#chino wss

[tonymarias]

tag yourself

[theatrekidstatus]

Chino:TONY KILLED YOUR BROTHER

maria:wow i hate him

-3 hours later-

Tony:ill turn my self in for killing YOUR BROTHER

Maria:dont you DARE leave me now lets fuck

[artemis-lynn]

New headcanon: Chino is Valentina's son, whether it be adopted or biological Idk

[scottyzoomz]

Chino appreciation post he doesnt get deserve enough love. I love Chino Maria literally missed a good one. Like yeah Tony yeah BUT CHINO. HE'S SO CUTE AND AWKWARD AND ADFUSAF I LOVE HIM!?!?! If Maria isn't gonna dating him, THEN I WILL, WHO COULD EVER REFUSE A CUTE, SMART, RESPECTFUL GUY LIKE HIM???

[idkaguyorsomething]

this is the anybodys/chino dynamic to me

(IMAGE ID: three images. The first one is two sketches of people standing side by side. The first person is glaring and has their arms folded while being labeled “actual sunshine” and the second person is smiling brightly enough that a halo is emanating from their head while being labeled “dangerous”. The second image is of Anybodys from West Side Story 2021. The third image is of Chino from West Side Story 2021)

[babychino]

Made this ages ago but it’s still funny so have it again

[behold-the-brave-battalion-17]

Tony: Don’t kill me. Anybodys is here.

Chino: You think I give a shit about that?

Tony: That wasn’t a plea for mercy. That was a warning.

Anybodys: GET READY TO DIE, MOTHERFUCKER!!!

[spideyhexx]

omg hey kit I just finished watching that new show josh rivera is in and he’s so much different from sejanus it’s crazy

yeah that’s a wildly different thing especially since that’s based on the real guy/story cbdndjdjdj

[upside-down-sock-drawer]

I WAS GIVEN PERMISSION TO YAP SO YAP I SHALL costume analysis for WSS 2021 guys I love this stuff you don't understand. Also this post is LONG so strap in. Also spoilers so if you haven't watched the movie go do that.

Okay okay so first thing I want to point out is the very obvious color schemes that go into the Sharks and the Jets throughout the movie. Jets are blues and greens and cool colors, Sharks are reds and yellows and warm tones. This is important.

For the purpose of this analysis I'm going to focus the most on Maria and Tony, and one of my absolute favorite things that I'm going to start off with is the dance scene. Oh my god. So in the gym dance, the colors between the gangs are extremely apparent, like in this image here

The very obvious color divide. Jets in cool tones, Sharks in warm tones. The only outliers? Maria and Tony.

As you can see here, the costume designers put Maria in white and Tony in black, to show they they're outliers to the gangs, however, Maria has a red belt and Tony has a blue tie, which ties them into their respective groups. Genius.

Also later, when Tony finds Maria on the fire escape, he takes off his tie, meaning in that moment there is no more blue in his costume. Am I overanalyzing? Maybe. Do I think they did this because it signifies that in that moment Tony feels no connection to the Jets and has eyes only for Maria, but Maria still has her red belt because she is hesitant to leave her connection with the Sharks? Yes. Yes I do.

The next costume set I want to bring up is the church scene costumes which are best pictured in this little movie poster

This right here is genius costuming, and in this picture you can also see how they work the juxtaposition to the other characters. At this point I'm the film, Tony and Maria haven't really given up their respective groups, so they still have their colors built into their outfits, however, you can see that compared to the other characters their costumes are much more muted because they are slowly drifting away from their original groups. Again, these designers are genius.

Now I'm going to be focusing on Maria specifically, because at this point in the movie she is head over heels for Tony and there is nothing stopping her from running away with him. Then we get this costume for I Feel Pretty.

Look at this! This is the first time in the movie that we see Maria in a blue dress, the Jets' color. While in this dress, she sings I feel pretty about Tony, showing that she has lost connection with the Sharks, however, she is also wearing that coral apron over the dress, which is a warm tone. The apron covers the blue dress, just like she is covering up being in love with Tony by letting the girls believe that it's Chino she is in love with. Again, genius.

I can't find a good picture to go off of, however during the song Somewhere after Tony killed Bernardo and he and Maria are crying and making up they go back to neutral tones. Completely blank slate.

