Heya!
So I remember reading your post about Eurovision a while ago, and since I'm now hooked on a certain collection of songs, I was thinking...
Would you think 'Zitti E Buoni' by Måneskin could be a Remus song, and 'Voilà' by Barbara Pravi a Roman song? Or do you have some ideas on any other Eurovision songs that would fit the Sides?
Just wondering whether you'd like to share some thoughts on this, but no pressure of course! As always, I absolutely love your theories and posts, it always brightens up my day to read :D
This will be a very self indulgent post.
First of all: “no pressure”?! I am HYPED to share my thoughts on this! And this is why it took me so long to reply to this ask: I’ve spent the whole time thinking about which song could fit which Side, going through the last editions, reading the lyrics, searching among my favourites...
So yes, this post will be a bit long. But hey, there is also good music and maybe, by listening to it, you will find something you haven’t heard before! :D
(Of course, in order to make this post understandable, I will translate all lyrics, but the songs aren’t all in English. In any case, every song has a link, so you can hear it on Youtube.)
And yes, I know there are billions of other Eurovision songs, but for the sake of “not making this post endless” (as if it won’t be already), I will stop at Eurovision 2014. If you all have other songs to propose for a Side, please feel free to add them and explain why! :D
And now...
Which Eurovision songs would fit the Sides
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EUROVISION 2021
Måneskin - Zitti e buoni
(Here the Eurovision performance because it’s just this good)
This song is PERFECT for Remus and I was a fool for not realizing it sooner. It's all about showing how different you are, embracing your uniqueness despite what others may think. Everything about this song screams “REMUS” so thank you, my dear, for opening my eyes and making me realize it.
They don't know what I'm talking about
You are dirty, bruh, of mud
Cig's yellow in between the fingers
I'm walking with a cig
Pardon me, but I really do believe
That I can make this jump
And even if the street is uphill
I'm training for this now
The first line is already 200% Remus: they (aka the other Sides) don’t know what Remus is talking about. Remus is impossible to understand. Remus is weird, strange, dangerous - according to moral standards.
However, despite the other people’s thoughts, Remus still shows a high self-esteem - just like in his playlist. The others may not have faith in him, there could be obstacles on his way, but he still believes he will achieve his goals.
And good evening, ladies and gentlemen
Bring out the actors
You better hold on to your balls
You better keep quiet and be good
Here people are weird, like drug dealers
Too many nights I've spent locked outside
Now I'm kicking these doorways
Staring up like climbers
So sorry mum if I'm always out, but
“You better hold on to your balls” is a translation of the original italian line “Vi conviene toccarvi i coglioni”. This sentence is a more vulgar form of the English expression “knocking on wood”, something you preventively do to un-jinx stuff.
However, “knocking on wood” isn’t as strong as the italian expression, so I chose this translation that is more literal, but also more vulgar. It kept the original vibe more, it fits Remus more and it gives a stronger meaning to the whole thing. The singer isn’t just saying “beware of what you’re doing”, but he’s saying “get ready, shit if about to hit the fan”. It’s more powerful - and well, Remus would love this. It’s his time now, so the audience (the other Sides/Thomas) should "keep quiet and be good”.
I also really like the “Here people are weird, like drug dealers”, because it can refer to the dark sides in general. This is Remus’ show, so the Core Sides and Thomas should shut up. They are now in the Dark Sides’ territory, full of weird, sketchy people, morally gray villains. All things he loves, enjoys and that he definitely considers as compliments.
“Too many nights I've spent locked outside / Now I'm kicking these doorways” is another great line, because “being locked outside” is the perfect metaphor for Remus’ situation. He IS locked outside, he has been kept far away from Thomas, stifled by him, unable to fully express himself. And so he releases his frustration by kicking the doors that are shutting him down. That’s just so Remus I. LOVE. IT.
I am out of my mind, but I'm not like the others
And you are out of your mind, but you're not like the others
We are out of our minds, but we're not like the others
We are out of our minds, but we're not like the others
This chorus is PERFECT! First of all: “I am out of my mind” is basically just like this line from DWIT:
[Patton]: Imaginative sure is a- a kind word for him.
[Duke]: I agree! How about... DEMENTED?
But also: Remus doesn’t give a damn. He’s not like the others and he’s SO DAMN PROUD of it. Just like he is in canon and in his playlist.
He goes even further, by saying that “you” are also out of your mind. And who this “you” might be, if not the big man himself?
[Duke]: If I am awful... then so is Thomas.
Just like in DWIT, Remus welcomes Thomas’ weirdness with open arms. If he and Thomas are both insane and different, why hiding it and not embracing this difference? They are unique.
I've written pages and pages
I've seen salt, then tears
These men in cars
Don't climb the rapids
I've written on a tombstone
"In my house there's no God"
But if you find time's meaning
You'll climb back up from your oblivion
And there's no wind stopping
The natural power
From the right point of view
You feel the intoxication of the wind
With wax wings on your back
I'll go look for that high
If you wanna stop me try again
Try cutting my head off
Because
Woah, this part has a lot. There is:
Remus' creativity as a flow ("I've written pages and pages")
Remus seeing how different he is compared to others ("These men in cars / Don't climb the rapids" while he was ready to “make this jump” despite the obstacles on his way)
Religion because of course - and especially Remus rejecting it ("I've written on a tombstone / "In my house there's no God".")
