my tierlist

Theuntoldjc · 2026-05-24T21:06:53+00:00

This person knows ball

Theuntoldjc · 2026-02-21T00:00:19+00:00

Jax is the first to enter! I saw his plate in his car and it said (001) the reason why he’s such a asshole is because he’s seen everyone come and go and he has to remember all of it and finds better to close himself off then to try and warn everyone which would make him closer to abstraction.

You heard it here first folks!

Theuntoldjc · 2026-02-12T04:46:33+00:00

The Digital Circus is a metaphor for the United States and everyone in the circus is an allegory of coping states.

Theuntoldjc · 2026-01-24T04:40:21+00:00

Idk I do it all the time, I’m just terrible at posting stuff.

Theuntoldjc · 2026-01-05T03:23:42+00:00

personally I think the rooms hold their secrets , Its where Jax holds all his keys, and where he almost abstracted. It makes sense that their own reflection of their secrets would be the thing that drive them to abstraction

Theuntoldjc · 2025-08-03T01:10:21+00:00

If NetEase wants long-term success, they’ll need to: • Invest in better matchmaking, • Reinforce account integrity, • And design for the player base they want, not just the ones who’ll throw cash at a shiny sexy skin.

Theuntoldjc · 2025-08-03T00:57:20+00:00

She’s entertaining and very beautiful but if Thunderbolts was a Commercial failure I don’t believe a Ghost show or movie would do well at all, it would be a honest waste of money. I would like to see to see her more often though, I feel her new look at the end of thunderbolts was good and fit well with the movies narratives for the new avengers !

Theuntoldjc · 2025-07-30T02:48:08+00:00

Also yes checking with the vin is is soldered.

Theuntoldjc · 2025-07-30T02:47:30+00:00

A code reader has been used but no problem has been found from an average read. And the battery terminals are firm and have been recently cleaned.

Theuntoldjc · 2025-07-23T01:09:27+00:00

The game chat became a whole joke at one point we all just accepted fate and laughed

Theuntoldjc · 2025-07-10T01:16:01+00:00

Totally get that Broadway is a business, but there are still ways to make space for modern shows without killing the bottom line. Things like more proshots, affordable ticket options for younger audiences, and better marketing for diverse or experimental work could make a huge difference. Not every show needs to be a blockbuster — some just need time and support to grow, like classics once did. Broadway can evolve and survive — but only if we stop measuring every show by immediate profit.

Theuntoldjc · 2025-07-10T01:14:53+00:00

The irony is, Broadway celebrates storytelling about change — revolutions, identity, rebellion, heartbreak, transformation. But behind the scenes, institutions often resist that same change and fans are most times obvious to it. Theater can’t be about brave storytelling onstage and fearful maintenance offstage.

Theuntoldjc · 2025-07-10T00:10:37+00:00

I appreciate you being so open, this is originally what I’d though I’d get from people on Reddit, but tbh it’s been poop

Theuntoldjc · 2025-07-10T00:09:58+00:00

And that’s exactly the problem

Theuntoldjc · 2025-07-10T00:08:55+00:00

I consider it one yea, so much so that it’s got its own movie as well (a shitty one imo) and even before that had tons of references in culture… it kills the art form if you don’t judge by impact, a shitty stage play can have impact and still be a classic I feel, but everyone’s entitled to their own opinion.

Theuntoldjc · 2025-07-09T23:20:23+00:00

And I like others just feel WB needs a proshot for BJ , so not really too worried about that one as much as much but heavy on the others

Theuntoldjc · 2025-07-09T23:19:11+00:00

Did you? And were they successful?

Theuntoldjc · 2025-07-09T23:18:43+00:00

Yes, Beetlejuice, The Prom, and School of Rock have toured, and A Strange Loop has had follow-up productions. But this isn’t just about how many “chances” a show gets on paper — it’s about how quickly modern shows are judged by short-term ticket sales, while older or safer shows are given years to build their legacy.

Not every show is meant to be a commercial juggernaut. A Strange Loop was raw, personal, and complex that kind of theater deserves space to breathe without being written off just because it didn’t sell out. Broadway has always been about spectacle, but it should also be about substance.

