#Jesus Christ superstar has been something I knew about and liked since I was like. 6.

[murdleandmarot]

So how's the ALW brainrot going??

He has ruined my life, and I will be suing.

[icannotreadcursive]

Fannish Fest February, day 1: My First Fandom

Prompt from @thepromptfoundry

I really have two first fandoms, that I initially got into right around the same time, and I don’t think it’s worth digging into the calendar month by month to confirm which preceded the other.

One was Andrew Lloyd Webber’s Cats. My local PBS station ran every filmed version available of a bunch of ALW musicals one day, and I liked Joseph, wasn’t really into Jesus Christ Superstar, but Cats just tickled my little child brain something special.

I learned the whole show, front to back, including a fair bit of the choreography. I didn’t write it down because I couldn’t really write at the time, but I was making up fic—not that I knew to call it that.

I still love the show with my whole heart, have been in a production, it’ll always be dear to me, but I was obsessed as a kid.

The other was Harry Potter.

My mom started reading the series first, cuz she was unwell and couldn’t do a lot more than read. Then, she read the first two books to me.

Then we started getting me the audiobooks read by Jim Dale, and I really ought to find a fan mail address for him and send a thank you letter because that man taught me how to read.

I’m dyslexic and learning to read was a struggle for me, but long before I was diagnosed I learned to read by reading along over and over to the first few Harry Potter books. And, come to think of it, I’m not sure but I think my mom’s original copies must have been British editions because I picked up some British terminology and spellings that I’m pretty sure the original American releases localized.

As the series went on, I grew up with it, and was introduced to the concept of fannish community through it. My first written fanfic and my first published fanfic were for HP—that first published one is no longer up, and thinking back on it I cringe, but there’s also a fondness there for my unabashed unashamed enthusiasm and the real fun I had with that obvious self insert OC.

I learned media analysis and began honing my own story instincts, sitting down with my mom with those fan theory and prediction books that used to come out between HP book releases. We’d talk through the theories in those books, discuss their merits, how likely we thought they were based on the narrative trajectory so far. There’s a few things I called years before they were revealed, and in a couple cases, before me or my mom had seen anyone else in the fandom speculate about them.

That process, starting from when I was quite young, undoubtedly contributed to molding my brain into the story machine it is now and pointed me to my career and my calling as a writer.

I went from younger than the main cast, to their age, to older than them. Now I’m closer in age to Remus and Sirius. And, not entirely unlike them, I’ve had this dear part of my growing up cut off and the associations with it tainted by a betrayal from someone I respected and trusted.

That may sound overdramatic, and yeah yeah “it’s just a book,” but the sense of betrayal and loss is real.

There’s a line that I wrote in a fic a while back, where Remus is talking about finding a happy memory to cast a patronus, and the fact that all the memories he has for that are painful now, they’re bittersweet at best, because of the loss and betrayal that have come since. But regardless of all of that, they will always have been happy moments when he lived them, and that’s what he has to remember.

That’s kinda how I feel about the Harry Potter fandom now. It will always have been what it was to me, and no one can take that away.

[bucklikethedollar]

i love a tag game i love talking about myself i love @knightrelic for tagging me in this

1. nickname: bucky actually is my nickname! my last name is buck, so bucky was kind of a natural next step lol. even my dad used to be called bucky when he was younger

2. sign: pisces sun, libra moon, gemini rising. i do not believe in astrology and the only one of those i knew off the top of my head was my sun sign lol

3. height: 5’11, but that bumps up to 6’ if i wear my docs

4. last thing you googled: “did chadwick boseman do his own singing in get on up”. my dad and i watched it last night and i was curious lol. for those interested: it was mostly recordings of james brown, but but boseman did do some singing in select parts (he was great btw) and all of his own dancing!

5. song stuck in your head: father and son by cat stevens. i have a playlist called “most beautiful songs ever written” and that’s on it

6. amount of sleep: i went to sleep at around 3, and technically woke up at like 10:15, even though i stayed in bed and chilled for like 45 minutes before getting up, so that’s ~7 hours

7. dream job: tattoo artist! saving up for my third tattoo rn, and i wanna see if there are any shops looking to take on apprentices or receptionists or something as soon as i have the time

8. wearing: cassette tape socks, green pants with a chain for a belt, plain black sweatshirt, red & blue flannel, and earrings that look like i have screws stuck through my ears

9. books/movies that define you: not 100% sure if i understand this one, but i’ll just ramble a little i guess lol. movies: my own private idaho, bill and ted’s excellent adventure, monty python’s meaning of life, the muppet movie, walk hard, the silence of the lambs, the wall. books: house of leaves (mark danielewski), johnny got his gun (dalton trumbo), the raw shark texts (steven hall), the martian (andy weir), the time machine (hg wells), eunoia (christian bök) , frankenstein (mary shelley), the great gatsby (f scott fitzgerald). that is… more than i intended to list for either category lol

10. favorite song: in general it’s the re-recorded version of bloodstains by agent orange, but i’ve been listening to a lot of showtunes recently so hosanna fro jesus christ superstar and try me from she loves me are up there too

11. instrument: i’m mainly a singer & guitarist, but i also play ukulele and harmonica (i’m a bit better on ukulele but it’s been a looong time since i’ve practiced lol). i’m working on learning poems, prayers, & promises by john denver on guitar rn and man is it a doozy. guy fucking loved his altered travis patterns huh

12. aesthetic: i have,, no idea. sometimes (usually when it’s warmer) i lean a little towards grungy, but nowadays i look a little more like a cool librarian just cause it’s cold, but then i tend to look kinda preppy when i have to dress up for something, and i also have “sexiest person at this grocery store” disease so it’s… kind of all over the place. i like fun socks? i wear a lot of jewel tones??

13. favorite author: there are very few authors of whose works i have read more than one, but my all-time favorite book (house of leaves) was written by mark danielewski, so i’ll go with him. that being said, madeline miller writes gorgeous prose, james joyce has fantastic control of the english language (even if ulysses murdered me), and andy weir is fucking hilarious

14. fun fact: ooo lemme think. my belly button is off-center. i can wiggle my ears. my mom owns a car that used to belong to billy joe armstrong and i got to drive it to my senior prom. i can tap dance. i have a small but growing collection of funny mugs i find at thrift stores. i don’t know how to dive. i once drank worcestershire sauce on a dare from my sister. i’ve lived in arizona my whole life but i’ve never seen the grand canyon.

i guess im supposed to tag 14 people for 14 questions but like bracken said i don’t know 14 peoples so i’ll just tag @commander-vas-normandy @mattmurdockspainkink and @localmvthman along with anyone else who wants to do it! :•)

[lochtayboatsong]

The Jesus Christ Superstar essay absolutely no one asked for.

Last weekend, I watched the pro-shot of the 2012 arena tour of Jesus Christ Superstar starring Ben Forster, Tim Minchin, and Melanie C, because it was Easter and it was up on YT for the weekend.  I never managed to do my annual listen-through of Leonard Bernstein’s Mass this year, as is my usual Easter tradition, so I figured “Why not watch/listen to this instead?”  It was my first time seeing and hearing JCS in full, and Y’ALL, it has been living rent-free in my brain ever since.  I have a mighty need to get my thoughts out, so here they are, in chronological order by song.  

1) Prologue: I love the way JCS 2012 makes use of the arena video screen.  The production design and concept clearly took a lot of inspiration from the “Occupy ______” movement, which makes it feel a bit dated now.  But every single production of JCS is a product of its time period, so this is a feature and not a bug.  

2) Heaven On Their Minds: This is a straight-up rock song.  It wouldn’t be out of place on any rock and roll album released between 1970 and 2021, and it boggles my mind that Webber and Rice were both in their early twenties when they wrote it.  Also, the lyric “You’ve begun to matter more than the things you say” hits hard no matter the year.

3) What’s the Buzz: A+ use of the arena screens again, this time bringing in social media to set the tone.  Also, this song establishes right from the outset that Jesus is burnt out and T I R E D by this point in the story.  Seriously, can we just let this man have a nap?

4) Strange Thing Mystifying: Judas publicly calls out Mary and Jesus claps back.  Folx, get you a partner who will defend your honor the way Jesus defends MM in this scene.  Also Jesus loses his shoes and is mostly barefoot for the remainder of the show.

5) Everything’s Alright: Okay, this is one of the songs I have A LOT to say about.  First, it’s important to know that I was a church musician throughout all of my adolescence and into my early adulthood.  The pianist at the services I usually played at was a top-notch jazz pianist, and also my piano teacher for about six years while I as in high school and undergrad.  (Incidentally, I had a HUGE crush on his son, who was/is a jazz saxophonist and clarinetist and also played in the church band, but that’s a story for another day.)  One of the hymns we played a few times a year was called “Sing of the Lord’s Goodness,” which is notable for being in 5/4 time.  Whenever this hymn was on the schedule, it was usually the recessional, or the last song played as the clergy processed out and the congregation got ready to leave, so we were able to have some fun with it.  After a couple verses the piano player and his son would usually morph it into “Take Five,” a famous jazz standard by Dave Brubeck which is also in 5/4 time.  Anyway, the first time I listened to this song in full, it got to Judas’s line “People who are hungry, people who are starving,” and I sat bolt upright and went “HOLY SHIT THIS IS ‘SING OF THE LORD’S GOODNESS/TAKE FIVE.’”  And I was ricocheted back in time to being fourteen and trying to keep up with this father/son duo in a cavernous Catholic church while simultaneously making heart-eyes at the son.  Final note: This is the only song in the musical to feature all three leads (Jesus, Judas, and Mary Magdalene) and is mostly Jesus and MM being soft with each other in between bouts of Jesus and Judas snarling at one another.

6) This Jesus Must Die: I LOVE that all the villains in this production are in tailored suits.  LOVE IT.  Also, Caiaphas and Annas are a comedy duo akin to “the thin guy and the fat guy,” except in this case it’s “the low basso profundo and the high tenor.”  Excellent use of the arena video screen again, this time as CCTV.

7) Hosanna: My background as a church musician strikes back again.  It honestly took me two or three listens to catch it, but then I had another moment of sitting bolt upright and going “HOLY SHIT THIS IS A PSALM.”  Psalms sung in church usually take the form of call-and-response, with a cantor singing the verses and the congregation joining in for the chorus.  If I close my eyes during this song, I have no trouble imagining Jesus as a church cantor singing the verses and then bringing the congregation in for the “Ho-sanna, Hey-sanna” chorus. 

8) Simon Zealotes: This is part “Gloria In Excelsis” and part over-the-top Gospel song.  Honestly it’s not my favorite, but it marks an important mood change in the show.  The end of “Hosanna” is probably Jesus at his happiest in the entire show, and then Simon comes in and sours the mood by trying to tip the triumphant moment into a violent one.  Jesus is not truly happy again from this moment on.

9) Poor Jerusalem: Also not my fave.  It kinda reads like Webber and Rice realized that Jesus didn’t have a solo aria in Act I, so they came up with this.  But it has the distinction of containing the lyric, “To conquer death you only have to die,” which is the biggest overarching theme of the story.

10) Pilate’s Dream: Pontius Pilate might be the most underrated role in this entire show, and I love that this production has him singing this song while being dressed in judge’s robes.  

11) The Temple: The first half of this is one of the campiest numbers in Act I, at least in this production, and it’s awesome.  The second half is one of the saddest, as Jesus tries to heal the sick but finds there are too many of them.  Also the whole scene is almost entirely in 7/8 time, which I think is just cool.

12) I Don’t Know How To Love Him: Mary Magdalene’s big aria, and one of the songs I knew prior to seeing the full-length show.  This production has MM taking off her heavy lipstick and eye makeup onstage, mid-song, which is kind of cool.  Melanie C says in a BTS interview that MM’s makeup is her armor, so this is a Big Symbolic Moment.

13) Damned For All Time: The scene transition into this song is played entirely in pantomime, and I love it.  The solo guitarist gets to be onstage for a bit, A+ use of the video screen again to show Judas on CCTV, etc.  Love it.  And then this song is Judas frantically rationalizing what he’s doing, and what he’s about to do, with Caiphas and Annas just reacting with raised eyebrows and knowing looks.

14) Blood Money: This is where the tone of the show really takes a turn for the dark.  I think this might be one of Tim Minchin’s finest moments as Judas, because his facial expressions and microexpressions throughout this scene speak absolute volumes.  And the offstage chorus quietly singing “Well done Judas” as he picks up the money is a positively chilling way to end Act I.

15) The Last Supper: Act II begins with major “Drink With Me” vibes.  (Except JCS came WAY before Les Miz, so it’s probably more accurate to say that “Drink With Me” has major “The Last Supper” vibes.)  Jesus and Judas have their knock-down, drag-out fight, and it’s honestly heartbreaking, thanks again to Tim Minchin’s facial expressions.  A well-done production of JCS will really convey that Jesus and Judas were once closer than brothers, even though their relationship is at breaking point when Act I begins.

16) Gethsemane: This is Jesus’s major showpiece and one of my faves.  Jesus knows he has less than 24 hours to live, he knows he’s going to suffer, and worst of all, he doesn’t know whether it’s going to be worth it.  It’s an emotional rollercoaster to watch and to perform, and it goes on for ages: something like 6 or 7 minutes.  Fun fact: the famous G5 is not written in the score.  Ian Gillan, who played Jesus on the original concept album, just sang it that way, so most subsequent Jesuses have also done it that way.  Lindsay Ellis has a great supercut of this on YT.  John Legend notably sang the line as written during the 2018 concert.  

17) The Arrest: Judas’s Betrayer’s Kiss is played differently across different productions.  The 2012 version is pretty tame - I’ve seen clips and gifs of other productions, including the 2000 direct-to-video version, where they kiss fully on the mouth and have to be dragged apart by the guards and it is THE MOST TENDER THING.  Then the 7/8 riff from “The Temple” comes back and the 2012 version lets the video screen do its thing again as Jesus is swarmed by reporters.

18) Peter’s Denial: Not much to say about this one, as it’s basically a scene transition.  But it’s a significant moment in the Passion story, so I’m glad they included it.

19) Pilate and Christ: The 2012 production continues with the theme of Caiaphas, Annas, and Pilate all being bougie af, since Pilate intentionally looks like he just came from tennis practice during this scene.  Also he does pilates...hehehe.

20) King Herod’s Song: Tim Minchin says in a BTS interview that JCS works best when Jesus and Judas are played seriously and the rest of the production is allowed to be completely camp and wild and bizarre all around them, and he is bloody well CORRECT about that.  Case in point: King Herod.  There is not a single production of JCS that I know of where Herod is played “straight.”  He’s been played by everyone from Alice Cooper to Jack Black, and everyone puts a different zany spin on him.  In JCS 2012 he’s a chat show host in a red crushed velvet suit, who is clearly having the time of his LIFE. 

21) Could We Start Again Please: This is another of my faves.  Just a quiet moment where MM, Peter, and the disciples try to grapple with the fact that Jesus is arrested and things are going very, very badly.  This is also my favorite Melanie C moment of the 2012 show.  Her grief is very real, and the little moment she has with Peter at the end is very real.

22) Death of Judas: This is basically Tim Minchin screaming for about five minutes, and incredibly harrowing to watch on first viewing.  

23) Trial Before Pilate: Possibly my single favorite scene in the entire 2012 production.  This is another harrowing watch, but there’s so much to take in.  The “set” that the entire show takes place on is essentially just a massive staircase, and the people with power are almost always positioned above the people without power.  In this scene, the crowd shouting “Crucify Him!” is positioned above Pilate, which is a very telling clue to Pilate’s psychology during this scene.  Jesus is at the very bottom of the stairs, of course.  Excellent use of the video screen once again during the 39 Lashes, to show the lash marks building and building until the entire screen is a wash of red.  Pilate’s counting also gets more and more frantic, especially starting around “20.”  And all the while the guitar riff from “Heaven On Their Minds” is playing.  Jesus’s line “Everything is fixed and you can’t change it” is played quite differently in different productions - here it’s defiant, but elsewhere (in JCS 2000 for example) it’s almost tender, like Jesus is absolving Pilate for his part in the trial.  But it always ends the same - with Pilate almost screaming as he passes the sentence and “washes his hands” of the whole sorry business. 

24) Superstar: The most over-the-top number in the show.  Judas, who died two scenes ago, comes back to sing this.  There are soul singers.  There are girls in skimpy angel costumes.  The parkour guys from the prologue are back.  Judas pulls a tambourine out of hammerspace midway through the song.  And Jesus is silently screaming and crying as he gets hoisted onto a lighting beam while all this is going on.

25) The Crucifixion: More of a spoken-word piece than a song, it’s Jesus’s final words on the cross over eerie piano music, and another harrowing watch.

26) John 19:41: An instrumental piece in which Jesus is taken from the cross and carried, at last, to the top of the stairs, before being lowered out of sight as the video screen turns into a memorial wall and everything fades to black.

So.  I know I’m anywhere from three to fifty-one years late to this particular party, but I am on the JCS bandwagon now and I’m thoroughly enjoying myself.  :)

[emiefaunwrites]

Hi again! I couldn’t stop thinking about Taka being in a Les Misrables play in college and I just gotta know how it went! I wonder if he had bonded with his fellow club members during practice to the point where they crack inside jokes together and laugh along with each other over a blooper they found funny during practice. Maybe once the show is over, they all get emotional over the club members being in their final term of college (since it would be their last show). I remember back when I was in my high school drama club, we would all go out to dinner the weekend after the showtimes to celebrate. Maybe Taka and the rest of the club could do something like that! (Taka would invite Leon of course. And maybe Kaede, Maki and Kirumi if they went to his college lol).

Heyyy!

Oh hell yeah! Les Mis would have been his final Uni performance for sure! As big as Hope's Peak was, I don't think they'd have enough students (what with the canon reserve course being...well...not that important lets say...). And ya gotta have a lot of people for Les Mis!

I'm not sure many of his Hope's Peak friends (emphasis on friends) would have gone to the same Uni as him - apart from Leon obviously. But I said in a previous post that Mondo's around, so he would definitely go.

Anyway! Enough procrastinating! Let's get writing! Slipped in some jealousy too so hope you don't mind? Thank you as always for the ask and I hope you enjoy!

*********************

• Seeing as he enjoyed the theatre club in Hope's Peak, Taka naturally gets involved in something similar in Uni.

• Leon is hoping to join too, seeing as he got involved in one of the final shows back at school, but baseball practice falls on the same days and so he just can't make it.

• That's not to say he doesn't go to see every show - both the opening night and the closing night without fail.

• And boy, does Taka still shine.

• He doesn't always get big roles now, which suits him just fine seeing as the clubs put on shows much more regularly with the amount of students involved.

• But he still manages to bag a few decent roles - Jesus in Jesus Christ Superstar and Dr Frank N Furter in Rocky Horror Picture show being Leon's particular favourites (for totally different reasons...)

• But Taka's crowning moment was also to be his final stage performance.

• Javert in Les Mis.

• He'd been listening to Stars ever since starting on the stage and told himself that Javery would be the last character he ever played.

• And of course, he was instantly cast in the role.

• He put his absolute EVERYTHING into it, making sure to go out with a bang.

• Each of the five performances went incredibly and on his final night, while taking a bow, he couldn't help but cry.

• He's built such great bonds with this group. And although they still have two more shows, he knows its the end for him.

• The club is all super emotional when he tells them backstage and immediately insist on sending him off with a bang.

• Leon and Mondo, who are waiting for him, are invited along - even though they know practically no one there.

• And oh boy, is it weird.

• Its not that they're annoyed at how popular Taka is with this group of people.

• On the contrary - its lovely to see the boy finally enjoying life outside of their company.

• But there's SO MANY in jokes - stuff they'll never find as funny as everyone else.

• No matter how hard Taka tries to explain it to them when he gets two seconds to speak to them.

• Mondo's just glad he has Leon there to talk to and so's pretty chill with the whole thing.

• Leon, though, is suffering with his irrational jealousy again.

• Of course he wants Taka to succeed and have friends and be happy. Of COURSE he wants that.

