#for real I LOVE the Gatsby Musical

[keets-writing-corner]

I meant to go further with this. lost the brain juice for it, so this is as much as I'll do tbh. Sorry for it's rough nature I had 0 intentions of putting too much effort into this, I knew I didn't want to waste too much time on this so this is what I cranked out in the short amount of time I allowed myself to work on this

Song is "Go" from the gatsby musical

Rant/context below the cut

okay so like, the gatsby musical released it's soundtrack like idk 8 months ago? probably more tbh, I'm too lazy to check dates atm

Gatsby's actor? JEREMY JORDAN, aka Lucifer's va. After the OST was released I was like "surely there will be animatics featuring Lucifer with this any day now" and then nothing happened. Cue like last week and I was like "HOW HAS NOBODY MADE ANYTHING??? GO IS SUCH THE PERFECT SONG FOR SPLITTING UP WITH ADAM OR WHATEVER" and I just kept imagining this whole animatic in my mind, furious that nobody's made it yet, and said "screw it, I know how to draw and make animations on krita. Time to row this boat myself"

So I just began roughing out the chunk of the song I was most invested in until I ran out of motivation to work on it. AKA no longer for fun/pleasure, it'd feel like an obligation, and I've got too many other things I want to work on MORE than an animatic so yeah this is what came out of it. It's rushed, sorry. I have no intentions of cleaning it up, making it go longer or anything, but I needed to get it out of my head for some piece of mind be able to work on other projects XD

Anyways: here are the lyrics for this section in particular, I'll be using the musical's names tho

Gatsby: We don't have to run Gatsby: We're going to face him Gatsby: We'll tell him it's over and leave him behind

Gatsby: We don't have to hide Daisy: You know that I love you Gatsby: to see that's it's over Daisy: Did I say I love you? Daisy: I love you let's go! Daisy: Before I change my mind

Gatsby: If we don't go now Daisy: We might never know Daisy and Gatsby: If we don't go now we might never know Daisy: What this could be Gatsby: What this could be Daisy: Who we really are Gatsby: Who we really are both: gooooooooo

anyways, thank you for coming to my ted talk, sorry this is unfinished and rough, I literally have so many other priorities rn, especially getting my webcomic ready to start posting in march so here

take it TAKE IT

TAKE MY SHITTY ANIMATIC

[vivitalks]

Last night I saw the Great Gatsby musical. Before I went, I reread the Great Gatsby book (for the first time since 11th grade!) to get a refresher on the source material and the original story. Having the book so fresh in my mind made seeing the musical really interesting, and now I am going to do something I never thought I'd do, which is post some lengthy meta about The Great Gatsby. If you haven't seen the musical, this post may still be interesting to read, but it does contain some mild spoilers, so I leave that up to you. If you also haven't read the book, godspeed lol.

There's a lot I could talk about here when it comes to the way the book was adapted for the stage. But there's one particular thing I want to zero in on in this post, and that's the "unreliable narrator" of it all.

In the book, Nick Carraway is our narrator. He's an unreliable narrator practically by default - the idea is that he's retelling events that occurred two years prior, from memory. But even knowing that Nick is probably not reporting all events and characters with complete accuracy, it's hard to know which parts exactly are wrong, or what might have happened in reality, because even though he's an unreliable narrator, he's still the only narrator and this is the only version of events we know. We're forced to take Nick as our surrogate and take him at his word. Until the musical.

(I wondered how the show was going to deal with the fact that the story of Great Gatsby is not only told by an unreliable narrator but also by an outside perspective - generally speaking the events of the Great Gatsby aren't happening to Nick, they're just kind of happening around him. Yet he's the voice of the story, so in that way he's central to it, and I was curious how they were going to balance that fact with the fact that Gatsby is functionally the main character.

I think they struck a really good balance in the end. Nick's beginning and ending lines, lifted verbatim from his book narration, frame him clearly as the anchor of the story - I think that's the best word for it; the audience jumps from scene to scene, many but not all of which contain Nick, but we know that Nick is always going to be where the action is, or that he will at least know about it. He may not be the main character, but he's an essential character. But I digress a little bit.)

The difference between the way the story is imparted to the audience in the book versus in the musical boils down to this: in the book, Nick "plays" every character, so all their dialogue and actions, their mannerisms and the way they're described and reported, it's all informed by the beliefs Nick holds about them. Whether he means to or not, his biases paint certain characters in certain lights, and because he is our eyes and ears to the story, we have no choice but to absorb those biases.

But in the musical, every character is literally played by a different actor. Nick can only speak for himself. Nick can only tell his own parts as they happened. He may be "telling" the story, but we're watching the story. We have the benefit of an unblemished perspective on things - we can watch the events the way they actually unfold, regardless of how Nick believes or remembers they went down.

This difference - between Nick as the narrator and Nick as merely his own voice - is crucial in how the musical develops each character, some of them fairly different from how Nick described them in the book. And there's one book-to-stage change - a fairly small one, all things considered - that, to me, illustrated this difference perfectly.

There's a line towards the end of the Gatsby book. Something Nick says in narration, after his final conversation with Tom Buchanan, talking about how Tom gave away Gatsby's name and location to George Wilson (which ultimately led to Gatsby's death). Nick writes:

"I couldn’t forgive him or like him, but I saw that what he had done was, to him, entirely justified. It was all very careless and confused. They were careless people, Tom and Daisy — they smashed up things and creatures and then retreated back into their money or their vast carelessness, or whatever it was that kept them together, and let other people clean up the mess they had made…"

When I read this line in the book, I couldn't help vehemently agreeing. Screw those rich assholes! Money does corrupt! Tom and Daisy ARE careless wealthy people! It was easy to side with Nick, not only because he was the only perspective on the situation that I had, but also because he said this in internal response to a conversation with Tom, who, I think we can all agree, is a major jackass and a deeply unsympathetic character.

But in the musical, this line is spoken aloud by Nick. And he says it to Daisy, in her house, as she's packing up to skip town after Gatsby's death. In fact, he doesn't just say it; he shouts it, visibly and audibly outraged at her audacity to lead Gatsby on, ghost him, skip his funeral, and then move away to avoid the fallout. Nick is angry and highly critical of Daisy. But because we're no longer confined to his shoes, we also get to see Daisy's reaction - not as Nick remembers it, but as Daisy actually reacts. And because of that, we're able to really see, and confirm, that "Daisy is rich and careless" is not the full story.

I have to credit Eva Noblezada for a phenomenal performance (duh). Daisy in this scene is emotional, grieving, and it's clear she has been trying to contain these feelings for the sake of her husband and her own sanity. She's remorseful, not that Gatsby is gone necessarily, but that she allowed herself to entertain the fantasy of running away with him, only for it to be torn from her. She is trying to make the best of her unavoidable reality. And then Nick tears her a new one, calling her careless, accusing her of destroying things and being too rich to care.

And as I watched that scene, I was no longer wholly on Nick's side. I understood that this situation was so much more complex than Nick's chastisement acknowledged. Sure, Daisy wasn't innocent, but she also wasn't the callous rich girl Nick made her out to be. She did love Gatsby. And she also had a whole life with Tom. She had a daughter. She was a woman in the 1920s! That's a kind of life sentence even wealth can't erase.

The way Daisy responded may not quite have landed with Nick (if we consider the kind of fun possibility that the musical is the events as they happened and the book is Nick retelling those events as he remembers them two years later, then clearly Nick's disdain for Daisy's actions overtook whatever sympathy he felt for her), but the musical gave Daisy the opportunity to appeal to us. The audience. Having this omniscient perspective of things allowed us to draw our own conclusions, and I found myself a lot more sympathetic towards Daisy when I could both see and hear how she responded to Nick's verbal castigation.

In the book, Nick is the narrator. In the musical, Nick is a narrator. But he's no longer the sole arbiter of the story. The audience got to make our own judgements on the events as we witnessed them. Every one of us was a Nick - beholden to our own biases, maybe, but at least not beholden to his.

[this-hopeless-war]

UHHWHGWHGSGSUHW IVE SEEN A BROADWAY MUSICAL

[puckleberryfinnie]

ok so ik my req might seem a bit weird butttttt.. i have been dyingggg for ray. like his body tea, i loveeee his lil accent and smile so i just wanna see like host!reader get nervous when he gets injured, him giving reader his jersey, and a lil post-game smooch 🫶🏾🫶🏾.

girll you don't understand how glad I am that someone else feels this way about him like I feel so wrong about it but?? he's such a cutie?? thank you soso much for sending this in, love this idea <33 so sorry this took so long, life took hold of meee

Beautiful Little Fools

You being a friend of Kai's, and being in several of his streams as an internet personality yourself. Of course, you meet several of his friends, including Ray. He's just using his cheesy "rizz" with Kai's encouragement, and you're laughing on to all his funny tactics.

