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archived-kin · 3 years

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one thousand and one nights with you (is not enough to spend)

note from kin: the title is from that song in twisted by starkid, but that’s about as far as the similarity goes

anyway you’re visionless and basically run a little witch shop in mondstadt, with flowers and cool gemstones and mysterious powders and potions and stuff. albedo gets a lot of his alchemy ingredients from you (also he’s dating you but not a lot of people know that)

fandom: genshin impact

character(s): gn! reader, albedo, plus a surprise venti cameo

pairing(s): albedo/reader

warning(s): i don’t know albedo that well so he might be ooc? also this is so cheesy it’s a little ridiculous

genre: fluff

“I’ll be going now, boss!”

You smile and return your assistant’s cheery goodbye wave as he disappears off into the night outside, freshly-filled coin pouch jingling at his hip. As the door swings shut with quiet click, your surroundings fall into quietude.

The candles keeping the room lit are beginning to burn down to stumps, throwing most of your shelves into shadow. You take a sip from the steaming cup sitting on your counter, then stand up to begin taking inventory and closing up shop.

The silence is comforting after such a long day. You’re not entirely sure what brought on the sudden increase in customers, given that your shop is tucked away in a quiet little corner of Mondstadt that not many tend to linger around. That had been a deliberate choice, and so was the lack of advertising - your speciality is the individual, not the crowd.

Still, you can’t say that it isn’t nice to have the increased income. More profit means better wages for your assisstant - and more Mora to buy even more cool things to stock.

You pass about an hour ambling around your shop, rearranging your products and making sure that everything is in order. Then, just as the bat-shaped clock on the wall chimes one o’clock, the bell above the front door jingles, and you hear quiet footsteps enter.

You don’t pay it any mind at first, instead focusing on rearranging the little bottles of various dusts and extracts on one of the ingredients shelves. A hand settles on the small of your back, and you feel the new arrival’s presence come to a stop beside you.

“We’re out of powdered lizard tail,” You say without looking at him.

A pause. Then a quiet chuckle. “That’s how you want to start the night?”

You smirk. “The night started a good while ago, darling.”

Albedo sighs as you turn to face him, though his soft smile betrays his faux-exasperation. “I did tell you I’d be late today.”

“You tell me that you’ll be late every day,” You reply, sliding one final bottle of powdered crystalfly into place, then move over to sit on your front counter. He follows, settling just beside you.

“I have a lot of things that need attending to,” He shrugs, leaning over and snatching your drink without asking. You shake your head, but let him take a sip from it anyway.

His eyes flicker up to look at you over the rim of the mug. “...though, of course, you’re the most important one.”

You laugh and bat at his shoulder. He doesn’t make any effort to avoid it, eyes twinkling as you smile. “Why not come round more often if I’m so important, huh?”

“Do you think I wouldn’t if I could?” He asks with a scoff, setting down the mug and gently nudging you in the side. “We both have jobs, [Name]. We need to actually do them.”

“Oh, I know that,” You return his nudge and hop down from the counter again. Albedo sighs a little at your restlessness, but follows as you swipe the keys from your drawer and open the door again. “But it doesn’t hurt to take a day off every now and then.”

“I’ve already taken far more in the last month than is reasonable,” Albedo says with a shake of his head, stepping out into the street at your indication and waiting as you shut and lock the door. “Grandmaster Jean will get suspicious.”

“Psh,” You dismiss, waving a whimsical hand about and nearly knocking the sign off of your door. “Why is it that you’re not telling her about us, again?”

“She doesn’t exactly like you,” He says, absently linking his hand with yours as the two of you begin walking aimlessly in no direction in particular. He’s removed his gloves, you notice. “You did set up shop without permission when you first got here.”

“Ah, right…” Now that you think about it, you seem to remember her shooting you a rather nasty look when you passed her in the street last week. Why she continues to hold a grudge is lost on you - after all, you did get the necessary documentation and everything eventually… though, to be fair, the method you used wasn’t exactly legal. “...well, forget her. What do you want to do tonight?”

“Hmm,” He swings your linked hands about for a moment. “I saw a lot of dandelions growing just outside the walls earlier. Why don’t we go pick some seeds?”

“If you want to pick dandelion seeds, why not ask Sucrose?” You ask as he begins leading you in the direction of the main gate. “She’s the one with the Anemo vision.”

“Sucrose?” Albedo repeats, turning his head to look at you. His irises almost seem to glow in the darkness of the night, brighter than any of the stars above - it’d be unsettling if it wasn’t so beautiful. “Why would I want to go seed-picking with her?”

You raise an eyebrow. “...well, I’m assuming you need them for an experiment, and Anemo-blown sunflower seeds are always far more effective in that area.”

“If I needed them for an experiment, I’d just buy them from your shop,” He shakes his head. “This isn’t an ingredient hunt. This is different - it’s special.”

“Special how?” You question as the two of you walk through the gate. Albedo guides you over to a particularly thick cluster of dandelions just a few feet away, nestled in a lush copse of grass.

“Special… like you.” He cups both his hands around one of yours, the one that he’d been holding just before, and guides it over to one of the tallest plants. “Go on, show me that trick again.”

You laugh a little at his almost childish inflection, but do as he requests anyway. Albedo pulls his hands away from yours and watches as you carefully pluck off the head of the dandelion without disturbing any of its fluff-topped seeds, allowing it to rest on the tips of your fingers.

“There’s no trick to having a delicate hand,” You say as he watches your every move with the utmost concentration. “It just takes practice.”

Carefully securing the little bit of stem left at the bottom of the dandelion head between your index finger and thumb, you slowly raise your hand so that it’s suspended just above Albedo; he ducks his head a little, closing his eyes as you bring up your other hand to ever-so-gently flick the seeds from the head. The seeds drift about in the still night air for a brief moment before landing in Albedo’s blonde hair; their white colour is barely distinguishable against it.

He opens his eyes again as you pull your hands down again, lifting his head slowly so as not to disturb the little decorations you’ve added to it. “...so what did you grant me this time?”

“A good night’s sleep,” You say playfully. “As the seeds are carried away on the wind, so too will all your worldly burdens be blown away.”

He shakes his head, and several seeds are dislodged by the motion, vanishing quickly into the night. “If only it were that easy.”

“Hey, it worked last time,” You counter, sitting down in the grass. Albedo follows suit, reaching out and plucking a dandelion of his own - though with a lot less deftness than you did.

“That wasn’t the dandelions,” He says plainly, blowing lightly on the dandelion and watching the fluff disperse and disappear into the dark. “I just sleep more soundly when you’re beside me.”

You chuckle. “Sweet talker. So you’d sleep like a baby if I was around all the time, then?”

“Perhaps I would half the time,” He answers, smiling in a way that tells you that he knows exactly how sappy what he’s about to say is. “But I wouldn’t sleep nearly as well for the other half. I’d be too busy looking at you.”

Despite already knowing that it was coming, you can’t help but feel your heart flutter slightly at his proclamation. “I could say the same about. Bet you’ve broken a good few hearts with looks like that.”

“Then so be it,” He shrugs, eye-lids falling a little as he gives you a devilish little smirk. “Yours is the only one I care about.”

“When did you get so charming?” You flick him in the nose, effectively wiping off the smug look on his face. “Have you been studying love poems or something?”

“Love poems aren’t really my area,” He says, drawing back and rubbing at his nose a little reproachfully. “But Lisa and Kaeya have been giving me plenty of tips on my… 'romantic endeavours’, as they say.”

“Those two…” You shake your head. Kaeya and Lisa managed to find about your relationship with Albedo almost as soon as he’d confessed to you, though luckily they’d agreed to try not to mention it around Jean. “Have those tips been working?”

“Isn’t that a question for you to answer?” He picks another dandelion and blows it directly at you. “Is your heart being stirred?”

“Not while you’re blowing seeds into my face, it isn’t,” You shield yourself with one hand, pushing it in front of Albedo’s face to obscure his field of vision. “Quit it!”

He does drop the dandelion at your request, but, unusually, doesn’t give you a verbal response. You’re just thinking that he must be planning something when he suddenly leans forward and kisses the centre of your palm.

You immediately pull your hand back, feeling yourself heat up. Albedo leans forward, cocking his head to the side with a smile. “What about now?”

“You’re insufferable,” is your only reply.

Albedo’s smile turns into another smirk. He knows exactly what he’s doing. “I’m yours.”

“Mine, now? How nice,” You say, still trying to act unbothered. You can tell it isn’t working, though. “Am I allowed to get a refund if you don’t work as expected?”

“Would you ever want to return me?” Albedo counters. You can’t exactly say yes - that’s both mean and untrue - so you just sigh and shake your head. He smiles, clearly pleased.

You’re about to say something else when you hear a series of uneven footsteps coming from the gate. It doesn’t sound like a Knight of Favonius on patrol - in fact, it sounds more like a drunkard.

Albedo shuffles a little closer to you as a figure stumbles out of the gates. It’s someone you vaguely recognise by their green clothes - the bard who often plays in front of the statue of Barbatos. He’s holding a bottle that’s already half-empty, and you have a feeling that he’s already had a lot more before it.

The bard looks over at you and Albedo, and while you doubt he can recognise your faces what with both the darkness and the distance, it’s obvious enough that the two of you aren’t just a pair of good buddies hanging out. He raises the bottle in your direction with a hiccup.

“Wonderful night to meet a lover!” He calls, voice ringing so loudly that you’re sure that he just woke up a few residents of the city. “May your relationship last long as the wind blows!”

He doesn’t wait for a response before beginning to stumble his way across the bridge. As he goes, he exclaims to no one in particular, “The air is crisp tonight! Such good wine - what a wonderful city!”

He quickly disappears into the darkness. You exchange looks with Albedo. “...how much do you think he drank?”

“Far too much,” He replies amusedly. “He’ll regret it come morning.”

“And it isn’t too far off now,” You say, checking your pocket watch. “Will you be heading back to headquarters tonight?”

He considers, then shakes his head. “I don’t have anything that’ll need attention tomorrow morning. So, if you’ll have me…”

He doesn’t finish, but you already know what he’s asking. “There’s always room for you to stay over - you should know that by now, shouldn’t you?”

He smiles a little bashfully at that, and nods. “I suppose so… thank you.”

“You might as well move in at this point,” You comment, shifting slightly on the spot and patting at his arm. He holds his hand out obligingly, and you thread your fingers through his. “You’ve left at least three sets of pyjamas over already.”

Albedo opens his mouth to respond, and you shake your head, placing the index finger of your free hand to his lips to shush him. “Yeah, yeah, I got it, Grandmaster Jean’ll get suspicious…”

He blows on your finger to get you to retract it. When that doesn’t work, he pretends to bite at it, which is a lot more effective. “...I will tell her eventually. Just not now.”

“While you’re on the rocks,” You say with a nod, squeezing his hand. He sighs and nods as well. “But I still don’t think she’d fire you over who you’re dating.”

“Maybe not, but I don’t want to get any more on her bad side,” He mumbles. “She’s still annoyed about that floor I melted.”

“Didn’t you tell her that I was the one who made you drop the potion?” You ask, thinking back to that particular day - when you’d learnt that Albedo is very susceptible to your flirting when he’s in the middle of an experiment.

He shakes his head with a chuckle. “I didn’t think you’d appreciate me tattling. Besides, it isn’t like she punished me.”

“Well, you’re basically untouchable at the end of the day,” You comment, lying back in the grass and pulling Albedo with you. “It’s them who need you, not the other way around.”

“I wouldn’t say that,” He says, adjusting himself so that the two of you are pressed flush against each other. “If I hadn’t started working for them, we’d never have met.”

“We would have crossed paths eventually,” You say, smiling coyly when he turns his head to face you. “Though better sooner than later, I suppose.”

“Far better sooner,” He says, returning your smile with a much softer one. “I’m glad we did.”

Another dandelion seed drifts out of his hair and lands in the grass as you look at him. You'll be keeping this one for a long time, you decide. Probably forever. You like him.

You think he likes you, too.

#unedited #genshin impact #genshin impact x reader #genshin impact imagines #genshin albedo #albedo x reader #fluff #i don't know what else to tag #uhhh #sappy #albedo's hair is so hard to draw for some reason #something about the gif for this one feels off and idk what #i'll come back to it later

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setzappersto-pew · 3 years

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Rewatching Me and My Dick

While I understand many people’s trepidation when it comes to Me and My Dick, my rewatch of this show for Rewatchers With a Thousand Eyes gave me a new appreciation for it. I myself waited a few years to watch it after it came out. I was 14 when they put it on YouTube and had only just watched AVPM and was therefore new to the fandom; I was nervous that I would be too uncomfortable with the subject matter. There’s a reason that they have an Adult Content warning, and I think still have it age-blocked. It’s about high schoolers played by college students (only a few years apart really), but young high schoolers like me then may not be ready for this type of content. And by this type of content, I mean frequent discussion and representation of sex and genitalia. I think they do it as tastefully as possible, though; I’m not that uncomfortable with it watching it now, but I’m also nearly 27 instead of 14. Even my asexual ass can find enjoyment in it, and I think it’s because this show has so much more to offer than just the surface level content.

What makes this show special are its messages about relationships (romantic and platonic) and self-worth. Joey has his ideas about what a romantic relationship should be (sexual attraction) because he’s a horny and lonely teenager, so he pines after Vanessa and then pursues her with the guidance of his foolish teenage heart. He overlooks his platonic friendship with Sally because he’s not immediately sexually attracted to her; he never considers her as an option at all until the end. Sally is a hopeless romantic with an obsession with Joey Richter; she has her own sexual desires but doesn’t think she’s worthy of any romantic or sexual relationship because of her low self-esteem. It’s only when Joey understands the difference and balance between sexual and romantic attraction that he sees that “what [he] needed was the one who [was] perfect for [him]”, i.e. Sally! Sally can stop obsessing over Joey and start to form a real relationship with him once she confesses her feelings and gains some self-confidence when he eventually reciprocates. These are great messages for young people in new relationships to learn!

