#between me referencing the one scene from kill la kill I know and the background being from an anime fighting game this post is making it

[scorpiolight-madd]

I know it’s not actually a fighting competition, but I’ve really been into the look of fighting games recently, and wanted to try making something that looked like one! I originally wanted to animate it, but I realized I don’t actually know enough about fighting games to make it look accurate, so I just had it look like the very start of the match, right before the timer starts ticking down.

BTW, I really really like Zest’s design! They’re style is super cool, and I love the colors! I think if I ever did animate this, one of their animations would have to include biting straight out of a lemon, like that one scene from Kill La Kill.

Zest the Rat belongs to @dreaminginmysoup!

Vote for Blossom or Zest here!

Background is from Dengeki Bunko Fighting Climax

@sonic-oc-showdown

[steve0discusses]

S4 Ep 39: Pharaoh Can Fly (Selectively)

Guys, they’re back

Best storyboarder is back, and the visual difference between last episode and this episode is like when your art teacher picks up your charcoal and just fixes everything wrong with your gesture drawings. It’s like...I mean look at this:

I just really love and appreciate how illustrative this storyboarder is. And I say just storyboarder because this had about the same budget as the last episode--there wasn’t that much actual animation as per usual. But, all of the scenes were drawn so well, like panels out of a good manga. They just...they always nail it when they’re at the helm and I don’t know why they’re on Yugioh, but bless this storyboarder.

Plot wise, everyone got pulled into the dragon by gooey tentacles that came out of it’s stomach, don’t think about it.

Meanwhile, all of the minibosses could communicate with them and beg for help, yes, even the same miniboss who may have dressed up like Pegasus and catfished Seto Kaiba.

(keep reading under the cut)

The whole process of getting absorbed into the Orichalcos demon was a whole lot of symbolism and it was...kinda gross. Also kinda sketch. Also, for Kaiba it is a neat little nod to S1 when he had a vision that his brother was absorbed into a dragon mass.

I don’t think that the makers of the show remember S1, but either they just really like goopy dragons, or it’s a coincidence or I dunno, on purpose? Probably a coincidence.

And like I made this joke and realized...what if they actually meant to make that parallel though? This is the America crossover season, and they have referenced America’s love of trickster rabbits before with Pegasus but do they know about Br’er rabbit in Japan? Do they know? It’s a pretty Americana Deep-cut, and I have no idea how common this folktale is outside of the states.

I see anime busting out absorbing goopy masses all the time so I’m gonna assume that there might be a Japanese folklore I don’t know about which uses a similar structure (although I’m also assuming it has an extremely different history and association ((which I won’t be going into because I don’t feel like putting a trigger warning on this recap)).)

And looking at Wikipedia, there’s people that think the original reference to moist, absorbing creatures could have even come from as far as India. Which is...fascinating to how it also developed in Africa, and then the Cherokee also made the same story independently and then it fused together here in the States to make it what was eventually made into a Disney movie that will never be released again--this is just a really old ass story, all in all, possibly like over a thousand years old.

And a FASCINATING google deep dive I won’t go into for obvious reasons but knock yourself out.

Also, lets get distracted for a sec and see how well this storyboarder drew a fitted jacket at that angle. Dear Lord, did they get reference for that or did their brain just already know that those folds would be there? You can even tell that Pharaoh has just a little bit of padding at his shoulders. Ugh. Guys this storyboarder is so freakin good at these little fitted jackets.

So, once Yugi and his friends are absorbed into the mass, where they should have died...and maybe some of them did, but I don’t know if I should add that to the Death Count because like...they could have held their breath in the amount of time they were stuck in there...maybe...Anyway, they are saved by being tossed into the figurative briar patch--by the souls all hanging out in the Leviathan’s stomach--which again makes me wonder...did they pull a folklore on us? Again, I have no idea.

Like a lot of the people in this dragon have been thorns in their side this entire season, they’ve all tried to kill them at one point--all the minibosses, Mai, Pegasus--but now they have decided to team up with Pharaoh (along with the rest of the human race) and offer whatever they can to free them from the grip of the gross dragon mass.

And like, the ending of the folk tale is that the thorny ass briar patch is also where the rabbit lives usually. It hurts everyone else, but the rabbit--the rabbit can deal with it. And likewise, Pharaoh is freakin dead. He’s at home here. He’s surrounded by spirit power, his friends and their friendship power, this is like his zone, and now he’s crazy powerful for it and will be for the rest of the episode.

And like Yami is a very trickster God (especially Season Zero Yami) so like...it does make sense that he would mirror a folk tale based on trickster Gods, even if it is by complete accident.

So Pharaoh imagines everyone’s tears as individual drops in a glass or something--it’s not a literal glass or anything--it’s just there because the only thing actually happening on screen was his hand hanging out of this dragon’s weird puss skin.

And he’s now a fully charged Sonic the Hedgehog and no longer needs Kaiba or Joey at all. Just gonna grab his God card demons and take charge of everything else from here on out.

By first exploding his buddies right the hell out of this lizard and across hundreds of feet of open ocean.

Joey decides to remind Kaiba that he lost the Battle City tournament.

Seto’s roast was actually in the show, PS. He is not super excited to be reminded that Yugi owns every card that he spent 2 seasons failing to get.

And then Pharaoh did something really, really...

...just really really wild.

OH OK.

YEAH JUST TAKE OFF.

GO AHEAD THERE’S NO REASON THIS WOULD BOTHER ME.

I mean he IS super powered right now but like...

Like...WTF?

4 SEASONS. 4 SEASONS I thought this guy was glued to Yugi like Peter Pan’s Shadow and apparently--he can bounce.

Can Pharaoh do this every time Yugi asks Tea out on a date and tries to instead make the ghost in his head do all the work now? Can Pharaoh just be like “NOPE” and then phase out of the house, leaving Yugi to actually do the hard stuff?

It really adds a level of complexity to their relationship if Yugi can get a room.

(If not a room for romance, but at the very least a room to poop in.)

OR has he been able to allow Yugi to wicked poop in peace this whole time, but the show just never felt like telling us because they felt like it wasn’t important (although it is crazy important)?

Either way I am just...floored at this character development.

Yami just let Yugi out of his sight for like...I want to say 8 full minutes. Just incredible amount of trust on Yami’s part. Incredible. Knowing Yugi’s track record, he should have died in those 8 minutes but...he was being babysat by both Kaiba and Joey.

So Yami summons the Gods and they shoot lasers--you kinda expect this sort of thing.

And this is...probably...the real reason why Dartz didn’t bother trying to attack Pharaoh 5,000 years ago.

I can still think it’s because of Bakura but like...this is probably the real reason. It felt pretty chump to just shoot a laser at the bastard. Pharaoh just had to be reminded that this is a thing he can just do. If he felt like it.