When the Beta Squad and AMP decide to have the match, there's almost immediately an invitation for you to join in as a host, that you accept gratefully!

The days leading up to the event, you spend a lot of time hanging out with the American group, as well as meeting new people that you become fast friends with.

Ray, however, stays close to either you or Kai at most points, finding himself most comfortable with people he knows pretty well already. Everyone (thought mostly Kai) loves the relationship you two have, and joke around about it a LOT.

You, of course, enjoy his company and help him with training that they have set up for those participating the day before the real match. It's mostly just simple things, though, like returning the balls to him or mock-guarding him.

At some point during the practice, he gets slightly injured, tripping over a ball or something like that. It really isn't that bad, but you find it concerning, especially considering the big match is the following day.

He, however, reassures you, comforting you by patting your head and giving you a brief hug. He doesn't like you being worried about it, so he tried to make sure you understand he's okay.

The next day is obviously intense, and you spend a lot of time making sure Ray is safe, keeping an eye on him throughout the game. You interview him at halftime momentarily, joking around together before he has to go. You also remind him to be safe out there, yelling after him.

He clearly doesn't follow this advice too closely, however, and ends up getting tackled by some larger player (probs Niko lets be so fr) You, of course, feel incredibly scared, watching him from the sidelines all while trying to keep composure as a host.

As he gets guided to the bench to rest, you move yourself over there to talk to him, frantically making sure he's ok. You end up in his arms, him holding you tightly.

After that interaction and him assuring you plenty that he's alright, you go back to doing your job as a host, interviewing other players and such.

Post game, he comes back to see you, striding over to you with intent. It startles you for a moment, when you suddenly see him standing so close to you. He give a short hug followed by a even shorter, nervous kiss.

After a moment of staring at each other, he takes off his jersey, handing it to you with a smile. He doesn't even say anything, just holds it out for you to take.

You end up wearing that jersey on your flight back and on many occasions afterwards. <3

guys I legit don't know why but I really can't tell if I like this style of writing or not. let me know what you think, I'm soso sorry this isn't very good, I truly hope you still enjoy <33

title is a song from great gatsby the musical ofc

anyways, thank you sososo much for being my first ever request, I love you to the moon and back tbh!!

I definitely want to do more of these before school starts to make everything crazy again, so if anyone wants to send something in feel completely free and wanted within my inbox! I'll take requests about pretty much anyone (check out the list of things I love for some reference!!) or I'm for sure here to chat <33

MUAH LOVE YA!!

[coquettecouture]

Achieving the iconic 2015 look as a 2025 girl!

Have you ever told yourself you were born into the wrong generation? Maybe it’s the nostalgia of listening to One Direction on your iPhone 5, or maybe you’re older and can enjoy it more now. Whatever the case may be, if you’re reading this you also miss the good energy of the 2013-2016s. And if that is the case, this is the post for you! Achieving a real and authentic 2015 inspired year is nowhere near as unobtainable as it might seem. From youtube, to fashion inspo let this post be your guide to unleashing your inner icon!

Fashion Inspiration!

King kylie, Bella Hadid, Ariana Grande and Sky Ferreria! All iconic and well known fashion icons. Whether you're a Pinterest 2014 girl or a Tumblr 2015 one, you at least are familiar with one. Luckily a huge part of the era's fashion is it's simplicity. Depending on the sub-style you're going for, your inspiration can range anywhere from shabby chic to grunge!

Regardless of color, most of the essentials remain the same. Skater girl skirts? Make it pink or black, and it works no matter the aesthetic! Though for some things, such as the coquette shabby chic, try things like floral wedges and flowy dresses! And for grunge, try flannels, black skinny jeans and converse! Fashion is all about what works for you, which is why it's important to find your style before anything else. Fashion inspo is just as unique as you are!

Movies and Books!

Of course, to really embrace the energy of a 2015 icon, you have to surround yourself with it! Staple movies like, The Fault in our stars and Paper towns are a way one ticket to nostalgia. Other movies such as Divergent, The Hunger Games, The Great Gatsby and If I Stay are perfect additions to your 2015 movie nights! My personal favorite movies of the time are All the bright places, Naomi and Ely's No Kiss List and LOL. The early 2010's were the best movie era in my opinion and this filmography list proves it!

The books however, are an entirely more diverse subject. While most 2010's movies are either mostly dystopian or romance, the books are a whole different ballpark. From horror to romcom to sci-fi, there's a fit for everyone! The most popular choices are of course John Green and your typical dystopian series; however, I raise a much larger choice of selections. In terms of sci-fi with a mix of romance the Caster Chronicles series (Beautiful Creatures) is a phenomenal series and an even better movie. If horror is more your speed, Natasha Preston's The Cellar and Welcome to the Dark House by Parker Bradley are definitely CoCo approved! Finally for the love nuts, aka me, To All the Boys I've Loved Before is a classic and obvious choice, but I would be a fraud to not include it!

Music Music Music!

One beautiful thing about the 2010's is it's consistency in music that makes you feel! For most people, that feeling is sadness LOL. However, there is poetry in that writing which makes the inner ache of somber all worth it for the bliss of melody. Artists like The 1975, Marina, Lana Del Rey and Lorde are all versatile and perfect artists to get you right back in that nostalgic state!

Whether you're looking for a more girlish vibe or a darker energy, the 2010's are a great time for whatever musical desires you have! I will leave my link to my 2014 playlist right here! Whether you use it for yourself or inspiration is up to you! Please let me know in the comments if you end up liking it, or link your own playlists!!!

Room Decor!

The quickest way to achieve a realistic 2015 inspired room is to go onto Pinterest and find your niche! For some super personal ideas on how to make your room aesthetically you, check out some old DIY YouTube videos. They range from various aesthetics, and you can personalize them anyway you please! My favorite youtubers to watch are MyLifeAsEva, LaurDIY, Alisha Marie and of course my queen of DIY Bethany Mota.

For the overall aesthetic, if you’re one of the grungier girls, opt for posters like The 1975 or The Neighborhood. Things like black throw pillows or printed out photos of you and your friends are perfect for achieving your look. Cutting out clippings from magazines and making collages is also a fun and free way to personalize your room!

Now if you’re like me and you’re more of a pink girl, try floral sheets like tulips or daisies! Fur throw pillows and double sided sequin pillows are a good touch for your bed too. Posters like Lana Del Rey and Ariana Grande are more 2015-esque touches, along with string lights and polaroids!

No matter the aesthetic, what’s really important is personalization! You don’t want your room to be the same as everyone else’s, it should be unique and showcase who you are!

In Conclusion..

Whether you’re a Tumblr grunge or a Pinterest shabby chic, I hope this guide helps you in any way it can! The most important thing about truly making this year your dream aesthetic is all in your experience. 2025 is what you make it! Whether it’s staying at home all day reading TFIOS, or if it’s going out and taking polaroids on the beach. Any year can be any aesthetic you want, as long as you hope it so. Even small things like hanging out with friends or watching nostalgic YouTube videos can make your year what you want it to be!

Thank you so much for reading, and for all of the support I have gotten! I truly haven’t been posting for long, but I have already made friends and gotten so much love and I want to thank you all so very much for it! If there’s anything you’re interesting in me reading, or want a more in depth explanation for, please let me know in the comments! I love you divas, stay cutesy!

[slozhnos]

i love how in some moments in the gatsby musical the gatsby accent isn’t as prominent. it seems like a very purposeful choice to show the persona of gatsby being let down a bit, and you see the real him, jay.

[c3ec3es-findings]

October 3rd -

My uncle has been trying to convince me to leave the shack every once in a while. Make friends, have fun, get into “trouble.” Ha! That’s easy for him to say! He doesn’t have to worry about the fact that he made a deal with a glowing nacho! BUT, more importantly, I put that code into my computer, and I found the answer. Sadly.

“THE GUY WHO WRITES CODES.”

That's it. That's all it was.

- “Burning calories and galaxies.” Very funny

- A bar code? I’m just gonna scan this real quick

“HEY NERD”

Why am I even surprised?

- “Bill Tells Bill All?”

- Kinda self centered of you to be interviewing yourself

- “He's been in your mind, but what's on his?” Hilarious.

He seems pretty keen on not being dead

- Apology video?

- Can “all powerful beings” really have pimples?

UGH! HE KEEPS POPPING UP!

