#billy has a full name but i dont have it memorized

[duckiesdoodlesdelight]

leaf but awesome (he is a pirate)

[apprcnticesuprcmc]

okay so yall know how tommy has the whole physical use of his powers thing??

what if he developed the ability to do all the same reality warping shit billy does but like?? has to physically do some kind of gesture or movement that he would mentally associate with whatever action he wants to happen

what if, at first, its like he sees erik use his powers with his whole angry jazz hands routine and is like ‘‘ haha guys im magneto check it out’‘ and does the whole gesture and ends up moving something metal?? purely on accident??

of course everyone freaks the fuck out like ‘‘omg u are a magnokinetic?????’‘ eriks all like ‘‘i always knew u were my favorite grandson u never told me u were in touch w/ the magnetic fields!!’‘ and tommy’s just like ‘‘im not??? at least not more than anything else???’‘ but suddenly hes got this, like, ability to move metal by imitating magneto or polaris when they do certain hand movements bc hes always just??? associated that ability with that motion?? if anything its probably closer to like a specialized telekinisis

and then hes just like ‘‘fuck that was weird i wonder if i could do it again??’‘ and he tries it w/ something else? like maybe he does some stereotypical superhero flying pose and suddenly?? he can fly?? what??? and so then ppl are like ‘‘oh maybe u can just?? imitate powers!’‘

they have this whole theory about how he must have met pietro when he was younger or something only to forget about it and gotten the whole speed thing through proximity as a smol and tommy is like ‘‘that sounds fake but okay??’‘ (in reality he probably was just dicking around one time being like ‘‘damn if i started running maybe i can outrun time and also all my problems’‘ and then he tried it for kicks and ‘‘woah okay that worked i guess???’’)

so then oc they try to make him copy other heroes cuz they want to see what he can do and it sometimes works if they have some kind of physical gesture or something that activates it but usually?? it does not?? so everyone is just like??? u can absorb running really fricken fast but not emmas mind powers?? thats weird??

and then he p watches like cartoons and anime and shit sometimes and one time he sees this guy like summon this huge ass sword with some overly complicated gesture and he tries it just for shits and giggles ( bc apparently 95% of tommy discovering his powers is gonna be him fucking around i guess?? seems appropriate for him ) and it??? works??? - Alternatively, he does the magical girl transformation and accidentally gives himself a full magical girl makeover, much to his horror.

and then ppl after that are like?? you copied abilities that literally?? dont even exist?? they are fictional w h  a t??

and then finally someone is like-- Maybe-- it has to do w/ the physical movement???? and ppl are like ‘‘o that makes sense--’‘ and then they p send him to dr strange to learn a bunch of spells and shit that involve hand gestures and things like that and tommy can pick most of those up bc he didn’t associate any of these weird spells w/ any particular movement before then

but then finally maybe hes talking to billy or something and billy is like ‘‘ its cool that you can do magic like me i guess but its weird that you are limited to like?? things that OTHER ppl decide have you ever tried just making up a spell??’‘ and tommy is like ‘‘fuck no i barely understand half the ones dr strange is trying to tell me now i just memorize the gestures and forget everything else??’‘ so billy is like ‘‘well okay but what if you were just like--- this random movement meant THIS should happen?‘‘

so then they try it and because tommy is extra he decided that its gonna be something ridiculous like-- if he does a cartwheel its gonna summon a bunch of grapes or whatever idk. And after they’ve planned this out tommy is like ‘‘so how does this workk?’‘ billy is just like ‘‘i just think about it and then kinda just... go for it? same principle probably??’‘

And tommy tries it but he cant do it at first and is like ‘‘ur plan failed 0/10 bad advice’‘ and billy is like ‘‘iT WAS JUST A SUGGESTION’‘ and then tommy pulls some bullshit like ‘‘bro maybe if u cartwheel with me it will inspire my powers’‘ and billy thinks thats dumb but he does it anyways bc he wants to help his twin so then u just have the boys cartwheeling all over the front lawn of the avengers mansion yelling ‘‘GRAPES’‘ at random intervals. Cap occasionally looks outside like ‘‘ are they okay??’‘ pietro just shrugs and is like ‘‘idk they get this from their mother dont look at me’‘ and immediately nyooms away

but jokes on u u thought that was just tom-foolery (haha joke cuz his name is tom) but actually it was a big complicated association exercise! and the next time tommy does a cartwheel he accidentally summons a bunch of grapes!!! and then him and billy get all excited about it while the other yas are like ‘‘???????’‘

anyway this got away from me but pls consider tommy having reality warping powers accosiated with movement pls and thank--

[deadcactuswalking]

REVIEWING THE CHARTS: 17th February 2019

We have a new #1, and a very busy week before the BRITs. Let���s get on with it.

