: Rest your soul, Anubis. You fought valiantly.
[ANUBIS]: You… I curse you, Sun Tzu! I curse you to the deepest pits of Hell! You think you’re better than me?! I am a god, you ingrate human!
Anubis fully fades away, leaving the audience speechless, but most of all the announcer.
[ANNOUNCER]: I’m shocked by the words leaving my mouth but… the humans… have won the first round of Ragnarok!

SweatyOracle is like a Broadway insider (and Wicked hater) who got news abot what they've watched at the movie test screening

• The Wicked test screening took place on 05/09 in Arizona.
• Only the first movie was shown, which runs for 2 hours. The CGI effects were far from being finalized. Many scenes lacked effects. You could see the audio equipment on the actors.
• None of the songs from the first act of the musical were cut
• Some critics pointed out that the musical shouldn't have been adapted into two movies since there's nothing new added to the story.
• The excessive number of long dance sequences is seen as error. One of the acts affected by this was "No One Mourns The Wicked," featuring Glinda.
• Pfannee's scenes, Glinda's friend played by Bowen Yang, were considered one of the film's highlights. He's "sassy"
• Michelle Yeoh, as Madame Morrible, didn't sound good singing "Wizard and I" as her voice was "spoken." This act was somewhat disappointing cinematically.
• Cynthia Erivo is acting well.
• Ariana Grande is acting well
• Some critics theorized that neither performed their pieces live on set as claimed by the film's director, John M Chu
• Kristin Chenoweth and Idina Menzel, the original Glinda and Elphaba, will be in the film in the "One Short Day" act
• Stephen Schwartz and Winnie Holzman, the composers of the musical, will also be in the "One Short Day" act

https://www.tiktok.com/@sweatyoracle/video/7367142899592482091

https://www.tiktok.com/@sweatyoracle/video/7367142899592482091 he is a kinda of "broadway insider" and a wicked hater. the movie problem is the dances scenes like???