Lastly, we have this dress

This is what Maria wears when she decides that she is going to run away with Tony. A dark blue dress. No accents, just the dark blue. I also think it's really interesting because dark blue in color symbolism usually means sadness, and we know how the movie ends. I also think it's really interesting how in the end Maria has come completely to Tony's side by wearing entirely blue whereas Tony (I can't find a good picture so don't be mad if I'm off) is wearing muted colors again.

So that's my character analysis based off of costumes. These designers are absolutely amazing and so meticulous to the point where people don't even realize that the costumes add to the character development but they register it anyway. All of those people deserve so many awards they are an amazing costume team.

[cto10121]

R&J (+WSS) Clown Takes Special Edition—Tony and Romeo Are Totes the Same Character, Right?

In which a whole twitter thread on Ansel Elgort being miscast for Spielberg’s film WSS leads to this R&J and WSS anti dumb, including Romeo hate dumb. Ahimè, but at least I get to munch on some rare-ish clownery.

I can’t believe I even have to say this…I resent even typing the words out…but *puts hands together, exhaling sharply* Tony and Romeo are two entirely different characters. They come from the same archetype, maybe, but the role each plays in its narratives is vastly different. Case in point:

Tony (both film versions)

Poor son of Polish immigrants, though clearly born and raised in New York

Was the founder of the Jets alongside Riff. Afterwards he left the gang and went straight, got a job, and altogether outgrew the gang. In Spielberg’s version, it was because of an epiphany when he was in juvie; there he does have a problem with his rage

Is reluctant at first to attend the dance at the gym, but then gets positive premonitions that “something great is coming!!!” Big golden-retriever vibes

Is reluctant to interfere with the rumble. Maria is the one who encourages him to interfere. (Spielberg: Wants to interfere in the rumble and persuades Maria otherwise)

Is egged on to fight Bernardo, but he refuses (Spielberg: He starts to fight him before he stops, appalled).

Kills Bernardo almost immediately after Riff dies in a rage

When he finds out Maria is dead, he sobs and seeks out Chino for a bit of assisted suicide. He instead finds Maria alive, albeit too late

Personality-wise, he is optimistic, energetic, positive, loyal to his friends, streetwise, and quick to anger and action. Tony seems more attached to his friends than Romeo, at least to Riff, especially the Spielberg version

Romeo (play only)

Only son to a noble Italian family, praised by Lord Capulet himself (!!) for being a “well-governed” youth

Is infatuated with Rosaline in the beginning, definitely is keen on banging her

Has a negative premonition about his imminent demise in going to the ball and only changes his mind when he leaves it all to God/chance

Interferes with the Tybalt/Mercutio duel, even pulling out his sword

When Mercutio is injured, he starts to wonder whether his love for Juliet had truly made him effeminate. Big if true!!!! When Tybalt returns to fight Romeo again, only then does Romeo fight and kill him

When he learns that Juliet is dead, he becomes coldly pragmatic and acts with effective ruthlessness and violence. Once he reunites with Juliet, though, he returns to himself, and even expresses regret for killing Tybalt

Personality-wise, he is intense, introverted, independent, passionate in love, quick to forgive, and slow to anger. Romeo is more self-reflective than Tony, if just because we see him deliberate more (“Shall I move forward when my heart is here?” “Shall I hear more or shall I speak at this?”etc.).

It’s clear Tony was meant to show the difficulties of escaping the gang life, even with actual reformation, if just through the continued association with friends. He was also an ex-gangster, so he is already has a long history of violence and delinquency. His romance with Maria is almost secondary to this purpose.

By contrast Romeo’s arc is more about being true to your authentic self in a shallow, hateful world. He goes from a smart but passive and aimless youth who avoids the feud to a brave and passionate youth in love to a broken one fucked over by the feud, who lost the love of his life. Only when he is reunited with his lady wife does Romeo return to himself. His arc intimately connected to Juliet’s in that they both begin as obedient teens who mature and go beyond their (gendered) socialization and be true to their authentic selves…only for fate and said society to screw them over, but y’know, that’s what makes it tragic.

[theatrekidstatus]

Wss>>>>>>

so this is love.