- So, whenever someone draws a picture of a triangle with an eye… that's a doorway?

- The window in this attic is already a triangle, so maybe I don’t have to?

- Ok, here we go, list of Bill’s powers,

1. Mind Reading (Creepy)

2. Possession (Creepier)

3. Cipher-voyance (???)

4. Charisma (Yeah, sure)

5. Pyrokinesis (Ok, Uncle Soos should have a fire extinguisher somewhere, right?)

6. Looking Amazing In Formal Wear (I beg to differ)

7. Geometric Perfection (I’m not not even going to acknowledge that one)

- List of Bills… weaknesses? He wouldn’t really put a list of his weaknesses, right?

1. Synthesized Music (I think I saw a karaoke machine somewhere)

2. Tinfoil (What does this mean? Do I just put it in your face like garlic to a vampire?)

3. McGucket's Memory Gun (Again about that old scientist. Maybe he’d know what to do?)

4. No Physical Form (Wait, so, is this all in my head? Or is he trapped in this book?)

5. Quantum

GOD! STOP! POPPING! UP! I DIDN’T EVEN WANT TO READ THIS BOOK IN THE FIRST PLACE!

YES! CANCEL THE BOOK! I WOULD LOVE TO READ THE GREAT GATSBY INSTEAD! I LOVE GAY MEN IN THE 1920S!

Oh my God, is this actually The Great Gatsby?

I mean, I haven’t read it since I was a freshman but... sure, why not?

- How did a cosmic being get the rights to add almost a quarter of The Great Gatsby to his book?

- Gosh, I hate Tom…

STOP! POPPING! UP! I AM VERY JUMPY!

OK, nope, I need a break. Besides, I’m watching my baby cousin while my uncle and aunt are out. I’ll make more notes later. I may have sold my soul to a demon, I MAY HAVE, but I am NOT on his schedule. He’s the one trapped in the book. Probably. Maybe. Hopefully.

[theatrical-penguin]

I saw 10 of the new shows this year (3 Revivals and 7 New Musicals). So I decided to rate and rank them:

1 - Suffs 10/10 - What an incredible show! Such a talented cast and I want the soundtrack immediately! I had tears streaming down my face at the end of both acts. Shaina Taub and Hannah Cruz are particularly great. And Grace McLean as Pres Wilson is hilarious. The set is excellently done to evoke the locales and move things along. Strong direction all the way. My pick for Best Musical.

2 - Water For Elephants 9.5/10 - amazing cast; should get an award for ensemble; nice use of puppets - Rosie reveal was perfect. Grant was incredible as was August. Went up in rank as the week went on because the music really stuck with me and I wanted to hear it again.

3 - Outsiders 9//10 - loved the choreo. Ponyboy is great. The gravel stage and flashlights were particularly effective. Best lighting design and use of rain

4 - Merrily We Roll Along 8.5/10 - was slightly concerned by Groff’s flat affect in first scene until it became clear it was a choice as he became more vibrant as time moved back. Daniel was perfect and the friendship between the 3 leads really came through. His Franklin Shepherd Inc is worth the Tony on its own. I can only assume I was supposed to hate Gussie because I totally did.

5 - Cabaret 8/10 - confession: I had never seen Cabaret in any form and I didn’t research the plot so I had no idea what was happening between the KitKat numbers. Really good production- excellent staging, never felt left out in the round. Eddie Redmayne was creepily intriguing. Sally seemed more broken than I would have thought from hearing songs from previous productions. Dark and moody; not a huge fan of the immersive preshow. No program pic bc they covered all phone cameras with stickers on the way in (before giving us a shot of really bad schnapps)

6 - The Wiz 8/10 - bright and fun! Excellent performances especially the 4 leads. LOVE the Lion. Costumes are gorgeous and the dancing is fabulous. Does Wayne Brady have to be there the whole show since he’s not on til Act 2?

7 - Gatsby 8/10 - bubbly and fun; loved the opulence of set & costumes; great dancing and some really good songs; loved Jeremy Jordan’s Gatsby - the insecurities coming through the glam

8 - Notebook 7.5/10 - Heartbreaking performance by Old Allie especially. What is with that water on stage this year?

9 - Hells Kitchen 7/10 - great dancing. Lead actress was great but maybe im too old to identify with her instead of her mother. Again with death of a supporting character.

10 - Back To The Future 7/10 - Roger Bart is hilarious - definitely the reason to see the show. Set was actually a little underwhelming - too much reliance on projections. Some fun numbers but no real standouts.

Overall: no shows I disliked this time. VERY strong season. Some really creative use/resuses of minimalistic elements this season. Other season trends: full size cars and actual rain. And death - so much death

[fertabranche]

Trying to list off the r1999 references I can find.

I’m only doing the very beginning in this post so I think it’s a lot of things people already know, but if I don’t do this in order I will simply perish so here we go

Prologue : This is Tomorrow

Part One : Rock 'n' Roll Radio

• This Is Tomorrow

The prologue title is a reference to a contemporary art exhibition that took place in 1956. From what I understand, its purpose was to update the definition of art by challenging the prejudices of the institutions of the time, for instance by using pop culture symbols, this kind of stuff. It would later be regarded as the precursor of the British Pop Art movement, one of the main aesthetic movements of the 60s, which is therefore also relevant in the prologue.

I’ve already written a post about this, but I feel like this title choice is more than an artistic reference, it also makes sense thematically. Later on in the chapter, the Sixties are described as such:

Thanks to our 20/20 hindsight vision we know this is meant to be read in a tragic irony kind of way. The title reads the same to me: there will never be a tomorrow long enough for progress to take root in a world where the Storm is still raging, and in that sense the game began painting that picture here.

• Rock 'n' Roll Radio

This is the title of the prologue's first part. I think it’s named after the song "Do You Remember Rock 'n' Roll Radio?" (1980) by the Ramones. From what I understand, it’s as much of a love letter to rock music from the era Regulus was from as it is a warning about the threat nostalgia can pose to creativity.

Once again, it kind of reads as tragic irony given how it’s the second time they’ve been in the 60s. This is worse than nostalgia they’re literally stuck in the past lmao.

The Great Gatsby

Now that the titles are out of the way: the story opens up with the last lines from The Great Gatsby by F. Scott Fitzgerald. The game does not include the first sentence of the quote, but I’ve chosen to use a slightly longer version here because that’s how it makes the most sense to me.

Gatsby believed in the green light, the orgastic future that year by year recedes before us. It eluded us then, but that's no matter-tomorrow we will run faster, stretch out our arms farther.... And one fine morning——

So we beat on, boats against the current, borne back ceaselessly into the past.

I have not read the book, so I’m not fully confident trying to analyze it, but from what I understand, the green light is a motif throughout the novel that symbolizes longing. (Or the American Dream, but I don’t think that line of interpretation is terribly relevant in the prologue.)

To be super brief and include as little spoilers as possible, the book tells the story of a man named Gatsby, who grew up in poverty and decided to reinvent himself as a rich man in hope of winning back over a woman he once loved. Though he is known to throw lavish parties, one of the key points of the novel is apparently when the narrator finds him outside of one, staring across the bay at a green light coming from the end of that woman’s deck. This obsession eventually ends in tragedy.

As highlighted in the end quote, this is the story of a man forever stuck in the present, between a past he can never forget nor escape, and an illusionary future he can never quite reach. Just like with the other two references, I think R1999 is quoting this half literally, since the characters share similar issues with the flow of time, but like, for real this time.

What I do find interesting here is that from what I could research, I don’t think the quote is meant to be read as a wholly nihilistic take on the purpose of the human condition? There’s also a little bit of an implied admiration for the resilience synonymous with such cyclicality.

And I do find that sense of neutrality kind of accurate to the vibe of the game? Life sucks, but they beat on quite beautifully, don’t they? :,)

Newton Street

Granted this one may be a reach, but I do find it a little too convenient that we meet Mr.Apple on Newton Street of all places. I could write an entire other post on the references to Isaac Newton in his profile, but since that aspect of his character has never been discussed in the main story, I don’t think it’s relevant here.

Regulus’ Record Collection

In the first part, we get two peeks into her record collection. I don’t think they are all meant to be real records, and it’s kind of way too pixelated to see anyway, but I’m pretty sure I see Please Please Me (1963) and perhaps Rubber Soul (1965) by the Beatles on the right side of her office, though I might just be losing it from staring at pixels for too long.

On the wall of the other picture, I think there’s Please Please Me again, My Generation (1965) by The Who, December’s Children (1965) by The Rolling Stones, and potentially an upside down Aladdin Sane by David Bowie even though it was only released in 1973?