And, most importantly, there is a nice reference to Icarus' myth. According to myth, Icarus escaped from the Labyrinth of the Minotaur, by flying on wax wings. But he flew too close to the sun, his wings melted and he fell to his death.
This has multiple meanings. First of all, it shows how stubborn Remus is: he could use simpler, more stable ways to reach his goals. But he's Remus, he's creative and he's different, he would rather use wax wings (aka more complex, unordinary means) to reach his goal. Also, it's a proof of his resolution: just like Icarus, his wax wings could melt and he could fail. And yet, he's so set in his decision, he's ready to do anything to succeed.
This last point is particularly evident in the following lines: "If you wanna stop me try again / Try cutting my head off". It's impossible to stop him, just like it was impossible to send him away or stop him from talking in canon.
Everything in this song is just HIM.
Unfortunately people talk
They talk, they don't know what they talk about
Bring me where I float
Cause I lack air here
Once again, the people are the Core Sides: they talk about how he's evil and dangerous and useless. But they don't know what they're talking about. They're (metaphorically) suffocating him with their prejudices, that's why he asks "bring me where I float": he wants to express himself freely, to escape these biases.
Also: water. And with the whole octopus as his animal, it’s just even more fitting.
Moral of the story: this song is perfect for him, Remus should know Italian just to sing it - and he would love the glam rock style of Maneskin as well.
_____________________________
Barbara Pravi - Voilà
I don’t know how you did it, dear, but these two songs are PERFECT. Zitti e buoni is perfectly Remus, Voilà is perfectly Roman. I feel blessed.
Listen to me, me, the half singer
Talk about me, to your loved ones, to your friends
Tell them about this little girl with black eyes and crazy dreams
What I want is to write stories that you will hear about
That's all
Roman, is that you? Because this is you. This is ALL you.
Roman is a "half singer": he cannot sing like he want, he cannot express himself in full. He has rules, laws, morals that forces him to quiet down and bent his creativity.
And, just like a tragic hero, Roman asks that his story will not be forgotten, that others will know about him, his unfortunate life, his "crazy dreams" and especially his passion: writing stories "that you will hear about".
This line in particular reminds me of this part from Recipe for Me:
And still, I continue to write because I have more dreams to fulfill
Tales I hoped to tell when I was younger
Ideas that I haven't made yet, but I will
I'll find my way with my will
The concept is the same in Voilà. Roman is a "controlled" Creativity, surrounded by rules and morals that shut him, but he wants to be heard, he wants to tell stories.
And that’s just it. This is what creativity is all about: talking, puring out its ideas, as loud and freely as possible.
Voilà, voilà, voilà, here is who I am
Here I am, even if I'm scared as I'm naked, yes
Here I am in the noise and in silence
I love how this song is a way for Roman to express himself, to show himself despite everything. He's like this, he's a "half Creativity", he's scared, he's not perfect. But here he is, "in the noise and in silence". Because your creativity is always here with you, no matter where you are or what you are doing: it will never leave you and it will never stop asking to be heard.
Look at me, or at least what's left of it
Look at me, before I hate myself
What can I say that another hasn't already said?
I don't have much, but I place here what I do have
Voilà
Aaaah, yes, I like to wake up with the strong smell of Roman's angst in the morning.
Roman seeing himself as something broken? Perfect. We want more of the angsty boi. Even the fans of King Creativity may read this line as Roman seeing himself as “half of a whole”!
And, again I love how despite feeling broken and hating it, he’s still ready to give everything he has. This is the true essence of the concept of creativity.
Also, why not adding a little more angst?
I want to be loved, because I don't know myself how to like the shape of me
This is perfect, because it reconnects to the first episode, when Roman said his goal would be to love himself first. He never reached this goal after almost 30 episodes - and this line might offer an answer on why: because Roman doesn’t know how. He hates himself so much, he doesn’t know how to love himself.
And that’s probably why he needs another person to love: because it’s easier to love someone else, rather than himself.
Voilà, voilà, voilà, here is who I am
Here I am, even if it's the end as I'm naked
Here I am in the noise and in rage too
Finally, look at me and my eyes and my hands
All I have is here, it's my face, it's my scream
Here I am, here I am, here I am
This last chorus is awesome: the quintessential of Roman’s desperation, of showing himself, of screaming hoping to be heard by anyone. Unlike Remus who is unstoppable and doesn't care about others, Roman cares. He needs a public, he needs to be heard, otherwise he would lose himself.
And I seriously love how these two songs both have the same idea (embrace yourself and your uniqueness), but talk aboout this theme in such different ways - and yet so fitting for the twins... they are just GREAT.
(On a side note: this song is so dramatically French Roman would love it and sing it with the same passion Barbara used and I would love to see that.)
_____________________________
EUROVISION 2019
Bilal Hassani - Roi
Come on... Roi. Roi. Considering that "roi" means "king" in French, who could possibly be the Side I would associate this song with? Maybe the Side who already has a King in his playlist?
Nope, this song is for Remus.
Why Remus? The reason is very simple and you can just notice by reading the first verses:
I am me
And I know I will always be
I am free
Sure I am inventing my life
Don't ask me who I am
I am
The same since I was very little
And in spite of looks, opinions
I cry, I go out and I laugh
You put me in a box
Want me to be like you
I don't follow the codes
People are disturbed a lot
At the end of the day
You canno change me, boo!