• But he can't help but worry about the girl Taka had to kiss on stage when he was J.D in Heathers the Musical.

• She's practically fawning over him and she's batting her lashes at him and he KEEPS PICTURING THAT SCENE and Leon just...just...

• He needs to just calm himself down and let Taka enjoy his moment.

• He needs to stop being so damn hypocritical about stage kissing.

• It's acting! Pretend! Make believe!

• It's not like Taka CHEATED on him.

• And hey, Taka is ENTITLED to stage kiss. God knows Leon's kissed plenty of people in the past. It isn't like Leon's ANNOYED and JEALOUS that he isn't Taka's only kiss anymore...

• Ugh. He needs air.

• He excuses himself and Mondo and they head out, Mondo lighting up and Leon DESPERATELY wanting to.

• Mondo knows better than to bother him so they stand in silence.

• Until Taka comes out, and Mondo slips back inside.

• 'You okay?'

• 'Yeah, I'm fine.'

• Lies. Sweet sweet lies. And Taka knows it.

• And eventually Leon slips and says he'd better go back because...

• 'SHE'LL be waiting?'

• 'Who?'

• 'The girl that's been all over you all night.'

• Ah. Okay, now Taka gets it.

• Leon's jealous of his co-star. The one he had to kiss. And ironically, he has no idea that he's jealous of a lesbian.

• He smiles and takes Leon's hands, pulling him in close.

• 'You know one of our favourite in jokes?'

• 'Hmm.'

• 'Whenever we had to practice our...scene...we both took ages getting into that moment. You know how we did it?'

• 'No.'

• 'We both had to pretend the other was our partner. Yui pictured Niko. And I pictured you.'

• Ahhh damn it. Leon KNEW he was overreacting.

• 'Sorry.'

• 'Don't be. But don't ever forget...offstage, I'm all yours.'

• After that, the party is much more enjoyable!

[wulf-and-eadwacer-project]

Entry 9, 16th March 2021

So, I've been out cold sick for almost a week. I caught something off one of my housemates (the bad one). They left their infected tissues in the kitchen, specifically the area where people cook and eat!!! You'd think that a Pandemic would teach people better hygiene practices, jesus christ!). Note: don’t worry, not covid.

My point, I've not been able to work in almost a week. I've lost a week. This taught me a lot. I already knew that my biggest obstacle this year would be my health, both mental and physical, instead of resources. However, I was thinking about medical conditions I already have instead of an illness I could catch.

This has made me realise that I need to be more careful with my health (since other people won't do the same courtesy). I've asked my housemates to inform me if they're ill again, so next time I can wear my mask inside my house and gloves when I leave my room. I can't afford to be sick like that again (on top of my other permanent illnesses) because of other people's negligence.

This may seem harsh, but I'm over incompetence and carelessness, especially in regards to illness. Now I have a week to catch up on. Because I was so out of it, much of my work today is going over previous notes and concept art. I'm trying to get back into the feel of what I was doing.

It may have been only a week, but that illness was intense, and it felt closer to a year. What was that line in Jesus Christ Superstar? "After all, I've tried for three years, seems like ninety".

[avaantares]

Imma rant for a minute. (This is me being critical of a thing, so if you’re eschewing negativity right now, feel free to scroll on past.) :)

Sooooo I took a break from replaying FFVII:R tonight (last night, by the time this posts) to watch the stream of Andrew Lloyd Webber’s Love Never Dies, a show I already knew to be terrible (but hey, you can't argue with free musicals, right?). Long before the musical opened, I’d read The Phantom of Manhattan, the book it’s based on, and that was... like... Hmm. Think of a bad fanfiction you've read. I mean a really bad one, one that gets every single character wrong, has the stupidest of stupid fiction tropes, includes ridiculously contrived scenarios to kill off characters and weird medical "science" and historical inaccuracies and a totally implausible plot, all mashed together just to reinforce someone's OTP which was kind of an unhealthy relationship to begin with and got considerably more unhealthy in this story, AND it includes a lengthy author’s note in which the writer bashes the author of the original work his story is based on and explains everything that author did wrong and how it should have been written, using examples from the fic writer’s own work to demonstrate.*

Then picture that as a $24.99 hardback.

So I knew the general story already, and I'd seen a couple of clips from the stage show, and from what I remembered it was all pretty forgettable. But like I said, free to watch, right? Nothing to lose but a couple of hours.

Oh. My. Goodness. I was not prepared for the full experience. It's like Phantom of the Opera and Cats had a (secret) baby that got shoved in a blender with all of circa-2004 Fanfiction.net and then pasted back together by a YA fiction editor’s intern. Despite a truly exceptional cast and some strong visual and set design, it wavered between cringe-y and I’m-going-to-hurt-myself-laughing levels of bad.

Mind you, it’s still better than the book, in which (SPOILER ALERT if anyone cares, which you probably don’t because if you’re the type of fan who would, you’ve probably already seen the show) Christine’s son is not the byproduct of a willing affair she had with Erik after she became disillusioned with her marriage, but was conceived after he kidnapped her at the Opera House, and... let’s just say consent was dubious, at best. (IIRC she was “half swooning” and not entirely aware of what was happening.) Also there’s some nonsense about Raoul being impotent from a war wound and never having consummated their marriage... But broadly speaking, the story is the same as the musical -- by which I mean it completely negates everything good and symbolic and meaningful about ALW’s Phantom of the Opera, to which the book was as much a sequel as it was to the original Gaston Leroux novella.

Love Never Dies fails as a sequel for a number of reasons: Every character you liked in the original? Assassinated. Raoul, who was willing to sacrifice his life for Christine in POTO, is now an abusive, alcoholic wastrel who has gambled his family into crippling debt. Christine cheats on her husband with a guy who has made a habit of kidnapping and threatening her, and who has actually murdered a number of people. Meg, Christine’s dearest friend and confidante, is now a washed-up burlesque dancer who -- again, SPOILER ALERT -- tries to kill first Christine’s son, then herself, then finally succeeds in killing Christine. The broadest take-home message of POTO, that kindness and love can heal even the deepest wounds, is undercut by these dramatic character reversals. Even the show’s title anthem “Love Never Dies” is contradicted by the love triangle at the center of the plot. Maybe love never dies, but that doesn’t stop Christine from cheating on her husband, Raoul from walking out on his wife and son, Erik from threatening to kill Christine’s child if she doesn’t do what he wants, Meg from betraying and murdering her best friend... yeah, let’s not take relationship advice from this group. 

But beyond that, LND is just bad structurally. The Phantom’s opening number builds up to be a “Music of the Night”-style anthem -- a dubious choice, since it makes everything he sings for the next half an act feel flat by comparison. Then we go into a surreal Coney Island segment for a while, then a bunch of really awkward dialogue exposition gets crammed in, and then twenty minutes into the show we finally meet Christine and her family, which kicks off the actual plot. The pacing is uneven. The tone is all over the map, too, bouncing between Phantom-like operatic ballads and Jesus Christ Superstar-esque carnival rock numbers. (All of which, I have to say, the Melbourne cast knocked out of the park. The vocal performances were definitely not a weak spot in this production.)

While I really like a lot of Andrew Lloyd Webber's stuff -- I've seen a number of his shows on stage, some of them three or four times -- his titles seem to be hit-or-miss. For every Phantom, there's a Whistle Down the Wind. Some of that isn't his fault; a mediocre lyricist or book writer can do a lot of damage, even with good music. This musical had two lyricists and four writers, and it shows. But IMO, this is also not Lloyd Webber’s best work. Apart from the title song, which I’ve heard often enough to know it outside of the show, I can recall the melodies of... two songs? The score isn’t bad, it’s just not as instantly memorable as Sunset Boulevard or Joseph or Phantom. And a weak story plus average music doesn’t equal a great show.

I’m sure I’ve complained more than anyone cares to read, but I have one final rant about something that caused me to startle my dog by making some very screechy noises: When Christine arrives by ship, the Phantom sends a horseless carriage to pick her up at the pier. Mind you, this scene is specifically stated to take place in New York in 1905. The crowd of onlookers is utterly SHOCKED by a vehicle that moves by itself. “There are no horses!” someone exclaims. "How does it work?"

Apparently all four of the credited writers slept through history class, and also couldn’t be bothered to Google a photo of New York at the turn of the century. Automobiles have been around since the 1880s, and by 1905, New York had so many cars on the streets that the New York Supreme Court had to hand down a ruling guaranteeing that horse-drawn transportation still had the same right-of-way as motorized vehicles, because the motorists didn’t want to share the road. Heck, my own great-grandfather owned a car by 1895! Glaring, easily-avoided errors like this jar me so far out of the story -- even good stories, which this one wasn’t -- that they actually bother me more than other, more significant failings. At least do your basic research, people. Use Google. Grrr.

Anyway, I’m just rambling now because I can’t sleep and I'm on prescription narcotics for pain and my dog is tired of listening to me grumble. Don’t mind me; I’m not actually this negative in real life. 😅

----------------------------------------------------

* I am not exaggerating. In the foreword, author Frederick Forsyth bashes Gaston Leroux and gives examples from his own works to explain how Le Fantôme de l'Opéra could have been written better. Like. DUDE. NO.

That book went straight into the donation box the moment I was done reading it. When Love Never Dies came out, I briefly regretted getting rid of it, but then I remembered how bad the story was and stopped feeling bad.

[noobsomeexagerjunk]

Left Undone

Ted didn’t want to babysit Bill’s daughter. He didn’t like Bill, and Bill didn’t like him. Why did he have to be the only one in the office who was free for the weekend? Alice didn’t exactly want to be babysat either. She’s too old for that!

Little did Ted and Alice know how much fun they were going to have.

(AU wherein Alice has not dated Deb yet, Bill hasn’t divorced yet either; MASSIVE SPOILERS for BoJack Horseman Season 3 and Moulin Rouge! are discussed)

Friday Prologue | Saturday Chapter | Sunday Chapter | Monday Epilogue

Alice woke up fairly well-rested Saturday morning, forgetting for a second that she wasn’t in her own house.

Ted Spankoffski’s house had 3 bedrooms. One was a master bedroom where Ted slept and also did any other non-CCRP related work. Another was a room where Ted’s nerdy brother stayed for the Summer; ever since Ted got himself a house, his younger brother would stay over at his place during holidays and academic breaks.

Then there was the spare guest bedroom Alice was in where Ted had to set up for her the previous evening. It was very plain.

She went downstairs, explored a little, then found no one. She went back up, knocking on Ted’s bedroom door. No response.

Alice then decided to wash up instead, to feel fresh in the morning. She did all the work in the downstairs bathroom (Ted specifically told her to use that particular bathroom), leaving it as neat as it was before she came to the house.

She tried to knock on the door again, the increased strength of her rapping revealing to her that the room had not been locked, or closed properly for that matter.

She peeked in to find Ted who was still asleep, clutching a laptop like a stuffed toy. His shirt, boxers, and socks tied together with his slumped figure, which also seemed intertwined with the bedsheets. There were used tissues all over the bed, some on the floor making a trail to a semi-used paper towel roll. There were an empty bowl and two empty beer bottles on the bedside table. It reeked of Corona and clearly imported Honey Butter Chips.

Alice stepped in to try to wake Ted up, but the floor creaking below her was enough to make him jolt awake.

“Who the fu-“ Ted calmed down from the shock of waking up so suddenly, “A-Alice?!  Shit, I forgot you’re here,”

“I-Is there anything I can eat?”

Ted rose from his position, sitting upward on his bed, “...are you allergic to eggs? Milk?”

“No, I’m not allergic to either.”

“Good,” Ted yawned, getting up and stretching, “because my fridge is fucking empty.”

“I noticed.”

That was hyperbole...sort of. The only breakfast that could be made from Ted’s pantry was egg toast and cereal. There was enough for both of them to finish all of said egg toast and cereal.

“What were you watching last night?” Alice asked Ted, playing with her fruit loops a little.

“Hm?” He swallowed the last bite of his toast with instant coffee.

“You were crying for about thirty minutes; I couldn't sleep-”

“I-It was a sad episode, alright?!” Ted was slightly embarrassed, hesitating to take another sip of coffee, “That fucking baby seahorse will never know...”

Alice raised a brow, unaware of the reference. She ate some more cereal.

“Don’t give me that look, Alice!” That was Bill’s glare, alright, “BoJack Horseman is a very good show!”

“And you binged the whole thing last night?”

“It’s the new season. I’ve got two episodes left before I finish.” Ted then proceeded to chug down what was left of his coffee.

“My laptop died during my binge but it was late and I was just,” He blew a raspberry, “...I needed to sleep.”

“I’ve done that before, not gonna lie,” Alice place down the spoon, done with her breakfast, “Though, the show I watched was kinda...yeah, it was kinda shitty,”

“Let me guess: you’ve watched it because someone hot’s in it,”

Alice blushed, “I-It’s not just that!”

“Hey hey hey,” Ted chuckled, “I’m guilty of that, I ain’t judging.”

Alice hmphed, “Should I watch that—what’s that show?”

“BoJack Horseman?”

“Yeah.”

“Hm,” Ted then began cleaning up by taking Alice’s utensils, stacking them with his, “it starts weak but gets so much better, like real fucking better. Dunno if you’re old enough to watch it though,”

“I’ve seen some pretty adult stuff! Mom makes me watch Tarantino movies with her, at least whenever Dad's not around sometimes,"

Ted nodded at Alice’s mother’s taste in film, “Aight, but that show just...it just hits somewhere really hard when you’re in your early thirties full of regret and with no discernible life direction but, hey! If you can take it, I’d be impressed.”

Alice blinked, “What? Is it like, psychological horror? The kind rooted in some comedically timed socio-political commentary?”

“Well, arguably.” Ted then got up to bring the dishes in his hands into the kitchen.

“...where can I find it?” She asked with mild interest.

“Netflix,” The sound of dishes landing in a sink was heard from Alice’s seat, “It’s a cartoon too, and like, about a bunch of animals, if those kinds of things float your boat.”

Alice never made it past Episode 1 when she tried to watch it herself, convinced Ted’s taste was shit. Personally, she will regret that.

The rest of that morning left Alice and Ted to their own individual devices. Alice typed away some interesting plots and ideas on her phone. Ted went to finish the last episodes of that sad horse show.

An hour before the time Alice would usually eat lunch, she had been cycling around various plotlines for a potential...well, something. Alice knew she just had to write something.

She was in the living area of the house when she heard Ted sloppily walk down the stairs. His eyes were teary.

"Are you alright, Mr. Spankoffski?" She looked at him with concern.

Ted shakily neared her, hesitating to sit on the couch next to her. He instead placed a languid hand on one of the couch's armrests.

"Please don't die on me, Alice, oh my God..."

He broke into sobs. Alice could only stare at this behavior in confusion.

"Did something bad happen in the show, or...?"

"Fuck, it got worse!" He sniffled, "A-And not, like, n-not in a bad writing context--that show's writing is the shit, Alice! But fuck! F-Fuck!"

Sarah Lynn was not supposed to die, but she did die and the fact left Ted devastated. A part of him knew it was gonna happen as he saw the old man, er, horse, and the poor girl in the motel, missing the Oscars. (Then again, that show had a penchant for hollowing, tragic endings per episode.)

Even in entertainment, in his favorite shows to watch, Ted Spankoffski knew better than to hope. It was more realistic for him.

"You can sit down," Alice moved aside to give Ted space to sit.

Ted cried as he sat next to her, "God, I'm sorry y-you had to see me like this,"

"I've...I-I've had worse breakdowns over a show. I-It's all good."

TV and Movie homophobia still haunted the teenage girl.

It's things like that, whether extravagant or subtle in delivery, that prompted her to write and clarify in any way that she could if only to fight. Alice Woodward was the kind of girl who refused to despair.

"Yeah, A-Alice?"

"Mhm," She nodded, quickly writing "character gets sucked into a tv show???" in her phone's Notes app.

"What if we watched something less depressing instead? You can watch it with me, Alice!" Ted breathed, "You're not bored, are you?"

She added "literally? figuratively? ehhh let the watchers decide??? kshfukdhivg" then kept her phone.

"No! N-No, I know how to keep myself, um, b-busy," Alice then shifted herself into a more comfortable position, "What movies do you have?"

Ted paused before answering, realizing he was hungry.

“You pick,” He said, getting up, “You want pizza with that?”

Alice nodded eagerly, watching Ted head for his phone.

“Wait, what am I supposed to pick?”

“There’s a bunch of CD cases in the drawer under the center table—it’s right in front of you!” Ted's voice decrescendoed as he headed upstairs.

“Drawer?” Alice wondered to herself, bending down to inspect the described center table. There was in fact a drawer.

She pulled it open to find bunches of CD cases, charging wires, and what clearly seemed to be unusable gadgets or “e-junk” as her father would, in a terribly corny way, put it.

Alice noticed a notable amount of movie musicals in one bundle of CD cases. The one that got her attention was Moulin Rouge!, unfamiliar with the title and very taken by the red-haired beauty printed on the cover. There was Jesus Christ Superstar, West Side Story, Rocky Horror Picture Show, and a bunch of Disney Princess movies. Upon further inspection of the non-musical movies, Ted had a diverse taste in film, though it was primarily pretty basic in Alice's opinion, minus a few exceptions.

She closed the drawer, further inspecting the Moulin Rouge CD cover by reading the synopsis on the back. An aspiring writer falls in love with a courtesan but other things get in the way? Alice could not blame the writer, in fact, she was quick to identify with him, even if she had not seen the movie yet.

“Alice?” Ted called from upstairs, “Are you allergic to anything I should know?”

“No,” She called back, playing with the CD cover.

“Good! I’m getting us a Bacon Surprise,”

“Alright,” Apparently Ted chose to order from that  Witchwood Ovens Shop downtown.

“What movie do you wanna watch?” Ted asked as he went back down. Alice showed him the CD cover.

“Moulin Rouge?” He mispronounced, “I actually have that in there?”

Alice handed the cover to Ted as he approached her, “I don’t think I’ve seen this one,”

“No shit, Alice. This movie’s got prostitution; if I know your Dad enough,” He stared at the cover, trying to remember when he got it, "he would make sure you'd never see it. God, I remember seeing this in the theater, like, when I was about your—h-how old are you again?"

"Fifteen, but I'll be sixteen later this year,"

"Eh, close enough," Ted then placed the CD cover down, ready to set up the television set in the living room.

"Nicole Kidman, man..." Ted dusted the CD player, plugging the TV into it, "She was the fucking best in that thing."

"Do you even know what happens in it?" Alice asked as she watched Ted at work, "Or were you just hoping Nicole Kidman would step on you?"

"Don't you fucking shame me, Alice!" Ted gasped back as he blushed, "If you had any taste in women, you'd want the same Goddamn thing."

Ted guessed correctly, keeping the girl from returning his snark.

It was around the Elephant Love Medley when the pizza arrived. Ted was kind enough to pause for Alice as he went to get the pizza. Alice was still recovering from the exhilaration of the past few songs, overwhelmed with the crowd-like effect of the cheesy-Jukebox mashups that introduced Christian to that infamous dancehall, the gratuitous use of slow-mo effects, and the ridiculous use of that Can-Can. It was "Spectacular Spectacular" indeed!

Alice almost choked on her pizza during the Like A Virgin scene. It was also very clear to her, as they watched, that Ted must've forgotten a lot of what had happened in the film given some of his reactions. Ted cursed The Duke repeatedly, particularly at that scene when he found out about the true nature of Christian's play.

Ted believed that he should've seen Satine dying coming. He saw this movie before. The movie literally said so right at the start!

Why, as he watched, did he want that happy ending when the opposite was inevitably going to happen?!

Something about Satine charmed Ted, in a particularly nightmarish way. The idea of further thinking about it was repressed repeatedly, refusing to confront the roots of it all. Surely it was just him being a horny bastard, right? Right?

This totally had nothing to do with the fact that Satine had vibrant red hair, cerulean eyes, polished milky skin, and a beautiful figure.

This totally had nothing to do with how familiar this fictional character seemed to be, resembling someone Ted remembered with intense, bittersweet longing.