Top 10

As I said, there’s a new #1 hit today on the UK Singles Chart – for its first week on both the #1 spot and the chart overall (Yup, it is a debut), it’s “break up with your girlfriend, i’m bored” by Ariana Grande, becoming her 18th Top 40 hit and fifth #1 (Second to debut at the spot this year). This is because of her incredibly successful thank u, next album, which was the most-streamed album of all time for a female artist, and is currently occupying all top three spots on the Billboard Hot 100 in America. Now that’s impressive, although it did sell a bit less than I thought at more than 300k+... also the album sucked, it was a strong four at best. I’ll talk more about it later.

This means that Ariana Grande has blocked herself at #1, in fact has pushed herself off, as “7 rings” is down a spot to number-two.

Surprisingly, Lewis Capaldi enters the top three with “Someone You Loved”, up six spots to number-three. The album’s out soon so expect this to hit the top.

Sam Smith and Normani’s “Dancing with a Stranger” is down one space to number-four.

At number-five is where Mabel stays since last week, with “Don’t Call Me Up”.

Calvin Harris and Rag’n’Bone Man’s “Giant” is down two spaces to number-six.

Also down one space to number-seven is “Wow.” by Post Malone.

Now we have our second top 10 debut by Ariana Grande, “needy”, also from the album thank u, next. It’s at number-eight, and is Grande’s 19th Top 40 hit and 12th Top 10 hit. We’ll talk more about it later.

Unfortunately due to Grande and Capaldi, two good songs are barely hanging on at the end of the top 10. Mark Ronson and Miley Cyrus’ “Nothing Breaks Like a Heart” is down one space to number-nine.

Billie Eilish’s “bury a friend” is also down three spaces to #10, rounding off our top 10.

Climbers

Well, there’s more than I expected to be on this week specifically, but there’s not all too many. “Going Bad” by Meek Mill and Drake is up five spots to #13, probably because of the video, while possibly due to awards season, Lady Gaga and Bradley Cooper’s “Shallow” is also up five spots to #21, “Grace” by Lewis Capaldi is up 14 spaces to #26. Then we have recent debuts like “Swervin” by A Boogie wit da Hoodie featuring 6ix9ine up seven spots to #27, “a lot” by 21 Savage featuring J. Cole up seven spots to #29 and ���i’m so tired...” by LAUV and Troye Sivan up six spaces to #33, all of which I’m rooting for.

Fallers

I expected a LOT of these due to the sheer amount of new arrivals (There’s seven), and I mean, eh, we got some, mostly due to streaming cuts though. After a couple weeks, the UK Singles Chart makes the importance of streaming in a song’s chart placement lessen, if that makes sense, and this has happened to “Sweet but Psycho” by Ava Max down nine spaces to #11, Post Malone and Swae Lee’s Spider-Man: Into the Spider-Verse cut “Sunflower” down 13 spaces to #23, and potentially “Without Me” by Halsey down 11 spots to #28, this week. Otherwise, well, we have the fortunate five-space fall for “Undecided” by Chris Brown to #25, and falls for The Weeknd and Gesaffelstein with “Lost in the Fire” down 11 spaces to #35, as well as Kehlani and Ty Dolla $ign’s “Nights Like This” down eight spots to #38. I’m almost sad that song didn’t drop 15 spaces so I could make one of those awful quips about Ty Dolla $ign serving 15 years in prison for cocaine possession.