This is all balanced with great jokes, delightful character acting, and fun music. Not all the jokes are sex jokes, though: besides the witty one-liners and everything with Joey’s heart, Sally’s excitable nature when it comes to the chemistry project (a film noir about silver nitrate) gets me every time! The main characters are fun, especially because Joey and Jaime delight me to no end, but the side characters are vibrant too! Vanessa and Tiffany are obviously great best friends who are most definitely in love with each other without realizing it, and Ali Gordon and Alle-Faye Monka really sell it--and it makes me sad that we barely saw those two after this show (Ali was in A VHS Christmas Carol and Alle-Faye was in A Very Potter Senior Year and A Very StarKid Reunion; both were at StarKid Homecoming, and it was so nice to see them again!).

The music is underrated, and we need to talk about it. First, the brass! The songs that aren’t stereotypical pop musical songs are big band jazz numbers, and the brass section is so fun! Numbers like “Listen to Your Heart” and “Land of the Dicks” are reminiscent of classic jazz standards with the instrumentation and upbeat tempo. They bring in some funk for “Big T’s Temptation” (listen to that smooth bass), and Corey Dorris kills it as always! As for the pop songs, they’re still stellar! “Me and My Dick” and “Ready to Go” are a great combo for a classic musical theatre intro, bringing in each character and their wants and needs only to combine them all in a fun chorus by the end of the number. “Even Though” is a beautiful love song for an underrated StarKid couple.

Me and My Dick may not be my favorite StarKid show (more power to you if it is), but it’s not without its merits! Thank you Nick Lang, Matt Lang, Brian Holden and Eric Kahn Gale for such a fun coming-of-age story and A.J. Holmes, Darren Criss, and Carlos Valdes for a great mix of pop and jazz songs and score!

#starkid #me and my dick #rewatchers1000 #joey richter #jaime lyn beatty #joe walker #devin lytle #ali gordon #alle-faye monka #corey dorris #aj holmes #nick lang #matt lang #eric kahn gale #darren criss #carlos valdes #brian holden #sk musical score

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autistic-paul · 3 years

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Paul Matthews is autistic, a masterpost

It's been a while since I've made any sort of masterpost about the autistic Paul headcanon, so I think I'll give it another shot. It's a long one, so strap in! First off, none of this was intentional. Paul was not written to be autistic. Jon has always been supportive of how people view Paul, and that's wonderful, but please don't give Starkid credit for representation they didn't actually include. None of this is concrete, either, it's a collection of traits that can be viewed as neurodivergent traits if someone chooses to do so. I personally do, but at the end of the day, he's just a character that fans can perceive however they want.

- Paul struggles with anxiety. The source of his anxiety in the majority of TGWDLM stems from a change in his routine, of the world he knows drastically changing overnight. He had no reason to get so clearly distressed from what was clearly just a flash dance (That he knew of, at least), even considering his distaste of musicals. But it threw him off quite a lot.

- He's quite blunt and often rude. Whether you believe it's intentional or not, he has a tendency to shut people down when he doesn't want to do something, and makes no attempts to soften the blow or be polite. Telling Bill he didn't want to help him reconnect with Alice, turning down softball, getting worked up with the Greenpeace girl called him out and taking him off his social script. All of these things aren't ways that society expects people to communicate. It's not for lack of caring, Paul truly loves Bill and considers him his best friend, he's just straightforward and says exactly what he thinks.

- The social awkwardness isn't just him being blunt. He's only briefly in Black Friday, but there's plenty of evidence. In other filmings of the show, Paul attempts to shake Tom's hand, and hesitantly pulls it back when it's not taken, and then also tries to shake Tim's hand. He knows that's considered the social script, that's how you greet people in professional situations. He doesn't easily adapt to different social dynamics, considering he tries to shake a child's hand. He just does what he knows. Emma had to cut him off after the bumper cars line, he would have continued to escalate the situation otherwise. All of his parts in Black Friday showcase his difficulty in social situations.

- He's very reliant on social scripts. He repeats himself sometimes, like with the caramel frappe for Bill and also for Mr. Davidson. He says thank you for your service to Tom without hesitation in BF, because that's the thing you say. A small one, but worth mentioning.

- He has little to no ambition, and despite not liking his job according to Forever and Always, he has no intention of changing his path. Nick has said Paul has worked at CCRP for close to a decade. He's settled into the life he has, and change in any capacity is distressing to him. He goes to work, he gets his coffee, he goes home. Emma is the only change we've seen him welcome. In the bunker, Hatchetfield was overrun by aliens, and he said he still didn't want to leave.

- His reactions to stress are not particularly neurotypical. He seeks out familiarity and comfort, such as immediately making his way to Beanies to calm himself down after LDDDD, to indulge in his routine. When he was in the alleys with Emma, he brought up movies and board games, despite the fact that it was an odd time to try to discuss interests with someone he barely knew. If we count Jon's original audition for the character, we can easily infer that Paul has a special interest in film. At the very least, he has strong opinions on it, and wanting to discuss an interest even when the timing isn't appropriate is common for autistic people.

- The stims. Oh, the stims. He wrings his hands quite often, he taps his fists on top of each other, and he repeats words over and over. (The okays can be seen as a form of echolalia, which is a type of vocal stim!) Keep an eye on his hands throughout the whole show, they're moving very often, and particularly intensely in times of stress.

- His body language. There's the ever-present discomfort, of course, and the stimming, but there's more than that. He's extremely tactile, I can't count the times he touches people near him, or grabs them to pull them away from danger. He mimics other people's body languages, especially Emma's. His posture in CCRP at the start vs. His posture in the bunker with Emma are drastically different, and they reflect the people around him. In Black Friday, he touches Emma's back to support her, crouches when she does, holds her at the very end of the show. I'd argue that he struggles with a sense of personal space, honestly.

- As an add-on to the last point, he touches other people very freely, but when other people touch him, he flinches. All the touching in LDDDD have him looking disgusted, and doubly so in LIO, but it's not just that. Ted touches him by the trash cans, and he jumps and looks very uncomfortable. He's tactile, but only on his own terms.

- He's extremely expressive. He wears his emotions on his sleeve, and does not seem remotely adept at hiding them. Emma knew he had a crush on her the second they met. It's not just his words that are straightforward, it's all of him. He just doesn't hide things.

I suppose that's it for now. Honestly, if I started picking out every little thing about him, I'd be here all day. There's so much about the way he speaks, moves, and expresses himself that makes him seem autistic to me. Simply put, it's about the vibes, my dudes. He's autistic because I choose to believe he is.

#paul matthews #starkid #tgwdlm #black friday #nightmare time #jon matteson #autistic paul matthews #long post #mine #oh god this is so long #i apologize #i know it could be better but i wanted to get all those notes out #i'll add more if i think of them #not much forever and always stuff here because. i haven't thought has hard about it. whoops #maybe someday

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incorrectlystarkid · 3 years

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If some of you are confused on what is currently going on, I suggest you watch Robert’s story ( if it’s not already gone by now) and hear what he has to say about the situation. Please know that this a really serious matter and that we should respect those who are involved even though we don’t know the full story.

You could say that I am disappointed in him, but I now know that he’s taking full responsibility for his actions and I hope everything will be alright in the end. We are all human and we all make mistakes. I know he can’t take back what he said to the person and for those who are treating the situation as an achievement for him “finally canceled”….you can honestly go fuck yourself.

This isn’t about you. No one should really be focusing on the fact they were “right” when what we really need to be focused on is healing from this. If any of you are angry right, I suggest you just write it down somewhere instead of online because there may be people who aren’t in the fandom might take it way differently than what it’s already is. If some you think that I’m defending him, I’m not!

I’m the kind of person who waits and sees if someone deserves a second chance. So, that’s what I’m gonna do. I actually watched his explanation and I have to say, not everyone tells the truth in these types of situations and he did. I really want to stay in this fandom and for me to do that, I need to get all of this stuff out and into the open.

Here are a couple of reminders:

1.) Don’t go asking the other Starkids for more information. They are handling this privately and it needs to stay that way.

2.) Don’t demand that any production he’s been in to be taken down. We all know what happened last time that happened.

3.) This is real life. It’s not a show, not a musical, it’s not fiction. Real human beings are involved and we need to respect that.

4.) If any of you try to accuse me of anything, you will be blocked. I don’t have any patience left in me to be dealing with that crap after what I just read in the tags.

And finally, just know that all types of starkid media aren’t as perfect as they seem. Tumblr included. That’s all I’m gonna say right now.

Please stay safe.

#starkid

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wits-writing · 4 years

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What’s so Funny About Vengeance, the Night, and Batman? – Two Superhero Parodies in Conversation

Back in 2016, the first trailers for Director Chris McKay’s The Lego Batman Movie hit. A spinoff of the take on the iconic hero, voiced by Will Arnett, from 2014’s The Lego Movie. Those trailers spelled out a plot covering how Batman’s life of crimefighting is turned upside down when Robin unexpectedly enters the picture. It was a funny trailer, promising another insightful comedy from the crew behind The Lego Movie. A promise it handily delivered on when it came out in February 2017 with an animated feature steeped wall-to-wall jokes for the sake of mocking Bruce Wayne’s angst filled crusade that can only come from understanding what’s made the character withstand the test of time.

But there was a thought I and others had from seeing that trailer up to watching the actual movie:

“This seems… familiar.”

Holy Musical B@man! is a 2012 fan-made stage production parody of DC Comics’ biggest cash cow. It was produced as the fifth musical from YouTube-based cult phenomenon Starkid Productions, from a book by Matt and Nick Lang, music by Nick Gage and Scott Lamp with lyrics by Gage. The story of the musical details how Robin’s unexpected entrance ends up turning Batman’s (Joe Walker) life of crimefighting upside down. Among Starkids’ fandom derived projects in their early existence, as they’ve mainly moved on to well-received original material in recent years, Holy Musical B@man! is my personal favorite. I go back to it frequently, appreciating it as a fan of both superheroes and musicals. (Especially since good material that touches on both of those isn’t exactly easy to come by. Right, Spider-Man?)

While I glibly summarized the similarities between them by oversimplifying their plots, there’s a lot in the details, both major and minor, that separates how they explore themes like solitude, friendship, love, and what superhero stories mean. It’s something I’ve wanted to dig into for a while and I found a lot in both of them I hadn’t considered before by putting them in conversation. I definitely recommend watching both of them, because of how in-depth this piece goes including discussing their endings. However, nothing I can say will replace the experience of watching them and if I had included everything I could’ve commented on in both of them, this already massive piece would easily be twice as long minimum.

Up front, I want to say this isn’t about comparing The Lego Batman Movie and Holy Musical B@man in terms of quality. Not only are they shaped for vastly different mediums with different needs/expectations, animation versus stagecraft, but they also had different resources at their disposal. Even if both are in some ways riffing on the aesthetic of the 1990s Batman movies and the Adam West TV show, Lego Batman does it with the ability to make gorgeously animated frames packed to the brim with detail while Holy Musical often leans into its low-fi aesthetic of characters miming props and sets to add extra humor. They’re also for different audiences, Lego Batman clearly for all-ages while Holy Musical has the characters cursing for emphasis on a regular basis. On top of those factors, after picking through each of these for everything worth commenting on that I could find, I can’t say which I wholly prefer thanks in part to these fundamental differences.

This piece is more about digging through the details to explore the commonalities, differences, and what makes them effective mocking love letters to one of the biggest superheroes in existence.

(Also, since I’m going to be using the word “Batman” a lot, I’ll be calling Lego Batman just “Batman” and referring to the version from Holy Musical as “B@man”, with the exception of quoted dialogue.)

[Full Piece Under the Cut]

Setting the Tone

The beginning is, in fact, a very good place to start when discussing how these parodies frame their versions of the caped crusader. Each one uses a song about lavishing their respective Batmen with praise about how they are the best superheroes ever and play over sequences of the title hero kicking wholesale ass. A key distinction comes in who’s singing each song. Holy Musical B@man’s self-titled opening number is sung from the perspective of an omniscient narrator recounting B@man’s origin and later a chorus made up of the Gotham citizenry. Meanwhile, “Who’s the (Bat) Man” from Lego Batman is a brag-tacular song written by Batman about himself, even playing diegetically for all his villains to hear as he beats them up.

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Holy Musical opens on a quick recap of Batman’s origin:

“One shot, Two shots in the night and they’re gone And he’s all left alone He’s just one boy Two dead at his feet and their blood stains the street And there’s nothing, no there’s nothing he can do!”

We then get a Bat-dance break as the music goes from slow and moody to energetic to reflect Batman turning that tragedy into the driving force behind his one-man war on crime. Assured by the narrator that he’s “the baddest man that there’s ever been!” and “Now there’s nothing, no there’s nothing he can’t do!” flipping the last lyric of the first verse. For the rest of the opening scene the lyrics matter less than what’s happening to establish both this fan-parody’s version of Batman and how the people of Gotham (“he’ll never refuse ‘em”) view him.

Lego Batman skips the origin recap, and in general talks around the death of the Waynes to keep the light tone going since it’s still a kids movie about a popular toy even if there are deeper themes at play. Instead, it continues a trend The Lego Movie began for this version of the character writing music about how he’s an edgy, dark, awesome, cool guy. While that movie kept it to Batman angry-whiteboy-rapping about “Darkness! NO PARENTS!”, this one expands to more elaborate boasts in the song “Who’s the (Bat) Man” by Patrick Stump:

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“In the darkest night I make the bad guys fall There’s a million heroes But I’m the best of them all!”