This totally had nothing to do with the sight of Satine breathing her last breath on a bed of roses reminding Ted of a memory that he swore hadn't happened yet.

Or it did happen?

Why debate when it happened when it shouldn't have happened at all? It wasn't supposed to happen, whatever that thing was that Ted didn't need to remember at the moment. And yet...

She didn't make a sound. Heartbreak was never so loud.

Alice's sniffling brought Ted back to reality. Ted put a hand on her shoulder.

"God, I-I look so stupid," Alice chuckled out from her tears, rubbing her teary eyes, "they literally say it in the beginning, ugh!"

Ted coddled her closer to him so he could hug her but Alice recoiled back.

"T-Thanks, but we both smell like pizza," Ted nodded back in response.

As he cleaned up the living area, he asked Alice, "How was the movie?"

"It was pretty cheesy," She pulled out her phone again, inspired to write, "but kinda fun? Like, you don't get fun movies with this much energy, at least, when I try to compare, well. You know what I mean."

"Yeah," Ted replied absent-mindedly, "It certainly brings back memories of, well,  certain times."

"I think it kinda comes off as an epic-like piece,"

"No need to wax academic, Alice,"

"You asked for it!"

"I asked about how it was, not for an essay about its themes and shit!" Ted straightened himself up with a chuckle, "It's just a movie, after all."

"It hits different though," She spat back, focused now on her phone.

Witchwood Oven Shop pizzas were notably heavier on the stomach compared to their competitors. Any leftover pizza the two had for lunch that day, Ted proceeded to reheat for dinner. He scavenged his refrigerator for any packs of instant lemonade, which were thankfully there, and prepared two glasses for the two of them.

It was a shitty excuse for dinner, but Alice didn't seem to mind. She was very concentrated on her phone.

"What'cha writing about?"

Alice tilted her phone as to hide it, "It's not really much yet. It's all a bunch of prompts so far."

"You can pitch me stuff," He swallowed a bite, "Which ones really get to you?"

"Well," She hesitated.

"Well?"

"I-I've got a traveling adventure in a fancy, cultured but mysterious new town..."

"Anything else?"

"Still deciding whether I should make it a horror or a comedy. Besides that, it's all gonna rest on a foundation of romance between our main character, and, well..."

"Who?"

"I don't know! It's all I got so far!"

"Hey, it's not bad," Ted sipped his lemonade, "You know, I bet with enough time, it can become something really fucking great. I'd be invested if this was a movie or a staged production of sorts, I don't know,"

"Y-You think it's good, Mr. Spankoffski?"

"Oh hell yeah," He placed the glass down, "Not to be cheesy, but romance really gets me."

"Yeah, same."

"Have you considered making it some sort of horror-comedy romance? I would love it if you could pull it off."

[bbclesmis]

The Herald: Disappointed by TV version of Les Mis? Here comes the real thing

 On the streets of Paris, revolution is in the air. The people want to take back control from an out of touch government whose leaders are shoring up their own wealth. Barricades look set to be leapt. Such is the way of history repeating itself in France, from the 19th century uprising through to 1968 and even the current, and slightly more ideologically ambiguous wave of street protests by the so-called Gilets Jaunes – the yellow vests. It was seeing photographs of the latter in a French newspaper that struck a chord with Claude-Michel Schonberg.

 “Those pictures looked exactly like the set of Les Miserables,” says the composer of one of the most iconic pieces of musical theatre in the late twentieth and early twenty-first centuries.

 “First of all it made me realise that Les Miserables is still relevant. Secondly, it also made me realise that in 200 years we have learnt nothing.”

 Maybe this is why the current year-long UK tour of Les Miserables, originally adapted by Schonberg and writer Alan Boublil from Victor Hugo’s 1862 novel, has pretty much sold out already.

 Arriving in Edinburgh this month for the first time in 20 years for a month-long run, the English-language version of Boublil and Schonberg’s show has been a fixture of the London theatre circuit since Trevor Nunn directed a co-production between the Royal Shakespeare Company and Cameron Mackintosh at the Barbican in 1985.

 This makes it the second longest-running musical in the world.

 Despite the success of putting Hugo’s story charting ex-convict Jean Valjean’s travails through poverty-stricken France onstage, Schonberg for one isn’t quite sure of the reasons why it happened.

 “It’s a phenomenon I don’t really understand,” the now 74-year old composer admits of a creation which introduced the world to songs now regarded as modern classics such as I Dreamed A Dream, “but the show is more popular than ever. I must say, I’m totally surprised.”

 By the time Les Miserables opens at the Festival Theatre in Edinburgh, the new six-part TV adaptation of Hugo’s book scripted by Andrew Davies will be mid-way through its own run. With Dominic West playing Valjean as part of a cast that includes Olivia Coleman and David Oyelowo, rather than claiming kin with Boublil and Schonberg’s take on things, advance publicity appears to pointing up the fact that it is categorically not the musical, and shouldn’t be confused as such. Viewers and critics have already criticised this sans songs version as being flat.

 With Les Mis the musical itself filmed in 2012 with Hugh Jackman as Valjean, this too is something Schonberg doesn’t understand.

 “Whenever I read an article about the BBC version, they are saying it is the real version of the novel and not the trivial musical stage version,” he says.

 “I don’t know how you can promote something against it. People know the title because of the musical show, but each time there’s an adaptation, they all make the point that they are not going to have anyone singing. But who knows? This one might be very good. I will look at it carefully.”

 Schonberg probably doesn’t need to worry too much. As he points out, there has been more than 50 films based on Hugo’s novel, with over 20 TV adaptations as well as another 20 different versions onstage. This is how great stories work as they are reimagined for every age. Indeed, it was another musical adaptation of a nineteenth century novel that was the starting point for Les Miserables.

 “Alain saw Oliver! in London,” says Schonberg, who had previously collaborated with Boublil on La Revolution Francaise, France’s first rock opera, produced in 1973. “I said to Alain, next time we find a big subject, we have it as a sung-through musical, and when Alain saw Oliver!, that gave us an idea about how to do it.”

 Lionel Bart’s musical version of Charles Dickens’ novel, Oliver Twist, had already been adapted for film by Carol Reed in 1968 by then, after being first seen on the West End eight years earlier. Prior to putting Les Miserables onstage, as was the fashion then, Boublil and Schonberg released a recording of it as a concept album. This approach had already paid dividends for the English musical theatre team of Tim Rice and Andrew Lloyd Webber with Jesus Christ Superstar and Evita, and Schonberg had already scored hit records in France.

 Three years after the Les Miserables concept album had led to the show’s original French production, it was heard by British producer Cameron Mackintosh after it was passed on to him by director Peter Farago.

 “Two years after the show closed in Paris, Cameron was organising his records and put it on,” Schonberg recalls. “and after that we heard he was looking for those crazy French guys, Schonberg and Boublil”

 While the pair worked on new drafts of Les Miserables, Mackintosh was riding high on the success of Cats, directed by Trevor Nunn, who had also overseen David Edgar’s epic staging of Dickens’ Nicholas Nickleby, and knew how to put on a big show. Success was far from guaranteed, however, and the opening night of Les Mis was a critical disaster.

 “The critics were very bad,’ says Schonberg, actually using the v word eight times. “Cameron has a tradition of having a lunch the day after an opening night, and it was like a funeral. We thought it was finished, and during the lunch Cameron kept trying to call the box office to measure the scale of the disaster, but couldn’t get through. Eventually he received a message to say that the reason he couldn’t get through was that the show had sold 5,000 tickets, and in two weeks would be sold out.”

 Les Miserables went on to win an Olivier Award for the most popular show, while on Broadway it won three Tony awards.

 The current touring version is directed by Laurence Connor and James Powell for a production reinvigorated for the show’s 25th anniversary in 2009. The result is a very 21st century Les Mis, which utilises projections based on paintings by Hugo created by son et lumiere auteurs Fifty-Nine Productions. The internationally renowned team led by Leo Warner and Mark Grimmer, who have come a long way since their early work at the Traverse Theatre, the National Theatre of Scotland and with Stellar Quines Theatre Company.

 Having worked worldwide on the National Theatre’s production of War Horse and the 2012 Olympics, more recently 59 have been responsible for opening events of the Edinburgh International Festival, Deep Time, Bloom and the First World war-themed Five Telegrams. The latter projected images onto the walls of the Usher Hall accompanied by a thundering score by Anna Meredith.

 “There have been so many improvements to Les Miserable this year,’ says Schonberg. “That has a lot to do with technological developments which wouldn’t have been possible even five years ago.”

 This keeps the show fresh for several generations of theatre-goers, as was proven last week, when Schonberg met a woman who told him how she’d seen Les Miserables a staggering 300 times.

 “For Christmas she was taking her children and grand-children to see the show with hr again,’ he says.”

 What Les Miserables taps into, again, Schonberg isn’t sure about. All he can say is that “I think we did the right job, but it is the novel that is responsible for the success of the show, and for whatever reason, people seem to leave the theatre a bit different. People are scared for the future. They’re all looking for a bright tomorrow and waiting for the sun to shine, and people come out of the show perhaps believing they can be a better person.”

(x)

[miguel-manbemel]

Aspects & Fanfics Ep. 13: A Journey to Roman’s Kingdom - The Ultimate Sanders Crossover

This is the 13th episode in the Aspects & Fanfics blog, based on Sanders Sides by Thomas Sanders & Joan. It’s incredible to think how from a tiny little idea I had two weeks ago, a 29 page story could have been created. This is by far the new record for the longest episode in the fic, Virgil’s Revelation was only 22 pages long.

This episode is a homage, not only to Sanders Sides, but to all of Thomas’ career as a whole, as it is a crossover that features most, if not all, of his characters, from the Vines, the Shorts, Cartoon Therapy... I’ve been following his work back since late 2014, after all, and I haven’t seen many fics about things different from Sanders Sides, so I thought that they also deserved their place of recognition. There will be absences, like Sleep, but since he’s already appeared on his own in a previous episode, I don’t think it would be much trouble.

Okay, I’m not making this even longer with a long intro, so here we go. As usual, you can read previous entries of the Aspects & Fanfics blog right here. And I hope you enjoy this rollercoaster that has happened to be this episode. Until next time.

SYNOPSIS: After casually mentioning that Roman has indeed his own kingdom inside the Mind Palace, the Kingdom of Sandersia, populated with all the characters that Thomas has ever created, Thomas and the others decide to take on a journey to visit the kingdom, which will let them know in person characters like the shorts guys, Dr. Picani and many others. However, Roman is hiding a secret about his past in the kingdom that hasn’t told any of the other Sides.

WARNINGS: There’s more Prinxiety in the fic as the story goes on, and more unrequited Anxceit. As I said, this is a rollercoaster. It has moments of happiness, moments of fun, moments of emotion, and moments of angst, including mentions to the death of a beloved one for Roman and hints to homophobic reactions from Roman’s family against his coming out in the past.

In memory of Spanish director Narciso Ibáñez Serrador (1935-2019). You were such a huge influence in my life. Thanks to you I discovered my love for Broadway-like musicals and my love for editing. You and your work will never be forgotten. Rest in peace.

EPISODE INDEX

[Thomas and Joan are sitting on the couch. Thomas has just finished reading something on his laptop to Joan]

THOMAS: And so, this is the outline draft for the next Cartoon Therapy episode. What do you think?

JOAN: Well, it definitely has some good things… I loved the topic we’re discussing��

THOMAS: Okay…

JOAN: I loved the cartoon show that’s going to be the base for that…

THOMAS: I thought you’d like it.

JOAN: I also loved your ideas for the new patients that join Dot, Larry and Elliott. They’ll make a good story and they look cute. [takes a deep breath] But…

THOMAS: But?

JOAN: I don’t quite get the redesign you’ve applied on Dr. Picani, Thomas. I mean, he would look cool and all, but… having him wearing eye-shadow, his hair over his forehead, a purple necktie and jacket and suddenly speaking with a groveling voice… isn’t it a bit out of character for him?

THOMAS: Mmm… maybe?

[intro sequence]

THOMAS: What is up everybody?

JOAN: Again doing your videos?

THOMAS: Yes, Joan, you’ll have to get used to it.

JOAN: Okay, okay, you’re your own person…

THOMAS: What you have said about that redesign, Joan, it’s got me thinking. I certainly thought it looked cool while I was writing it…

JOAN: It made more sense in your head, right?

THOMAS: …sort of, now that you’ve said it. Now that I’ve seen it written, I can see it wouldn’t have worked at all. I don’t know why I’ve written that… well, to be honest, I think I do, but I’d have to check it out first, because this is not the first time this happens.

JOAN: Does that mean that you’re calling them again?

[Thomas leaves the laptop on the couch, Joan and him get up and go to Thomas’ usual spot]

THOMAS: Yep, exactly that. [yelling] Roman? Could you come here for a minute, please?

[Roman rises up, he’s showing a distracted starry eyed face]

ROMAN: Did you call, Thomas? Oh, greetings, Joan.

JOAN: Hi, Roman.

THOMAS: As a matter of fact, Roman, yes, I called you.

ROMAN: How may I serve you?

THOMAS: Where exactly did you get your idea for Dr. Picani’s redesign in the draft that I’ve just written?

ROMAN: It looks cool, doesn’t it? I knew you would like it.

THOMAS: Come on, Roman. Proofread it. We can’t use that design, it’s out of character for Dr. Picani.

ROMAN: [a little offended] Excuse me? I think he’d look like the prettiest creature in this world, other than me, [pedantically] but my design is unrepeatable.

THOMAS: Let me guess… You’re talking about your boyfriend Virgil?

JOAN: [surprised] Boyfriend?

THOMAS: It’s a long story, Joan, I’ll tell you later.

ROMAN: [smiling] How did you guess, Thomas?

VIRGIL: [rising up] I’m sorry, Thomas, I really am. I told him that it didn’t seem right to send you that design, but he wouldn’t listen.

ROMAN: Virge, honey, I have set as my supreme quest to make you leave your self-deprecating issues behind, and as my name is Roman Graham Alexander McDonald Carlos Sanders III, Prince and Heir of the Kingdom of Sandersia, I’m gonna fulfill it. Even if I have to put your marvelous face all over the world so that everyone can admire your beauty…

VIRGIL: [distressed] Please, Roman… Don’t… I mean it… Don’t do that.

JOAN: Thank God we don’t have to memorize Roman’s full name…

THOMAS: Okay, Roman. We get it. You love Virgil more than anything in this world, and that’s sweet and all, but you can’t let love blurry your common sense. You can’t redesign all my characters to look like Virgil, as if there was some sort of failure on the Matrix from my stories’ universe. Don’t you see it doesn’t make any sense?

ROMAN: [reluctantly] Okay, maybe you’re right, I guess…

VIRGIL: [relieved] Thank God…

THOMAS: Wait a second… did you say earlier… Kingdom of Sandersia?

JOAN: Your abilities of attention to details and memorization will always blow my mind, Thomas…

ROMAN: Yes, Thomas, it’s my homeland, and one day I’ll be its ruler.

THOMAS: You had never spoken about your homeland, Roman. Up until today, I didn’t even know that you had your own kingdom.

ROMAN: Well, Thomas, there’s no royalty without a kingdom, right?

JOAN: Tell that to the French Bourbons… Or the Greek royal family… Or the Burger King…

THOMAS: And how does your kingdom look like, Roman? Is it beautiful?

ROMAN: Very beautiful, but in a way, you already know it, Thomas.

THOMAS: What? What do you mean?

ROMAN: Let’s see if I can convey it in words… Have you ever heard about “The Neverending Story”?

THOMAS: Yes, I loved the first movie.

ROMAN: I don’t mean the movies, but the book by Michael Ende.

LOGAN: [rising up, with a squeaking yell] BOOK!?

VIRGIL: [jumps scared] WHAT THE F…! [putting his hand over his heart] Holy sssshoot… you scared me so bad… Again…

LOGAN: [ignoring Virgil, rising his hand, doing little jumps, overexcited] I did read it! I did read it! Pick me! Pick me!

ROMAN: Okay, okay, Teach, do your thing…

LOGAN: [with a face of contained happiness over sharing what he knows, masked with seriousness] It tells the story of a young boy named Bastian Balthazar Bux, who enters through some special book titled “The Neverending Story” into the land of Fantasia, which is made up of all of humanity’s fantasy. Every dream any human had, any wish, any fantastic creation they made or anything they wrote… Anything any human had ever conceived, it existed in Fantasia.

THOMAS: I see…

ROMAN: Sandersia follows the same principle, Thomas. It is made up of all of your creations. From the first poem you wrote as a teen to the latest Cartoon Therapy episode you created just now, including the Vines, the shorts, the fictional one-off YouTubes… any character you created, they’re all my subjects and my royal family rules them with wisdom.

LOGAN: So you’re like their Childlike Empress? It suits you… cause you’re a brat sometimes…

[Roman emits some offended Princey noises]

THOMAS: Man… I’d love to see that place.

JOAN: Me too…

[Joan and Thomas look at each other, both of their faces lighten up and they show a wide smile]

JOAN: Did you have the same idea I just had?

THOMAS: I think so… there’s some leftover pizza in the fridge and I’m hungry. I’ll share.

JOAN: [beat] I guess you didn’t. [sighs] I was thinking if we could go to Sandersia to see how it looks. Could we, Roman?

THOMAS: Hey, that’s a good idea! Could we?

ROMAN: [shows a little worried face] Sure. Joan can enter the Mind Palace, so they can also enter Sandersia.

VIRGIL: Is there any risk we should be worried about, Roman? You looked concerned.

ROMAN: [hiding his concern] Nah, I don’t think so. Everything should be safe there. And it could be fun. [frowns] But we must stay away from the Royal Castle.

THOMAS: Why?

ROMAN: I have… personal reasons, Thomas. I’d wish to keep them private for the moment if you don’t mind.

THOMAS: Okay, as you wish, Roman.

DECEIT: [appearing] I’m not missing it either. A world made of things that in the end are all lies? It looks like a paradise…

ROMAN: I don’t like the way you’ve described my country, Deceit.

DECEIT: Sorry. I think we should call the others. Honesty got really angry when we didn’t call him the last time. Patton, definitely won’t want to miss it, and it could be a good group experience for Wrath to get fully integrated into the team.

THOMAS: I agree with Deceit. Is it okay if we all go?

ROMAN: Of course it is, Thomas. Be my guests.

THOMAS: Okay. Patton, Honesty, Wrath! Everyone come here now, please!

[they all rise up]

PATTON: Hi, kiddos! I was baking some cookies, but I never reject the opportunity of seeing you all.

HONESTY: I was in the middle of preparing a teapot with a new tea mix I just invented…

WRATH: And I was watching “Jesus Christ Superstar”. I was in the middle of the “I Don’t Know How to Love Him” song…

ROMAN: Okay, if you want, you can go back to your chores, but I was wondering if you wanted to visit my homeland, Sandersia. We’re all going on a trip there.

PATTON: Yay! I have some cookies left in my pocket, so I can wait.

HONESTY: And I didn’t put the pot on the stove yet, so I’m ready.

WRATH: And it’s like the 57th time I watched that movie anyway, so I can join in too.

ROMAN: Very good.

THOMAS: So… how do we get there?

ROMAN: First, we need to get into my room, the door to Sandersia is over there.

THOMAS: Okay. Let’s go, then.

[everybody sinks down. There’s a white flash and they appear in Roman’s room. The room looks exactly the same as the last time, except that the forest of thorns in Virgil’s spot has been replaced by a huge rose tree full of purple roses]

THOMAS: I like the rose tree, Roman.

ROMAN: [sighs, looking at Virgil with a romantic glance] Me too. Purple roses started blooming one after the other when we…

VIRGIL: [nervously diverting the conversation, while blushing at the same time] Umm… Where is the door to Sandersia, Roman?

ROMAN: Oh, right, right. Well, the door to Sandersia is the front door of the apartment, of course.

JOAN: That’s it? So easy?

ROMAN: What did you expect?

JOAN: I was expecting some sort of magic portal full of light and beauty… like in fairy tales.