When a person expels an unacceptable behaviour or action, it may well be onto another person. Projective identification is used to project the bad behaviour or action into (not onto) another person so it becomes a part of that person. The person then identifies with that other person, and hence has means to control them.The person projected into may consequently be pressured to behave congruently with the projective phantasy, believing and accepting their role. The projecting person may also seek to be physically close to the person into whom the fantasy is projected. Projective identification may also be used to externalize confusing or uncertain aspects of the self so they can be studied more objectively and then re-internalized in a more acceptable form.
The concept of projective identification can be described as a type of defense mechanism or strategy employed by the unconscious mind, that allows an individual to deny or distort reality (create a fantasy) in order to maintain a socially acceptable self-image. Applied to polyamory and ENM this means that projective identification allows the polyamorist unconsciously to deny or distort the million of years proven reality of monogamy and pair bonding as one of the most deep seated hallmarks of the human species in order to maintaim a socially acceptable image despite the attept to rationalize infidelity and systemically institutionalise adultery as well as acitively abusing their spouses and mistreating them. As result, the manipulated victim begins to behave congruently with the projective phantasy, believing and accepting their role, as I have outlined above.
This takes place also or maybe especially during an interpersonal interaction in which the projector pressures the projected into thinking, feeling, and acting in accordance with the projection. In polyamory and ENM this may take place as the nonmonogamist applies pressure and manipulation on a reluctant spouse or proselytize monogamous people into polyamory
In other words, projective identification consists not only in the projection of negative aspects of oneself onto others but also in the pressure exerted on the other for him to act in a way that is congruent with what is being projected. For instance, a polyamorist or a practitioner of polyamory projects his unfaithfulness unto others believing everyone is a cheater, promiscous, und faithful anf monogamy isn't natural. Then, after rationalizing and trying institutionalizing infidelity, they procceed to proselytize others to act in the same way. The polyamorous war and crucade against monogamy, the mass shaming of monogamous people and the phenomenon of the polyamorous industroal and media complex, are all rooted and are expression of said projective identification.
Another form of projective identification happens on the relational level between two partner either by polybombing, enforcing a mono poly relationship on a monogamous spouse by exploiting her or his weaknesses or by trying to manipulate and gaslight a reluctant partner. Projective identification here is the process by which a thought or feeling is projected into the reluctant monogamous partner, then interacting with that person to make him/her experience the projected feeling. As if the other person becomes the container for affect they cannot tolerate themselves. As such and by using tactics of manipulation and gaslighting, projective identification often crosses the line into the realm of emotional abuse.
Projective identification goes also the other way aroung. It is most hazardous when the victim, the person who has been projected onto, intetnalize the content of projection, and starts to believe the agressor, namely the person who is projecting. In this case, Projective identification is when someone has been projected onto, and they internalize those qualities believing them to be truthful. This means that the judgments, negative feelings, or deficiencies that someone cannot accept themselves are then blamed onto another person, who, in turn, due to fear of loss, loneliness or abondonment, gives credence to those statements by rationalizing everything.
While there are many different types of defense mechanisms, projection and projective identification is perhaps the one that inflicts the most collateral damage. When someone is projecting, they are denying their inadequacies, failings, and other negative emotions and parts of the self and displacing them onto someone else. When the other person fell prey and internalizes evreything, the projecting person succeeded in succumbing someone into suffering and the projected on person lives nowin the word of agonizing suffering.
In polyamory this scenario plays out when a polyamorist polybombs, manipulates, gaslights, emotionally blackmails or plays on the insecurities of the reluctant spouses. Quite a seizable size and even great portion of those who engage in monogamy are spouses who were afraid to loose the partner and did not enthusiastically or realy wholeheartedly but quite reluctantly agreed to non monogamy.
In the previois article, I've elaborated on projection as a defense mechanism within the context of cluster B disorder and narcissim and abuse which pervasively overlaps with polyamory and nonmonogamy. To put it simply and ss extinuation, projective identification is a form of abuse that happens when a polyamoristand nonmongamit exhibit narcissitic tendencies, not being able to deal with their problems and past traumas, the shadow side of themselves. Instead of directly dealing with these undesirable aspects of their personality, they use you as an emotional dumping ground, exclaiming, "I don't want these feelings; you take them."
Thus, it is worth mentioning that when they treat you like you're inherently "bad," posessive, controlling, unappealling, dumb, a loser, or worthless, a well know polyamorous and nonmonogamous tactic of monogamy shaming, it's a clear evidence, they're projecting the parts of themselves they dislike onto you. It's a common tactic nonmonogamist and polyamorists share with narcissist, overt or covert. Unlike more obvious forms of abuse, projective identification as a form of mental and emotional abuse, operates on a subconscious level and has a profound impact on the recipient—the spouse or partner of a narcissistic polyamorist and nonmonogamist.
