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never not thinking about “I really hope you get it and you don’t live to regret it” because it is so tragic. Glinda did get what she chose and she regretted it deeply. Elphaba never got anything out of the path she chose but she still chose it again because her morals were more important to her, so she couldn’t regret it. That moment puts them on paths that are destined to never converge and they try so hard to bring themselves back to each other but they can’t do it for longer than the few minutes For Good takes. They say “I hope you’re happy in the end” and to everyone’s surprise Elphaba is and Glinda is not. But they never get what they really want which is to be together again.

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Why are we bringing back the fascism and white nationalism of the 1930s instead of bringing back full movies with intermissions built in. If Wicked wants to be four hours I should get to do that all at once with a pee break supported by sweeping entr’acte music

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I love how inherently selfish both Glinda AND Elphaba are as protagonists. But where one gets praised and admired for it, the other gets demonised and hated.

People always attack Glinda’s decision not to runaway with Elphaba, but no one acknowledges how overtly selfish it is to ask that of someone.

Elphaba is asking Glinda to throw her ENTIRE life away for her. To be ostracised and hated all throughout Oz when she knows full well how badly Glinda cares about what people think of her.

And while Elphaba is used to such ostracisation, Glinda is not.

It is an equally selfish decision to refuse Elphaba request. To perpetuate corrupt beliefs you don’t believe; in order to be accepted and validated by people in power.

They’re BOTH in the wrong, for entirely different reasons. It was an impossible situation with no right answer. And I’m sick of people acting like Glinda made the “ wrong choice ”

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I think the part where it’s so obvious who the real love story of wicked is between is when elphaba is dancing alone and fiyero says she really doesn’t care what anyone thinks of her and galinda says, “of course she cares, she just pretends not to” and then goes to dance with her

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Wicked is very gay and it's fun to read it that way but it's also important not to let that overshadow the experiences of marginalization in a lot of these "gay moments". "What is this Feeling?" is fun to read as gay, but it is essentially about the consequences of white woman tears and how it rallies people into hatred that dances around the real reason for their discrimination by never saying "we don't like her because she's green", but instead they create reasons to hate her because a white woman feels uncomfortable around her. You can take away how "I'm Not That Girl" has a level of comphet in it, but don't let that take away from how it's about Elphaba's struggle with fully internalizing that she will always be excluded from being desirable due to her features.

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sorry but having strains of "For Good" sprinkled throughout the soundtrack, particularly during Elphie and Glinda's most important moments - essentially having it be their Theme - was a stroke of genius and definitely didn't rip my heart out every time I heard that little motif

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from ariana's insta stories 11-29-2024

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It really is nice how obviously fond Elphaba is of Glinda right off the bat in the movie, with What Is This Feeling showcasing how much Elphaba enjoys their little feud. For the first time in her life, someone's judging her for her, rather than her skin or her magic. Glinda doesn't give a shit that she's green, she's mad that Elphaba's taste in clothes and decor clash so severely with her own! She doesn't care that Elphaba could accidentally kill her if she got too angry, she's too busy being upset that Elphaba keeps minorly inconveniencing her! How refreshing that would be, to meet the most annoying person in the world and discover that her own narcissism has caused her to be the only person who sees you for who you really are. Of course Elphaba would take the hat seriously as a gift -- has anyone other than Dulciebear ever gifted her anything? Of course she would gamble her own self-confidence at the Ozdust -- at worst, Glinda's ego is so massive that she would never allow her mortal enemy to be the butt of someone else's joke. And in the best case, well, Glinda recognizes how important she is to the one person that she knows has no one. The only one who gets her, the only one who has ever understood her, standoffish and rude the way a stray cat is before it finally follows you indoors.

It's a real shame this story couldn't be anything other than a tragedy, huh?

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ahshdhf okay but can you imagine being madame morrible and you finally find the one person you need to secure yours and the wizards positions of power and she’s PERFECT because everyone hates her and by providing literally the bare minimum comfort and encouragement you’re 100% sure you’ll be able to brainwash her. And then one night at 1 am she shows up at your door and BEGS YOU to let her roommate (didn’t they hate each other?) study alongside her and you absolutely despise the roommate but goodness knows you Cannot let your most promising student in decades slip out of your grasp. Worst of all, you have to tell the roommate Right Now??? So you get dressed for the club in the MIDDLE OF THE NIGHT to talk to the preppiest most shallow 20 yo girl you’ve ever met in your years of teaching. I would never teach a lesbian again LMAOOOOO

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Fervid as a flame Does it have a name? Yes Loathing Unadulterated loathing

WICKED (2024)

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I don’t think we talk enough about how the entirety of Wicked is built on the irony of No One Mourns the Wicked. The musical exists because Glinda feels the need to tell Elphaba’s story, because she is in mourning and entirely alone in that. Glinda’s love is what creates the musical because no one mourns Elphaba except her, and that is an incredibly lonely place to be. She’s just lost two of the most important people to her, and all she’s trying to do is make someone, anyone else see how important they were.