ROMAN: Well, sorry, but I thought that a good old door was the most practical thing to use. Besides, magic light is so expensive nowadays. And Thomas can already tell you that portals are a little bit dangerous by experience.

THOMAS: True. I almost broke a knee the last time. Don’t ask…

JOAN: [confused] Okay…

THOMAS: Well, if Sandersia is behind that door, let’s go.

[Thomas and Joan go to the front door. There’s a close-up shot of Thomas’ hand opening the door. Then a close-up of his face looking at the exterior. Then another one of Joan’s face of surprise]

THOMAS: Oh, my goodness…

JOAN: This is so… f… [bleep] ...ng… beautiful.

[camera zooms out quickly far away. Roman’s door is installed in what looks like a huge tree in the middle of a prairie, everything looks like taken from a Pixar movie, in CG animation. Thomas, Joan and the Sides go through the door, close it behind them and take a few steps forward]

PATTON: This is all so beautiful!

VIRGIL: It really looks like a Pixar movie or a recent Disney feature, like Tangled or Brave. It’s all really gorgeous.

ROMAN: I’m glad that you like my homeland, guys. It fills me with pride.

PATTON: [looking upwards, he gasps] Look, Thomas! Look at the sun! But be careful or you’ll get blind.

ROMAN: [invokes some special glasses for eclipses and gives one to Thomas and other to Joan] There you go.

THOMAS: [wearing the glasses] Thanks, Roman. [looks upwards to the sun, then overexcited yell] WOOOOOOOW! It’s Sun!

JOAN: Holy sh… [bleep] ! But it was me who created the special effects! And there he is, exactly as I made him in my laptop! Incredible!

THOMAS: I know! How can he be here in the flesh? Well, in the helium…

SUN: [from the sky] Greetings! Nice to meet you, Supreme Creators.

THOMAS: That’s… us?

ROMAN: Of course it is you, Thomas. You and Joan. You created him, didn’t you?

THOMAS: Um… Hi, Sun!

MOON: [rising up from behind a mountain, with a happy childlike voice] Hi, Thomas! It’s me, Moon!

THOMAS: [taking his glasses off, with a happy voice] Moooon!

SUN: [lashing out] Not again! This was my time! He was talking to me, now!

THOMAS: Okay, don’t fight, guys, you’re both celestial supreme entities, you need to be kind to each other.

MOON: [happily] Yes, let’s be friends!

SUN: [reluctantly] If you say so… Oh, there are some clouds coming to cover me. Well, I’m powerful, but not enough to defeat the powers of Florida weather, so I’m afraid it’s time for me to go…

THOMAS: Florida weather? I thought we were in Sandersia.

ROMAN: Thomas, Sandersia is in the Mind Palace, and the Mind Palace is in you, and you are in Florida, so Sandersia is in Florida right now.

THOMAS: Got it, a little complicated, but got it.

SUN: Until next time.

MOON: Bye, Sun! Bye, Thomas!

THOMAS: [waving his hand] Bye, guys!

[The clouds cover Sun, and Moon goes back behind the mountain]

THOMAS: That was wild!

ROMAN: Well, Thomas, it’s just the beginning. Let’s go.

[Thomas and the others start walking through a little road. After a while they get to a little neighborhood full of houses, each with its own front-yard]

THOMAS: This looks a lot like my town of Gainesville.

ROMAN: Maybe because it was inspired on it, Thomas… Oh, look who’s coming.

THOMAS: But… that’s me! Well, it’s been ages since I last wore that shirt with red and navy blue stripes, but still…

ROMAN: Don’t be fooled, Thomas. Of course everyone is going to look similar to you, you’ve played most of the characters in your stories. But here, each is their own person.

THOMAS: Then who is he?

STORYTIME GUY: [with his trademark narrator voice] Storytime! Thomas was confused because he didn’t know who I was until I nailed this narration.

THOMAS: Oh, you’re the Storytime Guy! Oh, it’s so weird, I feel as if I was talking to myse… never mind, I’ve just realized I already do this everyday with you, guys.

STORYTIME GUY: What’s up, Thomas? How are you doing?

THOMAS: Oh, I’m fine, I’m fine… And you?

STORYTIME GUY: Well, I’ve been out of work lately, but I don’t complain. It’s good to have some me time. The Vine years were so frenetically busy…

THOMAS: Yeah, I know. Viewers still love and remember you and would wish for you to keep on appearing in the shorts. It’s too bad that people don’t fall so easily into the narrations anymore. Now, they see me coming from miles away, so I just stopped trying. I guess it’s the price of getting known online. It was easier to sneak into them in the early years. Now the only potential victim I have left is my own mom.

STORYTIME GUY: It’s okay. I’ll always be here, as long as the Vines keep on existing and people remember me. Well, gotta go now. Have a nice day in Sandersia, guys, and I hope to see you again soon.

THOMAS: And I hope I’m able to give you more material to narrate soon. Bye, Storytime Guy…

STORYTIME GUY: [leaving] Bye, Thomas! Take it easy, guys and non binary pal!

PATTON: Wow! The Storytime Guy is so nice!

JOAN: He was played by Thomas and based on the real life Thomas, what else did you expect?

PATTON: True.

THOMAS: Aww! You’re too sweet, guys.

ROMAN: Okay, let’s keep going.

[the gang keep advancing around the neighborhood. After turning a corner, another person bumps into Thomas]

THOMAS: Awe! I’m so sorry.

TRAILER VOICE: [with his low voice] In a world, where you think you can cross a corner safely, and some fool bumps into you anyway…

PATTON: Oi, no need to be rude, it was an accident!

VIRGIL: It’s the Trailer Voice Guy… My, I wonder how they can identify each other here in Sandersia. The same car drive license could be equally valid for everyone, it seems, they all have the same face…

THOMAS: Something tells me that perhaps I should try to do more shows with different actors…

JOAN: Well, we’ve already started. But you’ve done so much acting all on your own… I don’t know how you can cope with having so much weight over your shoulders, Thomas.

THOMAS: I’m surrounded by a good team of incredibly amazing friends and incredibly talented people, you can be certain that helps.

JOAN: I’ll take my share of that compliment, thank you.

THOMAS: Oh, where’s the trailer voice guy?

[They realize the Trailer Voice guy left while they were speaking and is nowhere to be seen]

THOMAS: Okay, never mind. Let’s just keep going.

VIRGIL: Roman…

ROMAN: Yes, sweetheart?

VIRGIL: Firstly, don’t call me like that until we’re alone. And secondly, what’s that shadowy hill that can be seen in the distance?

ROMAN: That’s beyond our borders, we must never go there, Simba… I mean, Virgil.

THOMAS: Why?

ROMAN: Well, that area is where your impression characters live. You know, Stewie Griffin, Kermit the Frog, Stitch, Goofy… It’s also home of the characters you portrayed on-stage, like J.D., Prospero, Javert, Don Lockwood, Ko-Ko, Leo Bloom, and so many others. We don’t hold the copyright of these characters, so it would be tricky if they appeared on this video…

LOGAN: Talk about meta…

THOMAS: But… isn’t Sandersia the place of my own creations? Why are these characters here if I didn’t create them?

ROMAN: Thomas, don’t underestimate an actor’s labor. Do you think that a character is created solely on what a writer has written? That’s a solid base, but it’s just the beginning. The director with his vision of the character, and the actor with his work of bringing life into it, adapting himself to the character, but also adapting the character to his own range and needs… that’s also a part of the creative process of a character. So you have been a part of the creation of these characters, at least of your versions of the characters. It’s only natural that they live here.

THOMAS: Okay… [sighs] It’s a pity I won’t get to see Taylor’s Herbert. That would have been great… But you’re right, Roman, we don’t want a copyright strike. Let’s go.

[they keep walking, and after a while, they get in front of a house that looks quite familiar to Thomas]

THOMAS: But… that’s my house!

ROMAN: No, it isn’t, Thomas. Look carefully, and you too, Patton.

PATTON: Me?

[they all sneak on a window, they see that the Dad Guy, Mom and the children are there inside having lunch]

PATTON: But… that’s me!

ROMAN: No, Patton, that’s the Dad Guy. A character that appears on the Vines. Like the Prince Guy and the Teacher Guy. People think that we were inspired on them… but in fact it’s them who were inspired on us. Thomas has known us for all of his life and he used our likenesses to design these characters. [to the camera, breaking the fourth wall] You didn’t see that one coming, did you?

LOGAN: Well, Thomas, perhaps we should start sharing a piece of the shorts’ royalties, shouldn’t we?

THOMAS: I mean, the Vines don’t give much, since they’re defunct, but anyway, you all are me, so in a way we’re already sharing royalties, aren’t we?

PATTON: Oh, I love that scene. A beautiful family all gathered around the table, telling dad jokes… Oh, I wish I had a family like that…

ROMAN: Patton, aren’t we family already?

PATTON: Of course we are, kiddo. But I mean with a partner and children of my own to raise. I’ve always called myself a dad… but  I have the feeling that it’s only a nickname Thomas placed on me. The truth is I have no recollection of my children or the supposed couple that gave birth to them or adopted them with me, whatever. I called myself a dad just by inertia, and I tried to live up to that name being a dad for you all guys. However I’ve started doubting lately if I’m really a father at all and I should just back up a little bit and just be more grounded.

VIRGIL: Wanna know a secret?

PATTON: What is it, kiddo?

VIRGIL: I… am your son.

PATTON: [little bittersweet smile] Thank you, kiddo. It fills me with joy that you would consider yourself as such, and I’ve always considered you as such myself, but at the end of the day I always remember we’re just best friends…

VIRGIL: I’m not just being kind… dad. I really mean it. Think about it. When I was a Dark Side, I was mainly anxiety, and anxiety is a feeling. And who’s the one that gives “birth” to feelings in this house? It’s you. So, technically, you are my real father.

PATTON: But that can’t be, kiddo. You appeared in Thomas’ life way before I did.

VIRGIL: So did Roman, and I was in the Mind Palace way before him, I only took more time to rise up before Thomas. The same happened to you. Feelings are the first thing that a human has when they’re born, they’re nothing but an 8 pound ball of feelings…

LOGAN: [disgusted retching] Huurl… [after Honesty frowns at him] Excuse me.

PATTON: Then… you are my son… for real? [tearing up] Why didn’t you tell me earlier?

VIRGIL: Because I wasn’t sure yet. After all, I was a Dark Side and you were a Light Side, so it didn’t make sense that I was your son… But now that we’ve discovered that in origin I was a Light Side… Suddenly all the pieces of the puzzle started fitting in… just like you said in the puzzle song.

PATTON: I wish I would have been there to take care of you all of your life, to rise you as my son. Oh, all you’ve been through in the Dark Realm without me to take care of you and defend you… I’m so, so sorry, Virgil. I wasn’t there when you needed me…

VIRGIL: You have nothing to be sorry about. Ever since we finally met, you have put yourself into your father role, even when you didn’t know the truth. And even when I tried to resist it, there was always… how to describe it… this sort of “pulling sensation” inside of me that made me want to be closer to you, that made me feel better when I was with you more than with anyone else. I guess you were bound to take care of me, and I was bound to love you, dad, ever since the first time we met.

[Virgil hugs Patton and Patton squeezes his son]

PATTON: I love you, my emo son.

VIRGIL: And I love you too, my wonderful dad.

JOAN: This emotional moment just came out of nowhere… [cleaning a tear from their eye] Warn a dude next time, for f… [bleep] …k‘s sake!

ROMAN: Well, be warned then, Joan, because here comes another round of tears… [to Patton] If you’re really his father, Patton… then I must take this time to ask you and Virgil something.

PATTON: What is it kiddo?

VIRGIL: Roman?

ROMAN: Patton, would you… give me your son’s hand?

VIRGIL: [in shock] What?

ROMAN: And Virgil… [taking a little box out of his pocket and kneeling before Virgil, who covers his mouth in shock] … I know you don’t like weddings, but… [opening the box and revealing a golden ring with a shiny purple amethyst on it] it would make me the happiest aspect on the Mind Palace if you would marry me.

VIRGIL: [overwhelmed, unable to react] I… I…

THOMAS: Oh, my gosh…

PATTON: Answering your question, Roman, whatever Virgil decides, I will support it no matter what, but if it was up to me, of course I’d give you his hand. I couldn’t think of a better son in law for me. But it’s Virgil’s choice and only his.

ROMAN: Virgil?

VIRGIL: I mean… you know I don’t like weddings, at all…

ROMAN: [showing a little dejected face] I understand…

VIRGIL: …but I certainly want to spend the rest of my life with you as my husband. If there’s no choice other than going through a wedding to achieve that, I’ll willingly take the sacrifice. Of course I’ll marry you.

[Roman shows a face of endless happiness. Then puts the ring on Virgil’s finger and kisses him, then they hug each other. Deceit looks at the scene from the back, showing a smile as if he didn’t care but with a single sad tear sticking out of his human eye. Honesty and Wrath stand next to Deceit, discreetly put their hands on his shoulders and give him a friendly smile. Deceit gives a grateful but bittersweet smile back at them and doesn’t say a word. While hugging Roman, Virgil notices this exchange, but says nothing]

THOMAS: [happy yelling] Congratulations, guys!

DAD GUY: [from the window] Yes, congratulations, your Highness!

ROMAN: Oh, I’m sorry, Dad Guy, we didn’t want to bother you.

DAD GUY: It’s okay, it was like watching a good romantic movie right on our window, I won’t complain. Oh, you must be Patton!

PATTON: You know me?

DAD GUY: Of course I do. I was created on your image. But don’t stay out there, I know you’re cool but that doesn’t mean you must catch a cold to prove it.

THOMAS: Oh, we wouldn’t want to bother you. Besides, we need to keep going on our way.

DAD GUY: Oh, okay. If you say so. Enjoy your visit through Sandersia, Thomas.

THOMAS: Thank you, Dad Guy. It was nice meeting you.

PATTON: I have to come back here some day, we could share some dad jokes when we have the time.

DAD GUY: I’ll be waiting. Bye, kiddos!

[Thomas and the others get going. After some time, they get in front of what looks like a school]

THOMAS: I have the feeling I know who we can find in here. Don’t you, Logan?

LOGAN: I think I know who you’re referring to, Thomas. If it’s him, I can’t wait. He wears a necktie like I do, so he must be the most serious, level-headed individual you could ever mee…

[the Teacher Guy passes by in front of them, running. He’s carrying some balloons in his hand, laughing uncontrollably, while some students follow him running too]

LOGAN: [in shock] I mean… what? [nervously] Oh, well, I’m sure he’s using these balloons to explain some laws of physics, maybe the properties of helium gas. It has to be that. It has…

TEACHER GUY: [still running] I said I don’t wanna go to school!

STUDENT: [running behind him, trying to catch him] But you must! You are our teacher! Moreover, you’re the principal! And we need to know our exam results! Come back heere!

[Virgil looks at Logan’s face of shock and chortles]

LOGAN: [in frustration] Okay, I have seen enough of this…

THOMAS: I had forgotten how much different the Teacher Guy was from you, Logan…

LOGAN: Well, as far as I’m concerned, Thomas, you can forget that… tie-traitor again.

PATTON: Well, I like him.

THOMAS: Don’t get mad, Logan.

[a person approaches them. He looks at the Teacher Guy, still running in the distance, balloons in hand]

PERSON: What a freak…

THOMAS: Excuse me?

PERSON: [yelling] ...iiiing amazing bunch of balloons that charming fellow is carrying over there! [giggles] Colorful!

[then the person leaves running]

THOMAS: I think it was the Misleading Compliment’s Guy, wasn’t it?

VIRGIL: Yes, I think so.

THOMAS: Okay, let’s go, there’s still so much to see.

[the gang keeps on walking. After some time, they reach an office building]

THOMAS: Oh, my goodness… Joan, look at the sign at the door.

JOAN: [reading] Dr. Emile Picani, therapist. [gasps] Whoa! That’s amazing!

THOMAS: Should we come in?

JOAN: We don’t have an appointment, Thomas. It may be rude…

[the door opens. Elliott comes out of it, they almost trip on Joan]

ELLIOTT: I’m sorry…

JOAN: I’m sorry too…

ELLIOTT: Are you waiting to come in?

JOAN: Oh, we don’t have an appointment.

ELLIOTT: That’s okay. Dr. Picani has some free time, my session today has been shorter than expected.

JOAN: Really?

THOMAS: I hope it’s not for anything bad…

ELLIOTT: No, it isn’t. Today my sister is moving to college. I had an appointment set beforehand, so I just came in to warn Dr. Picani. We did an express session and that’s all. If you want to see him, you can right now, before his next patient.

JOAN: Okay, thank you. I think we will.

ELLIOTT: You two make a cute couple.

THOMAS: Oh, we’re… we’re not dating, we’re just friends.

ELLIOTT: [shrugs] Okay. I think Dr. Picani could also be efficient in solving issues between friends. Now, if you excuse me, I must go, or I’ll be late to my sister’s farewell. I hope we meet again, bye!

JOAN: That was weird… it felt as if I was talking to myself…

THOMAS: Tell me about it… Okay, we’re too many to enter the little office, how do we do this?

ROMAN: If you want, Thomas, we can get inside of you while you’re there.

THOMAS: I you want to, It’d be great.

ROMAN: Okay, we’ll be watching, Thomas.

[they all sink down]

THOMAS: Okay, let’s get in.

[Thomas and Joan enter the office. There’s a secretary in the reception]

SECRETARY: Do you have an appointment?

THOMAS: Well, as a matter of fact, we don’t, Elliott had told us that Dr. Picani had some free time and…

PICANI: [from the therapy room] It’s okay, Quill, let them in.

SECRETARY: Okay. Could you give me your names for the register?

THOMAS: Sure, I’m Thomas Sanders.

JOAN: And I’m Joan S.

SECRETARY: Very well, you can come in, it’s that door over there. You won’t get lost.

THOMAS: Thank you.

[Thomas and Joan cross the door and they find themselves in Picani’s office. Picani is there, smiling at them]

PICANI: New patients. Do you how do? Sit down, please.

THOMAS: Good afternoon, doctor.

JOAN: Hi.

[Thomas and Joan sit down]

PICANI: I couldn’t help but hear you from my window. You know Elliott, right?

JOAN: Oh, yes. You could say we’re almost like family.

PICANI: Yes, I see the resemblance… Is this your first time in therapy?

THOMAS: Well, not for me, I had to go to some therapy after a rough break-up I had a couple of years ago.

JOAN: For me, it’s the first time.

PICANI: And how would you describe the relationship between you two?

THOMAS: Oh, we’re just friends of many years, we’re not dating or anything. We also work together.

PICANI: I see… Are you currently in a relationship?

THOMAS: Not me. I’ve been single since the break-up.

JOAN: I am, with my partner Talyn.

PICANI: Oh, and it’s a happy relation?

JOAN: Yes, certainly. It’s them, their kittens their pet-rat and me.

PICANI: Aww! Just like Cinderella had their mice before she met her prince charming…

JOAN: Yes, you could say so…

PICANI: We don’t have much time, and Joan seems to be doing okay, so I wanna concentrate in you Thomas. How would you describe the outcome of your relationship.

THOMAS: Well, it was hard. It’s not easy to give up to your first love, you know?

PICANI: Was it a source of anxiety?

[Suddenly, Thomas is replaced on the seat by Virgil, it seems that only Joan notices the change, Picani doesn’t sport any reaction]

VIRGIL: Yes, it certainly was. Both in the time before and after the end of the relation, angst was pretty the norm in my life.

JOAN: … Virgil?

PICANI: I see. It seems that you loved this person, right?

[now it’s Patton who sits in the couch]

PATTON: Yes, all of my heart was devoted to him. That was the hardest part, allowing my heart to let him go. It took time, but I finally did it.

JOAN: …and Patton?

PICANI: And what do you hope to get from life in the love department, Thomas?

[Roman appears in the couch]

ROMAN: Oh, I’m still a sucker for romance, you know. At first I thought I would never get to experiment that feeling again, but little by little I have recovered the hope that there’s someone for me and that I will find him someday, when I least expect it. And if that doesn’t happen, it’s okay. I’m also lucky today to say that I love myself, and that’s enough.