Batman singing this song about himself, as opposed to having it sung by others aims the crosshairs of parody squarely on the hero’s ego. His abilities make fighting his villains effortless, like this opening battle is more an opportunity to perform the song than a life-or-death struggle. Even Joker’s aware of that as he shouts, “Stop him before he starts singing!” This Batman doesn’t see himself as missing out on anything in life, even if he still feels that deep down. Being Batman is the coolest thing in the world that anyone would envy. He’s Batman, therefore everyone should envy him.

The songs aren’t only part of the equation for how these two works’ opening scenes establish their leading hero. While both songs are about Batman being cool, they’re separated by the accompanying scenes. Lego Batman keep the opening within the Joker’s perspective until Batman shows up and the action kicks in. Once it does, we’re shown a Batman at the top of his solo-hero game. Meanwhile, Holy Musical’s opening is about B@man building his reputation and by the end of the song he has all the citizens of Gotham singing his praises with the titular lyrics. Both are about being in awe of the title hero, one framed by Joker’s frustration at Batman’s ease in foiling his schemes yet again and the other about the people of Gotham growing to love their city’s hero (probably against their better judgement.)

That’s woven into the fabric of what kind of schemes Batman is foiling in each of these. Joker’s plan to bomb Gotham with the help of every supervillain in Batman’s Rogues Gallery is hilariously high stakes and the type of plan most Batman stories, even parodies, would save for the climax. Neatly exemplified by how that’s almost the exact structure of Holy Musical’s final showdown. Starting with these stakes works as an extension of this Batman’s nature as a living children’s toy and therefore the embodiment of a child’s idea of what makes Batman cool, his ability to wipe the floor with anyone that gets in his way “because he’s Batman.” It also emphasizes Joker as the only member of the Rogues Gallery that matters to Lego Batman’s story, every other Bat-villain is either a purely visual cameo or only gets a couple lines maximum.

The crime’s being stopped by B@man are more in the “Year One” gangster/organized crime category rather than anything spectacle heavy. Though said crimes are comically exaggerated:

Gangster 1: Take these here drugs, put ‘em into them there guns, and then hand ‘em out to those gamblin’ prostitutes! Gangster 2: Should we really be doing these illegal activities? In a children’s hospital for orphans?

These fit into that model of crime the Dark Knight fights in his early days and add tiny humanizing moments between the crooks (“Oh, Matches! You make me laugh like nobody else!”) in turn making the arrival of B@man and the violence he deals out a stronger punchline. Further emphasized by the hero calling out the exact physical damage he does with each hit before warning them to never do crime again saying, “Support your families like the rest of us! Be born billionaires!” Later in the song his techniques get more extreme and violence more indiscriminate, as he uses his Bat-plane to patrol and gun down whoever he sees as a criminal, including a storeowner accidentally taking a single dollar from his own register. (“God’s not up here! Only Batman!”)

A commonality between these two openings is how Commissioner Jim Gordon gets portrayed. Both are hapless goofs at their core, playing more on the portrayal of the character in the 60s TV show and 90s Burton/Schumacher movies than the serious-minded character present in comics, Nolan’s Dark Knight Trilogy, and other adaptations. Lauren Lopez’s portrayal in Holy Musical gets overwhelmed by everything thrown at him, eventually giving up and getting out of B@man’s way (“I’m not gonna tell Batman what to do! He’s Batman!”) Hector Elizondo’s Gordon in Lego Batman clearly reached the “stay out of Batman’s way” point a long time ago, happy to have “the guy who flips on the Bat-signal” be his sole defining trait. While the characterizations are close, their roles do end up differing. Lopez’s Gordon sticks around to have a few more comedic scenes as the play goes on, where Elizondo’s exist to set up a contrast with his daughter Barbara and her way of approaching Batman when she becomes Police Commissioner.

These opening sequences both end in similar manners as well; the citizens of Gotham lavishing praise on their respective Batmen and a confrontation between Batman and the Joker. Praise from the citizenry in Holy Musical comes on the heels of a letter from B@man read out on the news about how much they and the city of Gotham suck. They praise B@man for his angsty nature as a “dark hero” and how they “wouldn’t want him any other way!”, establishing the motif of Gotham’s citizens in Holy Musical as stand-ins for the Batman fandom. Lego Batman uses the praise of the Gotham citizens after Batman’s victory in the opening scene as a lead in to contrast their certainty that Batman must have an exciting private life with the reality we’re shown. Which makes sense since Lego-Batman’s relationship to the people of Gotham is never presented as something at stake.

Greater contrast comes in how the confrontations with the Joker are handled, Lego Batman has an argument between the hero and villain that’s intentionally coded as relationship drama, Batman saying “There is no ‘us’” when Joker declares himself Batman’s greatest enemy. The confrontation in Holy Musical gets purposefully underplayed as an offstage encounter narrated to the audience as a Vicki Vale news report. This takes Joker off the board for the rest of the play in contrast to the Batman/Joker relationship drama that forms one of Lego Batman’s key pillars. While they take different forms, the respective citizenry praise and villain confrontation parts of these openings lead directly into the number one common thematic element between these Bat-parodies: Batman’s loneliness.

One is the Darkest, Saddest, Loneliest Number

Batman as an isolated hero forms one of the core tenants of the most popular understanding of the character. Each of these parodies picks at that beyond the broody posturing. There’s no dedicated segment in this piece about how these works’ versions of the title character function bleeds into every other aspect of them, but each starts from the idea of Batman as a man-child with trouble communicating his emotions. Time’s taken to give the audience a view of where their attitudes have left them early in the story.

Both heroes show their loneliness through interactions with their respective Alfreds. Holy Musical has the stalwart butler, played by Chris Allen, try to comfort B@man by asking if he has any friends he enjoys being around. When B@man cites Lucius Fox as a friend he calls him right away, only to discover Lucius Fox is Alfred’s true identity and Alfred Pennyworth was an elaborate ruse he came up with to protect Bruce on his father’s wishes. Ironically, finding out his closest friend was living a double life causes Bruce to push Alfred away (the play keeps referring to him as Alfred after this, so that’s what I’m going to do as well.) After he’s fired he immediately comes back in a new disguise as “O’Malley the Irish Butler” (same outfit he wore before but with a Party City Leprechaun hat.) That’s unfortunately the start of a running gag in Holy Musical that ends up at the worst joke in the play, when Alfred disguises himself as “Quon Li the Chinese Butler” doing an incredibly cringeworthy “substituting L’s for R’s” bit with his voice. It’s been my least favorite bit in the play since I first saw it in 2012 and legitimately makes me hesitate at times to recommend it. Even if it’s relatively small bit and the rest holds ups.

That disclaimer out of the way, that conversation between B@man and Alfred leads into the title hero reflecting on his sadness through the musical’s I Want Song, “Dark, Sad, Lonely Knight.” The song’s split into two halves, the first Alfred reflecting on whether he played a part in Bruce’s current condition and the second B@man longing for a connection. The song does a good job balancing between the sincerity over the hero’s sadness and getting good laughs out of it:

“Think of the children Next time you gun down the mama and papa Their only mama and papa Because they probably don’t have another mama and papa!”

The “I Want” portion of the song coming in the end with the repetition of the lryics “I want to be somebody’s buddy.”

Rather than another song number, Lego Batman covers Batman’s sadness through a pair of montages and visual humor. The first comes after the opening battle, where we see Batman taking off all his costume except for the mask hanging out alone in Wayne Manor, showing how little separation he puts between identities. Compared to Holy Musical where the equivalent scene is the first we see of Bruce without the mask on, which may come down to practicality since anyone who’s worn a mask like that knows they get hot and sweaty fast. Batman is constantly made to appear small among the giant empty rooms of his estate as he eats dinner, jams on his guitar, and watches romantic movies alone.

Ralph Fienne’s Alfred coming in at the end of this sequence witnessing Batman looking at a photo of himself as a boy with his parents for the last time. Alfred outlines Batman’s fear of being part of a family again only to be met with Batman denying he has any feelings ever. Pennyworth’s role as a surrogate father gets put into greater focus here than in Holy Musical, as we get glimpses of Alfred reading a book titled “How to Deal with Your Out-of-Control Child.” Also shown in smaller scenes of Alfred dealing with Batman’s insistent terminology for his crime fighting equipment, like calling his cowl an “armored face disguise.”

Batman’s denial of his pain contrasts how B@man wallows in it. Though he’s forced to confront it a little as the Joker’s plan ends up leaving him with no crimefighting to fall back on to ignore his issues. This montage gets set to the song “One” by Harry Nilsson and details Batman, unable to express his true feelings, eventually letting them out in the form of tempter tantrums. There’s also some humor through juxtaposition as Batman walks solemnly through the streets of Gotham City, rendered black and white, as the citizens chant “No more crime!” in celebration, while flipping over cars and firing guns into the air.

A disruption to their loneliness eventually comes in the form of a sensational character find.

Robin – The Son/BFF Wonder

Between both Bat-parodies, the two Robins’ characterizations are as close as anyone’s between them. Each is nominally Dick Grayson but are ultimately more representative of the idea of Robin as the original superhero sidekick and his influence on Batman’s life. The play and movie also both make the obvious jokes about Dick’s name and the classic Robin costume’s lack of pants at different points. Dick’s origin also gets sidestepped in each version to skip ahead to the part where he starts being an influence in Batman’s life.

Robin’s introduction to the comics in Detective Comics #38 in 1940, marking the start of Batman’s literal “Year Two” as a character, predating the introduction of Joker, Catwoman, and Alfred, among others. Making him Batman’s longest lasting ally in the character’s history. His presence and acrobatics shift the tone by adding a dash of swashbuckling to Batman’s adventures, inspired by the character’s namesake Robin Hood, though both parodies take a page out of Batman Forever and associate the name with the bird for the sake of a joke. Robin is as core to Batman as his origin, but more self-serious adaptations (i.e., the mainstream cinematic ones that were happening around the times both Holy Musical and Lego Batman came out) tend to avoid the character’s inclusion. These two works being parody, therefore anything but self-serious, give themselves permission to examine why Robin matters and how different characters react to his presence. Rejection of Robin as a character and concept comes out in some form in each of these works, from Batman himself in Lego Batman and the Gotham citizens in Holy Musical.

The chain of events that lead to Dick becoming Robin in Lego Batman are a string of consequences for Batman’s self-absorption. A scene of Bruce barely listening as Dick asks for advice on getting adopted escalating to absentmindedly signing the adoption paperwork. Batman doesn’t realize he has a son until after his sadness montage. Alfred forces Batman to start interacting with Dick against his will. The broody loner wanting nothing to do with the cheery kid, played to “golly gee gosh” perfection by Michael Cera, until he sees the utility of him. Batman doesn’t even have the idea to give Robin a costume or codename because he clearly views the sidekick’s presence as a temporary measure for breaking into Superman’s fortress, made clear by how he lists “expendable” as a quality Dick needs if he wants to go on a mission.

This makes Robin the catalyst for Batman’s shifting perspective throughout Lego Batman. When Robin succeeds in his first mission, the Dark Knight is hesitant to truly compliment him and chalks up his ward’s feats to “unbelievable obeying.” Other moments have Robin’s presence poke holes in Batman’s tough guy demeanor, like the first time Batman and Robin ride in the Bat-mobile together, Robin asks where the seatbelts are and Batman growls “Life doesn’t give you seatbelts!”, only for Batman to make a sudden stop causing Robin to hit his head on the windshield and Batman genuinely apologizes. They share more genuine moments together as the film goes, like Batman suggesting they beatbox together to keeps their spirits up after they’ve been imprisoned for breaking into Arkham Asylum. Robin’s representative of Batman gradually letting people in throughout these moments.

On the exact opposite end of the spectrum, B@man needs zero extra prompting to let Robin into his life. Nick Lang’s Robin (henceforth called “Rob!n” to keep with this arbitrary naming scheme I’ve concocted) does get brought into his life by Alfred thanks to a personal ad (“‘Dog for sale’? No… ‘Orphan for sale’! Even better!”) but it’s a short path to B@man deciding to let Dick fight alongside him. The briefest hesitance on the hero’s part, “To be Batman… is to be alone”, is quelled by Rob!n saying “We could be alone… together.” Their first scene together quickly establishing the absurd sincerity exemplified by this incarnation of the Dynamic Duo. An energy carried directly into the Act 1 closing number, “The Dynamic Duet”, a joyful ode between the heroes about how they’re “Long lost brothers who found each other” sung as they beat up supervillains (and the occasional random civilian.)

That song also ties into the contrast between the Batman/Robin dynamic and the B@man/Rob!n one. While Holy Musical is portraying a brotherly/BFF bond between the two heroes, Lego Batman leans into the surrogate son angle. While both are mainly about their stories’ Batman being able to connect with others, the son angle of Lego Batman adds an additional layer of “Batman needs to take responsibility for himself and others” and a parallel to Alfred as Batman’s own surrogate father. It also adds to the queer-coding of Batman in Lego Batman as Batman’s excuse to Robin for why he can go on missions is that Bruce and he are sharing custody, Robin even calling Batman’s dual identities “dads” before he knows the truth.

In the absence of the accepting personal responsibility through fatherhood element, the conflict Rob!n brings out in Holy Musical forms between B@man and the citizens of Gotham. “Citizens as stand-ins for fandom” is at it’s clearest here as the Act 2 opener is called “Robin Sucks!” featuring the citizens singing about how… well, you read the title. Their objections to Rob!n’s existence has nothing to do with what the young hero has done or failed to do, but come from arguments purely about the aesthetic of Rob!n fighting alongside B@man. Most blatantly shown by one of the citizens wearing a Heath Ledger Joker t-shirt saying Rob!n’s presence “ruins the gritty realism of a man who fights crime dressed as a bat.” It works as the Act 2 opener by establishing that B@man and the citizens conflicting opinions on his sidekick end up driving that half of the story, exemplified in B@man’s complete confusion about why people hate Rob!n (“Robin ruined Batman? But that’s not true… Robin make Batman happy.”)