So, let me fly
This song overflows with confidence, the lines talk about someone who is free to be whoever he wants, who has always been the same since he was a child, who is rejected by others and doesn't give a damn, who doesn't "follow the codes" and refuses to be changed by them.
This isn't Roman, but this is the quintessential of Remus. This song is everything about him, from his confidence to his desire to be free.
And the chorus is even clearer:
I'm not rich but i'm shining bright
I can't see my kingdom now
When I dream, I am a king
And I know o-o-ow
Even now o-o-ow
You try to take me down
You cannot break me nah nah
That's him, that's Remus.
On a side note, if Remus also has his "King song", that would strengthen the connection with Roman, since they both would have a song about "being/feeling like a king".
And this song is Roi, king in French. Since I think Remus would definitely know French, this makes Roi an even more fitting choice, doesn’t it?
Who are we ?
When we hide, when we fight for free
Only god can judge you and me
We did not choose what we are
Not only there is a nice religious reference, but these lines are a also a reference to the LGBT community: they hide, they fight, they didn't choose to be like that (no matter what idiots might think) and only God can judge them, not other, very flawled (and, honestly, very pathetic too) humans.
So, if we consider it, there is also a hidden "fuck society" and a "I am gay and proud to be" and those are both very Remus things.
_____________________________
EUROVISION 2018
Saara Aalto - Monster
I would associate this song with Thomas. And, specifically, to Thomas at the end of the series. Why?
Here's why:
So tonight I'm making friends with all the creatures
That are hiding there under my bed
I ain't gonna hold on to these monsters anymore
Now I'm gonna let in all the light
Tear down the walls
At my worst, I found my army strong
All the demons are gone
You can try and scare me now
But I ain't scared no more
I ain't scared no more
At the end of the series, Thomas would have befriended all the Sides, especially the "monsters hiding under his bed", the dark bois.
The "final Thomas" will tear down every wall between him and his Sides and will stop hiding/rejecting them. This will make him stronger, because the Sides will be his helpers, parts of him, his friends. He won't be scared anymore by Remus, suspicious towards Janus, afraid of Virgil or terrified by Orange.
"All the demons are gone": the dark sides won't be villains anymore, but friends. And they would help him be stronger.
It's my life
I'm ready to lead it
I'm gonna roll the dice
You better believe it
This part is great as well, because it proves another interesting detail: that Thomas is growing up. He's taking life into his own hands, he's leading it. No more "Oh no, I don't know what to choose between callback and wedding!". He's more confident, he's stronger, he's more mature.
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Hovig - Gravity
Honestly, I think this song can be something all Sides might sing to Thomas. It's basically a testament of how much they care about him:
Let me be your heart and your company
I'll let you be the one who can lean on me
I'll catch you when you fall
When you're falling free
Let me be, be your gravity
But the imagery just screams "ROMAN" so much, I can't help but think that yes, this is a great Roman song and it's all from Roman to Thomas.
I mean...
I can be your hero
I can be your fantasy
Oh, I can be the cure
Yeah, let me be
Your remedy
He IS Thomas' hero, so how can I ignore this? And he's also the embodiment of Thomas' fantasies, he's the wings that make Thomas fly.
Let me be your wings
When you're flying high
I'm gonna raise you up 'til you touch the sky
I'll catch you when you fall
When you're falling free
Let me be, be your gravity
It's just pure love for Thomas and it begs me to being a Roman song, so... here it is. A Roman song dedicated to Thomas.
_____________________________
Eleni Foureira - Fuego
Listen, not only Roman would rock this song, but also dance like a maniac while singing it just like Eleni and no, you can't change my mind.
Just look at how this woman sings and dnaces without never losing a beat until the end. And please consider that on the Eurovision stage there is no autotune: this was her voice and he delivered a great performance without cracks.
So yes, I want Roman singing this.
But the lines are great for him as well! I mean...
Take a dive
Into my eyes
Yeah the eyes of lioness
Feel the power
They ain’t lying.
and
Coz I’m way up and I ain’t comin’ down, keep taking me higher
Ah yeah ah yeah ah yeah yeah ah yeah ah yeah
Coz I’m burning up and I ain’t coolin’ down, yeah I got the the fire
Ah yeah ah yeah ah yeah yeah ah yeah ah yeah
Fuego
Someone fiery and passionate, powerful eyes, pride... yep, this is definitely something Roman would sing. Especially because of the fire. Roman is a fiery guy, so fire is very him.
______________________
Yianna Terzi - Oniro Mou
I actually already talked about this song in an old post and I still haven't changed my mind: this song is all about Janus telling Thomas how much he cares about him.
If you look into the depth of me
You revive my dream
And if you look into my heart
I will take you into my arms
How would you like me to say this
I would die for you
I would give my life for you
End and beginning, you are everything
Not only the "take you into my arms" reminds me of Change (" I’ll be able to be honest, capable / Of holding you in my arms without letting you fall"), but the last three lines are so incredibly loving and honest I can't think of anyone else but Janus while reading them. Thomas is his end and beginning, Janus would literally die for Thomas and give his life for him.
So, well, it's just very fitting. And I love how dramatic this song is. It doesn't have the jazzy vibe Janus loves, but the drama is all here.
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Francesco Gabbani - Occidentali’s Karma
Do you remember how hard it was to analyze Algorhythm from Logan's playlist? Every line has a meaning and explaining every single one of them took me an eternity.