JOAN: What is going on here?

PICANI: Do you have any plans for your future?

[Logan appears on the couch]

LOGAN: Of course I do. I mean, no one can plan his future in the long term, but I have some things planned for me in the short term, like trying to do bigger steps in my career, making sure that I have a proper, healthy lifestyle, et cetera.

JOAN: Okay, will anybody tell me what’s happening here?

[Thomas reappears on the couch]

THOMAS: What’s the matter, Joan? Are you okay?

JOAN: You tell me. Your Sides have been appearing in your place all of the time.

THOMAS: Have they? I didn’t even notice.

PICANI: I did, but I assumed it was some eccentricity of you, non Sandersians.

THOMAS: I guess I was projecting them while I was speaking with Dr. Picani. It may have something to do with being in this land. It’s okay, Joan.

JOAN: If you say so…

PICANI: Okay. Time is running out. My next patient will be here in just a few minutes. Since this hasn’t been a full session where we didn’t have really much time to discuss any real issues, and you are friends of Elliott’s, you don’t owe me anything. Elliott has payed for the full session already, so it’s okay.

THOMAS: Oh, thank you, Dr. Picani.

PICANI: But I hope to know about you in the future.

[Thomas and Joan rise up]

THOMAS: Yes, I hope so too, Doctor. Goodbye.

JOAN: Goodbye, Doctor.

PICANI: Goodbye, patients.

[Thomas and Joan get out of the building. The Sides rise up or appear around them]

THOMAS: Well, that was refreshing.

JOAN: It was.

ROMAN: And you were right, Thomas, it doesn’t make sense to place eyeshadow and purple garments on Dr. Picani. I’ll scrap that when we get back home.

THOMAS: I’m glad you understand, Roman…

[suddenly, an army of Thomases, all dressed with the Steven Universe star shirt, comes out of nowhere and surrounds the gang]

THOMAS: [a little afraid] What’s the meaning of this?

VIRGIL: [concerned] We’re surrounded, there’s no possible escape route.

[one of them approaches them]

GUARD: At last we found thou, your Highness.

ROMAN: [concerned] Oh, no…

THOMAS: What is going on, Roman? Who are these?

ROMAN: These are all the different Thomas characters you have played in your Vines and shorts. They work in the Royal Palace, doing chores, being our entourage in protocol expeditions, being our guards, like the ones here…

GUARD: Thou must come with us, your Highness. Thy father has been looking for you everywhere. Thou shouldn’t have just disappeared like that.

ROMAN: I’m the prince of this land! I decide when I disappear and for how long! Now I command you to let me go!

GUARD: I’d wish to follow your command, your Highness, but alas, our orders come from the King, your father, themselves. Thou must come with us right now.

ROMAN: But…

GUARD: Please, your Highness, don’t make a scene. Do not resist us. We’d hate to use violence, but we’ll do to enforce your Majesty’s command if we must. Ye are surrounded and outnumbered, thou know thou have no choice.

ROMAN: [sighs] Okay… If there’s no choice, I’ll go with you… But my friends will come with me as my own personnel, they’ll stay with me all the time.

GUARD: Do as it pleases thyself, as long as thou come with us.

ROMAN: Let’s go then. Let’s get over with this already.

[they start walking, they talk to each other in low voice trying not to be heard by the guards surrounding them]

ROMAN: I’m so sorry, you guys. I didn’t expect that they would find us so easily. I thought if we stayed away from the Royal Palace, we’d be safe, but I guess I was wrong. My father must have eyes and ears everywhere.

LOGAN: Ew… That’s gross…

DECEIT: It’s a metaphor, Logan.

VIRGIL: But I don’t understand, Roman. What’s going on?

ROMAN: You see… when I first appeared in front of Thomas the first time, I told him that some day I’d be a prince, remember Thomas?

THOMAS: How could I forget?

ROMAN: I am Creativity, and I had the power of making anything that Thomas imagined through me come true in the Mind Palace. So I wished hard for me to become a real Prince… and it worked. One day I woke up in a royal bedroom, and I was Prince Roman, Heir of the Kingdom of Sandersia. Everything I created as Thomas’ creativity, made Sandersia bigger and more prosperous. I also had a royal family of my own, with a King that ruled the Kingdom, which was my royal father. I lived with him so many years, I got fully immersed into the story I created for myself, and became his son for real. He raised me, after all, so he was my father in all the sense of the word. But then, the problems arose.

THOMAS: Problems?

ROMAN: Well, it was in a time when you, Thomas, got really afraid and uncomfortable with your own sexuality, and that fear was a big influence on all of us. I didn’t escape that influence as, suddenly, my father, the King, started demanding me to marry a princess to secure a lineage. I was horrified. I told him that I was gay, and that I would never marry a woman, princess or not, but that only infuriated him. He just locked me in my bedroom, forbid me to get out of the kingdom, so I couldn’t see you, Thomas, and started looking for eligible maidens all over the land to choose one himself and force me to marry her.

VIRGIL: Oh, yes, you mentioned that, but not with so much detail.

ROMAN: So, in the end, one night, when everybody was sleeping, I grabbed my sword and ran away to my room in the Mind Palace. I created a barrier between my room and Sandersia so that they could never know where I was, and so that no one could get in or out without my authorization. And I stayed in my room from then on, never returning until today. I even removed the shields from my royal uniform out of fear of being uncovered… then I realized that was impossible as long as I didn’t return, so I brought them back when I updated my outfit. I should have taken them off before coming back. No wonder everyone recognized me as Your Highness…

THOMAS: But you’re Creativity. You literally created them all. You could as easily modify them or make them disappear, why so much fear?

ROMAN: I can’t, Thomas! They’re my family. I literally grew up with them. I’m too attached to them, it would kill me to do that. I would never do that. I want them to keep on existing, just the way they are, and if they change, I want them to change on their own free will, because they’ve listened to reason, not just because I forced them to do so. I may dress in white, but I’m not White Diamond, you know?

THOMAS: I see. But if you knew this could happen, why did you take such a foolish risk and return to Sandersia? We would have never put you in such a danger just for some… fun trip.

ROMAN: I always felt incomplete, Thomas. What’s a prince without a kingdom? I’ve always missed Sandersia, and I had hoped that they would have forgotten about me after all these years, especially since now you are more than comfortable with being gay… I guess I was wrong. Now they’ll force me to go back to the Royal Castle permanently… maybe even carry on with their plans and make me marry a princess of their choice… [looks at Virgil with an angsty face] I don’t want to do that! I love you, Virgil, I just want to be with you and no one else!

VIRGIL: [holding Roman’s hand, with determined voice] If that’s so, I won’t let them force you into doing something you don’t wanna do! We’ll try to convince them to understand, and if they don’t listen, we’ll make them listen! I won’t let them take you away from me! Jeez… love can really change people down to the core. I never thought these kind of determined words would ever be coming out from my mouth. That’s the effect you’ve had on me, Roman, and I’m not giving you up!

ROMAN: [with a sad smile] I love you, so much…

THOMAS: And we’ll help in any way we can. It’s not fair that for some… stupid law, they force you to be in an unhappy relationship for the rest of your life. We’ll think of something.

GUARD: Okay, we’ve arrived.

ROMAN: [with a painful, sarcastic, voice] Oh… good…

[the gang looks at the castle that lies in front of them. It’s huge, in white color with red roofs, and with Roman’s shield above the front door. The door opens and they enter a huge corridor with another door at the end of it. When the front door slams behind them, all the guards except the main guard leave them to guard the door and the gang walks to the end door]

GUARD: Wait here till I announce thou.

ROMAN: Yes, I know how this works, I used to live here, remember? Don’t teach me any lessons and go ahead already.

GUARD: You must know that I sympathize with you, your Highness. I do not like at all having to do this, but it’s the king. I must obey. I wish you the best of luck.

ROMAN: Yes, yes, whatever…

[the guard opens the door and closes it behind him, while the gang stays outside]

ROMAN: I’m scared, you guys…

VIRGIL: Who wouldn’t be?

ROMAN: I mean, who knows what my father’s going to do to me? The more I think of it, the more scared I get… I wish we could be back in the living room right now…

THOMAS: And why don’t we? Let’s just teleport back, like when we get in and out of the rooms.

ROMAN: We can’t teleport out of Sandersia, Thomas. Remember that I placed a barrier at the door. No one can get in or out of Sandersia unless they cross that door. We’d need to get physically across the door to my room first to be able to get back to the living room, but it’s too far away… and we’re trapped in this castle with no escape. And I’m not wiping out anything or anyone, before you make the suggestion. No innocent Sandersian will be erased in any plan we conceive.

THOMAS: It’s okay. We’ll think of something else. In the meantime, don’t be afraid. We won’t let anything bad happen to you.

PATTON: If the king treats you bad, I’m ready to physically fight all the minions he tries to throw upon us to defend you. It would be the first time I’d have to do it for real, but I don’t care. I’ve got a future son in law to protect.

ROMAN: Thank you, Patton. Thank you guys…

[the door starts opening]

ROMAN: [swallows saliva and shows a scared face] Oh, no… [takes a deep breath and masks his fear with his usual regal bearing] Okay… dignity. I’m still Prince Roman. I’ll stand my ground. I won’t give in.

[once the door is fully opened, the guard yells from inside]

GUARD: Prince Roman Graham Alexander McDonald Carlos Sanders III, Prince and Heir of the Kingdom of Sandersia!

[Roman starts walking and the others walk a few steps behind. He shows his regal bearing, and he would have fooled everyone into thinking he was confident, if it wasn’t for how much his hands were shaking. After a few steps, Roman looks at the throne room. To the surprise of everyone, at the throne there sits the Prince Guy]

ROMAN: What? You?

PRINCE GUY: Glad to see you again… brother.

THOMAS: What the… Brother? The Prince Guy is your brother?

ROMAN: Where is dad? [to the guard] You said that my father gave you the orders.

PRINCE GUY: I commanded him to tell you that, Roman. You wouldn’t have listened otherwise.

ROMAN: [sarcastic] And of course, the fact that you sent a whole army to get me wasn’t a stronger way of convincing me, I guess…

PRINCE GUY: You never know…

ROMAN: You still didn’t answer my question. Where is dad?

PRINCE GUY: Roman, our father… died seven years ago.

ROMAN: [in shock] He… died?

PRINCE GUY: When you left, he went really angry. He searched Sandersia for you far and wide. But you were nowhere to be seen. After a couple of years of search, he stopped looking for you.

ROMAN: Because he gave up on me?

PRINCE GUY: Because he went ill, Roman. When he saw that his end was nearing, he realized how bad he had been with you. In the end, I confessed…

ROMAN: You confessed? What did you have to confess?

PRINCE GUY: …that I had been covering your escape.

ROMAN: [in shock] You… what? I didn’t know…

PRINCE GUY: I had always known where you were hiding. That night, when dad was so harsh on you, when he called you all those horrible things… I went to your bedroom to try to comfort and support you. And I saw you sneaking out of the castle and running away. I followed you up to that door in the tree where you placed the barrier.

ROMAN: I never noticed anyone following me… And why didn’t you give me away?

PRINCE GUY: How could I do that? You are my big brother and I love you. I've always looked up to you as an example for your courage and gentleness, and for your strong will that wouldn't let anyone stand in your way to your dreams and happiness, and I admired how sometimes you would be bent by dad’s words, but never broken. I knew dad was wrong and I wanted to make sure that you were happy, even if that meant I would never see you again, and even knowing how much I was gonna miss you. In his last moments, dad understood it too. He wrote you a letter, that I was to give you. But I couldn’t cross the barrier, so I couldn’t deliver it. I tried to knock sometimes, with no luck.

ROMAN: Oh… I remember someone knocking at the door years ago… But I didn’t open out of fear of getting caught. If I had known…

PRINCE GUY: It’s okay, I understood that at the time, and I just resigned to wait until the day you decided to come back. And I left… Sun and Moon guarding the door day and night to warn me when you decided to show your face here again.

ROMAN: So it was these two who gave me away. And they looked so innocent…

PRINCE GUY: Don’t be mad at them. I’m glad that they gave you away, brother. Otherwise, I couldn’t have given you this. [takes a golden envelope from a pocket in his suit, gets up from the throne and approaches Roman to give it to him] These are dad’s last words for you. Here you are.

[Roman opens the letter and starts reading the also golden paper inside. After a few moments, he bursts in tears]

THOMAS: Don’t keep us in suspense, Roman, read it to us too! If it’s not too personal, of course.

ROMAN: [sobbing] Oh, sorry… it’s not. But I fear I’ll get choked up if I read it out-loud…

PRINCE GUY:  I already know the content, as I wrote it myself on his dictation, because he was too weak to hold a quill, but, as you can see, he stamped his royal insignia so that you knew I didn’t write it myself. I’ll read it if you want.

ROMAN: [giving him the letter, still sobbing] Yes, please…

PRINCE GUY: [reading] My dear son Roman… I don’t know how to start these lines. How does a father start apologizing to his son when he thinks what he’s done is unforgivable? Some things I think of come out as fake, others come out as weak. I guess I’ll just have to allow myself to be myself, and start with the most simple, yet most difficult word to say: “Sorry”. I regret so much everything I made you go through. I have paid the price of my wrongdoings, because I lost you. Now I know I’ll never see you again in this world. I’ll pay the price and think it was worthy if at least you managed to find happiness away from me, wherever you are, and with whomever you choose, whether it’s a woman, or a man, or anything in between, I don’t care anymore, as long as they’re a good person who loves you as much as you deserve, as much as I failed to do in the end. I hope that when you read these lines, you can find it in your heart to forgive this stupid old man that is on the verge of leaving this world. That wouldn’t change what I’ve done, but at least it would give me peace.

[Virgil gets closer to Roman and holds his hand. They look at each other and tears start running from both their eyes, while the Prince Guy keeps on reading]

PRINCE GUY: There’s a problem on what we must do with the throne after my departure now that you’re gone, though. Even though your brother would also be a good king, I still think that you’re the best ruler this kingdom could have. Your brother agrees with me on that as he doesn’t want the crown. So, for the time being, until you make a choice, I have decided to make your brother the regent of the Kingdom of Sandersia, and he will govern in your name while you’re absent. In the case you decide to return, he’ll immediately resign in your favor and you’ll take your place as King of Sandersia. It’s up to you what you decide to do with the crown afterwards. I know that, whatever you do, you’ll make the right choice. You were educated in wisdom and intelligence, and you developed the most creative mind because of that. At least in that, I think I wasn’t so bad.

[the Prince Guy makes a short pause, then proceeds to read the final part of the letter]

PRINCE GUY: It’s time for me to end these lines now, as my strength is starting to fail me and my vision is getting blurry. I don’t think I’ll last much longer. Goodbye, my dear son. I hope that my love reaches you and guides you for the rest of your life. I’ll always be with you if you look into your heart. I love you, my son. Even if I failed to show it properly, I have always loved you. Farewell.

[the Prince Guy gives the paper back to Roman]

PRINCE GUY: And then he signs with his name and his royal stamp. Dad wrote another document proclaiming this last part, which was read in his funeral. You were proclaimed back then as the new king, so there’s no need for any more formalisms. Welcome back home, King Roman Graham Alexander McDonald Carlos Sanders III, ruler of the Kingdom of Sandersia.

ROMAN: I… I didn’t expect this. So I’m… the king?

[another guard brings the Prince Guy the royal crown]

PRINCE GUY: Yes, your Majesty. [placing the crown on Roman’s head] The throne is all yours.

THOMAS: [emotional] Oh, my goodness… Congratulations Ro… I mean, Your Majesty!

VIRGIL: I’m so proud of you…

[the rest of the Sides and Joan start cheering and applauding, even Logan gets a little carried away]

PRINCE GUY: Now, I think it’s your turn to speak. Say whatever’s in your heart, Your Majesty.

ROMAN: I… I don’t know what to say… Yes I do. I hereby announce that you, my brother, will keep on being the regent of Sandersia.

PRINCE GUY: [surprised] What? But I…

ROMAN: My wish was to be a prince, and if I’m crowned as king, that means I’m no longer a prince. I’m not giving up my nickname Princey. Kingy just sounds… weird, and I don’t even know how to spell it.

THOMAS: But the purpose of a prince is to become a king. Isn’t it?

ROMAN: Don’t get me wrong, Thomas, I’m not giving up the crown. But I just had an idea. I don’t have to stop being a prince if I do a little tweak to Sandersia’s Constitution, and as a king I have the power to do that… From this day on, I proclaim that the Kingdom of Sandersia becomes the Principality of Sandersia, and I remain being Prince Roman… and the rest of the names, ruler of Sandersia.

PRINCE GUY: But why do you want me to keep on being the regent? You’re back, the crown is yours. Being a king or a prince is irrelevant to that.

ROMAN: You have been here, governing the kingdom in my absence all this time. And look how well you’re doing it. I’m so proud of you. Besides, I still have work to do somewhere else, brother. I’m still Thomas’ Creativity. I can’t properly rule a country and fulfill my creative duties at the same time. That’s why I want you, brother, to help me. Be my eyes and ears in the throne. Also, I know that, unlike me, you’re capable of having descent in wedlock, because you like both men and women, I’ve seen it in Thomas’ Vines and shorts. So you won’t have the trouble that I have to find someone with whom bringing a new heir to Sandersia. When the moment comes, I’ll abdicate my crown into your son, or daughter, and they will be the next ruler. That if you choose a woman as your wife, of course. If you decided to be with a man, or decided not to be with anyone at all, we’d find a solution.

PRINCE GUY: I don’t know, it’s too much to assimilate all of a sudden… Are you sure, Roman?

ROMAN: I have never been more sure of anything in my life.

PRINCE GUY: Then… it shall be as you commanded. I’ll try to keep on making you proud, your Majesty… I mean, your Highness.

ROMAN: And please, call me Roman, we’re family after all, aren’t we?

[the two brothers share a hug]

JOAN: So many things have happened in so little time… I think I’ll just give up on keeping up and get carried away with it. I’ll think about it tomorrow.

ROMAN: Now, I want to introduce you to someone, brother. Virgil?

VIRGIL: Yes?

ROMAN: This is Virgil. He’s my fiancee, I asked him to marry me just today, and he said yes.

PRINCE GUY: I’m honored to know you, Virgil.

VIRGIL: The honor is all mine.

PRINCE GUY: It would be my biggest pleasure if you decided to celebrate your wedding here, in the Royal Palace. I wouldn’t want to miss it.

ROMAN: Oh, it would be great. What do you think, Virgil? Oh, I know you don’t like pomposity on weddings…

VIRGIL: It’s okay, Roman. When I decided to be with a prince, I accepted everything that comes with it.

ROMAN: But you don’t have to do anything that bothers you just to please me, Virgil. You have equal weight in our relationship and your word must be heard as much as mine.

VIRGIL: Thank you, Roman. I promise to tell you everything I can think of for the wedding, when I come out with something.

ROMAN: That’s better. Now, brother, we must go. I’ll tell you in advance when we’re ready to start preparing the wedding.

PRINCE GUY: I’ll be waiting, brother. Please, don’t take another seven years to come back.

ROMAN: I promise. And I’ll keep contact, even if by letter.

PRINCE GUY: I have a cell phone, you know? Sandersia is not so out of the world.

ROMAN: That’s great, here’s my number… so call me maybe?

PRINCE GUY: You bet I will.

ROMAN: Well, it’s gonna be a long way back…

PRINCE GUY: Why walking? You have the royal carriage at your disposal. It’s big enough for you and your personnel, and it will take you there in no time. It’s already waiting at the door.

ROMAN: Thank you, brother. I was so afraid when I entered the castle, and I’m leaving it so happy and fulfilled.

PRINCE GUY: Glad to hear that. Have a nice trip back home, all of you.

THOMAS: It was an honor to meet you. Goodbye.

ROMAN: Goodbye, brother, until we meet again.