EDIT : here is a great post detailing her collection even more!

Sixties Fashion

Another area I’m definitely not an expert in, so take everything with a grain of salt but I unfortunately cannot shut my mouth.

Idk how much I should source this, but basically, Regulus’ clothes are super inspired by the fashion trends of the Sixties. For example, from what I’ve read, one of the most popular looks of the era for women was what was apparently called a mini dress with "go go boots" (low heeled mid calf white boots), which is pretty much what she’s wearing right? Similarly, the 60s were apparently the era where sunglasses truly became fashion accessories, as it’s when plastic became more mainstream to use than metal, which allowed a lot more freedom of design.

I also read a bunch of articles to try to see if her accessories had any historical significance: this article on chiffon scarves throughout history explains they were mainly used in the 60s to "coordinate with an outfit", but could have bold prints, just like hers does. This one on knee high socks in the 60s, says that they apparently became quite popular because of the mini dresses, in order to still provide coverage. This one was about the newsboy cap, which was apparently very trendy amongst young women back then. And finally, this one explains that backpacks became popular among young people in the sixties, as it’s around when they were modernized for day to day use by becoming smaller and lighter.

I did fail to identify what kind of jackets she is wearing though, it kind of looks like some kind of motorbike jacket on the left and perhaps a type of rain coat on the right? In which case, both were popular at the time as motorbikes were an integral part of the counter culture of the era, and raincoats were apparently a fashion trend for women back then.

Radio Pirate

I feel like this is a pretty well known fact by now but I’m including it in order to be thorough: there is a historical reason as to why Regulus is calling herself a pirate.

In the Sixties, the growing interest for pop and rock music was not catered to by the official radio stations just yet, so what we call "pirate radios" started broadcasting it from offshore ships. This was technically not illegal as they were in international waters, but was still kind of frowned upon because they didn’t observe copyrights law and stuff like that?

And that’s exactly what Regulus is doing when the Manus attacks her in the prologue.

Okay that’s it for this part. I’ll cover part 2 in another post if I have the energy, hope I didn’t make mistakes o777

[manicplank]

I’m going to keep this simple, I want a headcanon about their favorite movies.

fuck this might suck bc I don't watch a lot of movies. bare with me here it might not be super specific.

FAVORITE MOVIES

Peppino: I feel like he would enjoy classic movies like Titanic or The Great Gatsby. Classy and classic. Hates horror movies. Actually watches movies quite often.

Gustavo: Also loves the classics. I can see him watching Sweeny Todd or The Master of Disguise. He likes comedy movies, too. I can imagine that he loved the movie Elf.

Mr. Stick: Loves mafia movies. Thinks he's an old fashioned ganster when in reality, he's just greedy. The Godfather is his favorite. He probably also liked Knives Out.

Pepperman: I don't see him watching too many videos since he's always busy painting. However, I think he would really like cheesy movies. Fame would probably be one of them. Probably even loved the movie Chicago.

The Vigilante: Anything old western. Dreams of being a real cowboy. Once watched Brokeback Mountain not realize what the movie was ACTUALLY about, he was thoroughly traumatized. His favorite was The Good, The Bad, and The Ugly.

The Noise: HEAR. ME. OUT. This absolute fucking crack baby would LOVE the first two Texas Chainsaw Massacre movies. He tried to get Noisette to watch them with him, but she started crying because it was too disturbing. I feel like he'd love slasher films in general. Judges most movies as he thinks his are better. (Secretly loves Inside Out. Cried over it. Noisette teases him about it constantly.) Also loved Parasite and The SpongeBob Movie.

Noisette: She loves anything Disney, especially the classics or princesses. Knows all the songs to Frozen. Her favorite was Tangled. She still hasn't stopped asking for a white horse and an iguana sidekick. She always cries at movies. She doesn't like horror or gore in movies. She also loves cheesy chick flicks and Noise's movies. She's his #1 fan, after all.

Fake Peppino: Will watch anything and everything. He will watch it on repeat until he memorizes every line. If I had to choose a favorite for him, it would probably be The Little Mermaid (animated version). He really likes the water aspect. It reminds him of being a little baby tadpole.

Pizzahead: Movie fanatic. Loves most movies and will watch any genre. Anything from the classic 1930's movie to new modern movies. Probably would love the Barbie movie. I feel like he would like musicals. His all time favorite would probably be Gone with the Wind. I also see him enjoying slasher films.

Pillar John: Likes comedy movies. Probably likes the movie Meatballs. Also likes documentaries. I feel like he would be into both Disney and DreamWorks, one of his favorites being Guardians of the Galaxy.

Gerome: Big movie lover and will watch almost anything. Secretly enjoys The Noise's movies, but won't tell him because he refuses to feed his ego. He probably can't choose just one favorite.

[real-odark]

intro post !!

hi, im jett! (or bryon) i use he / him and im a minor [14] :3. i like to draw and talk and jsjqjkdkksm.w. :3! i'll post about whatever im interested in at the moment !! (current interests tab on this post [2 paragraphs down] will be updated whenever my main interests change!)

CURRENT MAIN INTEREST(s): ocean's trilogy, nbc er

more info... ! vvv

DNI: if you are a bigot in any way shape or form (homophobes racists antisemites transphobes ableists terfs and more) get off!! of my page!!!! if you participate in cringe culture because thats not a real thing and you're boring + dumb ++ my cringe friends and i solo. ratio. pro-isr//l do NOT interact. and finally dni if youre an nsfw or kink blog or anything like that please [ i do not care about the ages of my followers but i am fourteen so if you feel uncomfortable interacting that is fine!!! if you are comfortable please just obviously act appropriately you know better ]

the list i provide will probably be updated as my interests change, but heres some things i like / am interested in :-) !!!!1!1!1

- theatre; (ride the cyclone, little shop of horrors, regina comet, book of mormon, newsies, heathers, hamilton, falsettos, 25apcsb, moulin rouge, beetlejuice, six, epic the musical, etc..), classic rock (THE BEATLES !!!!1!1!1), us history/government,, shows; (himym, the bear, omitb, ted lasso, so many sitcoms actually, twin peaks, med dramas, etc..), movies (mcu, 80s films, saw franchise, misc movies usually ones my fav actors r in lmao), almost any book written by S.E. hinton (outsiders, tex, twttin, rumble fish, ttsr), the great gatsby, the odyssey/iliad and a lot mroe stuff !

fun facts ;; favorite color is green !, i love collecting trinkets (especially rocks, buttons, vinyl, and funko pops), im aromantic ! , and my fav animals are eagles and penguins ::;::#,2.

TAGS i use;

any of my original posts: #jett talks (me)

my art: #jett art (me)

lyrics i post: #jett lyrics (me)

my asks/stuff: #jett inbox (me)

my polls (poll games/etc): #jett poll (me)

OTHER SOCIALS?:

im on insta as cyndilaupers, letterboxd as bryondouglasirl, and x as bryonism !!

my inbox is always open if u have anything to ask!

[man-down-in-hatchet-town]

THE CASE OF THE GREATER GATSBY EPISODES 20-21

Okay, so tomorrow is the release of the LAST EVER EPISODE OF GREATER GATSBY (cry with me, folks!), and while I’ve been keeping up with my listening I have fallen a bit behind with these analysis posts, largely because these last few episodes have been so jammed packed with answers that up until last week there wasn’t much theorizing to do. So while this post is about episodes 20-22, I’m writing it after having already listened to episode 23 multiple times. I’ll do my best not to spoil anything from episode 23 in the thoughts below, but there will probably be a lot less pondering and guesswork than usual.

Anyways, spoilers for episodes 20, 21, and 22 under the cut!

Okay, first things first—are Shipwrecked really going to get away with not letting us in on Ford’s secret? I couldn’t quite tell what Fig was saying when Ford cut her off, so I pulled up the transcript and it looks like she says “I can’t believe you managed to them all in—“ Which, for the life of me, sounds like absolute nonsense. I’ve spent hours trying to come up with what she could be about to say, and I’ve drawn a blank. Any ideas?