Both Robins play into the internal conflict their respective mentors are going through, but what would a superhero story, even a parody, be without some colorful characters to provide that sweet external conflict.

Going Rogue

Both works have the threat comes from an army of villains assembled under a ringleader, Zach Galifianakis’s Joker in Lego Batman and Jeff Blim as Sweet Tooth in Holy Musical. Both lead the full ensemble of Batman’s classic (and not so classic) Rogues at different points. As mentioned before Joker starts Lego Batman with “assemble the Rogues, blow up Gotham” as his plan, while Sweet Tooth with his candy prop comedy becoming the ringleader of Gotham’s villains is a key turning point in Act 1 of the play. Part of this comes down to how their connections to their respective heroes and environments are framed, Sweet Tooth as a new player on the scene and Joker as Batman’s romantic foil.

Lego Batman demonstrates Batman and Joker are on “finishing each other’s sentences” levels of intimate that Batman refuses to acknowledge. Shown best in how Joker’s plan only works because he can predict exactly how Batman will act once he starts playing hard to get. When he surrenders the entire Rogues Gallery (without telling them) and himself to police custody, he describes it as him being “off the market.” He knows Batman won’t settle for things ending on these terms and tricks the hero into stealing Superman’s Phantom Zone projector so he can recruit a new, better team of villains for a take two of his masterplan from the start. Going through all this trouble to get Batman to say those three magic words; “I love hate you.” Joker as the significant other wanting his partner to finally reciprocate his feelings and commit works both as a play on how the Batman/Joker relationship often gets approached and an extension of the central theme. Batman is so closed off to interpersonal connections he can’t even properly hate his villains.

Sweet Tooth, while clearly being a riff Heath Ledger and Caesar Romero’s Jokers fused with a dash of Willy Wonka, doesn’t have that kind of connection with B@man. Though there are hints that B@man and his recently deceased Joker may have had one on that level. He laments “[Joker]’s in heaven with mom and dad. Making them laugh, I know it!” when recalling how the Clown Prince of Crime was the one person he enjoyed being around. This makes Joker’s death one of the key triggers to B@man reflecting on his solitude at the start of the play.

What Sweet Tooth provides the story is a threat to B@man’s new bond with Rob!n. Disrupting that connection forms the delicious center of the Candy King of Crime’s plan in Act 2. He holds Rob!n and Gotham’s people hostage and asks the citizens to decide via Facebook poll if the sidekick lives or dies (in reference to the infamous phone hotline vote from the comic book story A Death in the Family where readers could decide the Jason Todd Robin’s fate.)

With the rest of the villains under the leadership of the respective works’ main antagonists, there’s commentary on their perceived quality as threats. When Holy Musical has Superman talking to Green Lantern about how much B@man’s popularity frustrates him, he comes down especially hard on the Caped Crusader’s villains. Talking about how they all coast by on simple gimmicks with especially harsh attention given to Two Face’s being “the number two.” Saying they’re only famous because B@man screws up and they get to do more damage. Which he compares to his own relationship with his villains:

Superman: You ever heard of Mr. Mxyzptlk? Green Lantern: No. Superman: No, that’s right! That’s because I do my job!

Lego Batman has commentary on the other villains come from Joker, recognizing that even all together they can never beat Batman, because that’s how a Batman story goes. The other villains get portrayed as generally buffoonish, struggling to even build a couch together and described by Joker as “losers dressed in cosplay.” Tricking Batman into sending him to the Phantom Zone provides him the opportunity to gather villains from outside Batman’s mythos and outside DC Comics in general. Recruiting the likes of Sauron, King Kong, Daleks, Agent Smith from The Matrix, and the Wicked Witch of the West, among others. When I first saw and reviewed The Lego Batman Movie, this bugged me because it felt like a missed opportunity to feature lesser-known villains from other DC heroes’ Rogues Galleries. Now, considering the whole movie as meta-commentary on the status of this Batman as a children’s toy, it makes perfect sense that Joker would need to go outside of comics to break the rules of a typical Batman story and have a shot at winning.

The Rogues of Holy Musical get slightly more of a chance to shine, if only because their song “Rogues are We” is one of the catchier tracks from the play. They’re all still more cameo than character when all’s said and done, but Sweet Tooth entering the picture is about him recognizing their potential to operate as a unit, takeover Gotham, and kill B@man. The candy-pun flinging villain wants all of them together, no matter their perceived quality.

Sweet Tooth: “We need every villain in Gotham. Cool themes, lame themes, themes that don’t match their powers, even the villains that take their names from public domain stories.” (Two Face’s “broke ass” still being the exception.)

Both Joker and Sweet Tooth provide extensions of the shared theme of Batman dealing with the new connections in his life, especially with regards to Robin. However, Robin isn’t the only other ally (or potential ally) these Dark Knights have on their side.

Super Friends(?)

The internal crisis of these Caped Crusaders come as much from how they react to other heroic figures as it does from supervillainous machinations. In both cases how Batman views and is viewed by fellow heroes gets centered on a specific figure, Superman in Holy Musical and Commissioner Barbara Gordon (later Batgirl) in Lego Batman. Each serves a vastly different purpose in the larger picture of their stories and relationship to their respective Batmen. Superman reflecting B@man’s loneliness and Barbara symbolizing a new path forward for Batman’s hero work.

Superman’s role in Holy Musical runs more parallel to Lego Batman’s Joker than Barbara. Brian Holden’s performance as the Man of Tomorrow plays into a projected confidence covering anxiety that nobody likes him. Besting the Bat-plane in a race during B@man’s Key to the City ceremony establishes a one upmanship between the two heroes, like Joker’s description of his relationship with Batman at the end of Lego Batman’s opening battle. Though instead of that romantically coded relationship from Lego Batman, this relationship is more connected to childish jealousy. (But if you do want to read the former into Holy Musical B@man, neither hero has an onstage relationship with any woman and part of their eventual fight consist of spanking each other.)

B@man and Superman’s first real interaction is arguing over who’s the cooler hero until it degrades into yelling “Fuck you!” at each other. B@man storming off in the aftermath of that gets topped off by Superman suggesting he should get the Key to the City instead, citing his strength and longer tenure as a hero (“The first hero, by the way”) as justifications. This only results in the Gotham citizens turning on him for suggesting their city’s hero is anything less than the best, which serves both as a Sam Raimi Spider-Man reference (“You mess with one of us! You mess with all of us!”) and another example of the citizens as stand-ins for fandom. Superman’s veil of cocksureness comes off quickly after that and stays off for the rest of the play. Starting with his conversation with Green Lantern where a civilian comes across them, but barely acts like Superman’s there.

One of the play’s running gags is Superman calling B@man’s number and leaving messages, showing a desperation to reach out and connect with his fellow hero despite initial smugness. Even before the first phone call scene, we see Superman joining B@man to sing “I want to be somebody’s buddy” during “Dark, Sad, Lonely Knight” hinting at what’s to come. The note it consistently comes back to is that Superman’s jealousy stems from Batman’s popularity over him. This is a complete flip of what Lego Batman does with the glimpse at a Batman/Superman dynamic we see when Batman goes to the Superman’s fortress to steal the Phantom Zone projector. The rivalry dynamic there exists solely in Batman’s head, Lego-Superman quickly saying “I would crush you” when Batman suggests the idea of them fighting. Superman’s status among the other DC heroes is also night and day between these works. Where Lego-Superman’s only scene in the movie shows him hosting the Justice League Anniversary Party and explaining he “forgot” to invite Batman, Superman in Holy Musical consistently lies about having friends over (“All night long I’m busy partying with my friends at the Fortress… of Solitude.”)

Superman’s relationship to B@man in Holy Musical develops into larger antagonism thanks to lack of communication with B@man brushing off Supes’ invitations to hang out and fight bad guys (“Where were you for the Solomon Grundy thing? Ended up smaller than I thought, just a couple of cool guys. Me and… Solomon Grundy.”) His own loneliness gets put into stronger focus when he sees the news of Rob!n’s debut as a crimefighter, which makes him reflect on how he misses having Krypto the Super-Dog around. (The explanation for why he doesn’t have his dog anymore is one of my favorite jokes in the play and I won’t ruin it here.)

Where Superman’s a reflection of B@man’s loneliness, Rosario Dawson as Barbara in Lego Batman is a confrontation of Batman’s go it alone attitude. Her job in the story is to be the one poking holes in the foundation of Batman as an idea, starting with her speech at Jim Gordon’s retirement banquet and her instatement as commissioner. She has a by-the-book outlook on crimefighting with the omnicompetence to back it up, thanks to her training at “Harvard for Police.” Babs sees Batman’s current way of operating as ineffectual and wants him to be an official agent of the law. An idea that dumps a bucket of cold water on Batman’s crush he developed immediately upon seeing her, though that never fully goes away.

Her main point is that Batman “karate chopping poor people” hasn’t made Gotham better in his 80 years of operating. A contrast to Holy Musical’s Jim Gordon announcing that B@man has brought Gotham’s crime rates to an all-time low (“Still the highest in the world, but we’re working on it.”) She wants to see a Batman willing to work with other people. A hope dashed constantly dealing with his childish stubbornness as he tries to foil Joker’s schemes on his own, culminating in her arresting Batman and Robin for breaking into Arkham to send Joker to the Phantom Zone.

Barbara’s role as the one bringing grown-up attitudes and reality into Batman’s world does leave her in the role of comedic straight woman. Humor in her scenes comes from how she reacts to everyone else’s absurdity rather than anything she does to be funny. This works for the role she plays in Lego Batman, since she’s not there to have an arc the way Superman does in Holy Musical. She’s another catalyst for Batman’s to start letting people in as another character he grows to care about. Which starts after she lets the Dynamic Duo out of prison to fight Joker’s new army of Phantom Zone villains on the condition that he plays it by her rules. Leading to a stronger bond between Batman, Robin, Alfred, and her as they start working together.

The two Batmen’s relationships to other heroes, their villains, Robin, and their own solitude each culminate in their own way as their stories reach their conclusions.

Dark Knights & Dawning Realizations

As everything comes down to the final showdowns in these Bat-parodies, the two Caped Crusaders each confront their failures to be there for others and allow themselves to be vulnerable to someone they’ve been antagonizing throughout the story. Each climax has all of Gotham threatened by a bomb and the main villains’ plans coming to fruition only to come undone.

Holy Musical has Sweet Tooth’s kidnapping of Rob!n and forcing Gotham to choose themselves or the sidekick they hate sends B@man into his most exaggerated state in the entire play. It’s the classic superhero movie climax conundrum, duty as a hero versus personal attachment. Alfred, having revealed himself as the “other butlers”, even lampshades how these stories usually go only for that possibility to get shot down by Bruce:

Alfred: A true hero, Master Wayne, finds a way to choose both. B@man: You’re right, Alfred. I know what I have to do… Fuck Gotham, I’m saving Robin!

B@man’s selfishness effectively makes him the real villain of Holy Musical’s second act. Lego Batman has shades of that aspect as well, where Batman gets sent to the Phantom Zone by Joker for his repeated refusal to acknowledge their relationship. Where the AI running the interdimensional prison, Phyllis voiced by Ellie Kemper, confronts him with the way he’s treated Robin, Alfred, Barbara, and even Joker:

Phyllis: You’re not a traditional bad guy, but you’re not exactly a good guy either. You even abandoned your friends. Batman: No! I was trying to protect them! Phyllis: By pushing them away? Batman: Well… yeah. Phyllis: Are they really the ones you’re protecting?

Batman watches what’s happening back in Gotham and sees Robin emulate his grim and gritty tendencies to save the day in his absence makes him desperately scream, “Don’t do what I would do!” It’s the universe rubbing what a jerk he’s been in his face. He’s forced to take a look at himself and make a change. B@man’s not made to do that kind of self-reflection until after he’s defeated Sweet Tooth but failed to stop the villain’s bomb. He’s ready to give up on Gotham forever and leave with Rob!n, until his sidekick pulls up Sweet Tooth’s poll and it shows the unanimous result in favor of saving the Boy Wonder. Despite everything they said at the start of Act 2, the people want to help their hero in return for all the times he helped them. All of them calling back to the Raimi Spider-Man reference from Act 1, “You mess with one of us. You mess with all of us.”

Both heroes’ chance at redemption and self-improvement comes from opening themselves up to the people they pushed out and dismissed earlier in their stories. Batman takes on the role he reduced the Commissioner down to at the beginning of the movie and flips on signals for Barbara, Alfred, and Robin to show how he’s truly prepared to work as a team, not just with his friends and family but with the villains of Gotham the Joker pushed aside as well. Teamwork makes the dream work and they’re all able to work together to get Joker’s army back into the Phantom Zone but like in Holy Musical they fail to stop the bomb threatening Gotham. Which he can only prevent from destroying the city by confessing his true feeling to Joker

Batman: If it wasn’t for you, I wouldn’t have learned how connected I am with all of these people and you. So, if you help me save Gotham, you’ll help me save us. Joker: You just said “us?” Batman: Yeah, Batman and the Joker. So, what do you say? Joker: You had me at “shut up!”