Well, this song is basically like Algorhythm, but with more philosophy and billions to references. You see the performance on the stage and ahahah, there's a funny dancing gorilla, what a cute song. Then you read the lyrics and BOOM.
I will not analyze this song here, because every line would require at least two paragraphs to explain it. And this post is already long enough as it is, but please, search the meaning of this song: there are references to Shakespeare, Heraclitus, buddhism, Andy Warhol, Desmond Morris and his book "The Naked Ape", Marx, Nietzsche and so on. Basically every line is a reference, a play on words or both at the same time.
What about the main theme? The main theme is the human and especially the contemporary human. In fact, "Occidentali" (Westerners) does not refer to the geographical place, aka Europeans/Americans, but to the western cultural model.
So the title “Occidentali’s Karma” (Westerners Karma) is an insight on contemporary society, on our values and on how, despite how many things changed, we are not so different from our ancestors after all.
This song might seem a perfect choice for Janus. There's a critique of society, there are philosophers and plays on words.
But I’m not too convinced, because even if Janus likes all those things, the number of references is just SO HUGE only a real nerd can find, recognize and appreciate them all.
So yes, this is a Logan song. A song he would probably listen and analyze, enjoying the whole process of knowing more things, finding out all the hidden meanings, the plays on words (we all know you like puns, ya big nerd) and the critical insight. After all, Algorhythm WAS a critique of society, so Logan should appreciate it.
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EUROVISION 2014
Twin Twin - Moustache
Not only the band is called Twin Twin but, as if this wasn't screaming "Creativitwins" enough, the title of the song is "Moustache".
Come on, you know who is the Side perfect for this song.
Psyche! It's both Roman and Remus.
Something is missing, but what?
I want this, I want that
When I'm dreaming, I'm dreaming in dollars,
every day I'm wearing a different suit.
This is very Roman: Roman wants everything (let's not forget Primadonna from his playlist), Roman’s dreams are big. And Roman is Creativity, so he "wears a different suit" every day - aka he directs his creative flow in different stories/songs.
I want this, I want that
there's never enough for me
it's like this, it's like that
there's always something I don't have
This part strongly reminds me of Primadonna. Roman wants everything, every day. He's never satisfied.
And then, Remus busts in and...
I wanted a moustache,
a moustache
So my headcanon is that this starts as a Roman's song, all about wanting everything because "there's always something I don't have", until Remus pops out during the chorus and says all he wants is his gorgeous moustache.
*chef’s kiss* Perfection.
But I know what you want, dear audience. You want some angst, don't you?
Fine, so what if the "I want a moustache" line is Roman's subtle way to say that he wants the same freedom his brother has? After all, Roman has "everything one could ever dream of", "I have friends too / even some who like me". All he needs is more creative freedom and the moustache is a subtle way to say that.
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Aarzemnieki - Cake to Bake
This is the ultimate song for all Patton's fans, because it combines Patton's love for baking to Patton being an absolute disaster at it.
Also, it's an incredibly cute song.
I melted the ice of the polar caps
Found the raiders of the lost ark
Solved a case for the genius from Baker Street
Helped to clean the Central Park
I created the plan for the Chinese wall
Went to desert, made it rain
Swam through a shark tank bloodily
Found Atlantis, by the way
But today
The first verse is already awesome: Patton did a lot of great stuff, even impossible stuff ("solved a case for the genius from Baker Street" is a very nice reference to the Losing My Motivation episode).
But today, he has to face the most difficult task of them all:
I’ve got a cake to bake, and got no clue at all
I’ve got a cake to bake, and haven’t done that before
Don’t be proud, mate, please, don’t bother
Go, come on and ask your mother
How to bake, how to bake, bake that cake
Not only this makes me smile every time, but I can perfectly imagine Patton in a kitchen, with all the ingredients in front of him, everything ready and set... and he’s just absolutely lost. Should he use a spoon to stir the flour? And how can he open the vanilla beans? He doesn’t even know how to turn the stove on.
And so, he decides it’s time to ask someone else to help him. Bonus points if the mother is Janus. Also because he is a mom AND a witch, so
Also, this line:
Mix some dough, add some love, let it bake, wait for it
It's SO Patton, because the main ingredient of his recipes IS love! And cumin. And sometimes spit, depending on what he's making: pasta for Roman or some toasts for his angsty teen son.
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Carl Espen - Silent Storm
At first, I thought this was a Logan song: someone who feels empty and alone, who has a storm inside but it's a silent storm, because Logan would never express his feelings in any way.
But there are these lines:
And there’s a silent storm inside me
Looking for a home
I hope that someone’s gonna find me
And say that I belong
I’ll wait forever and a lifetime
To find I’m not alone
There’s a silent storm inside me
And someday I’ll be calm
Someday I’ll be calm
And maybe it's just me, but this reminds me so much of Virgil. He has a storm inside, his own symbol is a storm. He's searching for a home, after leaving the dark sides. And he hopes someone will say he belongs - Thomas will say he belongs, that Virgil is part of him and of the famILY.
And he's willing to wait all the time, just to get that tiny bit of recognition and acceptance. And, who knows, maybe when he'll get it, the storm inside him will calm down and he will finally be at peace.
____________________
Tinkara Kovač - Round and Round
I don't know if I'm insane (or just extremely self indulgent), but this song is basically Janus during the wedding/callback saga.