From the standpoint the psychoanalytic theory, what makes projective identification different from "simple" projection is that projective identification combines elements of both projection and introjection. The projector thrusts their emotions, thoughts, or traits onto the recipient and induces a compelling psychological influence that prompts the recipient to internalize and identify with these projected elements. Polybombing as well as polyamorous or nonmonogamous councelling sessions with a reluctant monogamous spouse, are prime examples of projection and projective identtification as a form of narcissistic abuse.
In the above example, this twofold nature turns the reluctant and monogamous partner into an unconscious collaborator in the drama, as they unknowingly internalize the projected attributes as their own. It is not just about the polyamorist and nonmonogamist projecting emotions outwardly but it also binds the reluctant paryner and the monogamous recipient in a shared emotional narrative when they internalize the abuse, blurring the lines between self and other.
Experiencing such projective identification is synonymous with enduring a profound and sustained form of gaslighting which is anothetr aspect of narcissistic abuse as applied by polyamorist and non monogamist too. The constant projection of the partners and often the poly or nonmonogamy therapist's unresolved emotions, fears, or insecurities onto you creates a distorted reality in which the experiences of the reluctant monogamous partners are systematically invalidated. The result is a pervasive sense of confusion and self-doubt, akin to living in a perpetual state of polyamorous and nonmonogamous gaslighting.
Esxperiencing such gaslighting and abuse over time, the reluctant and monogamous spouse begin to internalize the false narrative, the distorted sense of reality, doubting the authenticity of their own experiences. The insidious nature of this dynamic compounds the trauma, as you start to believe you are the one who made up your trauma. Heinz Kohut's, a psychologist, explains that individuals with narcissistic traits have fragile self-structures and struggle with a lack of mirroring and empathy during their development. Their self-esteem is fragile, so when they encounter aspects of themselves they find undesirable or threatening, they resort to projecting them outward onto others
Polyamorists and nonmonogamists use projection as a defense mechanism to be rid of parts of themselves they do not want to face. Polyamorous and nonmonogamous projective identification takes it a step further—it involves projecting and compelling the the reluctant monogamous spouse, actually the monogamous majority, to internalize and identify with these projections, both as a personal as well as collective form of abuse. The spouse and as extention everyone that is monogamous monogamous, becomes an emotional dumping ground and punching bag for the polyamorous and nonmonogamous mental issues.
Imagine a situation in which a a polyamorist and nonmonogamist uses projective identification to inject their feelings of insecurity, worthlessness, unworthiness and inadequacy onto you. In this psychological movie, you would find yourself enveloped in a swamp of insecurity, inadequacy, worthlessness and unworthiness thinking it originates from yourself rather than something your spouse have injected into you. The subtlety of this form of narcissistic poly and nonmonogamous abuse lies in its unconscious nature. As the projector, the polyamorous and nonmonogamous spouse remains oblivious to their role as the emotional scripter, and you, as the the unconcious recipient, are equally unaware of the emotional script being imposed upon you.
Instead of working on themselves through personal growth, therapy, or addressing past traumas, they hand off their emotional baggage to you. Unconsciously, they resort to different tactics, all to make you believe that their shame and self hatred are somehow your own issues. Adding to the complexity, polyamorists and nonmonogamists might unknowingly replay their own childhood traumas while living with you. It is like a subconscious replay button, where they make you feel the same way they did when they were growing up—worthless, insecure, inadequate, betrayed, abondoned, unworthy, ashamed, and in constant fear of loneliness. So, when they behave this way, they pass on their unwanted shame, urging you to carry and absorb their burdon as your emotional baggage.
Based on the theory of Ogden, one can say that projective identification as in regard to narcissism and by extention to polyamory and nonmonogamy has three steps:
a. The unconscious impulse of projecting a painful or destructive part of ones own shadow into another person and of that part taking over the person from within.
b. A conscious interpersonal interaction by means of manipulation and gaslighting brings pressure on other to think and act like the projection.
c. The reintrojection ot internalization of the projection after it is psychologically processed and then internalized by the other. This processing by the other is also an unconscious process.
The drive or the impulse of controlling the other person from within is key to projective identification, and the result takes place not merely in the mind. This is not a virtual pressure, but rather, real one exerted by means gaslighting and emotional manipulation based a multitude of interactions between the projector and the recipient. Projective identification does not exist where there is no interaction between projector and recipient. Though done intentially, the pressure itself is more overt and hidden aspect of behavior. It's message, though unstated, is "if you are not what I want you to be, you don’t exist for me"
As I also said in my article on projection, though highly developed as theories, they are all the same extremely subtle mental projections, garbed in an intricate metaphysical and philosophical phraseology about love, understading, caring and sharing. These ideas are so deep-rooted in narcissists, polyamorists and nonmonogamist, and so near and dear to them, that they do not wish to hear, nor do they want to understand, any teaching against them. In fact, they pervert the meanings of these important values to create a false narrative of their meanings. So, how does it work? Let's see.
Though projective identification is clearly an intrusion and an offence against another person, narcissists and by extention nonmonogamist and polyamorists, distort the meaning of intrusion and gaslighting and paint a cosy picture of the abuse as the most fundamental reflection of their desire to be heard and understood. In other words, through intricate mental processes of distortion, denial, delusion and self deception, the abuse turned into love and the need to be heard. Seems familiar? Of course, that's the first line of defense, domestic abuser use when battering their spouses, for instance.