Which he never feels like doing, because he’s too busy watching Yugi’s every move, and getting distracted by High School shenanigans.

After this happens, the giant snake falls to the ocean, splitting into just sooooooo many ghosts.

Over 7.8 billion ghosts, if we’re to assume that this is most of the population on Earth.

(thinking the weird-o in the hat is probably a Duel Monsters card? The duel monsters were throwing themselves into the Leviathan at one point so this is probably like a dark magician boy or something...I just don’t get very attached to the monster cards so it was like...whatever. The cards die like constantly so who cares?)

It is a pretty set dressing. Like Christmas lights but...dead people.

We also find out that the lost family of our minibosses Alister and Raphael, have indeed spent the last many years inside the Leviathan stomach, which is pretty tragic. We get a bitter sweet conclusion to Alister and Raphael’s story--although it’s not a full on ending for either character. Their life still hella sucks, they are in therapy for basically forever.

Where is Gurimo?

I don’t know what sort of job or life these two are qualified to have now, but youknow...Marik’s boat probably has jobs available.

Hold up. Can we talk about the windows?

I know absolutely none of you care about this, but I do, not to be picky or condescending to an overworked art team, but because I just want to know what they were trying to aim for.

There’s an iron stained glass style windowpane thing going on and that’s what’s really getting me. Like...I know these guys were technologically advanced, but why did you use this WW2 background? What happened to Ancient Greece that you were doing before?

Like doing a super past with future tech is so cool to me--I love that sort of concept art. That’s going into like Black Panther stuff where you’re referencing the earliest stuff in Africa and then blending it with stuff beyond our science. But Atlantis is a real big shrug and a “listen we ran out of time and had to press print,” and it’s such a shame. It feels less cohesive than even when this show does Egypt.

And yo this show and how it draws ancient Egypt--I feel like I’ve already talked about that. I have a feeling I’m going to talk a lot more about it next season. I’ll get to it when we get to it. I’m hoping that they have more time and budget to actually DO Egypt for once. (I say knowing they won’t)

Like it’s one of those things where this isn’t a history show, like at all, and it’s very much a fantasy. I’m not going to be like those sewing people on youtube that get annoyed because their TV show doesn’t have handsewn stitching in their Victorian bodices they rented from the costume department from an LA discount warehouse. Because, yo, it’s TV, and I can stretch my own imagination because it’s acting. (although I confess, I watch every single one of those videos).

But...the potential, y’all...the potential.

Anyway, Dartz isn’t dead. He was just taking his toot sweet time getting down the steps of his Gazebo.

This is where things get very anime. I get this problem a lot with anime, I really do--and maybe it’s just me. But like...sometimes it feels like anime changes the rules during the boss fight.

That happens a lot, right? Where suddenly the final boss reveals something that like...should have been addressed way earlier? And he’s alive but you don’t get why?

Anyway, Pharaoh reacts by getting maybe way too attached to his newfound independence.

Which like...I can understand Tea forgetting that Yugi is one people that is two people all the time, but the writers as well?

And what’s kind of great about this scene is that Dartz does see Yugi as two people here. He doesn’t look at Yugi, he looks at both. When Pharaoh is like “Leave me, Yugi!” Dartz heard all of that.

Just kind of a neat thing that we finally have a dude that can just...see Pharaoh for what he is, but it probably won’t matter because there’s like only one more episode left of this season.

Anyway, Pharaoh and Dartz have a chat about where evil comes from...and like...it’s some Yugioh lore, all right.

So before the show decides to give us the Genesis on Yugioh and reveal where the evil of the Orichalcos comes from, or if all evil was created by Orichalcos itself (which is IMPLYING stuff about Orichalcos) the snake shuts him the hell up.

As it should. Leave that Pandora’s box freakin closed. That’s going into extended universe of Star Wars books territory (RIP.)

As an aside--pretty sure that Yugi is standing outside that tornado. Maybe it was just the editing of the episode but like...

Yo I’m pretty sure Yugi is just standing there. For the first time, it’s not his nuts getting roasted. Wow. Tables have turned so much since he was dead.

Anyway, here’s the link for new people so you can read these in order

https://steve0discusses.tumblr.com/tagged/yugioh/chrono

There’s only one left! We can do it! We can finish this season in 2020! And actually get back to recapping Full Metal Alchemist! ~~Woooo~~

Oh man that movie better still be on Netflix or I’ll have to buy it lolol.

[radramblog]

on Megalovania

This wasn’t what I originally planned to write today, but things change when cool news comes in. Besides, I’m in a pissy mood, and I want to write about something fun to try to change that.

To coincide with the 6th year anniversary of Undertale’s release, Toby Fox has announced the upcoming release of the second chapter of its…sequel?, Deltarune. And in honour of that very sudden and very sick announcement, I thought I’d do a piece on what many would describe as Toby’s iconic song, Megalovania. It’s had a fair few iterations at this point, so there’s plenty of meat to go through.

This may or may not be just an excuse to talk about Homestuck again. But there will be other things! I promise! Mostly those, actually.

Megalovania first appeared as the final boss theme for Toby’s Earthbound Romhack (back when he still went by Radiation), The Halloween Hack. Considering the works that would follow, THH has kind of been buried in history, and in some ways, that’s for the best. It’s very 2000s edgy, if you catch my drift.

Toby has stated that the original intent was for the final boss music to be Megalomania, from the soundtrack to another SNES JRPG, Live a Live (not to be confused with Kill la Kill), but he couldn’t get it to work for whatever reason. In a way, that’s kind of a shame, because Megalomania is an absolute bop, but I’m not going to act like what we got wasn’t also very good.

The original version of Megalovania from THH probably sounds kind of basic to those more used to the modern iterations. Do keep in mind that this was designed to be played by a now 26-year-old game on an even older console, and its not like SNES romhacking was easy at the time. Earthbound (and by extension, the Halloween Hack) are in this weird place where the soundtrack definitely still sounds really limited or bitcrushed at times, but some tracks (such as Pokey Means Business!) manage to sound excellent.

Megalovania is somewhere in between, I think. The guitar riff that drives the whole track sounds absolutely gorgeous, which is good, because I think that’s really the key element of the whole thing. The melodies present from other instruments throughout the whole thing vary in quality, both in the subjective sense and the fidelity sense, but without that riff, the song would be nothing. It’s the one truly consistent thing through every single version of Megalovania, it’s the heart of the track, and it’s surprisingly simple for something that sounds so driving and intense.