Dropouts

Streaming cuts also hurt “Close to Me” by Ellie Goulding, Diplo and Swae Lee, out from #27 (Peaking at #17), while “One Kiss” by Calvin Harris and Dua Lipa is out from #38 (Peaking at #1) – about time. Oh, I might as well say that whilst “thank u, next” by Ariana Grande did drop out from #28 (Peaking at #1), it’s not because it’s less popular now, it’s because that there are at least three more popular songs from the thank u, next album, and that’s all the UK Singles Chart allows at once. This is a good rule because it prevents album bombs, but it means the chart is less accurate in actually showing what people are listening to. I bet that song comes back next week anyway. Oh, and there’s more drop-outs: We have “Leave Me Alone” by Flipp Dinero out from #38 (Peaking at #30), “Saturday Nights” by Khalid out from #35 (Peaking at #31) and “18HUNNA” by Headie One and Dave out from #32 (Peaking at #6). These are all premature, so expect these come back, or at least one of them. Fredo’s “All I Ever Wanted” featuring Dave is out from #15 (Peaking at #15) after the album’s hype died down, whilst streaming cuts have pushed both “Hold My Girl” by George Ezra out from #23 (Peaking at #8) and “ZEZE” by Kodak Black featuring Offset and Travis Scott out from #21 (Peaking at #7) off the chart.

Returning Entries

The only returning entry this week is due to the tragic death of rapper Cadet at 25, whose passing has caused his song with Deno Driz, “Advice”, to return at #36. Rest in peace. Now, on a lighter note, here are our returning entries:

NEW ARRIVALS

#40 – “Thotiana” – Blueface

Hell yeah, Blueface, baby. Okay, so you know Blueface, don’t even say you don’t – you’re a filthy liar if so, because he has been all over the Internet due to viral videos of him rapping, because he doesn’t tend to rap conventionally, and he often has funny one-liners. There are purposeful off-beat moments throughout his songs, especially “Deadlocs”, but it’s mostly just inspiration from people like E-40 who would rap in a different way when they came across a beat that fit their unorthodox flow. Anyways, despite his most on-beat song to date, “Bleed It”, being an obvious contender for breakout hit, it seems like “Thotiana” has got the most traction, and hence, here it is. It’s been in the top 40 in the US for a couple weeks, and has got remixes from Desiigner, YG and even Cardi B (Who, by the way, absolutely kills it with an outrageous and hilarious verse, which I unfortunately can’t repeat any lines from because Tumblr might flag me with an adult content restriction – yeah, they’re that nasty). Despite that, it seems to be that the original version is the one that landed in the top 40. It’s obviously his first hit, and, to be honest, I love it to death. It’s barely two minutes and only consists of gliding pianos and smooth keys under a West Coast beat (With some banging percussion), as well as a slightly shrill synth, yet it feels so full, probably because of Blueface and all his ad-libs, including the iconic “Yeah, aight”. The hook is insanely catchy and beyond the meme, Blueface’s flow is great, somewhat complex at points and borders on spoken word in his verse, with so many references of what he says being “on the gang” that you’d think he has a verbal tic. This probably isn’t his funniest or most memorable song but it is a damn great one. Oh, but there’s also this:

Ain’t no runnin’, Thotiana, you gon’ take these damn strokes

Uh, yeah, well, um... Yikes, okay, I’m just going to leave it there. Great song, check it out. Check out the Cardi B remix though, it’s even better.

#37 – “Breathe” – CamelPhat and Cristoph featuring Jem Cooke

Damn, CamelPhat, I love these guys. Every song they’ve released that hit the charts has been some of the best EDM I’ve heard come out of the UK electronic scene in years, and they know how to make a fun, catchy dance song feel cinematic and in the case of songs like “Cola” with Elderbrook, almost avant-garde.  A lot of UK dance by more obscure names has hit the charts last year, and impressed me as well, especially Loud Luxury, so I’m excited to see what CamelPhat have got up their sleeves this time for their third top 40 hit, and the first for Cristoph and Jem Cooke.