Uncertain between worlds
Circle after circle, we're trapped in time
When you're already familiar with every storm
You're playful, and yet you're alone
The first verse sets the time and situation. Thomas is living an uncertain life (just like every actor), trapped in the same cycle, with nothing new coming: same job, same opportunities, no big chances, nothing stable. He's "familiar with every storm", aka Virgil has been accepted. Thomas is happy, but he's alone. No one is actually on his side, not even the Sides themselves. He's not taking care of himself enough, he's too ready to drop everything for his friends, he's spreading himself too thin.
And now
I'm gonna show you how to breathe
I'm gonna show you how to live
I'm gonna hold your heart in hand
I'm gonna make you understand
This can be a declaration from Janus: he's tired of working in the shadows, he wants to step up and help Thomas in person. And these lines make me think of him, because of how "firm" (and kinda villain-y) they sound.
He wants to show Thomas how to live, aka what are the best decisions to make). He's going to "hold your heart in hand", aka to have Thomas wrapped around his fingers, to take control and steer him with a strong, confident grip, away from the decisions he considers bad, into making him a lot stronger than before.
And, finally, he wants to make him understand. So if the lines before sounded more like a villain’s plan, this last line adds something more. Janus wants to explain to Thomas why he's doing this, why his decisions are better, why Thomas should trust him.
If we think about it, this is everything Janus tried to do since CLBG: he wrapped Thomas (and the other Sides) around his fingers and made them play the courtroom scenario he built, he tried to steer Thomas away from the selfless decision of going to the wedding. And he tried to make him understand why, with the pinata metaphor.
You don't know you don't know
Is it love is it hate
What are we changing
(What are we doing)
You don't know you don't but
Can you feel it inside
Feel the roses
Feel the pride
(Can you believe it)
Thomas doesn't know a lot of things. Does he really know what love is? Or hate? Or what he's actually doing, by listening to his Morality? What is Janus doing?
[Deceit]: What am I doing here right now, Thomas? Am I the snake come to trick you into sinning, or have you had your mind made up since the moment you received the news about the callback? (SvS)
Thomas doesn't know a lot of things. But deep down, he knows what he wants to do. He should "feel the roses / feel the pride", both things associated with Roman. He is the one Thomas should listen to. And Janus is hinting it.
Is a moment just a circle
Just a song you play on repeat?
If we can't change how we're living
Isn't life just a lie that we feed
Janus is expressing his frustration here: is Thomas' life doomed to always be the same, a cycle, a "song you play on repeat"? Can't he really change his life because of his selflessness? Will he really miss all the opportunities life offers him, in order to always be a good person?
What's the point of living, then? This wouldn't be life, but "a lie that we feed": instead of living his own life, Thomas would submit it to what others want/need, in order to always be present for them.
This is basically a huge warning from Janus: don't fall into this cycle, break free, I can make you free, listen to me and I will make you understand what is wrong about it.
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Sam Raimi’s Spider-Man trilogy redefined the superhero genre and the summer blockbuster. The three films provided audiences with a sense of escapism unlike anything they had seen before, thanks to its heart-pounding action scenes and collection of beloved characters.
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Peter Parker, his friends, and his foes all got many chances to show off their abilities on the big screen. Indeed, the trilogy’s characters star in some of cinema’s most unforgettable moments. From upside-down kisses in the rain to heartfelt monologues about the responsibilities of a hero, Sam Raimi’s trilogy has plenty of scenes that rank as some of the most memorable in cinematic history.
10 Eddie Becomes Venom
To say that Topher Grace’s depiction of Venom is unpopular would be an understatement. In fact, most fans agree he was one of the things Spider-Man 3 got wrong. That doesn’t mean his character didn’t have some thrilling moments on-screen, though.
Eddie’s most memorable scene in the movie is his transformation into Venom. As Peter gets rid of the symbiote while in a belltower, the alien falls and lands on Eddie, quickly overtaking him. A killer soundtrack and fittingly gloomy atmosphere accompany the transformation. And even if Eddie ended up being an underwhelming villain, his conversion into Venom is definitely memorable.
9 Flint’s Confession
Every fan knows that Spider-Man 3 has way too many villains. None have enough room to shine or prove themselves as worthy heirs to Goblin and Ock’s legacies, but they still get some redeeming moments. In Sandman’s case, it’s his final monologue to Peter, where he confesses his guilt about the part he played in Uncle Ben’s death.
Enhanced by Thomas Haden Church’s performance, the scene succeeds in providing some much-needed closure for Peter. Sandman is less a villain and more a tragic figure of circumstance, and his confession to Peter confirms it.
8 Goblin’s First Flight
Willem Dafoe redefined what it means to be a comic book villain. His take on the Green Goblin is the perfect mix of over-the-top and seriousness, adding a sense of gravitas that overcomes the more cartoonish aspects of the role.
The character has plenty of memorable moments in the first Spider-Man movie. However, his initial confrontation against Spider-Man during the World Unity Fair will go down in cinematic history as one of the best action scenes of all time. It is fast-paced and thrilling, wasting not a single moment of its four-minute length. The Goblin gives an impressive display of his powers, proving that he will always be Spider-Man’s best villain.
7 Otto Octavius’s Sacrifice
Sam Raimi’s first two Spider-Man films succeeded because of how much they fleshed out the villains. They weren’t just CGI creations trying to take over the world, but three-dimensional characters with ambitions and limitations of their own. Spider-Man 2‘s Otto Octavius is one of the genre’s most compelling villains, one who succeeds in winning the audience’s sympathy while remaining a fearsome threat.