The context surrounding Megalovania iteration number one is somewhat more awkward to talk about. Like I said, The Halloween Hack is edgy, and I fucking mean it. The story is (after some preamble) a descent into the mind of Dr. Andonuts from the original game, having been driven mad on account of being in a timeline where Ness and friends don’t come back alive from the confrontation with Giygas. After a long metaphysical journey, the main character (who is Varik from Brandish for some reason) confronts Andonuts’s psyche itself as the final boss, who begs for mercy before flipping his lid with, well. I’ll just quote it. Keep in mind this is what you’re reading as Megalovania starts to play:

               “I HAVE FUCKING HAD IT WITH YOUR SHIT. you little fuckers are going to have your bodies ripped in half. I’ll shove your asses so far down your throats that when you crap you’ll sing fucking beethoven”

“tl;dr: eat shit, [slur redacted]”

 Which if you ask me is a little much. As spooky as the whole romhack is, Andonuts’s dialogue is so utterly over-the-top that it’s hard to take seriously. It’s such a pristine combination of the humour both of the time and of Toby’s likely age at the time. It’s still a fairly impressive piece of work as a whole, but considering where we’re up to, one could call this humble beginnings for Megalovania.

The track’s next big outing was as part of the Homestuck soundtrack. I’d argue that this is really where Toby got his name out there, seeing as much of his early notoriety came from his huge contributions to the webcomic’s lengthy list of albums, and also the fact that apparently Undertale was in part coded in Hussie’s basement. I don’t remember where I heard that first, but I’ve heard it from multiple sources, so.

This version of the song, styled as MeGaLoVania, starts off with a bit of a statement, with the opening notes being very much on a real shreddy-ass electric guitar, but the body of the song is actually largely the same (if cleaned up and with some different instruments) as THH’s version. Of course, this version does have more going on, as evidenced by a few of the guitar lines carrying on new melodies, as well as continuing in the background behind sections from the original piece. Owing a lot to the increased instrumentation and fidelity, this version of Megalovania is easily the rockiest, especially as the final minute of the track brings in Vriska’s banger of a theme (also composed by Fox) and the drums pick up in intensity.

While Homestuck’s soundtrack is incredibly vast, relatively little of it actually ended up being used in the webcomic itself. MeGaLoVania, of course was used, and it was right during what I’d argue was the comic’s peak in Act 5 Act 2. The animation featuring the song, [S] Wake, is such an incredible pair of oh holy FUCK moments, what with the revival of Aradia and her actually being able to (temporarily (heh)) halt the story’s main threat, and also Vriska just fucking murdering Tavros, no biggie. Looking back at it now, the whole thing feels kind of quaint, the animation style in particular (it was just Like That), but it was such a big deal at the time. It doesn’t hurt that this is easily my favourite version of Megalovania, because I’m a sucker for guitar noodling, and also a sucker for Vriska’s theme.

Homestuck (and MeGaLoVania) was pretty big in the early ‘10s, but at the end of the day, the comic and track were still very niche. And then 2015 rolled around, and Undertale came out, and suddenly it was everywhere.

As someone who’s known the song since before the game came out, it is somewhat disappointing to have it so strongly associated with Sans. Especially since A. He already has a much more fitting theme, and B. it’s so clearly the theme of that specific fight, and even moreso that of the Genocide player themselves, but fine, whatever. MEGALOVANIA, as it is styled, is very much a more bombastic version of the theme, one with more experience under the belt, and more control behind the context. After all, in this case, Toby didn’t have to wrangle with the limitations of SNES Romhacking or of featuring the track in someone else’s work. The track still has the base elements of a chiptune and chugging guitars, but the different soundfont used helps a lot to elevate the whole track’s intensity. In particular, I think the verses (do they count as verses? I know very little actual music theory, sorry) sound miles better in this iteration than any of the previous, and the snappy percussion is subtle but also great.

There are a lot of things that make the Sans fight so memorable, and MEGALOVANIA is obviously one of them. I imagine many would cite the sheer difficulty as another, but more important than that is the way it plays with expectations. In the Genocide run, you are the most attuned to the game’s combat system, and you’ve spent enough time wailing on Undyne to have expectations about how fighting Sans is going to be. And then he attacks first with an insane hard-to-dodge combo, he gets to dodge attacks, and he gets to force you onto a time limit. It breaks the rules of the game in such a shocking way that it’s hard not to find it memorable. This is not even mentioning the wild lore implications behind the fight’s dialogue, or that such a silly character goes so fuckin hard during a scrap.

Silly is something Sans is, which people seem to forget considering how much of his associated fan material is based around this one fight. Man spends half the game napping and selling hot dogs and telling awful puns. It does bug me a little, but I completely understand the impact of the scene. Despite most players never seeing it, it has to be one of the most iconic facets of the whole thing.

While hundreds if not thousands of remixes and covers of Megalovania exist at this point, most of them aren’t worth bringing up, because I don’t have infinite time on my hands, and because they’re not official. I do want to quickly bring up Megalo Strike Back, a track Toby made for an Earthbound fan album, because it slaps like hell. It’s clearly got a few of the elements of Megalovania, but the melody is so much more mysterious and eerie, and yet also kinda jaunty. I’m a big fan, and considering how many fan animations and games I’ve heard it in, so are a lot of folks.

The other version I’d like to bring up is, of course, the version that appeared in Smash Ultimate. Considering Nintendo’s typical policy surrounding fan media, having a track that originates from a SNES Romhack in fucking Smash is both incredible and hilarious.

Musically, however, it’s not that notable. The first minute or so, in fact is basically just the Undertale version with a slightly different mix (as it’s styled MEGALOVANIA, that’s the version being referenced here), though I think some of the later parts are in a slightly different key that sounds pretty interesting. I’m not sure how I feel about the piano section- on the one hand, I’m not really a fan of that instrumentation, on the other, it is very Smash, and the violins that come in are great. And then there’s guitar noodling on the back half! I just noticed that! It’s different from the Homestuck version, though.

And that’s all I have to say about Megalovania, I think. It’s a song with a surprisingly storied history, and one that is unlikely to be forgotten as long as people still remember Undertale, Homestuck, or even the Halloween Hack. And considering at the very least the popularity of the former, that’s going to be a long time away.

…okay two more things, one I think battle against a true hero is better than MEGALOVANIA and two James Roach aka probably the biggest lategame Homestuck composer remixed Megalovania for Pesterquest but it’s reaaaaaally subtle until like 3 minutes in and he called it “yeah, it is” and that’s fucking hilarious okay bye

[tarry-a-lot]

French Musical Recommendations?/review (Part 3)

This is a mix between recommendations and shows I don’t like and shows I just know exist but don't know a lot about. Even if I’m not too much a fan of some of the show I would still check these shows out for the fun of it, maybe its not my cup of tea but it is for someone else. Again my French is lacking so if the lyrics aren’t great I wouldn’t really know unless I sat down and read them which I didn’t do.