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i want more nuance to be entered into the discussion of the green girl sorority and how differently cynthia plays elphaba in comparison to those who came before her because while a lot of people are rightfully like "why was elphaba not black from the beginning" and celebrating that she is now being played by a black woman, i think we need to be careful in just writing off all the elphabas of the past as Random White Girls when the role was championed (and often followed/succeeded) by a jewish woman

the pop culture archetype of the Wicked Witch has deep roots in antisemitism stretching faaaar far back. there is a level of reclamation happening in casting idina menzel, a jewish woman, to play the Misunderstood and Maligned young girl who is branded as exactly that. and stage!Elphaba is also written and acted with jewish stereotypes in mind--she is loud, aggressive, no-nonsense, blunt. she is quick to advocate for herself and shut down the discrimination she faces. all of this is very intentional! her personality is abrasive from years of abuse, and that makes propagandizing her easy. this is literally the thesis statement of the musical--it's not about aptitude, it's the way you're viewed.

cynthia's performance of elphaba is fucking INSPIRED despite going in a completely different direction. she's much more reserved, analytical, one of her key character traits is how well she can read people (see her calling out Galinda as insecure/putting on airs in their first scene together, clocking that Fiyero is using his party guy persona as a shield for his own depression) elphaba's attempts to blend in and make herself smaller all fail simply because of her existence, if not that then because she feels empathy so strongly she often struggles to hold back from acting, protecting.

personality wise, though, cynthia's elphaba is very quiet and closed-off, not at all the bullet-to-the-face that she is in the stage show, and... she still gets propagandized and maligned. though this seems to contradict the other interpretation, it tells of the other end of the spectrum of propaganda, one that black women watching (and many, MANY other marginalized folks) are sure to identify with--it does not matter how "nice," how reserved, how small a black woman makes herself. a racist society will still scrutinize her every action for a way to parse ill intent from it, brand her as an angry black woman who is dangerous and wicked, and write off any humanity she has in the process.

these two very different interpretations tell of the lie of assimilation. the fact of the matter is, when you are marginalized, there is no way to sand down your edges enough to make the people oppressing you "accept" you. that is why wicked is a tragedy at its core. whether loud and aggressive or quiet and unimposing, there is nothing elphaba could have done to make the people of Oz see her as anything other than a scapegoat to blame all their problems on.

so while i definitely appreciate that people are excited for black girl era elphaba, i would encourage us all to still show appreciation for what came before--that was not white girl era elphaba. that was jewish girl era elphaba. two houses, both alike in dignity, two stories both worth being told.

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Aeschylus’ The Oresteia: Agamemnon (tr. Richmond Lattimore)

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twenty years across the sea

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who’s up thinking about after the threesome they both take you home by sue hyon bae i’m thinking about after the threesome they both take you home by sue hyon bae

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i’m crashing out right now are FUCKING kidding me

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Eddie drunkenly calls Buck from wine night, confesses some things. On ao3 here.

Eddie calls him at 11:34 pm, and it’s a Thursday, so that means a few things. It’s wine night, the biggest thing. It’s wine night, at Hen and Karen’s, and he knows those start around dinner time so Eddie’s got several hours of alcohol in him. It’s 11:34 pm and Buck got off work at 10:45, another thing, so it’s a toss up whether Eddie timed the call to when he was walking through the door (a feat possible after years of going back and forth between the station, the loft, and the Diaz house at all times of day and night) or if it’s just a drunken coincidence.

“Hello,” Buck answers the phone, dragging out the first half of the word, tossing his keys into the bowl on the counter.

“Buck,” Eddie says, voice bright and not very slurred, but he’s only said one word so far, and Buck sometimes secretly thinks he could probably say his name pretty steadily no matter the situation. Buck is pretty sure he could be all drunk or half dead and still be able to say Eddie just fine, anyway. “Hello. Are you home from, did you get home from work?”

Ah, so, somewhat drunk then. “Did indeed. You still at the Wilsons?”