RELATED: 10 Things Only Comic Book Fans Know About Doctor Octopus
During Ock’s final moments, he sees the error of his ways and decides to go down with his creation. Proclaiming he will “not die a monster,” Octavius sacrifices for the greater good. Thanks to Alfred Molina’s committed performance, the moment is one of the trilogy’s most memorable, cementing Octavius as one of the genre’s most complex characters.
6 J. Jonah Jameson Saves Peter Parker
J.K. Simmons as J. Jonah Jameson is the very definition of spot-on casting. The actor took an already well-known character and translated him into the screen seamlessly and faithfully. Throughout his tenure in the trilogy, he gets plenty of comical moments, but his most memorable is his protection of Peter Parker.
When the Green Goblin blasts into the Bugle’s offices, he threatens Jameson and asks for the name of the photographer who takes Spider-Man’s pictures. Jameson refuses to tell on Peter, telling the Goblin the reporter sends his stuff through the mail. The scene shows a new and unexpected side to JJ, a glance at the empathy he works so hard to hide.
5 Uncle Ben’s Lesson
Uncle Ben’s death is one of the defining moments in Peter Parker’s storyline. It’s the first of many (many) tragedies to happen to the character, inspiring him to become a hero in the first place. Sam Raimi provides enough room for Uncle Ben’s character to develop before arriving at the inevitable conclusion.
Cliff Robertson’s heartfelt monologue summarises the essence of Spider-Man. “With great power comes great responsibility” has become one of the most enduring phrases in pop culture, adding a more profound layer to Raimi’s trilogy. And while Uncle Ben has little screentime, his presence remains throughout the entire trilogy, thanks in large part to his now-immortal words.
4 Aunt May’s Advice
Rosemary Harris remains the most compelling and memorable cinematic Aunt May. She imbued the role with plenty of warmth and empathy, avoiding the one-dimensional approach of subsequent movies. Harris’ Aunt May wasn’t just another peripheral character; on the contrary, she was Peter’s anchor, a constant source of inspiration for both the boy and the hero.
Her role as Peter’s guide is blatantly clear during her monologue in Spider-Man 2. While she packs her things to move out from her house, she talks to Peter about the nature and importance of heroism. Her speech is the gentle push Peter needed to understand the true role of his superhero counterpart. It’s a sweet but unforgettable moment that confirms Aunt May’s importance in the friendly neighborhood Spidey’s life.
3 Goblin’s Last Flight
Throughout the Raimi trilogy, Harry Osborn suffers almost as many ups and downs as Peter himself. The loss of his father leaves him devastated and desperate to find someone to blame, leading to his descent into the Green Goblin persona. Alas, Harry was never his father, and he proves it at the last moment.
RELATED: 10 Most Powerful Variants Of Green Goblin In Marvel Comics
Sporting the Goblin costume, Harry goes to help Peter fight Venom and the Sandman. The two confirm their friendship, and Harry bravely dies fighting the enemies. Harry’s sacrifice continues the recurring theme in the trilogy that every victory comes with a steep price. It’s also a perfect send-off for the character and a way to restore the Osborn legacy.
2 Mary Jane’s Upside-Down Kiss
For all its strengths, the Raimi trilogy has one undeniable flaw, and that’s its treatment of Mary Jane Watson, Peter Parker’s main love interest in the comics and most movies. The character barely received any development beyond her damsel in distress role. Still, Mary Jane is a crucial figure in superhero movies; she defined the “superhero girlfriend” role for better and worse.
Out of all her moments in the trilogy, Mary Jane’s most memorable is her upside-down kiss in the rain with Spider-Man. It’s not only one of the most iconic scenes in modern cinema, but a perfect summary of MJ and Peter’s relationship. The setup may seem a tad outdated under a 2021 eye, but Kirsten Dunst and Tobey Maguire’s chemistry is so electric that fans can let go of the more dubious elements of the scene and enjoy the romantic aspect.
1 Spider-Man Stops A Train
Tobey Maguire’s Spider-Man remains as beloved now as he was back then. His take on Peter Parker gained new life thanks to the internet; indeed, Maguire’s Spidey is the king of memes, from Bully Maguire to the now-iconic “I missed the part where that’s my problem.”
However, this Spider-Man remains a blueprint for cinematic superheroes, thanks to his many heroic moments on screen. None is more memorable or inspiring than his efforts to stop a speeding train in Spider-Man 2. The scene works not only as an action setpiece but as a demonstration of Peter’s strongest power: his perseverance. Peter will never stop trying, even if all the odds are against him. Spider-Man is so relatable because he makes multiple mistakes and spends his time trying to fix them. But the point is, he will always try, and the train scene is the perfect representation of Spider-Man’s essence.
NEXT: 10 Unpopular Opinions About The Sam Raimi Spider-Man Movies (According To Reddit)
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Satisfied?
We examine what Letterboxd reviews of Hamilton reveal about the musical’s cultural currency in 2020.
In this absolutely insane year, when our love of movies feels helpless in the face of pandemic-induced economic collapse, some extremely good decisions are being made on behalf of audiences. Studio Ghibli on streaming platforms. Virtual screenings to support art house cinemas. Free streaming of many important films about Black experience. And: Disney+ releasing the filmed version of Hamilton: An American Musical—recorded at the Richard Rodgers Theater in 2016 with most of its original Broadway cast—a year ahead of schedule, on Independence Day weekend.