Robin des Bois (2013): 

what to say about this show... I’ll start with the summary: Robin Hood and Marianne break up pre-show and have their own groups going on. Marianne also has a son with robin but robin has no idea about him. Sheriff of Nottingham starts attacking so Marianne asks robin for help. Also the sheriff figures out about robin’s son and so he imprisons the kid and surprise! there a romance between Nottingham’s daughter and Robin Hood’s son. 

Yep, haven’t seen the show, really don’t mind the plot sounds interesting enough. I’ve only listened to the soundtrack once and all I got to say is that it’s not great. The cast is lovely and look really sweet and friendly with each other, but all the songs really just sound like basic pop. To be clear without understanding the lyrics and just listening to it with not visuals, I found the soundtrack quite boring, so maybe I’m just missing something. My favourite songs are “Le flèche et la cible,” (the piano makes it sound like an anime opening or something, liked the drums too, and the vocals are nice) and “On est là” (it’s a really weird one, I couldn’t put my finger on it but after playing it for someone I got the decisive answer of it is very 80′s, the instrumentals really threw me off but hey it’s catchy). Also some songs had a bass line that also threw me off, just wasn’t expecting it. like the one in “la Providence,” maybe it’s just me. And one last thing about the songs, what the hell is ”Notting hill Nottingham” like that title is also the chorus and I’m just?? maybe if I understood the rest of the lyrics it would make sense? aside from the debatable chorus line, the drums are a blast in this song. Clips and music videos available on YouTube along with a behind the scenes two part video on the official musical’s channel.

Non-Music: well the costumes are ok, don’t love them but don’t hate them either, though friar tuck’s is debatable, from the bits I’ve seen most of the background is done with a screen which is fine, it’s more of a concert style show anyway, I’m a big fan of the ladder trees though, the dancing and acrobatics is probably the highlight of the show (again only saw bits but it looks good)

Dracula l'amour plus fort que la mort (2012): This is different from the Frank Wildhorn Dracula musical, Dracula: A chamber Musical and the Swedish Dracula musical. Unsurprisingly this musical is based on Stoker Dracula telling which I never read so I don’t know how much it follows that text. It was also inspired by the 1992 Coppola film (which again I have never watched). I won’t be too helpful about plot summary but it follows the general novel plot with Jonathan Harker engaged with Mina Murray goes off to Dracula’s castle for work. Things happen, the issue with Lucy occurs then Mina is targeted by Dracula and Harker with the Dr. Seward and Helsing go to kill Dracula to save Mina. There also seems to be a subplot where Mina was Dracula’s lover in a past life, which is shown through dance sequences throughout the show.Music wise it’s mainly rock pop which is up my alley. Personally, just based on music and not lyrics I like “Encore”, “Elles”, “ Le Ciel et l'Enfer” “ La Dernière danse” and maybe “L'Amour et son Contraire”.  The full show is available on YouTube.

Non-music: This show goes hard on edgy imagery. I personally quite liked the general over the top modernish gothic vibe. The dancers are great and quite liked some of the limited palette scene. The opening shadow puppet scene was cool. The only part I really had issue with is maybe the CGI 3d video scene. It was cool at times but the CGI is not great which is not their fault, but kind of distracted me. Also if you watch it there is this scene where Harker is laying in a large Pieta statue (minus the Jesus) and it’s just great. Like edgy church imagery with vampires? sign me up. There’s also this Vampire dream sequence in a bed because of course every vampire musical needs one (Tanz der Vampire if you know what I mean). Harker is in bed and vampire women come out from the bed (the bed itself is a hollow prop where dancers are hiding within and pop out from the holes hidden by the puffy bedding), the bed itself could have been more decorative with posts (like tanz) but still a really cool scene, Almost forgot, Mina and Dracula are played by dancers so they don’t really sing, especially Dracula he does not speak at all. Costumes are fun to look at, some are the best but I appreciated the general look of the show so I’m not that bothered. I strangely grew to like the spiney Dracula costumes, I think the fact he didn’t talk and just danced helped me like the costume more.

Overall, fun show so if pop rock is your vibe this show you should check it out.

Cindy Cendrillion (2002): This show is not good, but I had a blast laughing about it as I watched it so I recommend it. Let me clarify, my dislike is not due to the cast, in general I thought singing and dancing and all that were really good, what gets me is how dated it is now (it is really early 2000’s vibes and some of the plot is debatable). Show is available split into two acts on YouTube.

So the plot is pretty much a retelling of the Cinderella story in a modern early 2000′s setting. Cindy (Cinderella) is the daughter of an recently disappeared Irish pilot. and she lives with her step mother and sisters who are mean to her. She has a passion for dancing the jig, I’m assuming they are referencing Irish step to a certain degree. She goes out in night to dance but her step-mother threatens to kick her out if she doesn’t come home before midnight. A super star named Ricky (Prince Charming) has a Birthday ball and sees Cindy and falls in love. Also Ricky had a model Fiancée Judy who he breaks it off with to pursue Cindy. Spoilers now... Ricky writes a song where one can dance “the jig” to so they hold a competition to find a dancer for it, guess who wins? Cindy.. they fall in love... but Judy realises it’s all over for her and Ricky ands faxes him so mean message then commits suicide by overdosing on drugs. Cindy gets scared and leaves Ricky to Ireland. Ricky tracks her down and they fly away in a spaceship?! honestly this plot is just sure something.

Okay.... um if you read the spoiler section of the summary you’ll know how wild this show is. For those who haven’t warning there is an suicide by overdosing on drugs in the show. Music wise it’s alright, I watched the show but all the songs are quite forgettable because I was so distracted by the plot. Again the vocals are nice so perhaps I just need to listen to audio only, though I’m unsure about some of the lyrics. 

Non-Music: I have so much to rant about this show. First off it’s just weird that her Irish pilot dad keeps appearing in like spiritual form. Also Cindy is not spectacular at dancing, which is hilarious during the jig dancing competition you have actual dancer ensemble members doing cool moves and in general good dancing but at the end Cindy comes stepping around and twirling a bit, the same choreography she does every time she danced the jug in the show and then wins the competition. Honestly, they should of just done full Irish step dancing and had the actress trained in it or to be more practical had a double for Cindy that was obscured to trick the audience into thinking this double was Cindy. The actress was lovely and maybe she can dance but “the jig” choreography was so pathetic compared to the ensemble’s part, even the ensemble part was weird.. maybe I just don’t understand what “jig” dancing is. Also the ending was so random to me, maybe it’s because of my lacking French, I get there were references to space throughout the show but WHAT THE HELL WAS THAT ENDING. Well stage wise it was interesting at parts. I like the large center column piece that had platforms on it that moved around the pillar. Cindy’s love song to Ricky with her in front of a large Ricky Magazine and two screens showing zoom ups on Ricky was weird. Finally, costumes, really dated and tacky but I think they were quite fun. The only complaint I really have is Ricky, he wears this half tank top half leather jacket look, and it’s really a single tiddy out look.