Speaking of Ford, our boy definitely needs therapy. While I understand the place his anger is coming from, probably a lot better than Ford himself does, he does need to remember that technically Fig was hired to shadow Willy as a bodyguard and was technically there on set in her capacity as a P..I. as well. I predicted from the start that Fig’s side job would clash quite badly with Ford’s trauma, and frankly I’m surprised it’s taken this long to get there. But here we are and I am sad. :(

But hopes springs anew! Mel has officially shuttered The Grapes of Wrath! This seems like another tick in my “Mel is intentionally sabotaging the movie” column. If anything, the only real evidence contradicting that theory is that it took so long for her to shut it down in the first place. Perhaps Beanslot is particularly keen on Steinbeck? Regardless, Mel is still my personal favorite suspect for writing the letters, or at least for being the person behind them (I don’t quite believe she composed any of the messages herself). I know Fig and Ford believe the threatening author and the murderer are one and the same, but we have no real evidence for that, beyond the word of the letter writer. Plenty of people could have figured out he was likely murdered, and decided to use that increase the power of their anonymous threats. Mel, for instance, could have learned from Mo Beats. And now that I know who the murderer seems to be (more on that in my next post), I’m not sure what their motive for writing the threatening letters would even be.

Moving on from all these questions, let’s talk a bit about answers. TD stole The Greater Gatsby during the night of Mel’s party to bribe his way into Bixby’s Brigade. He gave the script to Willy on the suggestion of Roger, who was keen on his movie-star wife getting arrested and joining him in prison. Guys, I love Roger. I know he’s kinda’ terrible but I just can’t help it; I guess it’s that classic Gabe Greenspan magic. And he and Willy are, in a very odd and slightly worrying way, kinda’ perfect for each other. The swelling music cue that plays every time Willy decides his dubious criminal action is actually The Most Romantic Thing ever(TM) makes me laugh. Every. Single. Time. It helps that Roger is such a silly goose that it’s impossible to imagine any of his harebrained schemes actually resulting in harm coming to his lovely wife. That’s just not the narrative vibe, I guess. Also, I was right about Dash keeping an eye on Wilhelmina on Roger’s orders! Yay me!

The other bout of answers comes from the Punchwhistle triplets and their grand reunion in Fig and Ford’s office. As expected, “George Astrum” is both Eugene Punchwhistle and the Hinge Highwayman. Except for my brief foray into “Barnaby is Eugene!” madness (look, not all of my crazy theories can be right), George has been my top candidate for Eugene since his introduction in Scott’s tapes. Meanwhile, it turns out that Lex had not been kidnapped or swept up in some epic trail of clues, but had simply gone to ground as part of the search for her missing brother. While I missed the delightful Esther Fallick, the moment where they asked Lex if she was aware she’d been recast was maybe my favorite line of the episode. Love a good bit of meta humor. Lex also gives more evidence that the writer of the threatening letters has plenty of access to the set. While this does point a finger towards the supposed killer unmasked in the next episode, it could also point to any number of other characters. I’ll probably come out of this looking very silly, but, as I said, I’m still not convinced that our killer and adaption-hater are in fact one and the same…

A Couple of Other Thoughts: -If Ford hadn’t been acting so ridiculous about Fig’s onset work, she probably would have taken him more seriously when he said not to hand Mel the script. As it is, I supposed we should just be thankful that Mel did, in fact, destroy it. -Mel and Ford, for all that he hates her, seem to have the same opinion on the bookclub. I don’t think that’s particularly important, other than as an indicator that Ford’s perspective is a bit out of whack, but it’s funny regardless. -God, to be a fly on the wall next time Mel sees TD. I want a three hour Who’s Afraid of Virginia Woolf-esque character study about THAT.

[glasshouses-and-stones]

💙 About Me 💙

🔹️ Hi! I'm Matthias, but you can call me Matt, Matty, or M. Or GH&S, if you want to go off my blog name.

🔹️ I go by any pronouns! I like people. I would like labels, but they aren't a fan of me, unfortunately. Taken by the most wonderful person ever🔒 This is a very queer blog! If that is not appealing to you, leave! Hate will NOT be tolerated <3

🔹️ I write. I read. I watch TV and sports. I listen to music. (send me recs/suggestions of all of the aforementioned things!) This blog is a conglomeration of all of my interests, so if you're here for something specific, sorry <3

✨️Current Hyperfixation/Special Interest: Hockey✨️

🔹️Current Song Infiltrating My Brain:

🔹️My ao3:

I write for hockey rpf, Carry On, RWRB, The Great Gatsby, White Collar, etc. I take suggestions? Maybe? Send them to my inbox or DM me!

🔹️Sports I like:

-hockey (Mitch Marner above all else, Leafs, Caps, Oilers, any others) (I would kill and die for the baby Sharks) (I post ab ANY team and player, so be aware of that.)

-football ⚽️ (Barca, Real Madrid, Spain)

-others (tennis, lacrosse, baseball, rugby, basketball, football, anything else atp)

🔹️If you'd like to know more/something else about me, send me asks or messages! I love talking, especially about myself. I'll answer if I would like to.

dividers by @animatedglittergraphics-n-more <<<3

[awholeconstellation]

If you’re currently browsing pop girl tumblr tags then hi and welcome to my blog! 🎀

Here’s artists I post about a lot or occasionally 🫧

• Sabrina Carpenter - my url used to be a nonsense lyric -> imtalkin! I just changed it yesterday! I’ve been a casual fan of Sabrina since the Girl Meets World days but I got more devoted during the beginnings of emails I can’t send! I got to meet her at a record store near me! Sweetest ever! I went to the eics tour twice and the short n’ sweet tour once! She’s my favorite person to see live because she really puts her heart and soul into performing.

• Ariana Grande - my url theme! It’s based on her song Nasty from the Positions album which is one of my favorites 🤍 I’ve loved Ariana since she was on Victorious but it was Sweetener and Thank U, Next that made me a real fan! I’m so grateful to her because those albums really got me through some awful times! I’d love to see her live but that hasn’t happened for me yet!

• Madison Beer - I got to see her on the Spinnin’ tour last year! The first song I ever heard from her was Reckless (I watched the music video). I was encouraged to listen to her Life Support album so many times on twitter that I listened to that shortly after Reckless. She has become so important to me! I think her fans are the sweetest people ever. I’m so glad to be a fan of someone that fosters such a loving fan base.

• Lana Del Rey - I’ve been a fan since 2013! I heard her song Young and Beautiful in The Great Gatsby movie and it got me hooked. I used to be in a Lana group chat here on tumblr and it gave me some really lovely friends that I still have to this day! I got to see her live twice and she was AMAZING. Her live vocals are truly something special!

• Dove Cameron - I would maybe say I’m even more of a fan of Dove’s acting since she doesn’t have a TON of music but what she does have out I love! And I love the songs she took off streamingggg rip 💔 I’d love to see more from her and I think she does have a song coming out soon!

I listen to plenty of other artists but these are the ones I post most about! I don’t hate any artist just because I’m not posting about them! If you like any of these artists consider following me and I’d love to follow you back from my main blog! -> @emmachillbert

(If you’re a fan of Taylor Swift I have a blog solely dedicated to her! -> @bodylikeitsmine)

[eleapolitan]

WHAT'S TODAY'S SPECIAL?

✩ THE GREAT GATSBY

: a few luxurious vanilla bean scoops, alongside a bright pistachio scoop and a drizzle of some quintessentially american hot fudge to top it off.

I’ve seen Gatsby: An American Myth at the ART two times now, and it’s been such a pleasure both times, with it quickly becoming my favorite show I’ve ever seen or witnessed in my entire life. At this point, there’s no real breakdown of the songs or story yet, and I wanted to detail my own thoughts on the score of the musical. So, here’s my review and summary of every song from Gatsby: An American Myth, in the best way I could possibly articulate it.

— SPOILERS FOR THE GREAT GATSBY BY F. SCOTT FITZGERALD AND GATSBY: AN AMERICAN MYTH AHEAD. read the better version of this on my substack !!

WELCOME TO THE NEW WORLD

NICK, ENSEMBLE

Welcome To The New World is our opening number, and it’s a phenomenal entrance to the story and themes of The Great Gatsby. It starts with NICK, explaining who he is, why he left for New York, and the general vibe of New York as he arrives, and transforms into a full company performance. The choreography really carries this song, but the detailing of New York and its culture at the time of the story is done so well in the lyrics, really emphasizing the passion and energy in the city and state. what i love most is that the song opens on the common people of New York, those that attend GATSBY's parties but are not a part of the “elite,” with clear references to those characters in the company being immigrants, from out of the country and from other parts of the country itself. This idea of the song being sung by the average person in New York really lends itself to the introduction of TOM, DAISY, and JORDAN, who, during the song, are watching the company dancers from a higher level of the stage. as the song concludes, TOM says something along the lines of “quiet down” or a comment about the amount of noise from the other side of the pond, forming a line of class before the show even truly begins. crazy fun beat, crazy fun choreography, and such a captivating start that really draws you into the world of the great Gatsby, despite its weakness in catchiness.

a solid opening number, being incredibly fun with fantastic and dynamic choreography, although not the best song on its own in comparison to other gatsby: an american myth tracks or other musical openings. won’t be a super interesting listen for those who only have access to the score, but will be a super fun watch for everyone who sees the show, and a great start to an even better show! 