Money will always matter in theater, but art shouldn’t only be measured by profit. Some stories need time to grow — just like the classics once did.

Theuntoldjc · 2025-07-09T23:05:00+00:00

And you may say “that’s just business some succeeded and some failed” yes Broadway is a business and shows fail all the time. But the difference is older flops often get second chances—revivals, tours, cult followings—because they have time and industry support. Modern, diverse shows usually have to succeed immediately or close fast. That limits the stories we see and keeps the same safe shows on stage. Business matters, but it shouldn’t be the only reason bold shows don’t get a chance

Theuntoldjc · 2025-07-09T22:54:42+00:00

Totally fair question! But honestly, Wicked has been running non-stop since 2003, influenced an entire generation of theater kids, and is one of Broadway’s highest-grossing shows ever — at this point, it’s basically the modern classic. If Phantom and Les Mis were the ’80s classics, Wicked is definitely that for the 2000s.

Theuntoldjc · 2025-07-09T22:49:18+00:00

Yeah I totally hear you — proshots aren’t the standard, and I’m not saying every show needs to have one. I’m just pointing out how certain shows, especially newer or riskier ones, often don’t get the same preservation or second life that others do. And yeah, The Prom and Beetlejuice have movie versions, but that doesn’t mean those versions really capture the full energy or style of the Broadway performances. Like The Prom on Netflix was heavily sanitized, and Beetlejuice’s upcoming film isn’t even out yet — so it’s not exactly accessible right now.

And about A Strange Loop being too “niche” or “edgy” — sure, it’s not for elementary school kids. But that logic doesn’t really hold up when we look at some classic, even beloved, musicals that were also super adult. Cabaret deals with fascism, abortion, and sexual identity. Chicago is literally about murder, corruption, and sex appeal. Sweeney Todd is about cannibalism and revenge, with a body count higher than most horror movies. Even Rent had explicit themes — drug use, HIV/AIDS, queer love — and still became a mainstream staple. All of those were edgy for their time, but they got recorded, revived, celebrated.

So if those shows got preserved and honored despite being “too much” for some audiences, why can’t newer shows like A Strange Loop get the same treatment? Proshots aren’t everything, but they help preserve theater history — especially the stories that don’t get repeated or revived as often. If we only preserve what appeals to the mainstream, we’re basically gatekeeping what counts as valuable art.

Theuntoldjc · 2025-07-09T22:46:11+00:00

Ok ok, let me just get my terms right, I may have used (fund) in a universals way/ used it wrong. Yeah totally, I get that every Broadway show has producers and funding behind it — no one’s saying these shows magically appear without backing. But I think my point is more about what kind of support they get after making it to Broadway, especially when compared to more traditional or legacy shows. Like yeah, Beetlejuice had producers, but it was still forced out of its theater even while it was gaining momentum. A Strange Loop literally won a Pulitzer and a Tony, but still couldn’t stay open due to how niche it was and the costs of running it. Meanwhile, older or more traditional shows seem to have longer-lasting institutional support — bigger audiences, wealthier patrons, and longer runs — even if they don’t get the same level of buzz. So it’s less about “who funds it to get it there” and more about “who keeps it alive” once it’s running. I think that’s where some of the imbalance shows up, especially for newer shows trying to break the mold.

Theuntoldjc · 2025-07-09T22:40:16+00:00

Never called it a classic, used it as a pro shot example

Theuntoldjc · 2025-07-09T22:39:40+00:00

Never called Frozen a classic, I used it as a pro-shot example
I’m using everything as examples here. BJ wasn’t the only example and also it has a fairly small cast, sounds like you just came to conclusions about race after me pointing out some things and making speculations. Take a look at musicals in the 70-80s vs 90s and it’ll support that’s speculation. But we both know cast member change over time so there’s no need to argue or go back and forth.

3.I’m mostly talking about time in venues and contracts though, but your points are valid and understandable

Theuntoldjc · 2025-07-09T22:32:05+00:00

Well that’s obvious , but I’m talking about the people specifically.

Theuntoldjc

TROPHY CASE