Starmania (1979): Let me start by saying I DON’T hate this show I just know little about it. I’ve watched bits a few years ago and only really recall one song. It’s one of THE French musicals, I mean I wouldn’t know for certain but you’ll see it’s quite popular and covered by newer musicals cast member (like Mozart L’Opera Rock). The photo is from a more recent production which is different from the original costumes. As a show it’s set in a futuristic society so there is some surreal techno outfits and set pieces, which are actually quite cool. It’s pretty much about a gang called the Black Stars who are trying to rebel against a billionaire turned politician Zéro Janvier. There is romance plots, the wiki has more info on that. In general, the singing is great and from the parts I’ve seen it looks interesting despite the show aesthetic being really not my thing. Full versions of the show are available on YouTube, the production done in English is also posted on YouTube. I would say if you are trying to get into French Musicals this is a good one to listen to as well as it’s kind of a classic but I hesitate as the visuals look a bit weird due to the futuristic element (kind of remind me if starlight Express when it comes to costume) but if this isn’t you cup of tea there are plenty of other shows as well.

Résiste (2015): It’s a French Jukebox Musical. It’s one of those one artist jukebox musicals, so all the songs were originally sung by France Gall and written by Michel Berger. It’s about five friends (I think they’re friends), two of whom are sisters. The sisters work with their dad at the family bar/night club. The plot revolves around something tragic happening and the five friends trying to deal and grow from it? (probably something to do with the night club)I haven't seen it so I have no idea what the tragic event is. I didn’t know any of the songs before this musical but it’s quite catchy and fun. Clips of the show and songs are available on YouTube.

[theother-will-grayson]

So in a lot of human!aus I see the sides have completely different jobs and Roman is really the only performer but like...Thomas is a musical theatre nerd so it makes sense to me that all of the Sides would be different types of performers adding little bits of themselves in every performance.

I go to a performing arts college as a musical theatre major, so I know what I’m talking about. Therefore, I present: 

Sanders Sides as Musical Theatre People That I Know and their signature Broadway song

(Deceit and taglist under the cut)

Roman

There is no one gayer.

The only boy in the first semester advanced ballet class.

Will not stop twerking randomly, always goes clubbing.

Specializes in over the top funny songs, but can play a really grounded and real leading man when he wants to.

Has really solid instincts, but sometimes needs to let the song or scene be funny because it’s funny rather than the fact that he’s funny

Idolizes Beyonce

Knows the lyrics to everyone else’s songs

Always trying to steal female songs

Very new Broadway (Hamilton, Dear Evan Hansen, Be More Chill, Wicked)

Always down to be the background dancer in your song for you. 

Never afraid to make the bold choices as an actor.

Pretends to be an overconfident bitch who roasts the shit out of people just to be funny but is actually down to earth and incredibly kind.

Open fascination with famous musical theatre divas

Signature song: Could be “I Believe” from Book of Mormon or “I’d Rather Be Sailing” from A New Brain

Patton

Special skills include looking like a smol bean but then will kick the door down and belt his heart out.

Incredibly supportive to a fault

Always shouting things like “I DON’T OBJECTIFY MY FRIENDS BUT YOU’RE SUPER SEXY YOU’RE SLAYING”

Has a cute aesthetic and then one day shows up for a scene in a sexy minisKIRT WHAT THE FUCK (and slays it???????)

Definitely has a sound you would not expect

Can flip between sexy growl belting and a classic operatic sound a la Kristin Chenoweth

Is always super philosophical and can get deep really quickly

Great taste in memes but will also talk about the current events he’s referencing with good knowledge on their impact.

Is incredibly kind but not above talking shit when someone is a dick, and therefore you know a person is really bad if Patton has a bad opinion of them

Is infamous across sections for being a neverending font of positivity

Mom friend, always a listening ear

Kind to teachers but doesn’t kiss ass

Casting type all over the god damn map

Signature Song: “I Am What I Am” from La Cage Aux Folles or “Bring Him Home” from Les Miserables

Logan

One of those actors that also takes writing and directing and film classes

Watches at least one new movie a week for fun and research both

Refuses to date for at least his first semester 

A really precise actor to a fault

Can sometimes over think and over plan his scenes and songs

His best performance of the semester was when he had to do a song where he just sat down and sang a ballad without any blocking and it was so real and beautiful that everyone was fucking sobbing.

Always complimented on his work ethic

Universally beloved

Analytical and always working

A good scene partner who will never flake out on a rehearsal

Gives good notes, director friend

Fills out character analysis sheets and thinks about mannerisms etc. like his life depends on it.

Solid knowledge on different acting teachers and styles

Needs to rely on instinct more but is far from a bad actor.

Has more sound than you’d think

Signature songs: “What You’d Call a Dream” from Diamonds and “Purpose” from Avenue Q

Virgil

Actor that relies on instinct

Would kill to play Peter Pan

Does not take bullshit

Is really bad at taking notes because he forgets that a note from a director is not an insult to your skill, but a NOTE to make you BETTER

Has a hidden talent in sardonic comedy

Surprisingly good at silent physical comedy

Character actor -- can play a physical comic and dramatic roles with a big personality, but can nail being strong and real when he really tries

Loves playing angry roles

Great skill for playing chorus roles and bit parts

Not a dancer but he puts forth his best effort in every dance class

Has a hyperfixation on becoming really good at stage combat and juggling

Has an open disdain for certain popular shows like Cats and Grease

And gets really oddly excited about the shows that get glossed over sometimes like Godspell and Seven Brides for Seven Brothers

Gives really good notes and is extremely helpful in improving others’ performances, but is always afraid to speak up and give notes for fear of seeming like a dick who thinks he knows everything

Extremely self-critical and has gotten called out by certain teachers for being more critical of himself than they are of him.

Makes edgy jokes

That one person who always sings a song badly for the meme

Has a wealth of knowledge about musical theatre history in weird spots but not other spots that you would expect (for example can list an extensive timeline on how gay rights are connected to theatre and how closeted playwrights birthed the drag queen, or how Hello Dolly killed the movie musical,  but got several questions about Sondheim wrong on his Musical Theatre History exam)

Is constantly watching video essays on film, will wax poetic about the directing style/acting style of ANYBODY he loves and has the knowledge to back it up.