[the gang leaves the room and jumps into the royal carriage. The Prince Guy was right, because they have little time to react and they’re already at the door to Roman’s room]

THOMAS: Wow! Thank God they don’t put speed tickets here in Sandersia. Your brother was right when he said we would be here in no time…

ROMAN: Yeah... [looking off-screen at Patton in the car] Watch out, Patton! Don’t throw up in the car, the upholstery is made of...! [off-screen sound of puking, Roman cringes] ...cashmere...

THOMAS: Roman...

ROMAN: Yes, Thomas?

THOMAS: Why is there so much trouble with your offspring? Aren’t you going to marry Virgil? Technically if you two adopted, it would be a child of your own in wedlock. Even if you decided to surrogate, Virgil could adopt him.

ROMAN: I know. It’s absurd, but it’s the protocol. The heir of the Kingdom... or Principality now, must be the biological son or daughter of both the ruler and their legitimate married partner.

THOMAS: Then, change the protocol! Aren’t you the king, I mean, the prince of this land?

ROMAN: It’s not that easy. Laws can be changed, but protocols are written in stone. It takes much more time to implement changes and to make them be accepted. Why do you think so much royalty people feels miserable, despite being rich, famous and powerful? It’s the price to pay for our position, unfortunately... Well, let’s get back home.

[they cross the door and get back to Roman’s room]

ROMAN: Home, sweet home.

VIRGIL: It’s good to be back. For a moment, I thought we’d never return.

THOMAS: Okay, it’s time to get back to the living room. Are you coming, guys?

ROMAN: Um, no, I’m tired, Thomas, so if you excuse me, I’m staying here.

THOMAS: Okay. What about you, Virgil?

VIRGIL: I’m staying here for a while too. We need to have a conversation about the wedding, after all.

THOMAS: [smiling] As you wish guys. Okay, let’s go. Bye, guys.

ROMAN: Bye, Thomas, bye guys.

[Thomas, Joan and the Sides sink down, then they rise up in the living room]

JOAN: What a cool adventure… Seeing all our characters alive in front of our eyes… I think it’s the best experience a creator could ever have.

THOMAS: You’re right…

PATTON: Well, kiddos. We’ve been out for so long that the dough I made for the cookies must have got rotten, so I’ll start over.

WRATH: Do you need some help, Patton? I’d love to make cookies with you.

HONESTY: Me too. I can bring the tea I was preparing earlier.

PATTON: As you wish, kiddos.

[Patton, Wrath and Honesty sink down]

LOGAN: I’m also going to my room. I need to start writing down the plans I mentioned to Dr. Picani earlier. [sinks down] See you later, Thomas.

THOMAS: Don’t work too hard, Logan.

DECEIT: I must go too, Thomas. It was great being in a world so delusional, but even the deceitful ones like me need some time to put their feet on the ground. [sinks down] Bye.

THOMAS: Bye, Deceit. Well, Joan, what do you think of this?

JOAN: It was enlightening, an experience I will never forget.

THOMAS: Yeah, me too. [to the camera] And I hope that anything you out there have seen has been useful for you too. Until next time, take it easy, guys, gals and non binary pals. Peace out!

[end card]

[Deceit is in his room in the Light Realm, reading a book about optical illusions]

DECEIT: Who would have thought. Even nature is a liar sometimes…

[Virgil rises up]

DECEIT: Oh, hi, Virgil. I thought you were staying with Roman discussing the preparations for your wedding.

VIRGIL: I had that planned. But something got me worrying all along, and didn’t let me focus, so I left early.

DECEIT: What is it?

VIRGIL: Are you all right, Deceit?

DECEIT: What do you mean I’m all right? I’m happy as can be.

VIRGIL: Cool. Because, earlier, when Roman proposed to me… I couldn’t help but notice your face.

DECEIT: My face? What face?

VIRGIL: Your face of sorrow.

DECEIT: I don’t know what you’re talking about.

VIRGIL: And I’m sure Honesty and Wrath know something too, they tried to be discreet, but I saw them comforting you.

DECEIT: Look, it’s normal that a wedding can be stressful, but don’t you think it’s too early to start imagining things?

VIRGIL: Lately, you only lie when you get nervous. So I think I’m hitting close home.

DECEIT: Listen, I…

VIRGIL: Listen, Deceit. We’ve been through a lot, both good and bad. There were times when we were closer, other times when we couldn’t stand each other. Now that we’ve regained our friendship back, I don’t want to be unable to know if I can trust you or not again. Please share your feelings with me.

DECEIT: Believe me, Virgil. There’s no use in me sharing my feelings with you. That would only blurry the happiness you’re living in right now, and I don’t wanna do that.

VIRGIL: There’s only one reason you could be so secretive with me, but not with Honesty and Wrath. Do you… have any feelings towards me, Deceit?

DECEIT: [nervously] No, I don’t!

VIRGIL: Got it… Listen, Deceit. I love you, but not in the way you’d wish.

DECEIT: [sighs] I know… That’s why I didn’t want you to know my feelings ever.

VIRGIL: I will always be your friend, and I hope you never stop being my friend. But please, try to…

DECEIT: I wish it was so easy, Virgil. But you said it yourself. We’ve been through a lot. We’ve known each other for so long, and I’ve been in love with you for so long. Even in the moments when we were enemies, I still loved you, but I covered that feeling with my lies. I don’t know how I can expel from myself this feeling so rooted in my heart, without tearing my heart itself apart.

VIRGIL: You must try. I love Roman.

DECEIT: I know. And I hope you live happily ever after with him, Virgil.

VIRGIL: It’s painful to see you so dejected, Deceit. I wish you could feel otherwise…

DECEIT: See why I didn’t want to share my feelings with you? What has been the use, other than bringing clouds into your happiness? Now, please, I want to be alone.

VIRGIL: [sad voice] As you wish.

[Virgil sinks down]

DECEIT: [sighs, with a trembling voice of pain] It’s all falling apart… I must go back to the Dark Realm and never return. No one would miss this stupid liar anyway…

[Deceit sinks down and then the room’s lights turn off, leaving the room in darkness]

[allthislove]

So. Jesus Christ Superstar Live.

I just wanted to type/talk about why I loved it so much. I’ve been thinking about it, this past week. There’s, surprisingly, not a ton of talk about it, even though it’s clearly the best “live” NBC has ever done. 

Most of the talk about it, recently, has been religious, which... I guess comes with the territory, when you’re telling THE story of a major religion. Anyway...

I think, for me, one of the very biggest reasons I enjoyed it was seeing black Jesus. Much the same way Hamilton captivated me, because I was watching a bunch of inspiring people of color. I gotta say, I haven’t really seen Jesus Christ Superstar before this live. I knew the show, and I knew songs from it. I think I had even seen the 1973 movie as a child. I’m not sure. I don’t remember it very well, but it looks familiar. But anyway, after watching the live, I went back and listened to a few different versions (well, watched the clips on YouTube), and while they were very, very good, I start to feel uncomfortable when I’m looking at a blonde Jesus and a bunch of brown people singing his praises (1973). I watched the Simon Zealotes scene, and while the actor playing Simon killed it, man, was it uncomfortable to see a brown dude like “Hey, white man, I worship at your feet!” Especially since that was the fucking early 70s. (And the Yanni looking dude from the 2000 movie really couldn’t do it for me. Even though he was a good singer. Possible that that version is just too 2000s and dated, but whatever.)

Seeing a young, black Jesus, and a black Judas as my first real experience with the show was electrifying. 

I also really like John’s soulful voice in the Jesus role. A lot of people who grew up on the earlier versions of the show are saying he was bad in the role, but I disagree. The only issue is that his voice sounded strained at times, which happens in live performances. And I’ve rewatched it several times, and guess what? Several of the performers sounded strained, at times. Pilate and Judas also have moments where they struggle for a note, or mess a note up. And no one’s mentioned those times. (I wouldn’t be surprised if a lot of this is just nostalgia for the rocker-sounding voice. John Legend makes this music sound really gospel or R&B. Which is beautiful, too. It’s just a different sound. But nostalgia sometimes gets in the way.) 

What I also liked was that this live made me care about the Jesus story in a way I haven’t in a looooong time. I grew up in the church. Not just in the church, but INNNNNNN the church. Like, my dad has always been the Minister of Music at every church we’ve ever attended, and my mom generally did the youth message. Like, I sang on choirs and did solos since before I can remember. I’m a black girl from the South. Most of us grew up in the church, but yeah, I was from a church going family. As I got older, I grew away from the church. Partially because the message American Christians spread is too soaked in hatred of specific types of people, and partially because the Christian dogma is scary and really bothered me. Literally the only thing I ever liked about Christianity was Jesus. Like, real Jesus, not MAGA Jesus. Jesus is a unique figure, in that his message is purely of love, and acceptance for everyone. (Which is why I couldn’t figure out why, for instance, Christians were so hellbent on hatred for the LGBT community.)

But, yeah, this story right here? The Passion? It’s never, ever presented in a way which makes the listener/reader understand truly what was happening. I must have heard about the Crucifixion and Resurrection of Christ a million times growing up. This musical is the first time I’ve heard the story presented in a way in which I understood what was at stake for the Jews, why Jesus was even a problem, why Judas even decided to turn him in, and why he was actually crucified. Shamefully, I never even got that Pilate didn’t think Jesus should die, until this musical. 

Part of that is because the musical made me want to read up on this story more. But yeah, it’s presented more accessibly than it ever is in other works. (And, yeah, I skipped The Passion of the Christ, and I refuse to ever watch it. I don’t like torture porn, and I remember when everyone in my church was going to see it and talking about how bloody it was and how we all should see it because we should see how Jesus suffered for us, and I remember thinking “what does being Christian have to do with forcing myself to watch something horrifying?”)

That said, a lot of active Christians are afraid it’s blasphemous. Not just this live version, but the musical in general. My take, as someone who leans Christian, but is really rather agnostic? It didn’t once make me lose an ounce of respect or reverence for Jesus. Maybe some Christians are afraid to look at Jesus as a person... but for me, it helps a lot. To look at him as a man who physically walked this Earth and was a member of an oppressed group, who did what he could to help them, and died for them. And, tbh, I know Christians view Jesus as the Messiah, but I thought the whole point was that Jesus was an Earthly incarnation of/the son of God/Yahweh. That’s the point. So, looking at him as a man isn’t a bad thing. The whole point was God sending his son to Earth to walk as a man among men. I’ve seen criticisms that it makes Jesus look power hungry. But I don’t think so at all. In the song Poor Jerusalem, he quiets Simon the Zealot and the crowd by telling them they, nor the Romans, nor the Jews, nor his own disciples understand what power or glory is. He doesn’t WANT the power and glory that Simon says he’ll get if he fights Rome. He seems to understand that there’s a higher power that none of them can fathom. He also, later, tells Pilate “that’s who you say I am” when asked if he’s the king of the Jews, or the son of God. In no scene does he tell people to worship him, or tell them he’s God, he’s King, anything. He’s represented as humble and gracious throughout the piece. In Hosanna: “Sing me a song, but not for me alone. Sing out for yourselves, for you are blessed. There is not one of you who cannot win the kingdom. The slow, the suffering, the quick, the dead.” How is that a power hungry figure? Judas’ point is not that Jesus is power hungry. It’s that he’s allowing the people to say he’s the Messiah (which Judas, in this play, isn’t sure of. I’m not sure how he felt in the Bible.), which Judas fears will bring the wrath of Rome and Caesar. He tells Jesus he’s “letting it go too far.” No where, however, does Jesus ask for any of the praise he receives. He just receives it well, because, well, he’s Jesus. He’s a kind, loving figure. He’s not going to be like “shut up, you idiots! Don’t call me the Messiah, Rome will kill us!”

The other complaint I hear is from Jewish people who suggest the musical claims “the Jews” killed Jesus. I don’t think it does. Everyone in the musical who isn’t Roman is Jewish. Some of those people were Jesus supporters til the end. Some, were not. But, that’s like any group of people. You have to also realize that, in this context, the Jews are a people- in an occupied land. Some of them looked at Jesus (in the world of the play), and thought “FINALLY! This man will save us all!” Some of them looked at him and thought “Who does this guy think he is? Claiming to be the son of God? Claiming to be our King? He’s going to get us killed!” (At the time, Rome was ruling and would see any person crowing themselves “king” as a threat.) The chorus in this play works sort of like.. they all just play whatever crowd it is at the time. Sure, it’s supposed to be that some of Jesus’ supporters turned on him. But also, they chorus is just playing that particular crowd. And, I don’t think it suggests that “Jewish people” in general are to blame. Jesus is Jewish, and so are the 12, and so is Mary. Even in the Bible, there are Jewish people who still followed Jesus (who later became what we called Christians later.) There were also probably Jewish people who had no idea any of this was happening. It was, after all, like 30-something AD. News didn’t get around that fast. But, yeah, the story is about Jewish people. All of them are Jewish, except Pilate (who is Roman.) So, it’s a little hard to say “the Jews” killed Jesus, when everyone involved is Jewish, and the person who actually did the killing wasn’t even Jewish. I don’t think the play suggests that at all. It just tells the story as it’s supposed to have happened. That Pilate didn’t think Jesus should be put to death, and the community demanded that he be killed (largely because they were afraid his message would make them a target for Rome.) But again, everyone in the story is Jewish. Jesus didn’t die a “Christian.” He died a Jew. Y’all know how I feel about saying, like, “black on black crime.” It’s the same context. It only happened that way because everyone there was Jewish, not because Jewish people were especially keen on killing Messiahs or something. 

Anyway, I think this is all my thoughts on it, for now. Final thoughts: Brandon Victor Dixon is amazing. Sara Bareilles did a beautiful job as Mary. The cast in general was great. 

Ohhhh! I wanted to comment on this: John Legend’s acting, of course, left something to be desired because, well, he’s not really an actor. But I gotta say, I realllllly love him in Hosanna. Just, his cute, cheeky defiance of the Pharisees? The playing to the actual audience. His smile. AMAZING. He’s best as cheerful Jesus. (I think he plays Jesus a bit too angry, in some scenes. Like, I don’t think he’s angry in the Last Supper, as much as direct/calling them out. But John plays it a little too much like Dream Girls. You know, the moment where everyone gangs up on Effie? That’s almost how John plays it. Jesus is supposed to be his angriest in the Temple scene.) But, yeah, I wanted to give him his props for Hosanna, which is brilliantly played. I haven’t seen anyone mention it, but I’ve watched Hosanna a billion times, already, just because I love how cute John is there. He’s like, silly Pharisees... you don’t even understand that I can’t control this. (Black churches love to pull out that rocks and stones thing. Like “when God wants His praise, He’ll get it. If you don’t praise Him, the rocks and stones will sing out!”) Loved it. I wish one of y’all gif-making folks would make me a gifset. Please? Thanks. 

Bye. 

[musicforfour]

The Monkey and the Onion, arranged for SATB Music by Graham Gouldman (10cc) Lyrics by Tim Rice I’m trying to remember how I first knew about Tim Rice. It’s probably from Andrew Lloyd Webber’s musicals. I think when I first discovered Musical Theatre, I started with the very big and well known ones, so Lloyd Webber musicals came in quite early on. But I probably found out about Tim Rice when I’m way more deep into Musical Theatre when I started to figure out who were the people behind these musicals that wrote the music, the lyrics, and the book.

I find that Tim Rice is a unique figure in the world of Musical Theatre. He didn’t really start out with a background in Musical Theatre, unlike Andrew Lloyd Webber who was obsessed with the art form from the get go. In fact Tim was more into the pop records (rock and roll even, dare I say) and the current popular music scene. So he had been writing pop songs on his own before he met Andrew to start writing musicals with him. 

Besides their first musical which never really got put on until many many years later, they went on to create these classic sung through musicals like Joseph and the Amazing Technicolor Dreamcoat, Jesus Christ Superstar, and Evita. Tim continued to write other musicals after the two went their separate ways. He wrote Blondel with Stephen Oliver, Chess (God I love Chess) with Benny Andresson and Björn Ulvaeus of ABBA (yes, The ABBA), some Disney musicals with Elton John and Alan Menken, and most recently From Here to Eternity with Stuart Brayson.

I think that Tim is unique in Musical Theatre in at least two ways. First is that he came up with these unlikely ideas for musicals, and they may seem odd at first, but he has a way to build a story and a way with words to actually make these weird ideas for musicals work. He is probably the only writer of musicals that is known for writing musicals about biblical stories. He even wrote one with Alan Menken about King David, which I hope it gets produced more often so maybe one day I can watch it in full. One more thing about Tim’s musicals is that he brought back the sung through musicals, like opera but with cooler music. It’s kinda funny that this happened only because he tried to keep the musicals short, like Joseph was first performed in a school concert or Jesus Christ Superstar was first recorded to fit the vinyl album. So yeah, I’ve spent the last four paragraphs explaining why I’m kinda obsessed with Tim Rice, just so I can say that I’ve been listening to his podcast “Get Onto My Cloud”. He started the podcast when the world stopped due to the pandemic in 2020, and he featured so many good background stories about his musicals and/or his songs for the episodes. So there’s this one episode about some one-off pop songs that he wrote, and he featured one of his songs titled The Monkey and the Onion for the English band 10cc. I think when I first heard the title, I wasn’t sure that I heard it right so I rewind it, but I did hear it right. And it was quite a cool song with, dare I say, philosophical lyrics that got to me.

So this song stayed in the back of my mind for awhile, and I have been looking for another song to arrange. I had wanted to do a song by Tim Rice, but I wanted to do something of his that wasn’t so obvious. I had thought maybe I was gonna do something from King David, but I had arranged Alan Menken’s music so I wasn’t really feeling it. So when I remembered about The Monkey and the Onion, I thought it’s now or never and I set out to arrange it.

The original recording of the song has this build up using instruments added on top of other instruments, so when I was arranging I realized I could never match what the original recording was doing ‘cause I was just using four voices. So I had to come up with other kinds of variations to keep the song going. Sometimes I used inversions of the chords for similar passages of music. I gave the melody to different sections (but not the Bass, sorry Basses). At one point I made the sections sing unison, and another point almost at the end I had just one section sing alone.

I also found this plug-in for Musescore that checks for parallel fifths and octaves, so I started to use this to check my arrangement. I knew from the start that writing parallel fifths and octaves is not quite acceptable for four part writing, but I only recently started to see why it’s bad. (Warning, mansplaining ahead) Basically writing parallels fifth and octaves make the parts sound unified, such that the four parts aren’t really four parts since one part is unified with another part when they have parallel fifths or octaves. 

I quite like the sound of two notes that are fifth apart, and I’m sure I’ve written a lot of parallel fifths without me knowing. It has this strong solid sound, and I remembered hearing it and really feeling it when I arranged for the first time. But now that I think about it, that time when I tried to arrange Sondheim, I think I wrote way too many parallel fifths that eventually it sounded too full and I couldn’t really go on with the same sound for the next verses. It’s kinda like eating a dessert cake that is way too rich and heavy, that you probably have enough before you finish a slice.    

So yeah, besides some parts where the sections sing in unison, I made sure that the four parts for my arrangement this time didn’t have any parallel fifths or octaves. I think each part sounded more clear and I intentionally had some parallel octaves like I bolded some words or underlined a phrase that I wanted to highlight. I like some of the chords that I found for this arrangement, and all in all I’m pretty happy to have found out about this song and to have shared this song by arranging it.  Tim Rice’s Podcast “Get Onto My Cloud”, Episode 25 “One-Offs”: https://cms.megaphone.fm/channel/getontomycloud?selected=BPNET1445446315 Link to score: https://musescore.com/user/4177086/scores/6771052

[pocketsizedsam-blog1]

Real life supernatural

Jared x reader

word count: 2,144

warnings: cursing

"Did you do it?" Jensen yelled.

"Do what? Kill that man? Jesus Christ, you know me Jensen! Would I have done something like that?" Jared yelled back at his best friend, rather upsetting everybody in the room.

"I'm just making sure! You were the last person to see him alive, at that bar, Jared! And things got heated! I'm just worried that's all!"