“Did you, uh- was there fire?” Eddie sounds like he’s trying very hard to sound normal. Buck bites his lip against a snort.

“No fires. Just a half shift, remember. Pretty boring one, honestly.” I missed you probably isn’t fair to say, Buck covered the shift of his own volition, he could have been at wine night if he really wanted. But Donovan’s sister had a baby, what was he gonna do, not let the guy meet his niece? “Hope you had a better time.”

“Great time,” Eddie says, enthusiastic. “They had, uh, mini quiches.”

Buck grins at the empty room. “You’re a man who loves a mini quiche.”

A few seconds of whooshy silence where Buck assumes Eddie is nodding enthusiastically. “The- uh- they had the bacon kind. The kind, and with the- you know, there’s spinach? Can we go to Costco?”

“Sure,” Buck agrees, opening his admittedly pretty sparsely populated fridge. “Could use a grocery run.”

“And get the, get more quiches?”

Buck grabs a protein bar, smiling as fondly as he wants to with no one around to see him. “Yeah, Eds, we’ll get more quiches.”

“And you’ll take the spinach ones? And I get the good ones?”

Buck laughs. “The spinach ones are good. You can barely even taste the spinach, they’re just, like, warm and eggy.”

“Mmm,” Eddie says, doubtfully. “It’s not nice to lie, Buckley.”

“I’m not fucking lying,” Buck cackles. “Your spinach hatred is so unfair, what’d it ever do to you?”

“Taste bad,” Eddie says, adding a blegh sound for emphasis. “It’s like- like- it’s gross, I don’t believe you actually like it, actually. You just want to eat grown up food.”

Buck snorts. “Man, I hate to break it to you, we both turn 34 this year.”

“And I don’t feel like I have to prove that to anybody by eating nasty food,” Eddie says, nose definitely in the air. Buck shakes his head and takes a bite of the protein bar.

“Whatever, man. You just have to live with the fact that Chris is the one sneaking vegetables into your food.”

“You’re so mean. I’m not letting you have any of my actually good quiches.” Empty threat, they always end up sharing, both of them know it. “That’s not even what I called about. That’s not even-“ Eddie huffs so hard it sounds all crackly in Buck’s ear. “I called to tell you that I love you.”

Buck grins. Oh boy, affectionate drunk Eddie is here. He’d wondered just how much wine they’d got through and it seems like Eddie must be nearly a bottle in. “Aw, love you too, bud.”

“No,” Eddie says, and Buck can see the frown from here. “Buck. Listen. I’m in love with you.”

Oh. God. Oh god. “Uh-“ Buck says, stomach swooping all over the fucking place, “Uh- I don’t think this is a conversation we should be having while you’re-“

“Oh, fuck off, shut up. Shut up. It’s fine.”

“Eddie-”

“Buck,” Eddie says, in the annoyed voice he uses when Buck is trying to get him to eat yogurt with his fruit in the morning, or even a dastardly spinach quiche. “It’s fine. It’s fine. I knew you’d- why- stop it. Listen. I feel like this all the time. It’s stupid that I’ve never, like, I never just say this all the time. You’re, like-”

Eddie cuts himself off and Buck waits — sort of fearfully — for him to continue, but the silence keeps stretching on. Buck knows the other side effect of this level on the Eddie Diaz Drunkenness Scale is heightened distractibility, so he probably noticed a nice color or perhaps a bug. They spent a good twenty minutes hanging out with a grasshopper at Hen and Karen’s wedding towards the end of the night, because it was a lovely shade of green and a funny little guy. Oh god, Buck thinks again. I love this man. I love this man a ridiculous amount and we should absolutely wait to talk about it.

But: “You’re tall and you’re in my house,” Eddie says before Buck can do anything to stop him.

“I’m-” Buck glances around the loft. “Eds, I’m at my place.”

“What?” He sounds so indignant that Buck has to cover his mouth to hold a laugh in. “Why?”

“‘Cause I live here?”

“That’s stupid. You should live with me in my house.”

“Should I?” Buck asks, laugh escaping a little bit. “Also, wait, what does me being tall have to do with it?”

Eddie sighs, long and exasperated. “If you live with me you never have to go home and leave me because you’re already at my house. Your house. If you live with me you never have to go anywhere.”

“Never have to go anywhere?” Buck thinks he’s in shock, maybe, about all of this, but teasing Eddie is something that’s always easy to fall into. “I don’t have a job in this scenario?”

“Well you’d go to work. And other places. But you just come back to me all the time.”