“Superlative pop art,” writes Wesley of the filmed musical. “Hamilton wears its influences and themes on its sleeve, and it’s all the better for it. Lin-Manuel Miranda and his team employ an unlikely cocktail of not only hip-hop and showtunes, but also jazz (‘What’d I Miss?’), British-Invasion pop-rock (‘You’ll Be Back’), folk music (‘Dear Theodosia’) and Shakespeare (‘Take a Break’) in service of developing an impressively vast array of themes. This is a testament to the power of writing, an immigrant narrative, a cautionary tale about ambition, a tragic family drama, and a reevaluation of who decides the narrative of history.”
2016 may only be a half-decade ago, but it feels like an eon in American political years. With theaters dark and America’s long record of racism under urgent scrutiny, the complex smash-hit lands back in the spotlight at an interesting time. Is Hamilton “the most offensive cultural artefact of the last decade”, as Lee writes? Or “timeless and wholly of the moment”, as Tom suggests? The answer, according to a deep read of your Letterboxd reviews, is “all of the above”.
First things first: why now?
Sophie has a theory:
“Disney executive: Hey we’re losing a lot of money because our parks are closed. How do we start making money again?
Other Disney executive: It might be nice, it might be nice… to get Hamilton on our side.”
Sure, business. Still, it’s historically unprecedented that a Broadway show of this caliber (a record-setting sixteen Tony nominations, eleven wins, plus a Grammy and a Pulitzer) would be filmed and released to the public while it’s still, in a Covid-free universe, capable of filling theaters every night. Will people stay away when Broadway reopens because they’re all Disney+’d out?
No chance, reckons Erika. “I’d still kill to see Hamilton live with any cast… I get why producers are afraid that these videos might hurt ticket sales, but I’m fucking ready to buy a ticket and fly to NY one day just to see as many shows as I can after watching this.”
Not every musical fan has the resources to travel, often waiting years for a touring version to come near their hometown. And even if you do live in a town with Hamilton, the ticket price is beyond many; a daily lottery the only way some of us get to go. So Holly-Beth speaks for many when she writes: “I entered the Hamilton lottery every day for almost two years but I never got to be in the room where it happens… however, this 4K recording of the original cast will do very nicely for now! Finally getting to see the context and performances after obsessing over the music for years was so, so satisfying.”
“Finally” is a common theme. Sydnie writes, “I love this musical with every fiber of my body and it was an extraordinary experience finally getting to watch it in Australia”. Flogic: “To finally be able to put the intended visuals to a soundtrack that I’ve had on repeat for such a long time: goosebumps for 160 minutes.” Newt Potter: “Now I fully understand people’s love for this masterpiece of a musical!”
I’ve got a small query for you.
Where’s the motherfucking swearing? Unsurprisingly, Disney+ comes with some limitations. For Hamilton, it’s the loss of a perfectly placed F-word.
“I know Disney is ‘too pure’ to let a couple of ‘fucks’ slip by,” writes Fernando, “but come on, it’s kind of distracting having the sound go out completely when they sing the very satisfying ‘Southern Motherfucking Democratic Republicans!’ line.”
Will agrees: “Disney cutting ‘motherfucking’ from ‘Washington on Your Side’ felt like sacrilege akin to Mickey Mouse taking an eyebrow pencil to the Mona Lisa.”
Nevertheless, sings Allison:
“Even tho Disney stripped the story of its f***s,
Don’t think for a moment that it sucks.”
(Yes, she has a vegan alert for Hamilton.)
Does it throw away its shot?
The crew filmed two regular shows in front of live audiences, with additional audience-less sessions for a dolly, crane and Steadicam to capture specific numbers. The vast majority of you are satisfied. “It’s the most engaging and expertly crafted life filming I’ve seen since Stop Making Sense,” writes ArtPig. “The film does an incredible job of placing you right in the action. It feels like the best seat you could get in the theater. You can see the sweat and spit.”
“Translates perfectly onto the small screen,” agrees Ollie. “There’s a level of intimacy that feels hard to replicate in any other filmed production. We see those close ups, the passion and gusto behind every actor’s performance.”
“Shockingly cinematic for something filmed on such a small stage,” is Technerd’s succinct summary, while Paul praises director Thomas Kail: “He knows when to back away along with moving nearer when appropriate, and the choices always serve to govern the power and stamina of the performances.”
Though cast members’ voices were recorded on individual audio tracks, Noah had a few quibbles with the sound quality. “Some of the audio capture is off in the recording, sometimes voices being too soft or too loud. It’s not immersion breaking, but it is noticeable enough to irk me a little in pivotal moments. Some of the shot composition doesn’t fully work either. Of course nothing is going to be as good as seeing it in person.”
Robert, recalling another recent cinematic escapade of musical theater, lets his poetry do the talking:
“This will do for now until the true movie’s made,
Though if Hooper directs, there’ll be an angry tirade.”
I think your pants look hot.
Hamilton fans have their cast favorites, but something about being able to see Jonathan Groff’s spittle and Leslie Odom Jr’s scowls in 4K has you losing it all over again. Several specific shout-outs we enjoyed:
“Daveed Diggs the Legend! Go watch Blindspotting (2018), it’s one of the best movies ever!” —Kyle
“It’s hard to believe anyone will ever top Leslie Odom Jr. as Aaron Burr. I already loved him from the original cast recording, but seeing his full performance in all its glory was just godly.” —Erika
“Thankful that it was made possible for me to view with such clarity the phenomenon that is Renée Elise Goldsberry and spectacular Phillipa Soo.” —Thea
“Daveed Diggs was electrifying and Jonathan Groff was absolutely hilarious. If they interacted together the stage would’ve combusted from the sheer will of their talent.” —Nick
This is not a game.