The equivalent moment from Holy Musical comes from B@man needing to put aside his pride and encourage a disheartened Superman to save Gotham for him. This happens in the aftermath of a fight the two heroes had where Superman tried to stop B@man before he faced Sweet Tooth, B@man winning out through use of kryptonite. That fight doesn’t fit into any direct parallel with Lego Batman, but it is important context for how Superman’s feeling about B@man before Superman finally gets his long-awaited phone call from the Dark Knight. Also, the song accompanying the fight, “To Be a Man”, is one of the funniest scenes in the play. What this speech from B@man does is bring the idea of Holy Musical B@man as a commentary on fandom full circle:

B@man: I forgot what it means to be a superhero. But we’re really not that different, you and me, at our heart. I mean really all superheroes are pretty much the same… Something bad happened to us once when we were young, so we dedicated our whole lives to doing a little bit of good. That’s why we got into this crazy superhero business. Not to be the most popular, or even the most powerful. Because if that were the case, hell, you’d have the rest of us put out of a job!

This speech extends into an exchange between the heroes about how superheroes are cool, not despite anything superficially silly but because of it. Bringing it back to the “Robin Sucks!” theme that started Act 2, saying “Some people think Robin is stupid. But those people are pretentious douchebags. Because, literally, the only difference between Robin and me is our costumes.” The speech culminates in what I genuinely think is one of the best Batman lines ever written, as B@man’s final plea to Superman is “Where’s that man who’s faster than a gun?” calling back to the trauma that created Batman across all versions and what he can see in someone like Superman. So, B@man sacrificing his pride and fully trusting in another hero saves Gotham, the way Batman letting Joker know what their relationship means to him did in Lego Batman.

Each of these parodies ends by delivering a Batman willing to open himself up to a new team of heroes fighting at his side, the newly minted Bat-Family in Lego Batman and the league for justice known as the Super Friends in Holy Musical. Putting them side by side like this shows how creators don’t need the resources of a Hollywood studio to make something exactly as meaningful and how the best parodies come from love of the material no matter who’s behind them.

If you like what you’ve read here, please like/reblog or share elsewhere online, follow me on Twitter (@WC_WIT), and consider throwing some support my way at either Ko-Fi.com or Patreon.com at the extension “/witswriting”

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ordinaryschmuck · 3 years

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Starkid Musicals Ranked from Worst to Best

Salutations to you, random people on the internet who most certainly won’t read this. I am an Ordinary Schmuck. I write stories and reviews and draw comics and cartoons.

Welp. I finally did it. I've watched the entire Starkid musical library, and I must say, most of these plays fit my writing style perfectly:

Humor that is cynical yet random

Leaning in with comedy while sprinkling in some well-executed drama

An understanding that any type of story works as long as the cast of varying personalities of characters is dynamic enough to result in some phenomenal chemistry.

This is in almost all of their plays, excelled through fantastic writing and stellar performances driving the overall quality. And it inspired me not only to review each musical, but also ranking them all from worst to best. Or, more accurately, least good to most good. Because even at their "worst," Starkid still provides a funny, enjoyable experience that will keep you laughing with its comedy and your toes tapping with its catchy music. So strap in as I go in-depth into how Starkid proves how they are the masters of humor and melody.

(I'll also provide links to each musical, which is all for free on YouTube, so you can check them out yourselves. Just know that their early work is impossible to enjoy without subtitles, so you might want to have Closed Captions on when watching.)

#12-Holy Musical B@man-Everything about this play makes it seem like it's the weakest to me. The jokes, songs, and characters in Holy Musical B@tman just don't hit as hard as Starkid's other plays. It's still good, but compared to their best, the cracks show a lot more. That is, except for the ending. Not only is there a great speech that shows what makes superheroes so beloved, but "Super Friends" might just be my favorite finale song Starkid has ever put out. Holy Musical B@tman may not be the best, but it's at least worth the time.

#11-Firebringer-This was stupid. Really stupid. Funny as f**k, but still pretty stupid. Although I will give credit to one of the central pairings being LGBTQA+...Even though it makes little to no sense based on the characters' previous interactions. But in fairness, Starkid really sucks at writing good romantic relationships, so at least Firebringer has the benefit of being gay. And as we all know: The gayer, the better. The play is still stupid, though.

#10-Me and My Dick-The world in this musical makes little to no sense. Penises and vaginas are sentient and can communicate with their humans. And yet the penises and vaginas can also talk with each other, form relationships, leave their humans, and reinsert themselves into others--Yeah, it makes no sense...But, DAMN, is it funny! Every joke and innuendo Me and My Dick has about human anatomy works, and I could not stop laughing at each of them. Especially the names that were given to the vaginas, which are just...I mean, I'm laughing just by thinking about them. That should tell you how funny they are. This play might be illogical in every way, but if you turn your brain off and watch it for the humor, you'll definitely be in for something fun.

#9-ANI: A Parody-What's weird about ANI is that its best qualities are also weaknesses. A good chunk of the jokes are hilarious and expertly delivered. The issue is that most of them are about taking potshots at the Star Wars prequels, which might be the laziest jokes to make in a Star Wars parody. Then there's the soundtrack, having several songs that are a bop to listen to. The problem is that ANI suffers from the same issues as Tarzan and Brother Bear: Yes, technically, it is a musical, but it's one where none of the characters sing, and some people in the background do all the singing instead. It's all an odd balancing act of quality content made through questionable choices. ANI is still an entertaining play, but the force isn't as strong with this one.

#8-Black Friday-This might be the least funny play that Starkid has ever put out. Not just because it leans extra hard into drama, which was pretty effective during certain scenes. It's just when there are jokes in Black Friday, they tend to fall flatter more here than they did in other plays. Also, the plot of Black Friday might not be the best one to play straight. The serious moments work best when focusing on the characters and their personal struggles, but through the big bad that's supposed to be threatening? Not so much. Even if it was meant to be funny, well, I wasn't laughing. And believe it or not, I consider that to be the best judge of whether or not something is funny. That being said, while Black Friday isn't the most humorous Starkid musical, it's still pretty good. The characters are excellent, the songs are awesome, and the story is somewhat easy to follow. I would have appreciated a few more laughs, but I can respect these talented people wanting to challenge their strengths.

#7-Starship-This play feels very...Disney. It follows a familiar formula we've seen several times: The main character wants more than what he has in his crappy life, miraculously gets the exact thing he wants, falls in love with a girl in a short amount of time, faces off against a campy/over the top villain, realizes the hand he's been dealt isn't so bad, and in the end, gets what he wants anyway. Starship is still pretty entertaining through its jokes, characters, and songs, but it also feels weird that Starkid leans into these tropes when they would eventually make a much better play by making fun of them. The end result is not bad in the slightest, but it's also nowhere near their best.

#6-A Very Potter Musical-Starkid's first production, and boy, what a start to something wonderful. Every one of their gimmicks and motifs is present in A Very Potter Musical. The use of parody to playfully mock characters and stories they love, making songs that are as funny as they are emotional, and creating characters that work because of their lines and the actors' performances. Oh, and also, it's funny. And it’s not just through a parody angle, like making Cedric be a perfect boy who's always smiling. It's also funny through its jokes that work, even if you ignore the fact that it’s a parody altogether. Case in point, there are these two bits, one involving Voldemort and Beatrix with the other involving Ron and Hermoine, that are written and delivered so well that I was in tears much more than with any other Starkid play. When watching A Very Potter Musical, you'll not only understand how parody works, but you'll also gain an understanding of why Starkid turned out as successful as they did.

#5-The Trail to Oregon-What can I say? I'm a sucker for comedic dysfunctional families. And seeing a family of idiots make their way to Oregon via The Oregon Trail parody? Yeah, that's a win for me. The play may be another family road trip narrative, which some people might get sick of at this point. But because the dynamics and comedic chemistry everyone has with each other are on point, the end result proves that you don't need an original story to tell an entertaining one. Although I will say that out of all of Starkid's productions, The Trail to Oregon has by far the worst ending. Without giving anything away, the play spends way too much time on this one stupid joke that any of the characters could make. Comedy is defined by personalities, as are most things, so making the joke work for anyone is a bad move when this one, in particular, doesn't fit as well for some characters as it would for others. Plus, the finale song "Naked in a Lake" is a really poor choice to cap off this musical. It's catchy, but to me, a finale song should encapsulate everything about the story, characters, and themes. Not paying off a joke that I honestly wouldn't want the payoff for. So while the ending could have used a lot more polish, that doesn't change how The Trail to Oregon is a pretty funny play that I won't mind revisiting when I have the chance.

#4-A Very Potter Sequel-Hey, sometimes a sequel is better than the original. Sure some jokes don't land, and some story beats aren't as impactful as they thought they were (Serious Black's introduction, for example), but there are far more improvements to this play than the last one. The performances are stronger, the jokes are funnier, the music is catchier, and the characters are much more entertaining in this play than in A Very Potter Musical. Especially new additions like Lupin and Lucious Malfoy, who provide great comedy and sublime drama at times. And Umbridge. Sweet Mother of all that is holy, Umbridge. While A Very Potter Sequel never made me laugh to tears as the first play did, twice, Professor Umbridge carries the comedy so well that she surpasses all of that. Plus, on top of it all, this play nails its ending through a bittersweet note that really captures what makes Hogwarts so special to these characters. I always feel like Starkid's plays tend to lose steam during the last few minutes, but A Very Potter Sequel is one of the few instances that it just builds and builds to a perfect ending. A Very Potter Sequel might not always hit the right marks, but the results are just magical when it does get it right.

#3-The Guy Who Didn’t Like Musicals-This one is pretty clever. The Guy Who Didn't Like Musicals is one of those stories that manages to be explicitly hilarious yet implicitly disturbing. For instance, people suddenly bursting into perfectly choreographed musical numbers in a world where songs are exclusively diegetic is pretty funny (especially through the characters' reactions to it). However, knowing what happens to these people and why they sing and dance so expertly helps make the whole situation pretty dire. It's an excellent balancing act that not many stories can accomplish. And while The Guy Who Didn't Like Musicals leans one way or the other at times, it's still all handled really well. Oh, and also, you know how most people say the villain song is the best one in any musical? Well, technically speaking, nearly every song in The Guy Who Didn't Like Musicals is the villain song. Including the finale, which is just too brilliant for me not to give a round of applause. If you're a person who unfortunately doesn't like musicals either, I'd say be more than willing to give this one a chance. It's funny, catchy, and if you think of the implications, pretty damn disturbing.

#2-A Very Potter Senior Year-...You know how Avengers: Endgame is a bit of a mess, yet people still love it for how much of a perfect (sort of) finale it is? It's the same regard with A Very Potter Senior Year in my eyes. It's far from a masterpiece, but the many, many solid scenes that cap off this series help make me willing to overlook the mistakes. The characters, callbacks, and overall message about how things end was done so expertly well that I physically can’t hate this one. I can understand how it's more of an ok play when compared to the rest of Starkid's productions, but sometimes, ok is wonderful.

#1-Twisted: An Untold Story of a Royal Vizier-...It's Twisted. Everyone loves Twisted! And how could they not? Everything about this play just screams Starkid at their best. The comedy is uproarious, added with the fantastic delivery of the actors and the characters' personalities. Everyone feels as though they have one step in reality and the other in insanity. This, to me, seems like the best type of character work when going for the parody angle. Parody is about giving slight yet snide remarks toward the work you're mocking, which I feel works best when characters drop the suspension of disbelief audiences have when enjoying such a story. And Twisted definitely nails its satire in not only poking fun at Aladdin but also making jokes towards Disney as a brand. From their movies to their inside jokes to their formulas to even their corporate dealings with Pixar, nothing about Disney is sacred in Twisted. But on top of being funny, Twisted might just be the most successful Starkid has been with telling some really compelling drama. The jokes allow themselves to take a back seat to let serious moments play out, and even comedy is added, it provides more for the experience rather than taking anything away. You see this not only through the actors giving it their all but even through some really gorgeous and heart wrenching musical numbers. Oh, and also, Twisted has the best Starkid soundtrack, featuring songs that are epic, funny, and, as I said, heartbreaking. You cannot get better than this and, if you want to get a friend interested in Starkid as a whole, this might be the play for them. Scheherazade may have a thousand tales, but his one is a tale I wouldn't mind hearing for a thousand nights.

And that's about how I feel about Starkid and each and every one of their plays. Odds are your ranking would be much different from mine, and I'm all for that differing opinions. Feel free to make your own ranking if you want because I'm honestly curious where fans would place these plays above or below others. I'm relatively new to enjoying their work, so I have no idea what the consensus is. I do know one thing, though: If Starkid can still be incredibly entertaining through over ten years of content, then I am excited to see what they can accomplish next in another ten years.

#starkid #holy musical b@man #firebringer #me and my dick #ani: a parody #black friday #a very potter trilogy #the trail to oregon #the guy who didn't like musicals #twisted: the untold story of a royal vizier

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hatchetfieldtheories · 3 years

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Return to Hatchetfield-Town - TGWDLM Part 2

Oh my god, we’re back again. Brothers, sisters, everybody sing – wait no

It’s TGWDLM part 2! Today we talk about coffee, those police siren sounds and we begin looking into Hidgens… god help us. It also features a new theory I haven’t actually posted on the blog yet.

Also, please let me know if you’re enjoying these. They do take a lot of time, but they are a lot of fun to put together.

Part 1 | Part 3

Reality is falling apart as I stand here today… I guess it’s time for a coffee break

This is how I have entered every Starbucks I have ever been to.

Hey Starkid, when can we get a full version of the Black Coffee song?

Has it been established yet whether Nora and Zoey had already been infected when they were teaching Emma the new tip song. If yes, why did they just teach Emma the tip song and not infect her? Just to embarrass her mid-song when she didn’t know the rest of the dance? Or…

Thomas Sanders Voice – Theory Time

So at the end of Part 1, I established that the Hive had picked Paul to be their Hero, their star, way, way, early on at the start of their apotheosis. Once we move into Let It Out/ Inevitable I’ll talk about this more, but basically – there is a reason they want Paul to survive the start of the show. There is a reason the infected (and later McNamara) keep pressing him on what he wants. They need him to want something, so that they can get what they want, because that’s how the Worrisome Wombles (LiB) work. They want him to want to destroy them, so he can be with Emma – that’s his drive. They’re very aware that without a want, they may not be able to manipulate him to do what they need.