Yeah, so, this feels oddly 90s at the start, with those nice warm synths, then the indie-pop singer of the week comes in with her raspy voice covered in reverb, with pretty much no build-up before we get to a deep bassline and finger-snaps come in, almost like a sped-up Chicago house beat. The beat increases in intensity with a higher pitched bass as the chorus comes in but there’s not really a drop, just a continuation of the instrumental, because it still feels restrained and isolated, despite the theatricality of the whole ordeal, and that really fits the title because it’s an anxious song, and it takes a damn long while for that tension release to come in. Unlike “breathin” by Ariana Grande from last year, that was also about anxiety and self-help, this isn’t repetitive to a fault, rather while Jem Cooke yells at herself that she needs her to breathe again, the beat is almost like a train pushing down the tracks and the finale climax when her vocals echo, “Again, again, again, again”, is the train hitting her and killing her. Grande’s song was a pump-up anthem but this is just a pure burst of self-frustration hurled at the listener, and while it’s nowhere near as good as “Panic Room” in expressing panic, isolation and anxiety (Yeah, it is kind of a retread), this is still pretty great.

#34 – “Who Do You Love” – The Chainsmokers featuring 5 Seconds of Summer

Oh, these seven guys again. Look, I like enough of both of these artists’ songs to give them a pass, but a collaborative single between the two is just a mediocrity sandwich. It’s not going to be anything interesting or new or even worthwhile, it’s just going to be a two-dude EDM duo producing for one dude called Luke or something with four other dudes (Who supposedly play instruments on any of their singles – yeah, right). This is the Chainsmokers’ ninth top 40 single in the UK and 5 Seconds of Summer’s ninth as well, and it kind of sucks. What a surprise. We start off promising with distorted piano, a deep 808 bass and what sounds like a high-pitched, siren-like guitar, with Luke crooning, until... it has an acoustic breakdown in which Luke has too many vocal effects put onto him for it to work, and he sounds too fast, like a lot of these EDM guys make people sound like... until, that weak drop with an unfitting build-up. It just sounds like all five seconds saying “Blam-blam, hoopty-doopty, doo-doo” in unison over some cloudy synths and an ugly bass wobble. I know that’s the point, but this song is supposed to be taken seriously, and I don’t think any of the seven dudes involved noticed that at any point. Chainsmokers, guys, you’ll never top “Everybody Hates Me” (Note that their best song isn’t supposed to be taken seriously... or at least I hope not). Blech, I hope this goes away, this really is not worth any staying power.

#30 – “Just You and I” – Tom Walker

Both this and his other song, “Leave a Light On”, were featured in advertisements, boosting their place on the charts. This one has an album attached to it. That should tell you all you need to know about boring singer-songwriter, Tom Walker, trying to get on that “Genuine white guitarist man” money that Rag’n’Bone Man and Ed Sheeran currently store in the safe, although unlike those two, he’s more electronic and more plastic. He’s a rip-off? Yeah. Is he an industry plant? I mean, I don’t like that term, but it sure seems like it. If not, he’s just marketed perfectly. Anyway, this song is his second top 40 hit and some fake acoustic guitar and fake handclaps complement Tom Walker’s slightly nasal and... mildly urban-Irish (???) voice and the piano... and yeah, no, it doesn’t exist. I hear this song and nothing witty is produced, there’s nothing of interest in my brain, I feel like my ears have just had a long string of nothing twisted through them. The “Drop” is just a chorus, this time, although it still feels like a drop because Walker isn’t saying anything of interest. Oh, yeah, and the two parts of the chorus feel really jankily attached, it’s like two halves of a chorus put together. Next.

#16 – “Talk” – Khalid and Disclosure

Oh, hey, a great song by two amazing artists, that’s good to see. So, this is R&B singer Khalid’s tenth UK Top 40 hit and Disclosure’s sixth, and it’s funky, smooth and fun as hell. It starts with a synth that is ripped straight from the 80s, then some keys come in and a clap, until Khalid starts singing with that sultry voice, although it’s in a higher-pitched and more emotive falsetto this time, with a slightly off-kilter bass when partnered with the synths, almost reminding me of future bass. Khalid sounds absolutely fantastic over this beautiful instrumental, with all the extra touches like the drum pattern finishing off with a repeated snare, kick and bass hit at the end of the chorus as a climax, the extra synth melodies added throughout the chorus that give the song so much more “Oomph” and groove to it. The song is joyful, danceable and I don’t care about what the lyrics say at all, but since I clearly don’t have all that much to say about the song other than “This is gorgeous and amazing and brilliant”, I might as well say that the subject matter may be unfitting, because it’s about having a talk about where the relationship is going, which isn’t necessarily as smooth, cute and glamorous as the song could paint it out to be, but there definitely is that off-kilter and quirky vibe to it that does add that sense of panic, despite how mostly chilled it is. That works well, actually. Yeah, check this out because this is the best song either of these guys have put out. If this has longevity in the US, it’s a contender for the top of my best list, because I doubt anything better will come along. Perhaps “bury a friend” and “a lot” could end up there? Who knows? It’s shaping up to be a pretty good year, though, so we’ll see.