Gives self-deprecating compliments

Needs to make people laugh to validate self

Love for old broadway

Idolizes the 25th Anniversary version of Phantom because of the screamo punk aesthetic and can tell you the exact timestamp where you can see Ramin Karimloo's wrist tattoo

Defends movie versions of musicals

Really wants to be a leading man but it just isn’t his casting type

Has a background in straight plays

Wealth of skill in technical theatre, background in competition shows and forensics

Signiature songs: “Santa Fe” from Newsies and “Extraordinary” from Pippin

Deceit:

Compulsive Liar

Constantly telling everybody about his long list of credits and everything that he’s done (he was in a Reeces Puffs commercial, he was in a circus and his favorite was the aerial silks, he’s a professional figure skater, he taught pointe to national champion ballet dancers even though he’s in low level ballet and he can’t do pointe himself, he can bench way more than the guy who works out all the time and is obviously bigger than him) and no one ever believes him because of all the bullshit he spews.

Idolizes the other guy who plays his type in the class and literally copies everything he does except worse.

Can be really condescending at times, always taking the lead in a bad way and ordering people around. 

Everyone that doesn’t hang out with him regularly likes him because he’s charismatic while everyone who is in his class shakes their heads

Always buttering up teachers except he never takes their notes because he’s above them I guess

Rubs Virgil the wrong way the most

Always doing his own choreography in downtime during classes even though that’s really disrespectful to your current choreographer

Over indicates his acting

Is the one person anyone has ever seen Patton talk shit about

Never does his homework or reads the script like he’s supposed to -- once he didn’t know anything about Les Miserables of all things (”I think it’s French?”) and you just hear someone from the back of the room go “Didn’t you say you were in this show???”

It’s really a shame because everyone can tell that he’s a really talented singer and kind of a cool person and would be amazing if he stopped being an ass.

Signature song: “You’ll Be Back” from Hamilton

Taglist

@ironwoman359 @sandersstudies @cattonsanders

Also tagging @abraca-datass because Patton is definitely based off of her

[margridarnauds]

for the ship thing: wash/mira, ronan/laz, solene/olympe, ivanova/talia, domona/elisa

Wash/Mira 

The TN pairing we deserved. Like, we’ve talked about that “Still doing Taylor’s dirty work?” for ages and you did such a good job discussing it in your answer, but it’s just....SO IMPORTANT. Especially given that we get so little of a personal life for either of them. Like, Mira does NOT like Wash’s position with Taylor and obviously thinks she could do better. I know what the writers probably were going for (bitchy comment by female rival, probably out of jealousy) but....it didn’t work, especially because the look on Mira’s face is rather...irritated? Tired? Pissed? Like, this is not just a casual comment. Mira thinks Wash could do better than Taylor, and if she ever decided to leave Taylor for the Sixers, they would be a damn good power couple. And then that Wash does know exactly where Mira’s old quarters are....like, I’m sure Wash knows where everyone on the colony is, but you can’t tell me they didn’t bang in that house. (Which would have made it more painful when the Shannons moved in because it was one more reminder that she’s Gone and things are never going back to normal.) And, really, we don’t really get how much of a personal BETRAYAL what the Sixers did was, even though you know that personal bonds would have formed. Like, for me, they missed out on a lot of potential by not deepening this bond (and instead giving us an Unfortunate Taylor Bondage Ep), not just as far as giving both of them development, but also on a broader level as far as increasing the emotional stakes (and giving you more vid editing potential because I NEED THAT GAY SHIT IN MY LIFE). 

Ronan/Laz 

Definitely not the ship that I jumped onto 1789 for, but definitely the one that I stayed on it for. I think it’s very versatile, as far as the number of dynamics that you can work with, and the fact that both pairs (Matthieu Carnot/Louis Delort and Ryuu Masaki/Seijou Kaito) had better chemistry with each other than Olympe certainly helped. Obviously, it’s an inherently unequal pairing on multiple levels; I don’t hold any ill will towards anyone who ships it as such, but personally I find it more fun to reverse it so that Laz is a total gay mess who is totally whipped by his boyfriend even though neither party really notices. Personally, I think if we’re going to have Laz represent “the order and rigidity of the Ancien Regime” and Ronan representing the common man’s hopes for the Revolution, there has to be a point where they meet up and reconcile, given that, historically, there did come a point where both sides were pretty damned burned out. (Which is why I go SO HARD for the French version having them embrace each other at the finale, though I’m also enough of a slut for angst that Zuka!Laz turning his back on Ronan at the end also owns my soul.) 

And, in both the versions that are currently available (I’m steeling myself for the Toho with the knowledge that we’re going to get a much more...aggressive Laz this time around), there are so many queerbaiting signs that there’s...something that extends past hatred. Like, you’ve got French!Laz SWITCHING THE FUCKING “YOU”S DURING MANIAQUE (Going from over politeness to an extent that really would NOT be necessary with a man so below his station to using the informal “you”....after the half-naked homo-erotic dance number. Gee, I wonder what they could have done to merit the switch), you’ve got Laz jealously lingering in the background during La Rue Nous Appartient, you’ve got Olympe’s nightmare having the words “Monsieur de Peyrol, he’s yours now. Do whatever you wish with him” (Which....Olympe knows.) And...again....the FUCKING HUG DURING POUR LA PEINE. And this is post-Father Killing, not including the Almost Kiss. And then the Zuka version just.....ramps it up. From the entirety of Maniaque to Laz IMMEDIATELY AFTERWARDS trying to get Ronan away from the Revolutionaries, to Ronan actually calling out his friends the next time he sees them (if he really hated Peyrol that much, why the Hell would he give a damn what he thought about his friends, AKA the people who gave him a job when he staggered into the print shop?), the way Laz steps up from behind Ronan when he talks about “being able to make the ones we love happy,” and then...the finale, where Ronan gets shot in the cross-fire, Laz IMMEDIATELY gives the Bastille up, and Ronan reaches out to him before falling on the ground. And that’s not even touching on things that can be strung together like The Coat Theory. 

Basically, they banged on the printing press. It’s canon. And Ronan wanted to save his boyfriend and his boyfriend wanted to save him but, at some point, they just...barely missed one another. It’s so nice they end up in the Cretaceous together. 

Solene/Olympe 

The age old joke with me: 

Me: Oh, Peyronan is my OTP; I have so many ideas I want to work with them! 

Me: I want to do some writing! *Writes Solympe fanfic*

*Starts sweating*Me: I have no idea where that came from, I swear it just--

*Three more Solympe fanfics crawl out of my Notes application*

Me: .....Fuck. 