GOLDEN GIRL

DAISY

Golden Girl is DAISY’s first solo, and it’s good. for context, the scene previous to this is DAISY confronting TOM about taking a phone call, presumably from a woman or mistress, while they are hosting dinner, and demanding he hang up. he hangs up the phone and hurts her hand in the process, to which she crumbles in pain, with TOM then telling her that she is “being a bad host,” which leads into the song. Detailing DAISY’s emotions of always feeling the need to be perfect, and feeling as though she was pushed from being a debutante directly into being a bride, Golden Girl should be incredibly emotionally touching, especially as DAISY begins to reminisce on a previous love and another possible life, but it’s just not. Golden Girl is fine, and that’s the best way to say it, and it rests a lot on the gorgeous vocals of Charlotte MacInnes. The lyrics are okay, but at this point in the story, the song reads strangely, and it’s just a bit boring to sit through. I think Golden Girl does it’s job explaining DAISY’s feelings, I wish it just did it in a more interesting way, because it feels a bit like an afterthought, and a little forced into the overall flow of the story. Golden Girl’s crime is that of being boring, and that is the real tragedy of the song.

overall, a very basic take on daisy without very compelling ideas or lyrics, that rests on the vocals and acting ability of the performer and not on its own merits. not the worst i've seen in theater before, but my own personal contender for one of my least favorite of this show’s numbers. disappointing for daisy’s first solo, but will be a genuinely great audition piece for those looking for something from the show. this is likely a controversial take, but i just didn’t enjoy it. 

VALLEY OF ASHES

MYRTLE, WILSON, ENSEMBLE

Now. We’re. Talking. MYRTLE and WILSON are so cool in this production, and Valley of Ashes only cements that further. It’s a fantastic company number with a balanced focus between MYRTLE, WILSON, and the rest of the company that centers on the working class’s view of New York and the dichotomy between them and those with money, both new and old. It introduces crucial characters, interesting plot and thematic elements, and from what I recall, it’s sound and choreography is captivating for an audience. Both Solea Phiffer and Shea Renne performed beautifully as MYRTLE, and Matthew Amira makes me actually care about WILSON in ways I didn’t think were possible. It’s just so good, and is such an edgy, interesting performance. Huge fan!

a great company performance with a variety of skills from acting to dance to vocals on display from every member of the cast performing. takes everything amazing about the opening, and dials it up now that it knows the audience is already sat and listening. i'm obsessed.

SHAKIN OFF THE DUST

MYRTLE, ENSEMBLE (FEAT. TOM & NICK)

Another banger from MYRTLE and the wildly hardworking company, that’s only made better by the acting ability and the raw comedic and dramatic timing that Cory Jeacoma and Ben Levi Ross have as TOM and NICK. Taking place in MYRTLE’s apartment, Shakin Off The Dust gives a balance of a fun, party-like atmosphere that really showcases MYRTLE’s lust for life and desire to really live, which is core to her character, alongside the genuine emotions and motives behind the speakeasies and parties of the 1920s, which came from a desire to feel loose and free after the war and diseases that hurt the country, and also deeply hurt MYRTLE and the company characters like her, who desire to emulate the luxury and freedom of the upper classes. It’s much more emotionally raw than would be expected of the flashy costumes and lights, and the gaudy set, and provides insight into TOM and MYRTLE’s relationship and MYRTLE’s difficulties with her husband, family, and life that lead her to lead this affair. It also gives us canonically gay NICK, which I could never be mad at. Fantastic choreography as always, with a special solo given to a wildly talented dancer in the company, Chris Ralph who has delighted the audience both times I’ve seen the show in an incredibly unique way.

fun, flirty, and emotionally devastating. everything that i look for in a track, only made better by those performing, with phenomenal execution of the lyrics and choreography.

NEW YORK SYMPHONY

NICK, MYRTLE, DAISY, ENSEMBLE

This one took me a second to remember, but once I did, it was hard to forget. Taking place after TOM slaps MYRTLE, telling her that he would never truly marry her, and after NICK’s realization of queerness, New York Symphony is a song detailing the experiences of NICK, DAISY, & MYRTLE as people who have moved to New York in search of something, and emphasizes their similarities. It’s not a very memorable song, but I find it touching and a strong support for the overall story. Nothing too special, but still leaves a pretty hefty impact even with just a vague memory of the emotion it evoked.

a strong addition to the story and an interesting depiction of the similarities between multiple main characters, drawing connections that are crucial, or at least helpful, to the story.

ONE HEART BEAT

GATSBY, JORDAN, ENSEMBLE

One Heart Beat is our introduction to GATSBY’s parties, alongside the man himself, and it does a great job at utilizing the skills and talents of the cast alongside the fantastically designed set to create a dynamic and fun atmosphere. Great utilization of JORDAN’s character, which this production can occasionally lack, so that’s a major plus. Reminiscent of Shakin Off The Dust, and previous company numbers, One Heart Beat shows the party scene of New York and emphasizes the characters of both old money and new money who crowd together in GATSBY’s grand parties, but in a great contrast to the desperation of Shakin Off The Dust with the amount of opulence it shows. It’s a little bit of a drag, as I feel it’s a little longer than it needs to be, but overall a great track in vocals, score, and choreography, with amazing comedic moments and a great execution of NICK and GATSBY’s first meeting, and leads perfectly into the next track.

a great party song, with a fantastic showcase of skills from the company and the lead actors and actresses. faithful to the story and the ideas of gatsby’s parties, and just such a fun song, despite possibly overstaying it’s welcome.

DEATHLESS SONG

GATSBY (FEAT. DAISY)

Gonna be real with you guys, I don’t remember this song at all. From what I recall, it happens after GATSBY solidifies plans for lunch with NICK. The song itself contains GATSBY detailing the motives behind his parties, talking about scanning every face in the crowd, obviously looking for DAISY. Towards the end of the song, DAISY enters, standing in front of the green light prop that exists on House Right, but she’s more of a vision and GATSBY does the classic reach out to her from across the pond, which is referenced in the book and the musical. It’s not a bad song, from what I remember, just very forgettable, and it has the problem of existing after a very fast paced moment. Gatsby: An American Myth’s largest issue seems to be timing and placement of songs, and this is an example of it, because it is so easily forgotten in between those that come before and after it. 

doesn’t feel fair to give this a review, but i’m gonna say it’s a little forgetable and boring, but absolutely something that would resonate with someone who is not me.

FEELS LIKE HELL

WOLFSHEIM, ENSEMBLE

We are so fucking back with this song. It’s incredible, and defies every stereotype of the “ boring old guy musical song that nobody likes,” by being just so well done. I could write a whole post on this song alone, but WOLFSHEIM as a character is just so monolithic, he takes up all the attention on stage, supported and only contested by GATSBY, who has incredibly unique blocking and choreography throughout the scene. In this song, WOLFSHEIM explains GATSBY’s rise to fortune through his help, and the idea of the American Dream in a way that feels so genuine and wildly inventive and creative. WOLFSHEIM manages to be such an amazing character, with so much personality and wit in ways that I don’t the book, the movie, or the other musical have managed to capture. While I will sing the praises of Adam Grupper all day, Isaac Powell’s performance as GATSBY is nothing to scoff at either, managing to transform himself from a young, naive man, to the GATSBY we know today, and doing so flawlessly. An amazing backstory song that blends rawness and wit into something spectacular. 

fantastic addition to the musical, and a dynamic number that never gets old and one that you always look forward to, with especially amazing performances from all cast members involved. i have a feeling that this song will turn out to be wildly underrated when the cast recording releases, but trust me, it’s great.

A SMILE LIKE THAT IS RARE

NICK, JORDAN (?)

You may notice the question mark next to JORDAN. I can’t fully remember if she has a singing role in this song, or only a speaking role, but it doesn’t really change the overall song. It is, even if JORDAN also sings, largely a NICK solo, as he comments on GATSBY’s charm. The song details GATSBY’s smile, and how his genuine joy is rare for the circles both JORDAN and NICK find themselves in, and it’s the beginning of NICK’s understanding about who DAISY is to GATSBY, as this all comes after NICK’s agreement to stage a tea meeting for the aforementioned characters to come together, which is what GATSBY wants. It leads into a larger song, as NICK’s hesitance to set up the meeting is met with JORDAN’s reassurance that it may turn out well, as she remembers GATSBY for the radiant joy he had around DAISY, and their relationship. It’s a bit of a filler song, but it’s pretty, with lyrics that show an understanding of the characters in the story’s feelings and moves the plot along in a way that doesn’t feel too forced or too slow. It’s small, it’s cute, it’s there. 

nothing too much to say. it’s a cute addition, and it does it’s job. it’s not anything special, but it’s well-written and well-performed, and has a very clean placement in the story itself.