#8 – “needy” – Ariana Grande

Ariana Grande finally finds her sound after years and four albums of having the inability to be cohesive or unique, years and years of having a wasted voice due to cluttered, messy and generic instrumentals provided to her by producers who don’t know what they’re doing, and... her albums still suck. Well, her fifth album is a disappointment, yes, and it’s also incredibly mediocre. It lacks a lot of substance, is inconsistent (It either has too much polish or not enough), has a few irritating instrumentals like “bloodline”, as well as once again, it has Grande’s great voice being put to the side due to light-weight trap beats like “7 rings”, for which Grande is forced to lose all of her natural charisma in order to fit on. There, that’s what I think of the album. Now, “needy” is not one of the worst on the album, but it is bad, and you can tell that right off the jump with its over-simplistic, toy-box melody that starts it off, and gets irritating quick, with not enough drowning it out. I like the pre-chorus, it’s pretty cool, but the finger-snaps are fake and pointless, with the borderline doo-wop vocals in the background adding nothing but volume. Someone tell Ariana Grande that her “Yuh” ad-libs should never be used again, please. They worked in “God is a woman”, but that’s the only time they worked, and will ever work. The subject matter is decent here, but I don’t think the beat fits it – because it doesn’t have a beat, really, there’s barely any percussion, and then it has an abrupt, pointless orchestral outro. Yeah, you can tell this album was finished in two weeks. It has a lot of moments like that.

#1 – “break up with your girlfriend, i’m bored” – Ariana Grande

Fitting title. Okay, so what’s the need for build-up, am I right? When it works, over-whelming the listener with the beat immediately crashing in is great. That’s when it has build-up, it never works when it’s just the song starting with bass and percussion immediately, without much reason. No, it doesn’t make sense in the context of the album either, because the song before it fades out. Anyway, so over a weak, discount Playboi Carti type beat with the flute (???) mixed so low that it essentially doesn’t exist, Grande raps with a rather concerning accent considering the blackfishing controversy, biting freaking Quadeca’s flow (I know - Out of all people?), with again, those cringeworthy ad-libs placed in empty spaces. Then it cuts to 16-bit chiptune pianos that aren’t used throughout the song, just in this section, for the pre-chorus, it just feels kind of worthless to have this here, it’s like it’s part of another song they spliced in (A better song, may I add). Oh, and that chorus is sickeningly annoying. I don’t care about the lyricism here as much as I should (Because it is pretty douchey, at least on the surface), but she sounds nasal with that elongated syllable melody that makes me just coil. I don’t like the backing vocals or echoes, either, sorry for the nitpicking but they feel like quick edits just to fill in empty space, especially that male “Hey” (or “Care”, or “Yeah”, I can’t tell), it’s added abruptly and cuts the beat out for no reason. The bridge wouldn’t be bad without that incessant and constant percussion pounding through it. I shouldn’t be this negative, Grande’s performance is okay, I guess, but, damn, this is awful. It doesn’t develop or even end properly, it feels like a bonus track on the standard version – because, yes, somehow this is what they chose as a fitting climax to the record. What a waste of studio time, and what a bad #1. Listen, UK, I didn’t like “7 rings” either, but at least it wasn’t this.

Conclusion

Man, I feel bad for doing so but Ariana Grande gets Worst of the Week for “break up with your girlfriend, i’m bored”, and screw it, Dishonourable Mention for “needy”. Nothing else is all that bad, so the Chainsmokers get away scot-free here, with Honourable Mention being tied and going to both Blueface for “Thotiana” and CamelPhat, Cristoph and Jem Cooke for “Breathe”. Best of the Week should be pretty obvious, but yeah, it’s going to Khalid and Disclosure for “Talk”. See you next week.