Narcissists go on to abuse and pervert and very important value of human being wanted to be acknowledge of their suffering. Healthy people seek to air their feelings and their suffering to be acknowlodging. They seek support but they don't wish others to dwell in agony. Unhealthy poeple, look for others not really to perfectly understand their suffering, but they do require them to take on their suffering. Polyamorists as well as nonmonogamists do exactly that. Because it's quite clear to identify this kind of abuse and see projective identification for what it is, an aggressive form of interpersonal violence, the narcissit, the polyamorist and nonmonogamisy resort to a more covert tactic. They, again, describe this kind of abuse and paint a cosy picture of just being another way to look at it as though that it is the most primal and fundamental way of sharing an unbearable experience, and that an act of sharing may be an act of love. When, you hear, for instance, swingers and polyamorista spew the infamous "sharing is carring", those are the extremely subtle mental processes, garbed in an intricate metaphysical and philosophical phraseology about love, understading, caring and sharing, that excuse the evil.
Both projection as well as projective identification are a fundamental concepts in understanding violence and abuse. While projection is more easier to grasp, projective identification is a more covert tactic to be aggressive while appearing to be the nice or the victim. The bully seeks validation, the perverted sense of being "understood" by others, by means of making the spouse and others believe, it's them the problem, while they walk scot-free.
Moreover, projection and projective identification, are not just mere Freudian defense mechanisms, they are powerful tool for justifying aggression, violence and abuse. The narcissist, the polyamorist, the nonmonogamist, the borderline personality, and other people that have regressed to a shallow level, will project accusations like a firehose, they will use them to gaslight and emotionally manipulate the spouse to believe it's not them, the abuser being the problem but the victim itself, and the increasingly wild nature of the accusations will reflect the decay of their mental condition. The cognitive dissonance in the head is reflected by the increasingly contradictory and mutually exclusive accusations they hurl.
In other words, projective identification is a way of getting the proof of that horrible but elusive something about the other person, a way to get group (or personal false sense of) validation, praise, and attention. This quote from Wikipedia is way too technical but let's rephrase it. Projective identification is a term first used by Melanie Klein (1946) to describe a process whereby parts of the ego are thought of as forced into another person who is then expected to become identified with whatever has been projected. Understand it now or maybe not? Well, that may be way too obscure, so let's rephrase it again.The projector strives to find in the other, or to induce the other to become, the very embodiment of projection..... their behavior towards the object of projection invokes in that person precisely the thoughts, feelings or behaviors projected.
Now it is clearer - instead of just making foolish ad hominem attacks, the aggressor tries to bait a victim into giving them the proof they need so desperately to validate their own suppressed rage, anger and hatred. Then they can rally their friends or family for an attack. Bonus points are awarded for gaining sympathy and being the center of attention. The manipulator poses as a poor victim, but orchestrates the whole performance for an audience. I guess it could be used for good, but it seems like it's always a form of aggression, specifically covert aggression. Those processes are very known tactics applied by polyamorists whether they polybomb their spouse, nuke the relationshipwith nonmonogamy or engaging in monogamy shaming.
Probably the easiest way to understand this is to review projection and projective identification and and see the difference. So, how works the twofold nature ofprohection and orojective identification abuse? Here is an example:
First, cones projection:
1) A liar accuses others of lying.
2) The cheater accuses others of cheating.
3) The thief accuses others of stealing.
4) The polyamorist and nonmonogamist accuses others of bein cheaters, unthrustworthy, promiscous and sexually permissive
(Notice how the abuser is, generally, accusing everyone, yet, not accusing them of any transgression, but only the one he's obsessed with namely his own?)
And, then, follows, projective identification:
1) An angry person accuses their victim of being angry, until the victim becomes angry.
2) An depressed person accuses their victim of being depressed, until the victim becomes depressed.
3) The parent constantly accuses their child of being defiant until the child becomes defiant.
4) The person who feels crazy accuses the other of being crazy (projection of bad thoughts) with the intention of making them believe they are crazy ("gaslighting").
5) The polyamorist and nonmonogamist accuses everyone and especially their spouses of being cheaters, unthrustworthy, promiscuous and sexually permissive with the aim at proselytizing them until they succumb and convert to the polyamorous and nonmonogamous cult
(notice how the effort has shifted now to one specific victim, an individual or a collective, until they succumb and, internalize the abuse hurled at them and begin to act in the spirit of the projected incentive)
Likewise, projective identification differs from the simple projection in that projective identification can become a self-fulfilling prophecy, whereby the projector hating certain parts about their existence and nature, carring a perveted or distorted understanding of reality based on self deception carry a false narrative and an intencive to influence and coerce the recipient to carry out the precise content of the projection and its goal so that the projector now get the justification and confirmation that the unwanted parts are no more perceived as bad but legitimate, hence, now other people are having them too. In extreme cases, the recipient may lose any sense of their real essense of existence and become reduced to the passive carrier of outside projections as if possessed by them. This phenomenon has been noted as being rooted gaslighting.