Still a very odd ship for me, because it’s so damn hard to work with what we’ve got in canon and keep a continuity going. I ship it to Hell and back, since it gives me an opportunity to work with two characters who never got the chance to meet up, as well as really touch on a lot of things that we never really got in canon. (Also, I’ve lowkey considered doing a straight-up self-indulgent role reversal where Solene is arrested and sent to the Bastille, where she meets up with Olympe, who is following in her father’s footsteps.) In many ways, I think they do work as a more functional version of L/R, having to make many of the same decisions and choices (though I’d argue that Solene parallels Laz more than her own brother and, in some ways, Olympe mirrors Ronan.) In many ways, I can’t really...conceive of writing one without the other, in the sense that I think they’re very much two sides of the same coin? I don’t know; one day I’ll actually type out how these two ships mirror and contrast one another, but suffice it to say I do try to tie the two of them together SOME WAY even if it’s not always exactly...clear to me. Solene has definitely gone through some hard knocks, and it’s a lot more obvious in the way she carries herself and goes about relationships, whereas Olympe has never really taken a fall like that. She’s obviously experienced pain (especially post-canon), but she’s still had a somewhat rose-tinted childhood, with a loving, middle-class aristocratic family deeply entrenched in Enlightenment ideals. I think in some ways that it’d be hard for Solene to really trust Olympe in a relationship, given how many people she’s loved have betrayed her. (Personally, one thing I really try damn hard to do is to build them up so that, if and when Solene decides to leave her profession to be with Olympe, it’s not so much “Let me take you away from this” cliche for sex work and more...Solene weighing her possible decisions based off of where she is and taking a risk.)

It’s a bit hard because I tend to write them a bit more....pure than I usually like writing, in the sense that so much of their dynamic comes from healing one another. Which is good (obviously, it’s more the relationship ideal that you want to aspire to IRL) but also is very odd to me. Like, with Ronan and Peyrol, I tend to write them as helping one another as well, but they also have so much baggage to get through whereas Olympe and Solene don’t...have that, as much. There are differences, obviously, but it isn’t AS WIDE as I’m used to dealing with. One thing that’s going to be interesting with Pour la Peine is dealing with some of the political differences between the two of them, though I know that tbh it’s not going to last. 

Ivanova/Talia

Obviously, I’m still fairly new to B5, but there is SO MUCH tension here and I really, really appreciate that they’ve built it up like an actual RELATIONSHIP? Complete with fighting over PsiCorps, THE WATER SCENE, etc. Like, it isn’t an insta-love situation, it isn’t just SOFT GIRLS IN LOVE, it has a lot of...weight given to it, and the dynamic isn’t something we get all that much with WLW TO THIS DAY in media. Like, I know that referencing the DS9/B5 Schism is a dangerous game (I love both dearly, so when I speak, I speak as a fan of both), but compared to the cop-out they did with Dax, where we got a kiss, the relationship being due to Dax being (heterosexually) married to the host in another life, and then the love interest being shuttled off, not to be seen again because of a Trill law there was NO sign of in TNG, this feels like a more solid relationship as a whole, even with the knowledge of...what’s going to happen. It wasn’t something that was done lightly or as a stunt, it was a relationship built from the ground up. Which SHOULDN’T be praise in the Year of Our Lord 2018, but here we are. I’m fully expecting this ship to crush my soul. 

Demona/Elisa Maza

Outstanding chemistry in the battle scenes we got, a lot of potential, though it’d be hard to work it into a complete arc with how DEEPLY entrenched Demona’s anti-human attitude is. It would take a long, long arc to do something like that, but goddamit Gargoyles I WANTED it. Also, so much of Demona’s attitude, aside from her own unwillingness to take blame, comes from this sort of need to pull the trigger before someone else betrays her, so it’d be interesting to see how that dynamic would work in a relationship. Like, we got a hint of it with the Thailog/Macbeth situation, where she showed that she STILL could be trusting in a relationship, but Thailog is...odd in the sense that he’s a clone of her ex. Being with someone else, especially a human post-Macbeth...that would be interesting for her. And we do have Weisman saying that Elisa, “also proves or rather disproves Demona's theory that all humans are evil destroyers of the Gargoyle race. Demona's semi-fragile -- or at least ultra-calcified -- psyche can abide that thought.” Obviously, he’s using it to explain why Demona HATES Elisa so much, but...hatred’s a funny thing, and no matter what, Elisa does challenge Demona’s point of view. (Which...again, the last time we really saw that was with Macbeth, which, even though it’s not a ship of mine, still has a lot of romantic tension. And she has the same level of absolutely blinding hatred for him that she has for Elisa. My girl’s even worse than me at dealing with this sort of thing.)

I do like that this is a good, solid enemies to lovers type of ship (or, alternatively, just hatefucking), which is SO RARE to get solid examples of in femslash. And, on many levels, Elisa and Demona are really toe for toe. There wouldn’t really be one of them that’s “weaker” or “more innocent” than the other, and I think Elisa could give as well as she could take, which...being with someone like Demona, would have to be a necessity, and I think that’d extend as well into calling her out on her shit. (We’ve seen repeatedly that she’s not afraid to call Goliath out openly, even in front of the Clan.) Basically, I think it’d be a long arc, it’d be tricky to pull off with anything more than just hatefucking, especially given how often Demona does hurt people around Elisa (with a body count post-City of Stone that at least ranges into dozens of people smashed in a non-fun way), but I think it’d be a fascinating one. And even though I like Goliath, obviously, I never really felt the chemistry between him and Elisa (I know, I know, fandom heresy), and I think Demona/Elisa could yield a LOT more. (Pls Greg Weisman don’t kill me.) 

[ciceroisthefamilycat]

My Fiery Heart reread response (my Indigo Spell one here, my first-time Fiery Heart one here from 7.5 years ago)

before I get into it, I remembered looking up the Iolanthe coven name Sydney used; that wasn’t something I looked up until after reading it the first time though, so I didn’t realize the fairy court connection to Sydney recommending Zoe do her literature assignment on Midsummer Night’s Dream... I’m very certain it was an intentional reference to that opera now (even though the purple flower meaning was enough on its own)... if they get around to adapting this one, I half want to see Amberwood Prep put on a production of MND where Jill is helping with the costumes and Zoe gets to play Titania or something; I never got around to reading Richard III (Zoe’s original pick) but it’s interesting that free will/fatalism is apparently a major theme, and that Richard contrived to have his brother Clarence sent to the Tower of London...

also, I’m not sure if I cared about “White Rabbit” by Jefferson Airplane all those years ago, but I got a thrill seeing it referenced this go around.

we get the first namedrop for Cicero (though we had heard about his propensity for killing birds and some other mention in the earlier BL books ETA, 7/19: “My family had a cat back in Utah that I was pretty sure was more responsible than Angeline” pg 31 TGL

Anyway, gosh Sydney makes bad decisions in this one. And it’s not because she has too much to do- she has no real outside strenuous challenges to protecting Jill or her group this go around. The friend group actually had to decide “yeah let’s go hunt down a Strigoi in LA” for there to be a major action scene. I realize she’s in her late teens and the burdens put on her are unfair, but she’s a great example of someone who thrives under pressure and falls apart when she’s given too much free time.