[legos-lass]

@astrolindsey​ u dont have to read all of this youre my fiance and ik you love me already

1. Favorite (Reprise)

honestly part of your old (reprise) from the little mermaid (alan menken) just THOSE HIGH NOTES MMM. i love theres a fine fine line (reprise) from avenue q cuz its adorable but it is like two lines so.

2. already answered

3. If you could go back in time to see a certain production, which one would it be?

AMERICAN IDIOT WHEN BILLIE WAS ST. JIMMY. NO EXPLANATION NEEDED.

4. Who should write a musical?

i would watch the shit out of an existentialist comedic musical written by bo burnham. hes so hilarious and his songs are so catchy sjiowehefhe.

5. The routine you recreate when home alone:

every. part. of. one. day. more. from. les. mis. simultaneously.my bio used to be something like “my main hobby is recreating all eight parts of one day more by myself” and it is still true. but also hello! from bom but it fails miserably because i try to act out all the parts oof ouch.

6. A duet you’d love to perform and with whom.

if you were gay from avenue q with me as rod and john tartaglia as nicky. now hear me out ik john is supposed to be rod and rick lyon is supposed to be nicky but 1. rod is like My Role™ and as much as i also love rick, john was my fave member of the obc and ik he can do different voices well so...yeah hes gonna be nicky now so i can sing with him.

7. A musical everyone can learn from.

here we go again but avenue q. wowie zowie i like went through a midlife crisis the first time i listened to it but for now actually? changed? my? life? and everyones a little bit racist i mean cmon read my bio. theres so much about it that is so useful even if it seems a bit pessimistic. also elder price from bom learning to use his mission to actually help others and not just to be treated really well if heaven is some good shit but avenue q wins cuz i wasnt religious to begin with.

8. already answered

9. Favorite person to play (insert role)

okay well im gonna fill this in myself and say elder price and say MY BOY THE ETERNALLY PERFECT NIC ROULEAU I CANT BELIEVE I GOT TO SEE HIM ON BROADWAY AND MEET HIM!!!

10. Best digital #ham4ham

uhhhh well like i said in my last post i dont like hamilton really so i have no idea what this means sorry

11. Make up a name and the ingredients for a Waitress pie.

okay well ive only just started listening to waitress and im not nearly as creative with names (or passive aggressive with them) as jenna but uh i really like chocolate pie but ive never seen a nutella one so. yeah that sounds delicious. the name would be something about remington leith idk.

12. already answered

theres no 13 i guess cuz it is unlucky lmao

14. Express your love for the orchestras!

*inhales* GOD THE ORCHESTRA JUST MAKES THE MUSICAL. GO LISTEN TO ANY SONG FROM LES MIS AND TRY NOT TO GET CHILLS FROM THE INSTRUMENTALS I DARE YOU.

15. Favorite musical written by (insert composer, lyricist)

well lynz youre a FOOL and didnt send me a composer or lyricist so im just gonna reiterate that i love les mis it has been my favorite musical for so many years and i cant believe that my friend ryan saw it on broadway and i didnt.

16. Which part (or parts) do you sing in One Day More?

but especially my love eponine

17. A line that never fails to make you laugh.

runs to get my official avenue q script that i spent $20 on to make sure i get the line perfectly right

rod: well--i have this friend--

christmas eve: nicky?

r: no no--another friend. and i think he has a very big problem. i think--ithink my friend is (whispers) gay

ce: what wrong with that? you know rod. gay people make major contribution ro art and philosophy and literature for many hundreds of years now

r: but my friend isnt an artist--hes a republican. and an investment banker.

ce: ew. well tell him to stay in closet then. he good for nothing.

r: (a moment) ...well okay! great! thanks for the advice!

ce: yeah i wouldnt want a friend like that!

r: thanks again!

ce: bye now (she goes inside)

rod: bye bye! (beat. to the audience) ...shit.

18. An upcoming production you’re excited for.

DEAR EVAN HANSEN US TOUR

19. Do you have any funny misheard lyrics from a showtune?

yknow im sure i do but i cannot think of any right now...all i can think of is i used to think (on my own) “the trees are full of starlight” was “the tree’s are fluff’s delight” i have no idea what that means but it made sense to my young mind

20. A musical you would NEVER see with your parents.

avenue q. hahahahahahaha no puppet sex with rebecca and michael. but lets be honest my mum wants to go back to the city to see it off broadway since only i got to see it and if shes gonna buy me a ticket im totally seeing it again idc.