Therefore it’s very possible that if Nora and Zoey had been infected early on, yet hadn’t infected Emma, it was because they were sure Emma would be the “thing” that Paul wants – they want their star of the show and they think they know who they can use to get it. /End of theory

Promise me you’ll think about the implications.

@abiimaryy can I just post your one post that perfectly encapsulates that Starkid definitely did not think about the implications of that line when they wrote it? We’ve all long gone past the point of no return.

“Cup of Roasted Coffee” is track 4 on Now That’s What I Call Coffee. “Poisoned Coffee” is the album hidden track that you must play 20 minutes of silence to find. Is this an old person reference now?

I also fully believe the coffee shop patrons were already beginning to be infected when the song began. Sure they were poisoned and their coffee contained the blue goo but the “in-time coffee cup dancing” and exaggerated synchronous sips is just too on the nose. Their infections begun, they just needed that dose of poisoned coffee to kill them off to fully take them over.

At this point the Hive are still not particularly violent – ignoring the fact they kill three men with poisoned coffee in broad daylight.

The cat is clearly not a secret Eldritch being

There’s nothing I love more than a fourth wall break, and Starkid have regularly establish fourth walls do not exist in their universes. I can’t decide which is more telling of some kind of Hatchetfield link with the audience, Jon and Lauren wandering through the alley, or Joey giving the audience member an apple. There is a wonderful theory that the audience is part of the B&W which @wolvesandvoices put into words here: x

“I didn’t think about the implications!” – me thinking back to that time 12 years ago when I discovered something called Harry Potter the musical by someone called Starkid. They were a funny group of people – wonder what they’re all doing now.

Paul’s work friends one by one popping out of the trash cans is hilarious, but its notable again that Mr Davidson was infecting people in his office – Bill notes that people kept coming out singing. On my first watch I didn’t really take note of this, and just assumed Paul got out of the office before Mr Davidson could infect him, but taking into account the theories mentioned above and previously, this line just reaffirms that the Hive do not yet want Paul infected.

Who is the latte hottay? Answers on a postcard.

These aren’t spirit fingers... THESE are spirit fingers

Ted really doesn’t fully grasp the severity of what is happening around him. The police are singing at you Ted, I don’t think they’re too fussed about your ID.

I don’t really have much to say about Show Me Your Hands – it doesn’t really add much to theory fodder until the end. That’s not to say I don’t love it, its one of my top songs in the show (tho I think all of the songs are in my top songs… I’m very indecisive). Shout out to Mariah’s dry delivery of “the cat is dead” and Robert’s siren noises. My sincere hope is that in a future Hatchetfield production there is a need for a siren sound effect, and it is just a recording of Robert.

Charlotte touched the brain. The blue brain. The brain covered in goo. Pokey’s blue goo. I’m sure that’s fine and has no ramifications later in the show.

It is at this moment on my first watch that I realised how much Charlotte’s voice in this show sounds like Judy Garland.

Oh Hidgens. He’s finally arrived. Does he need an introduction? From what I have seen from a lot of posts as people discover TGWDLM, a lot of people know about Hidgens before they even know what the show is about. Which you know what, fair. I’m sure Hidgens would be thrilled to discover his legacy. I feel like it’s obvious, but I am assuming Robert intended Hidgens to sound like Doc from Back to the Future? Hmmm, a kooky “academic” who has an accident and ends up with a vision of something that could change the world. Great Scott!

Hidgens, my dear, please don’t gesture to yourself while holding a gun.

Ok, so Hidgens theorised this exact scenario thirty years ago. I believe it has been established this happened when he was struck by lightning. Now, lightning is used a LOT in Hatchetfield shows, and I did mention briefly here, that it could possibly be a play on the trope that in books and movies, the “creature comes alive” from a bolt of lightning. Certainly the meteor is accompanied by a storm, which does make me believe that Hidgens was granted the vision by someone from the Black and White. Theories:

Pokey sent him the vision because he knew that it would entice Hidgens eventually due to his love of musical theatre.

Webby sent him the vision in the misplaced hope that he would work on finding a solution

I also found a tweet by Nick which states that initially Hidgens was supposed to talk about the 1518 Dancing Plague which honestly – what does this mean. Was this plague originally intended to be an early attempt by Pokey to infect the world?

Hidgens touched the brain. The blue brain. The brain covered in goo. Pokey’s blue goo. I’m sure that’s fine and has no ramifications later in the show.

I posted a while back about the concept that Hidgens actually got infected early in the show, which has further implications for the likes of Charlotte also, but for now I’ll just post this really succinct theory by @westcoastbroadway: x

Hatchetfield High Homework:

What other songs would feature on Now That’s What I Call Coffee?

Consider an AU where Prof Hidgens and Doc Brown are swapped. How different would TGWDLM and Back to the Future be?

Once again, follow the wonderful people mentioned in the post.

See you in part 3 for Charlotte Theories and sad Bill time.

#the guy who didn't like musicals #tgwdlm #hatchetfield #hatchetfield theory #hatchetfield theories #starkid would totally do this #team starkid #return to hatchetfield town

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spaceorphan18 · 3 years

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I read with interest your view and that of @hopefulobjectmiracle about tumblr Klaine fandom. Is there more shipping these days than 2010-15? I ask because there seems to be a smaller group that only ship Kurt with Blaine but there seems to be a huge rise in Kurtbastian and Hevans shippers. Likewise, there’s many more pezberry or faberry shippers. And a lot more of those shippers trying to discredit Blaine or Brittany as OTP for Kurt and Santana. There seems to be new younger people joining Tumblr declaring a love for all things Klaine, and then a week later shipping Kurt with everybody else!! Has there been a change since the show aired?

Hi Nonny! :)

Hmmm.... There's not really a clear answer to this because the way shipping evolved is different than people just finding things now.

There are kind of two different things going on here -- Kurt related shipping and non-Kurt (blaine/klaine) shipping. I can't tell you much about non related Kurt things -- however, I will say that Faberry was HUGE when the show was on. It's a subsection of the fandom I never interacted with but it was around in season 1, and loud enough that the show makes nod to it from season 2 forward. Brittana was always around, too, and the reason Brittana became a thing on the show was, partly, due to fans crying out that they should be a couple -- and more than the throwaway joke the writers made in the first season.

I don't know what happened to those ships over time, or how the evolved since the show ended -- I'm sorry :/

But now, I will tell you the epic history of Kurt shipping. (Again. i should really dig out my old notes on this, lol)

Here we go long post...

I found it! I'm going to quote myself so I don't have to write it out again, lol. This was originally from an ask about the BBO (Better Boyfriend Olympics), but it'll work here, too.

Okay, so let’s go back to 2010 when there wasn’t a Klaine fandom, there was a Kurt fandom. A lot of the BBO stemmed out of the Kurt’s Boyfriend Shipping wars of 2010.

Back then, there was just a Kurt fandom, and a lot of opinions about who he should date. Believe it or not, Kurt was shipped a lot with the other guys on the show, there was a healthy dose of Kurt/Finn, but Kurt/Puck was huge, and there was a smattering of Kurt/Mike (I never really did see much Kurt/Artie now that I think of it, which is kind of funny in retrospect, but I’m sure it’s out there.) Anyway - when the show announced Kurt was getting a boyfriend – well, things began to get heated up.

Three big ships emerged

Kurt/Sam - because the rumor was that Sam was originally supposed to be Kurt’s bf (probably not, but that rumor was big at the time). Btw, they were the canoe ship (I have no idea why) and was also known as Kum (rolls-eyes). This ship’s fanbase was so huge and lasted so long, that the show felt the need to address it head on in Season Two’s Rumours (not a joke).

Kurt/Karofsky - Also known as Kurtofsky, they were also called themselves the Pirate ship (god, Idk why, shipping wars are weird, yo). These people were also really passionate, mostly about Dave, but liked the whole idea that Kurt would save Dave and they would have this weird - enemies to loves love affair or something. I don’t know, I could never get past the squicky assault aspect, but whatever.

Kurt/Blaine - which. at the time, was… the biggest possibility? It’s funny cause the other two ships were just as big as the Klaine ship, and really the fighting became over who was going to be the best option for Kurt.

And that’s the thing. Fans of Kurt were so passionate about who was best for Kurt, because everyone had seen him go through hell and back on the show, so his boyfriend needed to be perfect for him. And you know who was perfect (at first) – Blaine. More on that in a second…

However, Blaine brought his own bit of baggage – namely fans of Darren Criss (and/or Starkid fans). Unlike Chord Overstreet or Max Adler, people knew who Darren was before he was on Glee. So his own fandom joined in on the Klaine of it all. At first it was all fine – as the shipping wars continued, it was less about Kurt vs Blaine and more about Klaine vs the other shippers. Well, that was going to change….

Original Song happened and Kurt and Blaine got together ending the question of who would ultimately be Kurt’s boyfriend. And things were nice and cozy headed into season 3. You’d think the Kurt/Sam and Kurt/Karofsky ships would die out, but not really, they stuck around for a long time, and kinda morphed into something else.

See, The First Time happened. And for the first time Blaine wasn’t the perfect prince that he was in season 2 – he had more of a developed personality, and more flaws. And… some people didn’t like it. (Also added to the mix was Sebastian – and the Seblaine and Kurtbastian ships were born, but those kinda go off on their own thing and I’m not really going to bring them up much here.) Anyway, what really got fandom split was Dance With Somebody.

You had two sides of an argument, people who saw Kurt’s POV and people who saw Blaine’s POV – and guess what happened. The two sides began to fight with each other over who was “right” in the argument. (My god…) And thus started what fandom started referring to as The Better Boyfriend Olympics.

See - for reasons I don’t fully understand - instead of seeing that each of the boys have a fault and each were wrong in the episode, each side wanted to say that their side, and their POV was the correct way – that one boyfriend was more oppressed and the other was not as good a partner.

On the Kurt side, though, you had a lot of the old Kurt fans and ships who didn’t like Blaine (and/or didn’t want Blaine as his partner) so they vehemently decided that unless Blaine was the perfect boyfriend again, he didn’t deserve to be with Kurt. Meanwhile, you had the Blaine fans, many of them Darren fans who wanted Blaine to have more depth to him than just being Kurt’s boyfriend, and not being Kurt fans first (or originally) they were going to push back at the Kurt fans who were lashing out at Blaine.

Compounding this was the fact that during season 3, there were so many cast members and characters that unless you were Finchel, you were begging for scraps and your featured episode to come along. Meanwhile - Kurt got a ton of screen time, but didn’t sing much, while Blaine sang a lot more, but didn’t get much story. The Kurt fans resented that Blaine was always singing. The Blaine fans were annoyed that the Kurt fans resented it, and tried to remind the Kurt fans that Blaine barely got any development.

Either way, a war had begun. And then The Break Up happened.

Now Kurt fans had a specific reason to point at – Blaine being a terrible boyfriend. He cheated. He’s terrible. The end.

The fandom was not firmly split into sides - you were either a Kurt fan - a lot of them who HATED Blaine - partly because he was getting more attention at the time, partly cause he did sing more, partly because they were made up of Kurt ships that didn’t work out, and partly cause they saw so much of themselves in Kurt that they projected onto him their own feelings, and loving Blaine was not a part of that projection. Or you were a Blaine fan - who spent a lot of time defending Blaine to the point of exhaustion, and became so resentful of Kurt that they wished Blaine could be with anyone else because Kurt (fans) didn’t understand Blaine and should just stop trying.

Weren’t there any Klainers you ask? Ha, well…. Klainers, people actually liked Kurt AND Blaine were stereotyped into two categories. Category A) the really really loud fanbase (usually on Twitter) that harassed the creators, RM, Chris, Darren, various crew about Klaine every second that they got – to the point that it started to feel embarrassing (that’s probably my own projection). Category B) People who thought (think) that Chris and Darren were (are) in a secret relationship. (Spoiler alert they aren’t, never have been, and never will be.) The two of these categories overlapped A LOT, and many of the fans of one boy or the other just disassociated completely.

You could still be a fan of the Klaine relationship, but you had a preference to which boy you were actually a fan of – you couldn’t like both, or else you were a Klainer, and that was not cool. (I spent a long time NOT identifying as anything, and trying to make sure everything I did and said was equal – a) cause I was new to fandom and b) cause I hated that either one or the other of these characters were villainized so frequently.)

Anyway - Season 4 continued. Adam showed up, and Kurt fans got all excited, but the problem was that a lot of them saw him as the perfect boyfriend again – not a real character but a prop that could make Kurt look good and be everything for Kurt. Look, I liked Adam, I did, but he was underdeveloped, and this weird idea that your boyfriend needs to be perfect in order to be a functioning relationship is just unrealistic. I digress. Meanwhile, we didn’t get a lot of Kurt POV, which didn’t help things, and meant even more projection over his character.

Meanwhile, the Blaine fans had formed their own community, which became viciously defensive of him. I think the whole fandom was toxic during this time for a lot of reasons, and I really wanted to quit it. Many people did – the show wasn’t being fun anymore.

Season 5 came along, the boys got back together, tempers simmered, but the whole idea of the Better Boyfriend Olympics came back every time a conflict happened. Arguments about who was the better boyfriend ensued, gatekeeping as to why their pick was best and why your opinion sucked still ran through the fandom. Not helping was the fact that Cory had died, and the creators, actors, and crew – as well as media – was tired of Glee.

The one nice thing, though was that a lot of the old crowd had moved on by then, and there was an influx of newer people coming in during season 5 (and season 6) – they weren’t here for the season 3 droughts and season 4 wars, and brought in a newer and fresher perspective.