"I can't believe you would think that! Jensen what the hell?" You screamed, rather pissed off.

"Like I said Y/N, I was just making sure, it all seems suspicious! Jared you have been off lately!"

"Whatever Jensen, just drop it, Jared didn't do this and you know it."

"Maybe he didn't, but maybe he did, I guess we'll never know because the only two people who would know that is the dead guy and him." Jensen frowned.

"Get the fuck out." You fumed.

"Was planning on it." He said, anger in his voice, as he turned to walk away.

"Don't let the door hit you on the way out." You retorted under your breath.

Jared had pulled a chair out from the table and sat down.

"What died in his breakfast this morning?"

"Jared... Look me in the eyes and tell me you didn't do it."

He looked you in the eyes, dead serious.

"I. Didn't. Do. It." He clenched his teeth.

"Do you swear on my life that you didn't do it?"

"Babe." He said, standing up again and putting his hands on your shoulders. "I'm not going to swear on your life, but I can tell you that I didn't do it."

"Okay." You said falling into him.

Even though you had your doubts, a simple 'I didn't do it!' Worked for you. Later on that evening, you, Thomas and Shepherd were fooling around in the family room after supper. Tom took your phone and slide up on the camera icon. He took a couple of pictures of himself, then a few of him and Shepp.

"Come on momma! Get in the pic with us!" Tom called.

You got in the photo with the two little boys. Jared came into the family room and sat down in the recliner.

"Come on dad," you started, "Get in the photo with us!"

"Nah, no thank you." He smiled slightly.

"Ah, come on Jared! What's going on with you? Take a picture with you fiancée and two boys!"

"I said no, now knock off." He said sternly.

"Jared... The boys are leaving soon, just do something with them. The least you could do is get in the photo with us."

"Momma Gen is coming soon?" Shepp asked.

"Yeah, but you haven't seen momma Gen in almost a month."

"I'm going to miss you momma (your/nickname) and dadda j." Tom said giving you a hug.

"Momma and dadda love you and we are going to miss you too... But you'll have fun with momma Gen and dadda Nate."

The boys were living in a spilt family with step-parents. Before Jared's attitude change, the two of you were going to give the two little boys another baby brother or a baby sister, but since Jared has been so cold and negative, he wanted no part in having a baby. Tom being the smart little boy he was piped up about how long they stayed with you and Jared.

"But wait, momma! We still have another week with you and dadda!" He gasped.

"Momma Gen wanted to take you guys early because her birthday is tomorrow and she wanted to celebrate with you!"

It was a partial lie, tomorrow really was Genevieve's birthday, but with Jared acting the was he's acting, you couldn't stand to have the boys here. It's too dangerous for them. There was a knock at the door and Tom jumped to get it.

"Momma Gen!" He squealed.

You pick Shepherd up in your arms and brought him out to Gen.

"There's my other little man!" She smiled tickling his belly.

He giggled and cuddled into you more.

"Awe, someone looks sad." Gen put a pouty face on.

"I don't wanna leave momma (your/nickname) and dadda j yet!" He cried hugging your neck.

"But I told you Shepp, you know momma (your/nickname) and dadda love you, we'll always be here is you need anything! But momma Gen and dadda Nate deserve to spend some time with you too!"

Tom on the other hand, as much as he didn't want to leave you and Jared, he liked to go with Gen and Nate too. You put Shepp on his two feet. You gave him and a hug and a kiss on the nose.

"See you in a month my babies!" You said giving Tom a kiss and a hug too. "Call us every night!"

"Love you momma!" The two boys exclaimed, hugging you again.

As you stood up you smiled at Gen.

"Boys..." She started. "Dad's out in the car go and out and see him, mom and I need to discuss something before I leave!"

The two little boys left you and Gen alone.

"What's going on?" Her smile faded.

"There's something wrong with Jared, I'm sure of it. I mean he's so different. Just as recent as not yesterday night but the night before at 1 am, I get a call from the police saying Jared got in a fight at a bar. Now that man is dead. Jensen stormed in here today, questioning Jared about what happened. He was pissed."

"What do you think is wrong with him? Are the police looking into him?" She worried.

"Yeah, and in not quite sure. I mean I know somethings off, and I don't know what!"

"Keep me posted okay? We'll talk tomorrow and I want to know everything that happens. Be careful, I've never seen him like this."

Later on the night you had gone to bed and Jared came shortly after. You awoke to the abrupt knocking sounds at the front door downstairs. You quickly jumped up out of bed and rushed down over the stairs.

Y/N's POV

I opened up the door and when I looked up, there were two men in police suits staring at me.

"Is Mr. Jared Padalecki home?"

"Yes, he is, what night you need officers?"

At that moment, Jared came down over the stair and stopped. He went to run but the two officers quickly caught up, then S.W.A.T members broke through the back door of the house and held Jared at gun point.

"JARED!" I bawled.

Come on I didn't want to see the love of my life get taken away in cuffs.

"You are under arrest for the murder of Daniel McQuaid. Anything you say or do can and will be used against you in the court of law. You have the right to an attorney, if you cannot afford one, one will be provided for you.." The officer continued reading his rights.

"YOU SONOFVABITCH!!" I screamed. "I TRUSTED YOU! YOU TOLD ME YOU YOU DIDN'T DO IT! YOU LIED!"

I gather all the necessities and I went straight to Danneel and Jensen. I knocked at their door hard enough for them to hear. I mean it was late, but they'd take me in right?

Jensen's POV

"Who is that? It's like almost 12?" Danneel scoffed.

"Jensen!" We heard softly at the door downstairs. "It's Y/N, you were right, Jared did it, and I was stupid to believe him! And the thought of having the kids around a murderer, it kills me. Please let me in! I have nobody!" She screamed out.

"Ugh, do I have to get up?" I frowned.

"Jensen!" Danneel hit me. "Come on that is our best friend!"

"Please, Jensen! Danneel! The police just came to the house and arrested Jared, I was wrong to believe him. I'm sorry." She cried.

I quickly got up and ran down over the stairs. When I opened the door, Y/N was standing there, with a couple of bags, tears streaming down her face.

"I'm sorry." She said as I pulled her into a hug.

Danneel came down and and she rubbed Y/N's back.

Officer Danvers POV

"The Suspects being detained as we speak chief." I smiled.

"Then how do you explain this Danvers?" The chief turned the computer monitor around to show me the holding cells with officers panicking because of a loose suspect.

Each officer had a go pro on their chest to prevent police brutality, maybe I should check mine, it might reveal some details. I mean I was with the perp the whole time! While reviewing the footage I saw something that I thought was a trick of the eye. But I've watched enough supernatural to know what's going on! I knew it! Shape shifters are real! Holy crap! This is amazing! I need silver. If this is a shape shifter, then the real Jared Padalecki could be alive! I knew exactly where I'd find Y/N Y/L/N! I drove to Jensen Ackles' house. I knew how crazy I was going to sound but I need them to know! I can't believe I'm working a case involving my favorite superstars!! I walked up to the door and knock.

"Hello?" The Jensen Ackles actually talked to me!

"Hi- hi... I'm officer Danvers, I'm working this case and I think shape shifters are real!"

"yeah... Listen officer... Supernatural is a fictional show, these monsters don't actually exist."

"I have proof, do you mind me showing you?"

He paused for a minute, looking at me like I'm a nut job.

"Amuse me." He said stepping out of the door way.

I walked into the house and I seen Y/N and Jensen's wife, Danneel sitting at the table.

"Hi, I'm officer Danvers and I have proof of the supernatural."

I showed the three of them the video from my go pro.

"D-did you see the Chiefs eyes! Listen I know you think I'm crazy, but I'm serious and I have reason to believe that it wasn't actually Mr. Padalecki-"

"Jared." Y/N cut me off.

"I believe that there is a chance this shape shifter kidnapped Jared and there's a chance he's still alive."

"Thank you officer Danvers for trying to give me a sliver of hope..." Y/N smiled. "But that's not true, you and I both know that the supernatural is not real."

"Then how do you explain that Jared- or what ever that things name is, disappeared just like Houdini? I was with him the whole time except for when I went to report to the chief! Then he showed me surveillance of officers scurrying around everywhere without a Jared Padalecki in cuffs next to them. I was talking to a fellow officer and he claims the one minute he was looking at an actor going away for murder then the next minute looking at the chief in cuffs! Hopefully he's still at the station! Please! Please believe me!"

"Alright." Jensen started. "Come on Y/N, Danneel you stay here with Jj."

He gave his wife a kiss and Y/N gave her a hug as the two followed me back to the station. It was almost like this shifter didn't see us coming and it was easy to 'gank' him. Did you see what I did there? ... Gank him! Just like Dean Winchester! As we were walking back out through the station, we heard all officers unholstering their weapons and screaming "GET ON THE GROUND! PUT YOUR HANDS ON YOUR HEAD!"

"Jared!" Y/N cried.

She ran up to him and gave him a hug.

Y/N's POV

"I didn't know where I was too. It was dark and wet and I'm sorry, I know I probably scared you." He cried.

"Actually you were there the whole time! Monsters are real Jared...." I pulled him closer to me so I could whisper in his ear, "I slept with one!"

"What!" He back away from me furiously.

"It had your face! It acted almost just like you! Except for the anger management lack and mood swings!" I paused. "Wait! It all makes sense now! They boys and I were taking photos and I wanted you to get in one with us and the shape shifter you wouldn't! He got mad with me! Because I would've noticed something was off! How could I have been so stupid!"

"Your not stupid! So wait... Your telling me the things we hunt on screen are in the real world now?"

"Yes." I started. "But let's not worry about that right now, your home safely and that's all that matters."

I pulled him down to kiss me.

"I love you baby, and don't you ever scare me like that again!"

"Don't worry, the only one wearing my face from now on will be me!"

He kissed me and hugged me and it was amazing to have him back, safe and sound.

[foundcarcosa]

cciv.

1. Predict what your life will look like a year from now. >> I doubt there will be much different about my life in August of 2018. Sparrow will undoubtedly have settled into a more permanent place of employment, so our quality of life may have shifted (in the financial sense), hopefully for the better. We’ll probably still be living here, so no major changes to my worldstate are predicted. Anything else, I can’t possibly predict with any confidence.

2. What is the nicest compliment you’ve ever been given? >> All compliments are good compliments.

3. What makes someone a best friend? >> I don’t have an answer for that. It varies from person to person, anyway. I get soulmate and best friend and life partner and the rest of those superlative hierarchical terms all confused, to be honest. --In which case, Can Calah fits all of them by default.

4. Are you young at heart, or an old soul? >> I have always existed in a state of temporal liminality, making all age-related terms erroneous.

5. How is your blog a reflection of yourself? What do you think people assume or know about you by looking at your blog? >> It’s a reflection of myself because I strictly curate things that appeal to me personally. I have dedicated this space to myself, to the expression of the innumerable facets of my being and their intersections, and it has performed ably in that capacity. And it’s funny you should ask that, because about an hour ago someone I know informed me that they tried to give someone they know a description of my blog and this is what they came up with: “I honestly don't fucking know,  they either are God (tm) or wanna fuck God(tm) and probably would foursome The Diety of their choosing, Idris and Matthew Macone-whatever in the Matrix just for the aesthetic and the #thirst tag.” So I imagine that’s largely the impression I give.

6. Make a five song playlist that sums you up as a person. >> Death is the Road to Awe, Clint Mansell (from the soundtrack to The Fountain); Gethsemane, Vanden Plas (a cover of the Jesus Christ Superstar song); Starboy, The Weeknd; Break On Through (To the Other Side), The Doors; Blazing Star, Dethklok. There are a lot of songs that could contribute to a comprehensive profile of me as an [infinite singularity of] individual[s], considering I’ve been looking for myself in songs since I knew how to look, but you asked for five, so.

7. Do you have a Facebook? >> Yes. You’re welcome to add me on it. It’s largely stupid memes and me complaining about the most random shit.

8. What’s the most annoying thing about the person you like? >> Which one? (What kind of ‘like’? Be more specific.)

9. You ordered pizza last night, and have been looking forward to eating the leftovers all day. You go home and the box is still in the fridge, but someone has eaten all of it and it’s empty. What do you do? >> That’s impossible. First of all, Sparrow doesn’t even like the same kind of pizza I do. Second of all, she’s scatterbrained all right, but I am going to give her the benefit of the doubt that she wouldn’t leave an entire empty pizza box in our small-ass fridge. Try again.

10. What’s an inanimate object in your house that holds significance for you, and why do you find it so significant? >> The empty bottle of Baron Samedi Rum that sits on my desk holds significance for me (obviously, seeing as I never keep things that have no clear purpose, like empty liquor bottles). I bought it in New Orleans and it reminds me of O’Dim. It is perfect. (I’ll get rid of it when we finally move. After all, I won’t need these fragile pieces of home once I’m actually there.)

11. How do you look right now? >> Like a snack. (How am I supposed to answer this???)

12. What is one of your bad habits? >> Drinking, I suppose.

13. What were you doing at eleven last night? >> I think I was on tumblr, or some other part of the internet.

14. Are you sure that you were born in the right era? >> Does it matter?

15. You know at least one person named Michael. Tell me about him. >> He’s married to Sparrow’s sister, he studied film, he likes sour beer, and he used to be a skater. I don’t know much about him personally, it’s mostly just factoids that don’t knit together into a full picture very well.

16. You’ve got the TV on, but you’re not really watching. What channel is the TV on? >> I don’t do that. Sparrow is more likely to do that, and it’d probably be some HGTV show on Hulu.

17. What’s an inside joke you share with your friends? >> The first thing that popped into my head was #sunfuckers incorporated, honestly.

18. Name a song that never fails to make you happy. >> No song is 100% successful at that, obviously, but Blood Red Summer by Coheed and Cambria has a strong track record. Very bright, very vibrant, probably about something either horrific or sad (deceptively fun-sounding songs about interstellar war and sundered family dynamics and lost/broken love -- all amindst vague cosmic horror -- is kind of their thing, after all).

19. If you had to diagnose yourself with any mental illness, which would it be? >> ASD is my self-diagnosis.

20. Would you like to reconnect with any friends that you’ve lost contact with? >> I wouldn’t be opposed to it.

21. Name at least three things you could stand to cut out of your life. >> Whatever it is, I probably won’t be cutting it out of my life any time soon, so there’s no point in even pretending otherwise.

22. What is “normal”? Are you normal? >> I assume that the most practical working definition for ‘normal’ is ‘consistently compatible and compliant with the beliefs, morals, and behaviour systems of one’s society’ -- if so, I feign ‘normal’ with varying success. Mostly I am content with being a quiet but adamant outlier.

23. Biggest turn ons? >> Expansive and adaptable consciousness. Abnormally high levels of curiosity and mirth. At least two (2) tentacular appendages.

24. Do you practice what you preach? >> What I preach is usually integral to my being, so I can’t help but practice it. What I parrot is often a different story. (Parroting, I’ve found, is useful in the successful maintenance of a person suit. I don’t parrot much here, so don’t worry. It’s mostly for the benefit of people less fortunate in the cognition and analysis department who unfortunately have the ability to make my outlier life difficult.)

25. Would you prefer to live in a city, the suburbs, the countryside, or the mountains? >> I’d prefer to live in the Garden District of New Orleans.

26. Give me the story of your life in six words. >> It is without beginning or end.

27. Would you rather be alone doing something you enjoy, or doing something you don’t like with your best friends? >> I will always choose to be alone doing something I enjoy. Additionally, anyone who considers themselves a friend of mine would prefer I not do something I don’t enjoy simply for the sake of keeping them company.

28. Tell me something you think would surprise people. >> As a child, I was deathly afraid of thunderstorms. (My theories on this vary. Either way, my fear completely disappeared without fanfare sometime in adolescence; there is a memory I hold of being 13 and watching a summer storm in North Carolina with avid fascination, and suddenly thinking, Wait, aren’t I supposed to be afraid of this?)

29. Is your current hair colour your natural hair colour? >> Yes.

30. Why is your favourite band your favourite? >> My favourites are my favourites because they express things I keenly recognise and often do not have words for.

31. Name something that you miss. >> Her.

32. Share five goals that you want completed in the next thirty days. >> Um... I’d like to finish at least two more Loremaster sub-achievements on WoW, get my Norn up to at least lvl50 on GW2, watch the rest of Queen Sugar, finally nut up and watch Moonlight, and get my end of the Reddit/SyFy Gift Exchange done.

33. What do you do when you can’t sleep? >> Read, usually. Or watch some episodes of an Adult Swim show (or something equally low-commitment).

34. If you were told you were going to have three daughters, what would you want to name them? >> Whatever names come to me when I am holding them, or whatever names Sparrow wants to give them. What I hate is that you have to name them then and there -- I prefer the ritual of naming to be closer to toddlerhood.

35. How do you feel when someone says something mean/disrespectful towards your favourite band/musician? >> I don’t feel anything, usually. Being a Creed fan as a teenager has given me a blessedly thick skin towards that sort of thing, trust me.

36. What’s the funniest film you’ve ever seen? >> I really liked Life (the Eddie Murphy and Martin Lawrence flick), Caddyshack (it’s so fucking weird in that older-film sort of way but I lost my shit at so many scenes that I have to give it its due), and The Secret Life of Pets (I guess I’m the perfect demographic for that kind of ridiculousness). Oh, and Kung Fu Hustle. I know there are a few others but I forget them now. Comedy movies that really amuse me are almost harder for me to find than horror movies that don’t make me roll my eyes out of my head.

37. What’s your favourite children’s TV show/movie? >> My favourite children’s movies are The Pagemaster and The Prince of Egypt. The Neverending Story gets honourable mention just for being so damn iconic. My favourite children’s programming is The Amazing World of Gumball, Steven Universe, and some stuff I’m probably forgetting but trying to dig around in the pile of countless forms of media I’ve consumed over time in order to answer these questions is really not how I want to spend my night.

38. What do you do when you can’t sleep and you don’t have your phone? >> Why wouldn’t I have my phone, though...? I guess I’d get up and do something else. 

39. What is your purpose in life? >> Whatever it is, I assume I’m fulfilling it.

40. What’s one thing you cannot live without? >> Aside from the “duh” answers, I will say mental stimulation and variety. I couldn’t live in solitary confinement with absolutely nothing to do, I’d probably lose it faster than the average (if I don’t figure out a way to kill myself).

41. Put the seven deadly sins in order of the one you commit the most to the least. >> Superbia, Acedia, Gula, Avaritia, Luxuria, Ira, Invidia.

42. What’s something that’s on your bucket list?  >> Skydiving. Natch.

43. Have you ever been told you look like a famous person? If so, who? >> The only two famous people I’ve ever been compared to (to my face) are Grace Jones and Harold Perrineau.

44. Can you cook? If so, what are your favourite dishes to make? >> I can cook well enough not to starve. I haven’t gotten to a point where I enjoy cooking, though. Maybe one day.

45. What was the last decision you regretted making? >> Meh.

46. Whose opinion of yourself do you value the most? >> Can Calah’s. Sparrow’s, as far as corporeal human beings are concerned.

47. Anything that makes you angry? >> There is nothing that is consistently guaranteed to make me angry. I usually experience anger as a cumulative “last straw” kind of thing. Which can make it seem “out of the blue” to others, I realise. But at least it’s infrequent.

48. Age you get mistaken for? >> Anything from late teens to early twenties, appearance-wise. Online, anything from late teens to... mid thirties, I think.

49. When was the last time you paid for music? >> I think the last album I bought was The Buttress’ Behind Every Great Man.

50. Night or day? >> Both, please. And the spaces in between.

[bapakharyoso]

Mixtapes. YouTube videos. Dedicated playlists. Ancillary products. Viral marketing. Epic chart stays. These are things you expect to hear from a record label discussing Cardi B or Beyoncé. Instead, this is the new world of a very old staple, the Broadway original cast recording.