“I’d like to come back to you all the time,” Buck says, choking a little on how simply it explains every ache in him. “Eddie-“

“And you’re tall because… it matters because you’re tall because…” Eddie’s voice is soft, his breathing is soft. Buck wonders where he is in Hen and Karen’s house. In a hallway, tucked away from everyone, the nice light from the stained glass lamp they have there warm on his face? On the back porch, out in the cool night air? Buck wants to tell him to come home, wants to make sure he’s warm. “I never had to look up at anybody before.”

“I’ve got like two inches on you,” Buck replies, but his voice is pretty quiet.

“It’s a big two inches,” Eddie says, just as soft. Then, also quiet but of an entirely different flavor, “That's- Sorry- that's what she said.”

“That's-” Buck snorts. “What-” and then giddy laughter bursts up out of him, baking soda and vinegar, foamy and ticklish. He cackles till he’s breathless, listening to Eddie’s responding chuckles over the line, and sinks down to the floor, back against the kitchen island. “You’re so fucking stupid.”

“I scored better on my certification exams than you.”

“That’s not even true!” Buck protests over Eddie’s continuing laughter. “Only in two categories!”

“Overall percentage was higher!” Eddie reminds him, as he does every time they have this argument.

“Well, I remember building construction and related hazards better than you and that’s written down on official paper somewhere.”

“Not fair,” Eddie says, as he always says. “You- you did- you built those. Unfair advantage.”

“I think you’re overselling the kind of experience I got in a few months working construction like a decade ago.”

“It wasn’t a decade when you took the tests,” Eddie points out. “Whatever. Nevermind. And I don’t want to sound like- you’re good at remembering things. You’re not stupid. I don’t want to sound like you are.”

Buck taps his boot against the sink counter in front of him. “I know. You’re not either.”

“I know,” Eddie says, soft again. “But your hands are big, and… you’ve got stubble sometimes, and…” he trails off into just breathing on the other end of the line for several long moments. “Buck,” Eddie whispers in sleepover voice. “Have you ever kissed a boy before?”

“Yeah,” Buck says, knowing Eddie knows this, but playing along anyway. “I have.”

“What's it like?”

Buck hums, closes his eyes. He thinks about the few guys he’d made out with but never followed home when he got to Los Angeles. Thinks about the room he’d crashed in with Connor in Peru, with it’s one mattress and both their clothes living in suitcases because they were too broke to buy any other furniture. He’s still got a t-shirt for a school he never went to, a few sizes too small. The way they hadn’t shared a room once they were in LA, the girls Connor started seeing. He thinks about John from the ranch who left town the next day. He thinks about high school, Len McGuinty under the bleachers in the summer before senior year, both of them giggling and half terrified and the way they’d pretended to barely know each other when school started back up. Hard jawlines and stubble and muscles and height. Having something, for however long you get to have it. Wanting something, very badly. He opens his eyes and it’s almost a surprise that he’s still in the loft. That he’s not at Eddie’s house. All the time in the world there wouldn’t be enough. “It’s good, Eddie. It feels good.”

“Buck,” Eddie breathes, shivery.

“I want to live in your home all the time, and never have to go anywhere,” Buck says, repeats. “I’ll kiss you, if you want.”

“Buck-”

“I’ll love you, if you want.” Eddie is still drunk, Buck tries to remind himself. But it might actually kill him not to say it out loud when Eddie had said he feels like this all the time. How could he not say he feels like this all the time, too? “I’ll love you back. I love you back. I’ll eat all the spinach quiches for you.”

“Buck,” Eddie says, and Buck doesn’t know what expression is on his face, doesn’t know what look is tied to this tone of voice. Is desperate to find out. Quiet down the line for a few moments. And then: “It’s late.”

Buck pulls his phone away from his ear for a second to check the time. Nearly midnight. “Yeah.” His hands feel clammy. It was too much. They should have waited to talk. Eddie wants out now, and that’s fine. Buck will —somehow, skin of his teeth — find a way to be fine with that.

But: “I want to go home,” Eddie says. “Buck. Come and take me home.”

“And then-”

“And then stay.”

“Okay,” Buck gets to his feet, tosses the half eaten bar in the trash. Eddie’s house has food. His home has things to eat.

“Okay,” Eddie says, confident now, everything decided, everything for sure. “I’ll see you soon.

“Minutes,” Buck says, grabbing his keys, half running to the door. “I’ll be there in minutes.”

“Minutes,” Eddie says back. And Buck can hear his smile.