But still - we had the end of season 5 and the summer of spoilers and season 6 to get through. At this point, the Kurt and Blaine camps had moved to their parts of the internet and really not speaking much to each other if they could help it. When an argument happened on the show, the same kind of Better Boyfriend Olympics came up again – one boyfriend was worse than the other, and unless they changed xyz they were not good enough for the other. But at this point, it was incredibly tiring. I know that I was just ready for the show to be done with.

I should say, as an aside, not helping things were the rise of some rather vocal BNF-ish fans, who dug their heels in about their own opinions. The refusal to even acknowledge that one side or the other might be right, or have valid points was not helping anything. A lot of people on both sides refused to even listen to the points on the other side – and instead of being frustrated at the show, the creators, or whatever, they took it against each other, which wasn’t fun to watch either.

Season 6 happened - Blainofsky happened, and that killed enthusiasm for the season on both sides, most people just kind of wanted it to be over. And then the ending came quickly, and I think a lot of people who were just plain unhappy about everything left for good.

The Better Boyfriend Olympics, or this weird competition that always pitted the boys and their fandoms against each other in the name of one being better than the other, leveled off after this. I won’t give myself /that/ much credit - but one reason I created @todaydreambelievers was to give fans of both Kurt and Blaine a safe place where we could enjoy and discuss both boys without the BBO rearing its head. And you know what – it did mend a few hearts.

For the most part, it’s been pretty quiet since. Fandom is quieter, but I think the people who have come into it after the show has ended are a lot less judgmental and argumentative. (I suppose it helps if you know how the story is going to end.) And the cool thing, for me, is finding a group of people who enjoy Kurt and Blaine equally (or respectfully) – and reclaiming the name Klainer as a good thing.

I’ll end by saying this – it’s been relatively peaceful, even with the influx of new people throughout the years, but I have been seeing shades of BBO pop up again. Look, you don’t have to like Klaine to be a fan of one or the other of them. But there are a lot of terrible things going on in the world, a lot of things to be angry and get indignant about. How a fictional couple was written ten years ago is not one of them. Be respectful of people, and know that maybe the side you understand better isn’t the only side worth listening to. ;)

////////////////////

So, I suppose that's part 1 of this full picture. Onto Part 2.

Here's the thing -- I've stayed, mostly, in my little tumblr buble over the past five years -- blissfully unaware that I suppose things were going on around me. Except... they really weren't. Until the pandemic happened, and Glee went to Netflix internationally, and a whole bunch of young kids grew up and started watching the show.

By the time I ended TDB in 2019, there weren't many of us left. I knew there was our small, dedicated group of fans. The tinhatters (the group who thought Chris and Darren were in some kind of relationship. spoiler alert -- they're not). And I know the Kurtbastian fans have been kicking around for a while. But no one was around in huge numbers.

And then boom - pandemic, and I'm shocked (not in a bad way) that this show has already seen a resurgence. The weirdest part, for me, is the fact that not only is history repeating itself -- seriously, people are bringing up old conflicts that have been dead for ages, and old shipping wars I never thought I'd see again -- but I think this new group's relationship with the show is much different.

I think that Kurt is a character whom a lot of people can still identify with. And because he's on his own in the first season, it's still easy to project yourself onto him. And then shipping goes from there. Blaine went from being the exciting option, omg are they really gonna do Klaine?? to -- hey Klaine is the boring canon choice, we can choose who we want for Kurt.

Layer over that years of Blaine hate still circling the interwebs. The echo chamber that Twitter and Tiktok create. And the fact that neither Chris or Darren seem to have the army of fans they once did (well -- Darren does, but they don't really watch Glee anymore). And you get this varied landscape of shipping.

No, some days it doesn't feel that different from the BBO days. The fact that I still get asks about Blaine and TFT car scene or Tested makes me feel like I'm back in 2013. Other times I'm perplexed by resurgences -- such as Kurtbasitan and Kurt/Sam. (Please don't bring back Kurtofsky guys)

But there's a saying -- Same Shit, Different Day.

I think there is an entirely different group of people than the original people watching, and their reasoning for shipping whatever is much different. But they've certainly come to a lot of the same conclusions that brought about the shipping wars in the early days.

At the end of the day - I think Kurt will always been a fandom mattress. But ship what you like and be nice to everyone else. There's enough hate in the world -- no need to dump on people's escapism.

#that's how s.o. sees it #klaine history #klaine #and fandom #did I answer the question?#idk

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lylethewateraquaticguy · 4 years

Text

I haven’t talked about starkid on here in a while but here goes:

Starkid shows led by a man: 11, Starkid shows led by a woman: 1

Starkid shows led by a white (or white passing) actor: 12, Starkid shows led by a (non-white passing) actor of colour: 0

Starkid songs: ca 150 (depends on how you count), Starkid songs sung primarily by a (non-white passing) POC: 3, one of which he only sings 1/5 of the time.

Starkid shows cast makeup:

AVPM:

Lead: Darren Criss (white-passing guy)

White (or white passing): 15, (non-white passing) POC: 2

MAMD:

Lead: Joey Richter (white guy)

White (or white passing): 12, (non-white passing) POC: 1

AVPS:

Lead: Darren Criss (white-passing guy)

White (or white passing): 19, (non-white passing) POC: 3

Starship:

Lead: Joey Richter (white guy)

White (or white passing): 14, (non-white passing) POC: 0

HMB:

Lead: Joe Walker (white guy)

White (or white passing): 14, (non-white passing) POC: 0

AVPSY:

Lead: Darren Criss (white-passing guy)

White (or white passing): 30, (non-white passing) POC: 3

Twisted:

Lead: Dylan Saunders (white guy)

White (or white passing): 12, (non-white passing) POC: 0

Ani:

Lead: Chris Allen (white guy)

White (or white passing): 9, (non-white passing) POC: 0

TTO:

Lead: Jeff Blim (white guy)

White (or white passing): 5, (non-white passing) POC: 1

Firebringer:

Lead: Lauren Lopez (white passing woman)

White (or white passing): 10, (non-white passing) POC: 2

TGWDLM:

Lead: Jon Matteson (white guy)

White (or white passing): 7, (non-white passing) POC: 1

BF:

Lead: Dylan Saunders (white guy) or Angela Giarratana (white woman), I think (I’m not completely sure who counts as the lead but regardless it’s still a white or white passing person)

White (or white passing): 11, (non-white passing) POC: 2

My point with this is that the idea of starkid fans being racist for not focusing on the people of colour feels very disingenuous. Is there a problem in the starkid fanbase with not focusing enough on the POC? Yes. Is that entirely the fans fault? Fuck no.

First of all, this shit is taught. When talking about sexism, people like to bring up that the fans don’t focus enough on Firebringer compared to the other shows. But the fact is that one (a little bit more) inclusive show isn’t going to automatically undo decades of subconsciously sexist and racist programming.

And second, even if we want to make the conscious decision to be more inclusive there isn’t much we can really do with the material we’re given. I make starkid compilations on YouTube. Amongst these I’ve made “appreciation time”s. I realised that I’ve only made the ones for individual starkids for white guys (specifically Joey and Rosenthal). So I decided to make a conscious decision to make my next one for Corey Dorris. I was already going to make one for him but I consciously decided to bump it up the list in order to be more inclusive and show more appreciation for starkids of colour. But here’s the problem: he is literally the ONLY starkid of colour with enough valuable stage time for me to make a compilation of him. And even then finding good clips was way harder than for Joey or Rosenthal because whenever he is actually in a show or on stage he’s almost never the focus.

What I’m trying to say is that this isn’t fully on the fans and you can’t expect the fans to be showing equal appreciation when the writers aren’t giving us enough to appreciate. Don’t get me wrong, I do think there would still be an appreciation gap even if the shows were more inclusive but that is still taught behaviour. The only way to teach something is through exposure. We are taught by media to not care about characters of colour and we won’t be able to actually unlearn that unless said media becomes more inclusive.

#I'm sorry for my very obviously disgustingly bad takes #lyle the opinion guy #lyle the mature guy

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thewhizzyhead · 3 years

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Hey, your misfits musical thing sounded super super interesting! Any other details about it that you're willing to share? Minor plot points? Gay Relationship stuff? :0

oh boy this is gonna be long *cracks knuckles* here we go

SO FUN BACKSTORY BEFORE I GET TO THE PLOT PARTS TJXJJS: my sunday school has a tradition of um holding productions of christmas musicals every december. My teachers would find american christian christmas kiddy musicals productions on youtube and then basically um translate all the dialogue to Filipino (the songs stay in English) and have us um reenact the whole thing and ngl it was a lot of fun! I even acted as some of the main roles there when I was like 10-13 so um I can kinda say that I have some experience with musical theatre YAYYY (jk jk that doesn't really count djsff).

When I was around 12-13 years old, I became obsessed with A Very Potter Musical and wondered what it would be like to make AVPM but Christmas so that my church could perform it (very silly idea but shh i was 12 and I was obsessed) and then over time a plot that Was Definitely Not Harry Potter started to form and them um here we are fjsjd so thank you Starkid for making me go down this hellhole

Oki backstory over, now here comes the very long part:

(Also um warning this musical concept involves a lot of religion talk since majority of the thingy is me criticizing a lot of the hypocrisies in religious institutions here based on my experience so um yea proceed with caution if ur sensitive to religion-related stuff)

p.s. ari i am so so sorry but this is so fucking long and definitely more than what you asked for so um yea goodluck fjxjsjf

SO BASICALLY Misfits is about 5 "narrators" - these guys serve as the "floor directors" of the show and um yea they make sure that the plot actuall happens and everything goes exactly according to the script given by the church higher ups or "producers" - who have to bring 3 teens branded by their church as "Misfits" back to Bethlehem 1 CE in order to "teach them a lesson about God" aka convert them to Christianity thus removing the "Misfits" branding. (Also they can only go back once they successfully arrive at the manger because um that's how the producers want it to be tjxjs)

I have to emphasize that although this tackles a lot of stuff related to Christianity and religion as a whole, this really isn't a Christian Musical and that this very morally questionable mission (through the power of Stage Magic and Super Powers, the Narrators essentially bring the Misfits back to the past against their will for the sake of completing their mission) goes horribly, horribly wrong very very quickly.

Throughout the course of the musical, the 5 Narrators struggle to stick to the given script and get their mission done as the 3 Misfits prove to not only be very freaking stubborn but also quite insightful as well as they bring up really good points in regards to religious hypocrisies and socially questionable, prejudiced and backward views commonly held by most religious institutions here i.e gender roles, homophobia, the demonization of science and technology at times, elitism and classism, etc etc (i can only speak in behalf of the Philippines so um yea Philippines). Overall, this is kinda a case study on as to how religion can influence and shape people's mindsets for either the better or the worse and how it is often used by the authorities to simultaneously give hope to the people (especially those of the poorer sectors wherein because of how hopeless the present seems here because a very flawed system kept in place by the exploitative privilged here, they choose to just trust in God instead and also hope that the afterlife is much much better than this shit) while also keeping them in line and like preventing them from rioting. (Church and politics undeniably go hand in hand here even though we have legislations enforcing the separation of the church and state and um yEA THIS WHOLE THING HAS BEEN VERY PROMINENT THROUGHOUT PHILIPPINE HISTORY AND WE CAN ALL THANK THE SPANIARDS but um anyways that'll be a rant for another day)

On a more personal and emotional aspect, this thingy also tackles a lot of stuff I find rather common among kids my age, especially those who had a very Christian upbringing (aka 99.9% of the philippine population tjxbdbf). There's a lot of questioning involved in regards to one's faith, sexuality, perspective and purpose in life and all that fun stuff and how oftentimes said questioning is discouraged due to the church (and ph society overall) wanting us to just like um sTICK TO THE STATUS QUOoOoO and just comply with what is seen as appropriate and godly cause anything out of the ordinary is ngl treated like it's heresy. (YES THERE WILL BE A LOT OF SELF PROJECTION HERE)

One final and important thing to note is that the show is essentially a musical-inside-a-musical in a way fjsjf I originally designed this thing to be like um produce-able on my church's stage (because they were supposed to help me produce the first version of misfits which um yea that's def not gonna happen now tjxjdv) which um kinda looks like the OG Spring Awakening Stage (and yes Misfits is very much inspired by Spring Awakening God I love that show) which is why the show is kinda stylized like a concert with handheld mics and all wherein um the 5 narrators are aware that they are putting on a show to the point of even directly addressing the audience a lot while the 3 Misfits (except for 1 which i'll get to in a bit) aren't aware that they are in a show. The three do eventually find that out and that's when all hell breaks loose to the point that the "producers" (represented by Hades-ish voices) have to intervene by literally changing and manipulating the show's setting and plot to make sure that their script gets followed and that's when the characters really try to break the show to get out of it bUT THE POINT I WANNA MAKE HERE IS THXJD keeping in mind that I had initially planned for Misfits to be produced by my church prior to the many drastic changes, the show the narrators were putting on (aka the musical-inside-the-musical) was made with the intention to pander to a Very Religious Audience. Successfully convincing people to convert to Christianity, especially those of the youth, is what many religious audiences want to see and that is exactly what the "producers" have written for the 5 "narrators and floor directors" to enact. Now don't get me wrong, I'm a Christian and preaching the Gospel and bringing in new believers isn't essentially a bad thing; if they want to believe in the religion then woo good for them! But, such preaching becomes detrimental when you take away one's agency and basically force them into Christianity by means of guilt tripping and manipulation which is sadly very much a reality here (again, a rant for another day) and a representation of such is shown here in the show where um the 3 Misfits were basically forced into this show that 5 Narrators are putting on and, through the influence of the 5 Narrators, the 3 Misfits have to decide to become "good Christian youths" for the show to conclude because that's show the "producers" have written. So when the 3 Misfits stubborness goes to the point that even the 5 Narrators start questioning the morals of their mission, that's when the show starts to go off-script and that's when the production starts to like umm "break" and whenever that happens, the "producers" start speaking to the Narrators, reminding them that they have an audience that they need to please and a message that they need to convey.