MONTH OF LOVE

GATSBY, DAISY (FEAT. NICK & JORDAN)

Do I remember the lyrics? No. Do I remember how absolutely lovely this song was in essence and feeling? Yes! NICK and JORDAN watch on from a side of the stage as a young GATSBY and DAISY meet and fall in love, with JORDAN being implied to be telling their story to NICK. However, everyone other than DAISY and GATSBY seem to melt away during this song and the scenes within it, even if they’re still present on stage, which seems intentional and phenomenally done. DAISY and GATSBY pull the audience into their romance, with soft lyrics and a romantic backing to every word spoken and action taken, without it coming across too gaudy, fake, or unreliable to the book itself. This is a gorgeous song, and it really demonstrates the skills of the performers to be able to shift into their characters’ younger selves so well, with only a change in costume. A beautiful song, made even better by the tragedy you know will befall their romance.

dreamy, romantic, and gorgeous, everything gatsby and daisy remember their month together as seen from their and jordan’s memory. this number really makes us understand daisy and gatsby’s history in a way that wasn’t available before.

I’VE CHANGED MY MIND

DAISY, JORDAN, DAISY’S MOM (FEAT. GATSBY)

This song is so heartbreaking, it makes me physically ill. DAISY, on the day of her wedding to another man, receives a long-awaited letter from GATSBY, begging her to wait for him. So simple, yet so gut-wrenching, Daisy’s repeated lines of “I’ve changed my mind” show her youth and desperation so well, especially as her mother berates her and asks her to think of their good family name (“Love will fade, but our good name is forever.”) and the luxuries that DAISY has enjoyed her whole life. DAISY continues pleading, standing soaked in a bathtub (like, actually soaked), until the moment she is carried out and dragged to the wedding, and it’s such a deeply ruinous song that absolutely wrecks an audience. TOM is a looming, silent figure throughout this song, and JORDAN’s helpless worrying only adds to the desperation the song carries and the fear DAISY has, every element on stage working to make you see just how much DAISY is conflicted, scared, and naive. I’ve Changed My Mind shows the tragedy of The Great Gatsby that is always so delicious, and it’s nauseating how amazing this track is. The blocking, costuming, and subtle choices made (JORDAN picking up GATSBY’s letter from the bathtub where it dropped as DAISY gets carried away, before throwing it out, DAISY’s mother and JORDAN in black as though they are mourning) elevates this song to heights I’m obsessed with.

possibly one of my favorite songs of the show, with just phenomenal vocals, acting choices, blocking, and just everything that makes a song perfect. i’m obsessed with this track, and I think it’s a real showcase of the show at its best.

POURING DOWN

DAISY, GATSBY, NICK (KINDA), ENSEMBLE

I know I just spent 10 years absolutely showering I’ve Changed My Mind with praise, but Pouring Down manages to elevate to even higher heights as a track. At NICK’s house for tea, both GATSBY and DAISY are overwrought with stress and nerves, and are so awkward and tense they can find nothing to talk about but the stormy weather. It’s difficult to detail in words, because it sounds so simple, but the mixture of their voices and characters combine into something so awkwardly beautiful, emulating the true tense feelings behind reconnecting with an ex. The company aids in the vocals, especially later in the song as they move into GATSBY’s house, and NICK’s involvement in the scene is somehow both touching and incredibly comedic, adding some necessary levity without drawing too much focus to himself when unnecessary. It’s a beautiful, understated but near-perfectly constructed track, and I love it so dearly. Not to mention, the set design including led-lights that flash down in rain patterns during this scene has such visual appeal I can’t even find the right words to describe it.

a crucial addition, that shows both the comedic and tragic potential of the characters themselves, that adds such great character building and tension to the story that makes it absolutely delectable. it’s a treat for me, seeing and hearing this song. understated, simple, and yet so deeply complex and thought out, a real work of ART.

MR. NOBODY FROM NOWHERE

GATSBY, ENSEMBLE

BOOOO!!! Tomato, tomato. Okay, I joke, but in all seriousness, this song is GATSBY’s Golden Girl, if you know what I mean. It’s just so boring, especially as the Act One finale, and it’s just so disappointing because it’s obviously placed there so we can get a serious moment to end on, that centers around GATSBY himself, but it just lacks what the past two songs had and really dampers Act One’s momentum. I understand it’s neccessity, especially for setting up GATSBY’s character, and his relationship with the idea of being “nobody” and finally escaping that boudary with the love of DAISY as his crutch, because that is vital for later on, but I just find this style of ballad-esque solos very boring, basic, and uninspired, which is a shame for a show as dynamic and unique as Gatsby: An American Myth. It was okay, and it does something for GATSBY’s character, but that’s the best I can do.

again, we have another song who’s worst crime is being boring. it wouldn’t be so bad if it didn’t follow multiple fantastic songs, but it does, and it’s rough. there’s not a better place to put it, and there’s no getting rid of it, so we’re stuck. still mildly disappointing, although i’m sure every high school theater boy just cheered for another audition song for them.

JUST A LITTLE PARTY

MYRTLE, ENSEMBLE

Starting off Act 2 with a quiet bang, Just a Little Party is a subtly sinister take on the party scene of 1920s New York, with “the help” at the center of the song. Highlighting the hauntedness of Gatsby's parties and the way the lower class workers are essentially invisible to the party-goers and work jobs that are completely unnoticed every night and every day, it's a dark, but incredibly captivating performance. MYRTLE’s appearance as a maid to contrast the life she wishes she had, as one being served rather than the one serving, is incredibly tragic and adds depth to her character. Her appearance in the song as a whole elevates it, and it's just such a fun way to get dragged back into the world of the show.

absolutely gorgeous re-entry to the world of gatsby: an american myth, that used the entire company to their best, and was just an amazing performance. 10/10, no notes, i’m in love.

WELCOME TO THE NEW WORLD (REPRISE)

GATSBY, DAISY, NICK, JORDAN, ENSEMBLE (FEAT. TOM AND MYRTLE)

DAISY’s introduction to the party world that GATSBY has created for her is within this song, and it is absolutely perfect. Before I write anything else, it’s important to know that NICK and JORDAN shine in this song, especially showing the way that NICK has evolved to mold seamlessly with the upper-echelon’s party mindset that he was once uncomfortable with. It’s such a gorgeous, fun reprise with just the right amount of sinister to remind us that GATSBY and DAISY are on borrowed time, with the threat of TOM right around the corner. Such a fun beat, and a great callback to the original song. All the characters, including MYRTLE and TOM who don’t have singing roles in this song, are utilized so well in both acting and vocal talent and skill.

so fun, so perfect, and an amazing reprise! more fun to watch then the original in my opinion, although the lyrics probably aren’t as strong, or at least don’t change much from the original.

DRIVING MY WAY

MYRTLE

This is MYRTLE incredibly ironic breakup song to TOM, although framing it that way doesn’t do her justice. Post-party, MYRTLE is incredibly frustrated with TOM, and I would describe this song as a type of angry, break-up letter to him, essentially telling him that one day, he will have lost her, and he won’t be able to drive her way anymore. It’s tragic in the context of the show, and that tragedy comes from the hope that it has as a standalone track, but it’s still incredibly powerful in the moment and represents something important for MYRTLE, and the shows overall themes and ideas. It’s a very powerful song, and while that really rests on the power of the performer, it’s just a fantastic track. The costuming of MYRTLE during this scene, in the maid dress she wore to the party, lends so much to the powerless feeling MYRTLE feels like she gains with TOM, and it gives the ending, where she clearly states her power over him, so much more punch than it would’ve otherwise.

overall, myrtle really isn’t in a single song that’s bad, especially not ones focused on her, and the stage presence that is both written into myrtle’s character, and executed flawlessly by the performers, only served to make this piece so much more emotionally fufilling and shattering for an audience.

WHAT IS THIS WORSHIP?