21. Musicals can introduce you to new cultures, interests, fancy words and so on. Name 3 things you’ve learned form musicals.

bom: literally everything i know about the church of jesus christ of latter day saints is from this musical except for polyamory and salt lake city.

hamilton: alexander was NOT a president. i really dont care about us history whoops

les mis: I Learned Im Not Straight Because Of Samantha Barks

22. Favorite OBC.

avenue q mmmmm love u john tartaglia

23. Cast recording you know by heart.

les mis movie sountrack i literally have like 98% of this musical memorized

24. Cast recording for a long car ride.

grease (movie soundtrack) is a bop and my whole family likes it *fingerguns*

25. Favorite Miscast performance.

i havent listened to too many and ik this one doesnt really count but idc cuz i love it. nic rouleau singing go the distance from hercules is my sexuality.

26. already answered

27. Showtune of the day:

im gonna go with two by two from bom cuz im listening to it right now and suidfuesrf it just kills me -the fucking chicken waddling walk ass choreography -WE ARE THE ARMY OF THE CHURCH OF JESUS CHRIST oflatterdaysaints -ORLANDOOOOO I LOVE YA ORLANDOOOO -PUTT putt golfINGGGGG -arnold: thats me thats me hello. kevin: oh. hi! in the most fucking “:)” voice ever

28.  Who would play you in a musical about your life?

i would hope samantha barks (les mis 25th anniversary and movie eponine) cuz we have similar ranges and shes so beautiful and she is my Favorite Theatre Actress

29. Who would play your best friend in a musical about your life?

im gonna go with dana steingold (ave q current kate/lucy) really for no other reason than shes adorable and has a versatile voice and seems really sweet. i feel like we would be friends in real life.

30.  Who would play your romantic interest in a musical about your life?

honestly like maybe ben durocher (ave q current princeton/rod)? idk he just has a voice that i love and looks adorable in his glasses

31. already answered

32. Describe yourself with 3 musical theatre characters.

eponine from les mis (what a surprise), kate monster from avenue q, sophie from mamma mia

33. A character that inspires you to be better. (does la la land count? im counting it) mia from la la land cuz she has a similar personality to me but less Anxiety which ends up helping her achieve her dream. i want to be like that

34. A showtune that always puts you in a good mood. bend and snap from legally blonde idk it’s just so fun and makes me feel confident it is nice

35. A showtune that makes you feel melancholic. there are worse things i could do from grease

36. Best showstopper. i believe from bom oh my gosh when i heard nic rouleau sing it live for the first time i had GOOSEBUMPS and it has just the right amount of humor to bootedit: OH JUST KIDDING LOVE U BOM BUT DEFINITELY BEING ALIVE FROM COMPANY OH Y GOD. I CANT CHOOSE BETWEEN NEIL PATRICK HARRISS’ VERSION AND RAUL ESPARZA’S THEY BOTH GIVE ME SHIVERS

37. A place you consider to be your Santa Fe. this must be from a musical i havent seen? idk well it looks really beautiful and not very busy so i guess...oakland? it feels like home to me

38. The name of the prettiest theater you’ve been to. eugene o’neill theatre (bom on broadway) was lovely. i had standing room only tickets so i didnt really get to experience it cuz i was stuck in the back under the mezzanine (still great view though) but i looked around a bit during intermission and the was very royal looking and they had a nice bar area upstairs with CHAIRS I COULD USE

39. The most intense scene from a musical. mmm thats tough. from the little ive seen of moulin rouge so far the tango de roxanne part looks really crazy. so is the cell block tango from chicago. or honestly a LOT of american idiot...i love how badass letterbomb is

40. A great cover of a showtune: i really love this male cover of maybe this time from cabaret (i found this thanks to hetalia 2p!america fanart lmao)

41. Put your phone on suffle and write the first 2 showtunes that appear. 1. master of the house from les mis (10th anniversary)2. mamma mia from mamma mia (original cast)

42. Best design of a Playbill. i love effective minimalism so once