So while the Misfits (2 of them, at least, cause um the third one has um yea i'll get to him in a bit) mainly focus on figuring out what in the everliving fuck is going on (while also dealing with their um unfortunate circumstances, childhood trauma, a shit ton of guilt and the concept of salvation and self-forgiveness), the Narrators are tasked with the burden of carrying the show and making sure that the audience finds it appealing while trying to convince themselves that what the church wants them to do is "right" and what the Misfits keep telling them is "wrong" ala um Holier-Than-Thou mindset. Once they eventually start becoming more willing to see the true nature of both the Misfits and the Producers despite the fear of disappointing everyone who's watching, that's when the Narrators and Misfits all start breaking the show by going off-script and completely destroying the plot and production that the Producers have made for the audience - thus making a statement of refusing to comply with a flawed system for the sake of audience approval while also making the first step to fixing that system for the good of all.

Also fun fact: Although it'll make my job a lot harder because I am more fluent in English than in Filipino, i wanna write the thingy in both English and Filipino fjxjdf the dialogue can be Taglish but um the songs that are "part of the script" aka what the Producers want the characters to sing are in English while the songs that aren't part of the script are in Filipino; songs that are both in Filipino and in English are um i guess indicative of the struggle to follow the script while also trying to do what you believe is right (an example of a song with that style is Interpretasyon - which means Interpretation and um Ezekiel (one of the Misfits) sings in Filipino while Joshua (leader of the narrators) sings in English and um just imagine Wallflower cuz IT IS VERY MUCH LIKE WALLFLOWER GJDJNF) and um yea i kinda imagine it to be some sort of rock-pop musical concert thingy so um woo thank you pma for once again influencing my work

SO ANYWAYS UM THAT WAS LONG SO LET'S GO TO THE GAY SHIT

Okay so far 4/8 of the characters here have queerness directly related to their individual plotlines here but um yea honestly i'm tempted to make all of them queer CAUSE IT'S FUN oki so um anyways on to the character dynamics (I won't be able to include more in depth descriptions because im hungry and GOD THIS IS LONG so um yea)

June & Anna (Narrator 2) - oki so June here is one of the Misfits and she's from the poorer sectors (i'm still working on her backstory to make it more believable but um yea) and she isn't able to go to school due to having to prioritize providing for her family first. Due to a very unfortunate childhood event (one that involves Zack, another Misfit), she had to grow up fast and now appears to have a rather jaded view of the world. Anna, one of the Narrators, is the very opposite of that - she's privileged and wealthy-as-fuck and seems to be very optimisitc and friendly. However, ever since she has been blackmailed by her own churchmates for merely questioning her sexuality (true story), she became a more reserved and emotionally closed person despite her very friendly and cheerful demeanor. So when she finds out that June's music carries a lot of beautiful insight and hope in spite of her unfortunate circumstances (the two girls bond over music btw that's how Anna got June to trust in her), she becomes confused because how can June, a girl who has nothing, not even faith, still have hope that she'll be able to find some semblance of happiness while Anna, who has everything, has such a downtrodded view of the world? So um basically their dynamic will also consist of Anna checking her privilege, June explaining how good people turn against the world when the world turns against them (YES A LOT OF TALK ABOUT POVERTY AND HOW THAT IS A RESULT OF CAPITALISTIC EXPLOITATION) (yes June will talk about that a lot), and um what it means to hope with or without faith and what it means to trust another and oneself again. Oh and also lots of philosophy talk and emotional expression through music wie

Zack and Mikael (Narrator 3) - Zack, another Misfit, is a childhood friend of June and a younger stepbrother of Ezekiel (the third Misfit). After Zack and June lost contact after the 'unfortunate childhood event' (i am not sure on what exactly it'll be but in the earlier drafts a fire burned both of their homes and killed both of their dads and rn I have a song concept describing that called "Umaapoy" which means "Burns" but i dunno i'm still working on it), he became best friends with Mikael and um yea said best-friendship was Definitely Not Platonic. After a picture of them kissing was sent to not only the school principal but to basically everyone in the school, both of their parents were called to the principal's office which led to both of the boys moving to different schools to um mitigate the damage i guess gjdjd while Zack's mom eventually learned to accept her son's sexuality, Mikael um wasn't so lucky - I'd say he went through um a lot of religious intervention almost akin to conversion therapy which then um yea has caused him a lot of internalized homophobia and um yea Mikael and Zack haven't been able to talk or even chat in about 3-4 years so imagine Mikael's surprise when he found out that his mission involved Zack - who does not and cannot recognize Mikael because welp not part of the script. Zack, a bit braver now, takes a liking to Mikael and wants to at least be friends with him partly because he somehow finds him really familiar while um Mikael tries to maintain a strictly professional demeanor out of fear that Zack will recognize him and out of fear that he'll fall in love with Zack again. Their dynamic will also include um learning to trust one another and oneself again (like June & Anna's dynamic), to learn how to be brave and be sure in one's beliefs (Mikael um doesn't really speak up that much out of fear while Zack is not only outspoken, but is also an activist - this is another one of the many reasons why Zack is branded as a "Misfit" aside from the fact that he's gay and um yea Ezekiel spends almost 2 minutes berating Joshua for this out of pure anger and disgust), and what it means to reconnect with the past and to forgive oneself (although that is much more expounded upon with June & Zack's dynamic).

Ezekiel and Joshua (Narrator 1) - SAY HI TO THE RILEY AND CAIRO DYNAMIC WOOOOOOO but yea ari dude your analysis on Riley and Cairo (and Kate) being the Main MAIN characters and everything about cheerwives gave me a lot of think about and SO I PUT IT IN HERE WOOOOOO so basically um Ezekiel is the older stepbrother of Zack and the first of the 3 Misfits to figure out that they are in a show. He figures this out because he recognizes Joshua aka the leader of the Narrators aka his former churchmate and ex-bestfriend. He also realizes that they are in a show because he recognizes their tricks which he knew about because he had participated in these missions before as one of the Narrators (Joshua and Ezekiel are older than the rest of the cast and the other narrators don't know that Ezekiel was once a Narrator as well). Due to an Unfortunate Incident (that i'm still working on) 3 years prior to the events in the show, Ezekiel cut off all ties to the church but he is still viewed as this "perfect role model golden boy" which is why the 4 Narrators were shocked to find out that Ezekiel was part of their mission. Joshua, knowing that the real reason to his sudden involvement is due to "producers" somehow finding out their secret about the Unfortunate Incident, lied and told the others that he was just included to make converting his brother a lot easier, which they believed. Out of all the narrators, Joshua is the one who tries his best to stick to the script the most because he knows that if he doesn't, the true nature of that Unfortunate Incident will not only be revealed to his companions but to everyone else watching. Meanwhile Ezekiel, who doesn't know that him being involved in this mission is some sort of um penance for his involvement in that Unfortunate Incident, tries his hardest to sabotage he show by being the most outspoken when pointing out a lot of hypocrisies within religious institutions and in ph society in general (he refuses to tell the other two that they are in a show though because if that happens, he knows the Narrators, Joshua especially will um get very heavily scolded by the producers and despite everything, he still cares for Joshua a lot). I'd say that these two are the ones that push the plot the most - one wants to push the show accordingly to plan in order to please the audience and the producers and in order to not let his and Ezekiel's secret go out while the other wants to push the show off-script in retaliation against the producers (and yes the Unfortunate Incident involved the time travelling thingy which is why he really wants to sabotage this). In fact, these two have 2 duets that are basically them trying to convince the other to go along with their plan ("Interpretasyon" which means Interpretation and "Sikreto" which means secret). This dynamic involves um yea trying to convince the other to switch sides gjxjd and um reconciliation, responsibility out of guilt, and what it means to forgive oneself (forgiveness is a common theme here) and to start to heal from trauma and to not deny the existence of said trauma any longer.

NOW ORIGINALLY I REALLY DID NOT INTEND THE JOSHUA AND EZEKIEL DYNAMIC TO BE GAY BUUTT WHEN I WAS THINKING OF THE LYRICS, I REALIZED THAT OUT OF CONTEXT, IT SOUNDED VERY GAY SO UM HERE'S AN EXCERPT OF SIKRETO (still not finished writing the thingy)

Joshua: (singing to Ezekiel) (this is also the first time Joshua sings a Filipino solo so this is him breaking the script for the first time) (also um yea the translations aren't direct translations cause I wanted to make them rhyme fnxnf) (So to those who know filipino i am terribly sorry cause yup this isnt an accurate translation fjfjd)

Ang natitirang alaala ay aking binura (I have scrubbed away all the memories that may have still remained)

‘di ko na sila kilala (I don't know them anymore)

Kinalimutan na kita (I have forgotten about your name)

Ngunit ang bigat ng pagsisisi ang aking dinadala (But the weight of regret, I carry all the same)

Ang sakit sa balikat, lagi kong dinarama (I constantly feel the sting of my shoulders' pain)

Pero masasabi ko pa rin na sinusubukan kong itama (But at least I can say, I tried to right-)

Ang aking mga pagkakamali (all that's wrong)

Ikaw, saan ka pumunta? (What about you? Where in the world have you gone?)

Tumakbo ka lang at iniwan mo ako (You ran, you just ran, and left me behind)

Sa pagbubuhat ng kasalanan at sikreto (In carrying the sins and secrets, and you paid me no mind)

Pero pinapanatili ko paring malinis ang ating munting kwento (But I stillade sure I kept our little story clean)

Patuloy na sinisigurong ‘di nila malalaman ang totoo (I kept on making sure the truth would never be seen)

Alam na natin ang kwento (We already know the story)

Alam na natin ang kwentong kailangang itago (We know the story that we need to hide)

Itong munting sikreto ay kailangan burahin (This little secret that has to be erased)

Ating pagkakamali, patuloy na bubuhatin (We will have to always carry, our sins and our mistakes)

Alam na natin ang kwento (We already know the story)

Alam natin ang katotohanan ng nakaraan (We very well know the truth of the past)

Ito'y nakabakas sa isipan, ‘di natin malilimutan (We'll never forget what will remain ingrained in our minds)

At sa Diyos na lang natin mahahanap ang kapatawaran (And from only God could we find forgiveness for what we left behind)

Habang buhay bubuhatin ng konsensiya (Forever will our consciences bear the weight and carry

ang ating pagkakasala, ang kwento't sikreto nating dalawa (our sins kept in secrecy, the story of you and me)

Pero ngayon, ‘di ko alam paano pero nalaman nila (But now, I don't know how, but somehow they know)

At ngayon, dinedemanda na nila ang penitensya (And now, penitence is what they demand)

Kaya ngayon, naghihingi ako ng pasensiya (So now, patience and forgiveness is what I ask)

Sa iyo at sa kanila (From you and from them)

Sa aking gagawin at mga nagawa (for what I'll do and I've done)

Baka nga (Perhaps)

Tama nga mga sinabi mo (What you've said all this time is right)

Na ‘di tayo ang tanging may sala rito (That we aren't the ones only at fault here)

Pero ‘di ko matatakasan ang aking naging tungkulin (But I can't really escape my little role here, because)

Sana ‘di mo nakalimutan: lahat sila nakatingin (God I hope you haven't forgotten: they're all looking at us)

Lagi silang nakatingin (Always looking at us)

Kahit ano man ang iyong gawin (No matter what we do)

Tayo'y mananatili sa entablado (On the stage we shall stay)

At lahat sila nakatingi- (And the stares still won't go awa-) (He then realizes that he's on stage and Should Not Be Having A Breakdown In Front Of The Audience Because Duh and Because That's Not Part Of The Script)

SO UM YEA IN RETROSPECT SOME OF THOSE LYRICS COULD ALSO REFER TO SOME SECRET NOT-PLATONIC RELATIONSHIP THAT THE AUDIENCE DOESN'T KNOW ABOUT YET (because the Secret doesn't get revealed til much later) WHEN IN ACTUALITY IT'S ABOUT THE TRUTH BEHIND WHAT HAPPENED 3 YEARS PRIOR TO THE EVENTS IN THE SHIW AND NOT GONNA LIE,,, THEM BEING IN A NOT-SO-PLATONIC RELATIONSHIP KINDA ALSO WORKS SO I'M CONSIDERING MAKING THEM HAVE SOME ROMANTIC HISTORY TOO JDHXBSJF

Oki that's all for today hdhdh there are two more characters (narrators 4 and 5) but i'm still working on them and i kinda wanna make the both of them not cis cause WHY NOT also i have been typing this for like 6 hours now and i'm tired and hungry so tjjxjs anyways if you read to the end, I'm sending you carbonara-

#I HAVE TYPED THIS #FOR 6 HOURS #I AM SO FUCKING TIRED GJXJSJJD #ARI I AM SO SO SORRY I WAS NOT EXPECTING FOR THIS WHOLE THING TO BE THIS LONG #but i guess thats what happens when you work on a thingy for 4 years fjsjf #FBZJSJJF ARI MY DUDE UM GOODLUCK AAAAAAA #God i hope you make it to the end gjxjdjf #um feel free to like reblog this in the tags if you wanna express ur thoughts there! i'd love to know what you think about this clusterfuck #the same goes for anyone woo feel free to rb if u wanna!!#SO ANYWAYS I AM TIRED AND WILL NOW EAT CARBONARA #once again ari i am so sorry jfhxhf #ari! (wattblr tag rambler yay!)#ask me stuff #izzy's rambles and shit #religion tw #ask to tag

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