Within the context of polyamory and nonmonogamy, projective identification projective identification become a self-fulfilling prophecy, when the projector hating certain parts about their existence and nature, related to our monogamous parts, monogamous relationships and past traumes telating and resulting from them, carring a distorted understanding of the monogamous reality as well as distorted view of the nonmonogamous nature and based on self deception carry a false narrative and an intencive to influence and coerce the monogamous recipients to carry out the precise content of the projection and its goal so that the projector now get the justification and confirmation that the unwanted parts are no more perceived as bad but legitimate, hence, now other people are having them too. As we have said, in these cases, the recipient loses any sense of their real essense of their existence and becomes reduced to the passive carrier of outside projections as if possessed by them. That's why polyamory and nonmonogamy are abusive and represent a form of intimate partnet violence
The very nature of this behavior is exatcly what is understood as projective identification. It reflects the fact that the assumptions made by the projector about the recipient and reality reveal the projectors unconscious impulses, drives, traits, desires and delusions, their perceptions about themselves, their inner worlds, the others, the othrr's inner world as well as the external world, especially the projector's most primal fears and destructive emotion, attitudes and traits. Because the projector is incapable to take responsibility of them, they project their inner toxicity onto the recipieny, and in doing so the recipient aims at disowning them. This pushing off of unnaceptable aspects of the projector's personality represents the lack of accountability and exibits the narcissistic attemot of blame shifting. It stands at the root of this kind of behaviour. In the projector's unconscious mind this is perceived as the benefit of of the emotional barter deal yearning to avoid suffering by means of deception or escapism, yet, in reality it only creates more suffering.
At the core of this emotional barter deal the principle, the concept or the perception of “as if”. That is, the projector engaging in this defense mechanism is basically creating baseless assumptions of no corresponding reality about the incentives and the nature of the recipient, the external world as well as reality itself. Having created a virtual picture for oneself instead of reality, the recipient, then, goes on to behave as if their assumptions are valid. In other words, the projector engaging in this kind of behaviour projects , perceptions, motives, axioms, and emotions onto the recipient and then identifies with those projected traits and hallmarks, reincorporates them, and acts accordingly. Projective identification is, therefore, a kind of closed circuit, which typically serves a self-fulfilling prophecy, as mentioned above, because it causes the recipient to drown in the projector’s closed loop. This is the stage that is interactive between projector and recipient. Though the projectors maneuvers follow a self-contained loop, they enforce it with such pathos, they draw the recipient right into becoming an active player in the movie that the projetor ha created which has now brought the recipient into the third stage.
What happens when the projector's painted picture or created movie also incorporates promiscuity, infidelity, adultery and an extramarital relationships? Can a projector coerce and manipulate with gaslighting the recipient as enacnct that triangulate which is destructive marriages and relationships? I want not to discuss a term I borrowed from Robert Mendelson that is collusive infidelity and discus it in this exact context and in relation to polyamory and nonmonogamy.
Subsequently and relating to polyamory and nonmonogamy, collusive nonmonogamous adultery or collusive nonmonogamy is a situation where either there is a reluctant partner or one partner is less interested than the other and the more willing nonmonogamous partner unconsciously coercing the other partner to engage in an adultery and a promiscuous behavior with an outsider to the marriage. Neither member of the couple is conscious of the collusion that is the coercive aspect, so that the partner who is already committing adultery or is acting in ways typical of someone who wishes to do this. That is, he or she is either already pursuing an affair, having someone on mind ready to go or just planning in general terms to do so while keeing the secrets and conflict of interest inherent in the practice.
This act requires not only skill in deception, but also denial, distortion, rationalization, compartmentalization and more. To hide an actual affair or planning to do so while encouraging the other partner to think that his or her suspicions are ridiculous or that their unwillingness to do so is a result of ther infiiority, backwardness and unopeness requires a high level of wicked lying and evil manipulation commonly acknowledged as gaslighting. Polybombing, taking a reluctant monogamous partner to poly therapist or even suggesting such a partner tries to hear out and understand the monogamous spouse are some example for such evil behaviour
Collusion, however, is more active than mere enabling which can bemore passive. Coersion by means of gaslighting and deception is the crucial aspect of collusion as I have described it above. Collusion embodies a more active role of involvement in the marital recipient's enactments. In other words, a colludeding may also mean enabling but an enabling is not necessarily colluding. Whereas an enabler simply may simply ignorethe situation trying to adjust to the situation with someone who acts out his or her addictions, the projector's enabling involves primarily conscious and unconscious behaviour, that is, he or she are active agents of coercion.
While collusion means a consciously effort on the projector's part, that is, he or she, both on the unconscious as well as on the conscious level, are planning, plotting and executing a plan, the enabling recipient being more weak or codependent simply allows the situation to happen by turning a blind eye to it or keeps quite as not to shake the boat. Similar to the cheater, a nonmonogamist acting in this way by means of projective indentification, sets a goal and achieves a moral equivalency in which his unacceptable behaviour is whitewashed and he get's the justification he's seeking. The cheater would say, "you see, you also did it, that's o.k." and the polyamorist or nonmonogamist would proclaim, "you see, you did it, it was you being unreasonable". Clear tactics of gaslighting.