On one hand, the release of Hamilton is sweet relief for music theater nerds riding out the pandemic. A generation of kids knows every word by heart, rapping (this version of) American history like it’s no thing. On the other, the Obama-era musical already feels behind-the-times, even for many Hamilton lovers, and the filmed version has brought that into sharp focus.
“I listened to the OG cast album about 50 times when it came out, the production is about as good as I’d always hoped,” writes Josh. “Since then however there’s been a very important and broader reckoning with the failures of neoliberalism and the Obama years ([from] which this has to be the most emblematic piece of art) and for me personally a drifting further to the left that has resulted in a very different relationship with the material. So my feelings today are a bit more complicated.”
“Hamilton is extremely non-committal about its politics,” writes Sting. “It doesn’t examine much of what Hamilton dictated besides ‘he wants complete financial control of the country’ (which would sound like a fucking supervillain in any other context, including reality).”
That lack of political commitment, reckons Morgan, is what helped Hamilton as a musical become so popular: “It’s fun. It’s catchy. It interweaves trendy and socially relevant artistic tools to infer a subversive subtext, while simultaneously sanitizing and, at times, flat out fabricating the historical narrative and downplaying the brutality of the true origin story, for the sake of appeasing those in power. Classic Bill Shakespeare stuff.”
History has its eyes on you.
Much criticism lies with the fundamental storytelling decision to make a modern ruckus about America’s Founding Fathers, the men (including Alexander Hamilton) who in the late eighteenth century united the thirteen colonies and co-wrote the Constitution. Undisputed titans of history, they also have blood on their hands, and HoneyRose writes that the musical “glorifies these men, and paints them as self-sacrificing heroes, and honestly normalizes and validates slavery, as well as the behavior of slave owners.”
Stevie, who saw the Broadway production as well as the filmed version, confesses: “I’ve tried (I’ve really tried) to understand what makes people lose their minds over this but I’m still completely baffled by the hype… These were horrible men and a romanticism of them through song and dance just seems entirely misguided.”
Sean is not convinced that Hamilton is a hagiography. “I can’t imagine anyone watching all of this and thinking it paints a portrait of the Founding Fathers as anything other than childish, greedy, venal and self-aggrandizing.” Wesley agrees: “I don’t think Hamilton is trying to be a history lesson, so much as a lesson about how we think about history. It’s a compelling human story told in a revolutionary way.”
That “revolutionary way” is the musical’s central conceit: that of a cast-of-color playing the white founding fathers as they bumble towards independence. Journalist Jamelle Bouie, who regards the musical as “fun, exciting, innovative and, at points, genuinely moving,” wrestles with the “celebratory narrative in which the Framers are men to admire without reservation. Through its casting, it invites audiences of color to take ownership of that narrative, as if they should want to take ownership of a narrative that white-washes the history of the revolution under the guise of inclusion.”
It’s complicated for Matt, too: “It’s widely agreed upon that the show encapsulates the Obama era better than anything, how it coddles white liberals with a post-racial vision of history in a superficial sense, overlooking the insidious and oppressive systems that they benefit from (hearing the audience clap to ‘Immigrants, we get the job done’ unsettled me). Of course hopefully its legacy will be that it opened up more Broadway roles for POC. But I really think that the show doesn’t make Broadway more appealing and accessible to POC, it just makes hip hop more accessible to white people, a launching pad of course to listening to Watsky or something.
“No hate though to anyone that’s completely in love with this, it’s definitely worth seeing despite any hang ups.”
I wanna build something that’s gonna outlive me.
The story doesn’t end, just because the music does. Kai_Kenn has a suggestion: “I have been a part of discussions that dissect the culture that created Hamilton, as well as the culture that Hamilton created, and whether or not Hamilton appropriately addresses the modern issues [that] the cult following proposes it does.
“This is an ongoing discussion that I am trying to be an active listener in and, if you consider yourself to be a conscientious consumer of art, you should too.”
Noah is on board with that: “Reflecting on the past and focusing on the future are not two mutually exclusive actions. Both are a must, regardless of who you are or what you do. A five-star experience in a four-and-a-half-star film. I think that’s just fine.”
Related content
Want to see more of the key cast? Watch Daveed Diggs in ‘Blindspotting’; Renée Elise Goldsberry in ‘Waves’, Jonathan Groff repeat his role as Kristoff in ‘Frozen 2’, Lin-Manuel Miranda in ‘Mary Poppins Returns’, Leslie Odom Jr. in ‘Harriet’, Phillipa Soo in the forthcoming ‘Broken Hearts Gallery’, Christopher Jackson in the forthcoming ‘In The Heights’, Jasmine Cephas Jones in ‘The Photograph’, Okiereriete Onaodowan in ‘A Quiet Place II’ and Anthony Ramos in ‘Monsters and Men’ and ‘A Star is Born’.
Ways to support the Black Lives Matter movement
Official Black Lives Matter’s Resources
Teenagers that have ‘Hamilton’ stuff on their bedroom walls
Films where they mention ‘Hamilton’
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