[theatrekidstatus]

Fictional Character list

Ramon

Chino

Mike wheeler

Joyce Byers

Max

Copral Martinez

John Lauren’s

Gender bent

Alexander Hamilton

Phillip Hamilton

Noah Díaz

Miles morales

Peggy

The Schuyler sisters~

Angelica

Eliza

Gender bent Eliza Yandre

Justin laboy

Yandre Justin laboy

Spider Gwen

Camilo

Pavitar

Usnavi

Riff

Manny

Frankie

Jessie

Peter Parker

Nathan

Maria

Elana Wallace

Bucky Barns

Wanda maximoff

Natasha romanoff

Yelana Bolivia

Mj

Kate Bishop

Rocky Blue

Elven

Narrator (21CS)

Yandre narrator

Aaron burr

Gender bent

Usnavi

Usnavi One shot

[nitrateglow]

Scattered thoughts on the West Side Story remake

In general, I really enjoyed the film, largely on the strength of the performances. Everyone ranged from pretty good to amazing, with Rachel Ziegler and Ariana DeBose being the standouts. And Rita Moreno's supporting part was brilliant-- I like how she was given a substantial role and not just a lame ass cameo.

The music and dancing were great too. Ziegler's voice is just gorgeous. One trend I don't like in some modern musicals is casting famous people who cannot sing (Russell Crowe in Les Mis and Meryl Streep and Pierce Brosnan in Mamma Mia still haunt my nightmares). While not everyone here is a 100% unknown, I like that everyone seems to have been hired because they can actually hit the notes.

I thought the beefed up backstories for some of the characters were really interesting. (Chino's buffed up personality and background were my favorite of these new touches. He goes from being a breathing plot device to a truly tragic figure in this version.) I know some people don't like how Tony was made into an ex-con, but I appreciate that this time around they wanted to make him feel more like a credible ex-gang member. That's something I never bought in the 1961 film.

Speaking of the 1961 version, I haven't seen it in a few years, so I can't compare the two in more detail, though I do remember enough to where I can say I preferred the staging and direction in certain scenes in the older film. A lot of it has to do with my personal aesthetic preferences though.

Like, I'm not as crazy about Spielberg's staging of Tony and Maria's first encounter at the dance. The dancing between the rival groups is spectacular, but there's so much going on that the lovers get overwhelmed by it. The blocking of the scene has them retreat behind the bleachers to have their first dance (a parallel to showing Romeo and Juliet's instant chemistry through a conversation in sonnet form). However, I much prefer the 1961 film's dreamy approach, where time slows and only the lovers remain in focus. I get not wanting to repeat such an iconic moment or it coming off as corny in the 2020s, but I don't think it was replaced by anything of equal inspiration.

Actually, this brings me to a general issue I had with the remake's more pronounced "gritty and realistic" approach. One on hand, it makes sense-- the original show and 1961 film were noted for their realism, or at least, their very expressionist-tinged realism. It's meant to contrast with the romanticism of the lovers, who like Romeo and Juliet, want to go "Somewhere" their love won't be poisoned by divided loyalties and violence.

However, the more pronounced sense of unvarnished reality has two drawbacks in Spielberg's version. One, it makes the "falling in honestly and truly love in less than 48 hours" thing a bit harder to swallow. I can buy love at first sight in heightened, operatic reality-- less so in a setting that wants to resemble everyday reality.

Second, there are a hell of a lot of moments where characters break into song and the extras around them give them "wtf" looks. It's like the gag in Enchanted where Giselle starts singing in the park and Robert's like, "what now," only that movie's a meta-parody of animated musicals and WSS wants me to invest in this world and these characters. Having other people go "0_0" when someone sings takes me out the movie. You can't have your old-fashioned musical and your 21st century "lol irony take nothing seriously" schtick in the same film.

But overall, I really enjoyed this one. It's a remake that isn't just a rehash of a beloved film and it makes decisions that distinguish it completely. I plan on rewatching the 60s version, actually, just to reintroduce myself to it, since it has been over half a decade now.

[scottyzoomz]

Hi welcome to my Chino appreciation post CAN WE GET A ROUND OF APPLAUSE FOR CHINO!??!?! (ps my friend made an ask blog for him go ask him silly questions @ask-chino)

[idkaguyorsomething]

😭 my period of productivity has apparently ceased

(Feel free to ask any clarifying questions if you want)

[thatsit-thatsthepost]

if i said Chino WSS was a repressed homosexual would you see the vision?