Robust stats tell the tale: Atlantic’s “ Hamilton [1] ” album beat the record held by Adele’s “21” for longest stay in the sales top 40, with an awareness assist from auxiliary releases like “The Hamilton [2] Mixtape” (starring the Roots and Chance the Rapper) and monthly online “Hamildrops.” The same label’s “ Dear Evan Hansen

Mixtapes. YouTube videos. Dedicated playlists. Ancillary products. Viral marketing. Epic chart stays. These are things you expect to hear from a record label discussing Cardi B or Beyoncé. Instead, this is the new world of a very old staple, the Broadway original cast recording.

Robust stats tell the tale: Atlantic’s “Hamilton[1]” album beat the record held by Adele’s “21” for longest stay in the sales top 40, with an awareness assist from auxiliary releases like “The Hamilton[2] Mixtape” (starring the Roots and Chance the Rapper) and monthly online “Hamildrops.” The same label’s “Dear Evan Hansen[3]” had the highest chart debut for a cast album since “Camelot” in 1961 and proved popular among young people who still only aspire to see a Broadway show someday.

The indie Ghostlight label issued an album of Joe Iconis’ “Be More Chill[4]” score when it was still launching in New Jersey and racked up 200 million streams, a number so powerful that off-Broadway and eventually Broadway producers took notice — with those bigger productions helping add another 100 million-plus streams to its total. With stories like these, it’s no wonder Decca Broadway, the label behind the first-ever cast album, 1943’s “Oklahoma!,” has just been relaunched.

Related

Variety spoke with Atlantic A&R president Pete Ganbarg, responsible for bringing “Hamilton” and the upcoming “Jagged Little Pill” to the label; Dickon Stainer, Universal Classics’ president/CEO; and Ghostlight label co-founder Kurt Deutsch about rethinking the original Broadway cast recording as pop.

Variety: There seems to be a hunger for Broadway albums among younger audiences in particular. Why now?  Pete Ganbarg: I am a big believer that everything is cyclical. When I was growing up, I remember my family listening to the original cast album of “A Chorus Line” on long car trips, singing “One Singular Sensation.” For me, that was as much a part of the pop fabric as anything on the radio. Everybody knew “Dance 10, Looks 1.” Five years before that, there was “Jesus Christ Superstar.” It’s the right show coming around and connecting with an audience that doesn’t even know they’ve been waiting for it. We got lucky as a label when we decided to jump in on “Hamilton” head first. What Lin was doing was so unique and special and the songs were so amazing and different … it was unlike anything we had ever done before, whether Broadway was hot or not. Kurt Deutsch: Now, you can reach audiences around the world with the way streaming works. It’s changed the dynamic so significantly. Musically, there have always been fans like me who grew up in St. Louis who didn’t have the opportunity to be in New York when an amazing show opened, who lived that through cast albums. Now there are communities and tribes for any inclusivity and sound, like a Comic-Con. That’s what happened with “Be More Chill[5].” That tribe found itself — a tribe that exists all over the world. The same with “Hamilton” and “Dear Evan Hansen[6]” and “Heathers.” If the story moves them emotionally, those people, generally young and high school music students, will watch the YouTube videos and listen to the music over and over again, just like I did with  “Hair” the movie or the DVD of “Pippin” — especially now because the music is so readily available. If had known there were a million people out there that had the same interests as me, the community where I hung in St. Louis would’ve have felt much larger. Ganbarg: We now take it for granted that “Hamilton” is “Hamilton.” But having to pitch it to people inside the company before it existed — only workshopped, not even at the Public Theatre as yet — was a wacky pitch. Imagine me telling the deal committee that whenever you record a Broadway cast album, it is super-expensive due to all the union fees, actors, musicians, everything literally on the clock — stopwatch even. Depending on the number of songs you are recording, it can get even more expensive: “Dear Evan Hansen” is 14 songs; “Hamilton” has 46 songs. Then there is the further pitch: not just that it’s 46 songs, but a new musical about the founding fathers, the American Revolution and its after-effects. And, by the way, all of the fathers are played by actors of color, and it’s all hip-hop, and some of the raps are about states’ origins and the Federal Reserve … You can feel the window opening and you being prepared to be thrown out the window. But it’s art and it’s not supposed to be always logical.

Kurt, when you first saw “Be More Chill” exploding, what went through your mind? Deutsch: When I first saw the show in New Jersey, I think I said to (composer) Joe Iconis that “Michael in the Bathroom” was destined to be sung by kids forever, as it touches on the angst of being an outsider; that’s what a lot of musical theater fans feel like. Joe’s music speaks to that in a way no songwriter right now writing today speaks to it. I think “The Last Five Years” was like that; this totally intimate musical that died after 9/11 has become something virally. Going back to “Be More Chill”: We sold a few albums at first, then noticed that people were watching the YouTube videos such as “Michael in the Bathroom” that we made. We saw Tumblr and Animatics things that the fans created, and it all started to snowball in a very homemade, organic way. It was beyond our control. Once we saw that, we began feeding the fire with more content. But we couldn’t force-feed or go over the top; kids know what’s real and not real.

Is it fair to say that the success of streaming capabilities in regard to the success of “Hamilton,” “Evan Hansen” or “Mean Girls” is similar? Ganbarg: Yes. People hear their music this way, now. When we working on “Hamilton,” we worked first on “Hamilton”-related playlists that were highlighting the new sound of Broadway. If you were a fan of Lin’s first show, “In the Heights,” we capitalized on that success. We used the digital streaming platforms as a marketing tool with playlisting, making sure that you could find our music wherever you were looking. Word got out that the show was something special. We made sure people knew that they could consume them however they liked. Deutsch: I should say, though, where Ghostlight is concerned, shows such as “Tina,” “Beautiful” and “The Cher Show” —those are album-buying audiences. They like physicals. They’re not into streaming so much. If “Be More Chill” is 90% streaming, “Beautiful” is 70% physical hard copies. “In the Heights” and “Book of Mormon” have both gone gold. “Beautiful” and “Newsies” are up there. “Legally Blonde” and “The Last Five Years” have sold well. Our “Hair” and “Pippin” revivals were big for us via our physical versions.

Famously, Decca Broadway released the first-ever cast album with Rodgers and Hammerstein’s “Oklahoma!” Now, here you are, Dickon, with the newly-relaunched Decca Broadway, reconnecting with that classic American musical in 2019. Is it fair to say you timed the relaunch to your re-connecting with that musical? Dickon Stainer: Decca Broadway has such a storied legacy, having released the first ever cast album in 1943 of “Oklahoma!,” so when we knew we were going to release the cast album for the revival, we of course wanted to emphasize the connection. We are also releasing the cast album for “Tootsie,” so to be releasing the cast albums for two Tony-nominated shows to relaunch our label is an honor. … Decca Broadway now is part of Verve Label Group, among other storied and iconic imprints such as Verve, Impulse!, Decca, Deutsche Grammophon and more. We have a renewed sense of purpose with Decca Broadway — the team believes in the artform and there are many exciting shows that we are looking forward to aligning ourselves with to continue the legacy of the label. “Wicked” and “Phantom” made huge cultural waves at the time; we hope to be a part of that again.

  “Hamilton” had its ancillary associated projects such as Hamilldrops and its remix album. “Be More Chill” had its viral YouTube videos. How do you see these marketing ideas affecting other shows you’re associated with?  Ganbarg: You always want to be able to lean into consumer demand. Once we knew that we had something special, the idea was to give the consumer more about what they were excited to hear. Lin did not want to release a cast album first. He wanted to release a mixtape first. Remember, “Jesus Christ Superstar” was a concept album before it was a stage musical. Andrew Lloyd Webber wanted people to fall in love with the music and the songs first. By the time the show was staged, everyone knew all the songs. As “Hamilton” was written by Lin in a hip-hop place, he could get rappers together to do these songs. Eventually he changed his mind and went the traditional route, but it was in the back of all of our minds to do a mixtape. We just did it when the audience was ready for it. Once it became a phenomenon after the Tonys, we got calls from artists asking us about doing covers of the songs. So Chance the Rapper, Busta Rhymes and John Legend became part of the Mixtape. Now, because you don’t want to go to the well too many times and do “Hamilton mixtape Volume 17,” the idea of the Hamildrops came from Lin himself — something new every month in 2018, finishing up with the “44” remix of “One Last Time” with Barack Obama. Deutsch: I have been heavily involved with “Alice by Heart,” a show by Duncan Shiek and Steven Sater. We’ve been on it a number of years … a beautiful production. When people hear the score they will respond in a way that is akin to “Be More Chill.” It has that “Spring Awakening” feel, but it is a tragic love story between these two people. In thinking about the marketing of “Alice by Heart,” and how the audience grew from its first performance and the Twitter fans who followed it by the end of its 10-week run, there were a hundred kids waiting for the cast outside, similar to the “Be More Chill” crowds. The kids know what they love. I think of “Beetlejuice” and the character of Lydia as the gateway to a similar audience. Songs like “Dead Mom” have a similar sense of sticky humor. “Heathers” too, very much, too.

Broadway has a handsome track record for making its biggest stars into pop stars, from Streisand to Idina Menzel. What can a label do for a burgeoning star beyond Broadway? Do you try to build composers as stars, too? Ganbarg: Broadway music is popular music. As an A&R exec, I know that there are no new ideas, just new ways of applying them and new voices to apply them with. When we were at the opening of “Dear Evan Hansen,” my boss turned to me at intermission and asked me to run backstage and sign Ben Platt to a solo deal immediately. Which we did. If Lin wanted to do a solo album, we’d jump at the chance. The problem is if you do too many, you dilute the market and the special nature of the Broadway star coming off of the stage and into the arms of contemporary music fans. Deutsch: If we hadn’t made a recording of Joe’s show in NJ, we wouldn’t be having this conversation right now. When Joe does his next work, I’ll be there. … We did “Dogfight” with Pasek & Paul right before “Dear Evan Hansen,” but people have been revisiting “Dogfight” because they want to hear the body of work. The same with Jason Robert Brown with “Last Five Years,” “13,” “Bridges of Madison County” and all of his solo records that I have released. That’s a tremendous responsibility, maintaining all that.

What do you want to hear from a soundtrack that you believe makes it a hit? Is it one anthemic song? Or an overall vibe? Ganbarg: When you see a show and you want to hear its soundtrack, it’s because the entire show moved you. You want to recapture that emotion after you leave the theater. The best, most pure way to do that is with a cast soundtrack of the show you just saw. We knew from day one that we had 14 great Pasek & Paul songs on “Dear Even Hansen,” but in “Waiting for a Window,” we had a song that was instantly recognizable, something we could attach to something more. Not only did Ben Platt’s “Window” anchor all of the advertising online and on television, ultimately we, like with “Hamilton,” had other artists covering that song. We had Owl City cover it, which was perfect: if Evan Hansen was a pop star, he’d be Owl City: they’re both neurotic and insular. Katy Perry covered it to because she was so moved when she saw the show. Sometimes it’s us; sometimes it’s the artists who fall in love with the show. Deutsch: Cast albums are one of the only things now that people listen from beginning to end — and In order — because they wish to have the full experience. We don’t see a lot of single tracks sold. It’s about the score as a whole, and a few songs that will reach beyond the show and will live forever and become the new standards. A show such as “Alice by Heart” and a song such as “Afternoon” — we just did the video — that song will resonate so much, I think that people will want to see more. Stainer:  A good cast album comes from a good show. Does the show move you? Does the music move you? Those are the questions we ask.

References

^Hamilton (variety.com)

^Hamilton (variety.com)

^Dear Evan Hansen (variety.com)

^Be More Chill (variety.com)

^Be More Chill (variety.com)

^Dear Evan Hansen (variety.com)

PAGE 2

[virglows]

Famous/Famous

♣︎ The Brightest Lights ♣︎ 70k by Rearviewdreamer

After watching yet another actor walk away with his Oscar, Louis is on the lookout for the role of a lifetime that might finally get him the one thing he has always wanted. He didn't think coming out of his self-proclaimed break to do another film would be all that difficult, but that was before he met his new co-star.

♦︎ Young Gods ♦︎ 77k by sincewewereeighteen

“Why don’t you stay?” Harry looked down at him and snorted. “What?” “You’re not my type, Louis”, the boy rolled his eyes sitting on the edge of the bed to put on his boots. “Says the man you just had sex with”, Louis pointed feeling smart, but Harry was one step ahead of him, with the answer on the tip of his tongue. “You see, if you were my type, I wouldn’t have”, Harry winked, cheeky as hell. “I would’ve gotten to know you first.” “Bullshit”, he accused the boy not letting it show how intrigued he was. “How can you know I’m not your type if you don’t know me?” “How about I list five things about you to prove I’m right and if any of them are false I’ll lie down again.” “Ok. Go.”

[Or: the one in which Louis is a model and Harry's supposed to be a normal guy... Until he isn't.]

♠︎ Amazing Sin ♠︎ 56k by thecheshirepussycat

Gears started turning in Louis’ head. Purely mischievous gears that had Louis formulating a revenge plan against Taylor. He’d had enough of sitting around and taking it. If she was going to call him a whore, then fine, he’ll act like one for real. “I’m going to say something, and as my friends you are obligated to love me anyway.”

“This can’t be good,” Niall said, Zayn just groaned.

“So I know we have this strict ‘no lashing back at Taylor’ rule with me, but what if I can get press revenge a different way?” Louis asked. He wasn’t expecting an answer, because they knew by now to just go with it. “What if I stole her boyfriend?”

Or, the story of Louis ‘Steal Your Man’ Tomlinson.

♥︎ Of Love and Blood and Hate ♥︎ 42k by orphan_account

“You auditioned without me,” Louis says, his voice disbelieving. “How the fuck can you stand there and hurl all this shit at me when you literally left me behind to go audition for the show we’d been dreaming of being on together?"

“What was I supposed to do, Louis? You refused to audition with me unless we were honest about being a couple. I knew we never would have made it past the first auditions. You left me no other choice; it was either audition alone or not audition at all."

Louis feels his own eyes start to fill with tears. “You chose a fucking reality show over our relationship. If you still don’t see that you made the wrong choice than I don’t think there’s any reason for me to waste another second here.”

A Famous/Non-Famous turned Famous/Famous AU where Harry makes the biggest mistake of his life and Louis’ left to pick up the pieces.

♣︎ you've set on me ♣︎ 31k by lissome

Harry’s been completely blindsided, is the thing. Like a car without headlights crashing into him. It’s not that he thought he’d never see Louis again in his life. It’s just this. He wasn’t ready for this.

au. louis' in an obscure band. harry's an international popstar. their paths aren't meant to cross, not like this, but when louis' band signs on as harry's opening act, both harry and louis are forced to confront the open wounds of their shared past.

♦︎ Time Bomb ♦︎ 291k by ThisSentimentalHeart

“Why exactly are you here?” Louis asked, feigning annoyance and failing pathetically at it. “My publicist told me I can't go anywhere near you.” Harry said, eyes still smudged with last night's eye liner. “That makes you my favorite person in the world.”

Or the one where Louis has everything: a lead role in a giant Hollywood franchise, a glittering new house with an entertaining Irish neighbor, and a steady, normal boyfriend who he probably loves. Louis never expected to become a household name among young Hollywood overnight. He also never expected to find something endearing about the enigmatic rockstar who keeps showing up on his back porch.

♠︎ come on jump out at me ♠︎ 56k by yoursongonmyheart

“you know, i offered for you to fake out me, but, i don’t know anything about you other than you being my biggest celebrity crush probably since posh spice.”

louis almost chokes on his chicken, “jesus christ,” he sputters.

harry takes a swig of his beer with a smirk. “i was very disappointed when you didn’t say i was your celebrity crush after you came out.”

louis almost cries. “you know i did plan on it. then i ran into you narrating taking a piss and talking about my ass and i thought ‘wow this kid does talk some shit’ and decided against it.”

harry barks out a laugh, his ears tinged red. he takes a bite of his pizza. “i suppose i do have no filter while high.”

louis rolls his eyes, “bit of an understatement, mate.”

harry giggles, “whatever pal,” louis screams internally.

----

Or, the one where actor louis tomlinson and one direction superstar harry styles try to fake a sex tape to help harry get out of the closet and they both get more than they bargained for.

♥︎ I have your dreams (and your teeth marks) ♥︎ 118k by aloqueera

Louis and Harry don’t believe in second chances, but sometimes it feels like the universe does. A Music Industry/Getting Back Together AU.

He remembers how they were, always, Louis and Harry, Harry and Louis. He remembers the late nights and the lie ins, all the words they gave each other. He remembers how Harry would look at him like he hung the moon, and like he knew Louis’d done it just for him. He remembers it all. The problem, he thinks, is that he remembers how it fell apart, too.

♣︎ Empty Skies ♣︎ 134k by green_feelings

For three years, Harry has been running from his past. Now, he is moving to London and pledges to fulfil his only dream -- making it big in the music industry. Not everyone has a place, though, and the competition is tough. As is his past catching up on him.

Louis is part of the biggest boy band of the world, and getting there had meant a lot of hard work, as well as sacrificing parts of his heart and soul. He's still happy. Maybe not as happy as he could be, but who is he to complain?

Featuring Perrie as Harry's adorable flatmate, Niall as his manager, and Liam and Zayn as Louis' bandmates.

♠︎ Play Me Like One of Your French Girls ♦︎ 26k by zimriya

Louis is Hollywood’s ‘Bad Boy and Sometimes Darling’, and Harry is the clumsy, endearingly attractive part-time cellist whose cello gets upgraded to the seat next to his on the plane. They fall in love.

Also featuring R&B Superstar Zayn Malik, Olympic Gold Medalist Liam Payne, and Masterchef Niall Horan.

♣︎ In Vogue ♣︎ 121k by otpwhatever

‘Is that why David Beckham has been featured multiple times on the pages of your life’s work? Does your criteria seriously consist of one thing – a man’s ass?’ 'Well the ass is a man’s best asset,’ Harry smirks, holding the Martini glass high up his face. 'And don’t call the magazine my life’s work. There are far more important things in life, Louis Tomlinson, than what’s printed on the pages of a magazine.’

Fashion AU. Louis is the editor in chief of Vogue magazine, and Harry’s running British GQ. Featuring Zayn as the crazy creative director and Louis’ confidant, Liam as the sports writer that gets to sit front row at fashion week and DJ Neil as the only sane person in the whole story. (There are no skinny jeans in this fic)

♥︎ Fall At My Door ♥︎ 30k by FullOnLarrie

A-list actor Harry Styles and award-winning musician Louis Tomlinson have an acquaintances-with-benefits relationship, so whenever their busy professional lives happen to land them in the same city, they meet up. It’s a mutually beneficial arrangement.

And that’s all it is. Until it isn’t.

♠︎ Paint Me In A Million Dreams ♠︎ 110k by green_feelings

Harry's one of Hollywood's biggest actors, has made a name for himself in prestigious films and lives the life of a superstar. There's just one thing missing to make it picture-perfect, but the one Harry's in love with is completely out of reach for him. Enter Louis, one of Hollywood's biggest actors himself, who just came out of the closet and taps new genres in the industry. When Louis sacks the role Harry auditioned for in Scorsese's next big film, their irrational feud starts. Who could have guessed it would get even worse when for promo season, their teams decide to present them as a couple for publicity?

In short, Harry's in love with someone and doesn't care about dating anyone else, Louis never felt home in L.A., Liam writes love songs for someone he shouldn't write love songs to, and Niall makes everything better with good food.

♦︎ lock me up with love ♦︎ 29k by clicheanna

“So you must go out more often than I thought,” Harry said. “I see you all the time now!”

“Well, one of those times you literally came to my door.”

Harry laughed, a loud honking sound, a shock to Louis’ ears. He couldn’t remember the last time he made someone laugh, not so easily and genuine.

Harry didn’t seem embarrassed, but his eyes were hazy, hair a bit mussed up, cheeks red. Oh. He was drunk, or tipsy maybe. That explained a lot.

“That’s true,” he said, then frowned. “Oh no, do I seem like a stalker?”

“Eh,” Louis said, “just a little bit.”

Louis had a messed-up knee, ruined career, and labradoodle to take care of. Harry had a normal knee, perfect career, and concern for his recluse neighbor. Harry's baking skills were enough to bring them together.