The switch to dual narrators was unnecessary. It wasn’t bad, but it was clearly only to set up for the big cliffhanger at the end, and so feels a bit pointless in this one. Btw, Rose didn’t lose her spirit link into Lissa’s mind after Lissa went on antidepressants. Now admittedly, the chemicals in Adrian’s mood stabilizers would have probably worked differently, or maybe Richelle was trying to retroactively make things more consistent (since alcohol could affect the bond), or maybe it was “Adrian and Jill’s bond is less established, so Jill can’t break through like Rose could”... but the sudden decision mid book (with no repercussions- Adrian doesn’t even bring it up to Sydney to be like “hey, one of your main concerns about having sex is taken care of”) is so pointless and really goes to the minimal page-time of the larger ensemble. I said it the first time I read the book, the absence of Kristin and Julia, and Micah, and even more important characters like Angeline or Trey is so frustrating. I realize Richelle couldn’t write a book that was 900 pages long, but I would have gladly taken any of those characters instead of the completely unnecessary Terwilliger/Malachi romance. Especially to see Jill’s reaction to getting to be a more typical high school human, since I think she would have gotten even more attached to Amberwood than Sydney did. I also just... really, the Alchemists decided to have Sydney’s bio sister on campus... pretending to be a cousin... while she was playing sister to Jill? I get they kind of backed themselves into a corner, but weird. That being said, I was happy to have Rowena and Cassie around. (give me Adrian and Rowena being wlw besties excellence to make me really happy)

Sydney’s coven initiation taking place in chapter 2, then she meets Inez (who gives her the books on charms)... and we never see a witch other than Jackie again in this book? Honestly, why bother with writing the initiation at that rate? I still like the cloak they made Sydney though. On reread, there’s the randomest bit where Trey’s like “is Neil even really British” and I wonder if that was a dropped storyline where Neil was faking. Olive and Nina are still pleasant characters, and I liked that they had a “unique” background, but knowing how those stories end was kind of a buzzkill on reread. Olive, especially, deserved better.

This is another one where I forgot quite a few events- Adrian getting drunk and the pawnshop (I think I remembered that obliquely, but not so much on it), or the trip to Texas (which actually came before the pawnshop but oh well). I was happy to finally get some actual Christian content again, although I regret we didn’t get more from Sydney & Rose or more Sydney & Lissa. On Adrian’s mental health storyline... I am less impressed by it than I was the first time (though I didn’t remember being super-impressed, but according to my first review?). I do actually like Adrian being insistent, once he’s started taking meds, that he’s going to continue, but the diagnosis of bipolar disorder doesn’t actually feel like it fits? I will say, I find Adrian’s “chicken or egg” pondering over whether spirit causes mental illness or mental illness means a predisposition to specializing in spirit is fascinating (though it’s probably for the best Richelle never actually answered it).

The way Adrian spoke (or thought) about Zoe really pissed me off. Like, one, you’re an adult, stop antagonizing the sister of the girl you like and just be cordial (which is less suspicious than suddenly acting like you and Sydney don’t get along at all), and two... Adrian’s super protective over Sydney after realizing the emotional abuse Jared heaped on, but somehow doesn’t realize that this fifteen year old has been spending time with said father’s attention solely focused on her for ages now, and he has no sympathy for her? Instead of seeing Zoe being like “Sydney shouldn’t have to provide for you all the time” and being like “aww, that’s a nice protective sister instinct even if she needs an attitude adjustment” he taunts a 15 year old about drinking from her the way he did to 20-something actual-predator Keith. He could have engaged yet another Sage sister in talking about his awesome car on the drive over, or at least made other good faith efforts.

The dabbling stuff made me more uncomfortable this time around (I think). Especially Sydney comparing her getting Keith’s eye ripped out to Adrian’s assault of a human girl... that was some real false equivalency on Richelle’s part. But other parts of it, like “oh here comes Adrian to save the day and at least he’s changed from these guys he used to hang out with (oh, look at that convenient statement that even back in the day Adrian wasn’t on the same level of bad as them)”  was really frustrating, or the fact that Adrian was very deliberately withholding information from her in his own chapters and it made me question his trustworthiness in her chapters. Or the “oh, hey, he made the concession of getting treatment for his mental illness, so all is forgiven” handwaving. Like, Richelle brought this in to be an obstacle to their relationship, but it’s addressed so quickly (with maybe a pittance effort of later being like “oh, at least Adrian didn’t take advantage when Sydney accidentally absorbed some Moroi endorphins- he learned his lessons!) that it doesn’t merit the actual consideration of so important a topic Idk. I do feel like I enjoy the Sydrian relationship more in this book than the others, but I also have some huge issues with it.

Adaptation-wise, I think genderbent Adrian would definitely mean a change to the dabbling storyline (yes, women can be sexual predators, but I don’t think this storyline would be maintained with different social expectations). Honestly, give me an Adrian who, instead of having victimized someone, doesn’t immediately fully grasp how upsetting this idea of vampires preying on her species (and risking exposure) is to Sydney... Adrian being like “it isn’t sexual, those guys would never consider sleeping with a human” but the consent even to give blood still being critical to Sydney. And you know what? Let Lissa “compelled a guy to almost hit himself over the head with a baseball bat for molesting a Feeder” Dragomir have a spirit freak out moment of rage and go off on these subjects of hers the way that was deserved (and then once she cools down, maybe she can’t punish them fully, but she uses it to leverage their royal families’ agreement to the Family Rule amendment). And just finish that law by the end of the season, so that when the Alchemists pull out Sydney and Zoe, they’re actually closing down the whole Palm Springs operation in a rage. (if I remember correctly Alicia kidnapped Jill between books 5 and 6, but that was a stupid plotline imo- let Sydney and her coven take care of Alicia in the downtime of this book instead) Let Rose figure out that Sydney and Adrian are in love- she’s smart and she would pick up on that; let her celebrate them and encourage them to be happy together. Also the “Sydney and Adrian get three days at an inn to sex it all up” was stupid... like I’m happy for them but am I really supposed to buy that they could afford all that time away from Palm Springs?

As bad as I feel for Syd, and Adrian, and Eddie, and Jill, and Jackie at the end of TFH, I do remember that I’m going to feel worst for Hopper. I’m sorry that demon dragon Calistana has my heart and I remember one scene from Silver Shadows featuring the little guy prominently...