My daughter graduates from Grade 8 in June. She loves musicals. Her favourites that we have seen so far are Hamilton, Mamma Mia, and Wicked. We have also seen Rent, Chicago, Annie and Company. I am going to take her to NY for her grad trip because it has been a dream to see a Broadway show. Knowing some of her favourites, what would you recommend?

Around 10 years ago I realized I had seen nearly every new musical to come to Broadway in the 21st century, so I started to keep a list of them. Eventually I started ranking them. After this gargantuan season, the list will be ~185 entries long.
I don't count something as new if the Tonys count it as a revival, even if it is making its Broadway debut (Little Shop of Horrors and Gutenberg). I also do not count revues, even if the Tony Awards deem them as new musicals (After Midnight, One Mo' Time). I do count dance shows (Illinoise, Movin' Out). And of course, no plays, off-Broadway, or revivals—although the off-Broadway production (Natasha, Pierre…) or revival (The Color Purple) might make me place the title higher or lower.
I update the list a couple times a year, allowing me some time to digest the latest musicals and adjust the placement of others. Shows rise and fall in my mind as the years pass by. Sometimes a show gets better with distance (The Last Ship), and sometimes they go down (Jane Eyre).
In any case, here are my current top 20 of the 21^st century:

1. Caroline, or Change
2. Hamilton
3. [title of show]
4. Hairspray
5. Spring Awakening
6. The Book of Mormon
7. Avenue Q
8. The Full Monty
9. Natasha, Pierre, and the Great Comet of 1812
10. Come From Away
11. SIX
12. Urinetown
13. Groundhog Day
14. Thoroughly Modern Millie
15. Kimberly Akimbo
16. Movin’ Out
17. Wicked
18. Dirty Rotten Scoundrels
19. Spamalot
20. In the Heights

And if anyone is wondering what is in last place, the worst new Broadway musical of the 21st century IMHO, it is Soul Doctor.

Selling 1 extra Broadway ticket to Wicked for 3:00 PM on Sunday, May 12th, 2024
Orchestra seat. Selling at cost.

Selling 1 extra Broadway ticket to Wicked for 3:00 PM on Sunday, May 12th, 2024
Orchestra seat. Selling at cost.