GATSBY, DAISY, NICK, ENSEMBLE

What Is This Worship is by far one of the most dreamy, romantic tracks in the entire score, with a slightly sinister undertone, and it’s no wonder that it comes in the seemingly blissful, but secretive, days of GATSBY and DAISY’s reigniting of their romance. The melody and music tell a far different story than the lyrics themselves though, with the music airy and cloudlike, like a fairytale, and the lyrics painting a picture of doomed devotion. According to the song, GATSBY falls into depression the moment DAISY leaves, and places his whole value on her presence, which shouldn’t need to be explained as unhealthy to be understood that way. The choreography shows they can never get their hands off of each other, with GATSBY especially clinging to DAISY and the lyrics reflect such desperation. It’s just such a gorgeous song, and everything about it reflects the love of DAISY and GATSBY without straying from the original themes and intentions behind their relationship, and the complexities with idealism and “the american dream” that litter the relationship as a whole.

showstopper, amazing, and steamy without being gaudy or graphic. one of my favorite portrayals of gatsby and daisy’s romances done, like, ever!

WHAT WILL WE DO WITH OURSELVES 

GATSBY, DAISY, NICK, JORDAN, TOM, ENSEMBLE

shirts getting thrown off, daisy regrets, gatsby asks daisy to tell tom she never loved him

This song is so fucking long, and so fucking good. The whole song is just wrought with tension and stress and it genuinely made me almost claw into my seat, it was so nailbitingly good. Beginning in GATSBY’s home, with DAISY worrying about the past and how much time they’ve both lost, and what their future will look like together (“What will we do with ourselves / Today, and the next forty years”), the song immediately brings a sense of finality that we know is coming to the affair, highlighting DAISY’s insecurities and fears. However, they move on, with the song transitioning into DAISY and TOM’s home as DAISY and GATSBY prepare to tell TOM of the affair —with JORDAN and NICK being the unfortunate bystanders. This begins the “it’s too hot” repeated lyric, which shows the way that the environmental circumstances, along with the tension, are affecting everyone but TOM, unaware of the issue. Later on, TOM becomes more conscious of the affair when DAISY decides to drive with GATSBY, leading him to also remark on the heat later on. All in all, it’s a rich, tense piece of storytelling that relies on the actors’ abilities in the best possible way, highlighting all of the strengths of the amazing performances done.

stressful, nauseating, and just so deliciously good. a fire could’ve started during this song and i would’ve had no idea. i don’t really know how they’re going to split this song and what is this worship up, or how they’ll make it into the cast recording, but that doesn’t change the intense emotion raditating out of this song.

WHAT OF LOVE, WHAT OF GOD

MYRTLE, WILSON, ENSEMBLE

I NEED THIS SONG TATTOOED ON MY BRAIN. Anyway, this is my favorite song of the whole score. MYRTLE and WILSON are fascinating characters, and they’re love and dynamic is so stressful and so beautiful and so heartbreakingly, realistically tragic. WILSON’s desperation for MYRTLE to stay despite her affair is so clear in this song, alongside the clear anger and betrayal he feels for both himself, God, and his and MYRTLE’s deceased daughter. It’s genuinely so raw with emotion that it’s palpable, and MYRTLE doesn’t pull her punches either, with her clear exhaustion with WILSON’s excuses and her pessimism contrasting his optimism, which is a swap of their earlier roles in the story. The contrast between them is what really seals this, with WILSON (And what of love, and what of God?) and MYRTLE (Love will not save you here / ... / God will not save you here) showing clear the hopes that people had in America and how those hopes eventually are crushed. The shift in their personalities is evident too, and it’s just such a realistic depiction of the kinds of struggles they would face as fully fledged people, not characters. It’s so. Fucking. Good.

a really great song to pretend you’re fighting with someone to, if that makes sense. a really great song, period. i am getting a tattoo of these lyrics, and no one can stop me.

THE DREAM FOUGHT ON

DAISY, GATSBY (FT. TOM, MYRTLE, NICK, JORDAN, & ENSEMBLE)

DAISY is going to drive. That’s important for you to know. This is the scene, as in the scene where DAISY takes control of her life, for better or worse, removing herself from being the dream debutante, the dream wife, and then GATSBY’s American dream, and in doing so, taking back both control and the keys to the car from GATSBY. The Dream Fought On is about fighting for a dream, whether this be DAISY’s dream of breaking free from expectations, GATSBY’s dream of having DAISY, and MYRTLE’s dream of truly living, and finding a new life. This is where MYRTLE dies fighting for her dream, running in front of the car as DAISY drives, and the choreography and blocking of specifically this scene is phenomenal, along with the song’s blocking as a whole. While the song can be rather basic, and a pretty common and derivative take on the story, it’s still very well done, especially on stage, and especially with the acting of all those involved.

overall, it’s a great song that has the issue of a lot of acting moments around it, and being shelved in between multiple other far better songs, but still, it’s great. i feel like i’m forgetting something about it, but i’m fairly certain this is a reliable description.

THE DAMAGE THAT YOU DO

TOM, DAISY

If there were to be any song that beats out What of Love, What of God?, it would be this one. TOM and DAISY are such rancid people in this song, and it really highlights the ways TOM and DAISY behave similarly, which calls back to similar highlighting during Act Two’s opening that showed both DAISY and TOM’s affairs in the spotlight. It’s so good in ways I can’t describe, but it’s one of the other great argument songs on this track, and there’s a piece of lighting work I also really love in this song, where the spotlight kicks up from behind them and you can see dirt and blood on the bottom of both DAISY and TOM’s clothing, highlighting the blood and grime they both have on their hands and their consciousness, and how neither of them are clean people. I think it provides a lot of insight into why DAISY and TOM end up staying together.

VIGIL

GATSBY, NICK

GATSBY is going to take the fall for DAISY, and desperately wants NICK to validate this decision, which NICK struggles immensely in doing. This is, I believe, where NICK fully beings to understand the lengths that GATSBY has gone in only the pursuit of DAISY, how the entire empire he has built is for her, and how he will tear it all down for the chance of having her call, for the chance to protect her. This song, while sung by GATSBY and NICK, is more reminiscent of NICK’s point of view on GATSBY’s tragedy, rather than a real duet. NICK remarks that GATSBY is “standing vigil over nothing,” and when GATSBY asks NICK if he thinks DAISY will call, NICK decides to lie and say yes, despite his real beliefs. It’s a truly tragic song, if only in the sheer patheticness and desperation shown in GATSBY. I have, personally, never been one to dislike DAISY as much as many other readers of the book, but this song really hits hard, and really draws a lot of sympathy for GATSBY’s struggle and desperation for something, and someone, we all know isn’t coming.

it’s raw, it’s good, it’s tragic, and it’s all one big beautiful lie, and it’s just incredibly desperate and pathetic as a song, in the most loving, sympathetic way. it’s gonna be great, and people are going to love it.

AMERICA, SHE BREAKS

GATSBY, WILSON

Oh, I’m crazy. WILSON, similar to MYRTLE, is always going to be a smoking gun —see what I did there— of a character, bright and attention-grabbing and with such a loud but welcome stage presence. America, She Breaks is a perspective on the myth of the American dream from both GATSBY and WILSON’s perspective, as they lament on what the pursuit of this dream has lost them. This song genuinely leaves me speechless, a heavy tension and desperation running through the entire thing until the death of GATSBY and WILSON by WILSON’s own hand and handgun. It’s, strangely, a magical experience of a song, with it being wildly captivating and attention-holding. It’s a fantastic commentary on the themes of the show, and genuinely could’ve been a great ending to the show that wraps up the story and the themes, although it would leave parts of the book’s ending out. It’s just such a solid and genuine performance, and it always leaves the audience gasping.

this song drives me crazy. i am crazy. 

POURING DOWN (REPRISE)

NICK, JORDAN, GATSBY’S FATHER, COMPANY

This is where, ideally, the show would’ve ended if it didn’t end after America, She Breaks. The inclusion of GATSBY’s funeral, and the few mourners, alongside NICK and GATSBY’s father is well-done, and I absolutely adore GATSBY’s father being Native-American, which adds a whole new level to GATSBY’s character and desire to fit into the 1920s American dream. I’m not well-versed enough to speak on the representation, but I do think the idea of GATSBY being Native-American adds a lot to the story and adds complex, and interesting dynamics and themes to the overall script. I think this song specifically being a reprise of Pouring Down works well, and I think it’s an emotionally fitting ending to the show. 

emotionally fitting, a perfect mourning song, and a lovely and well-done reprise. incredibly solid as both a standalone song and a closing to the score and story as a whole.

BEFORE I GET INTO THE LAST SONG... I want to say that there are two places this show could’ve ended after this that I would’ve been happy with.

After NICK mentions to GATSBY’s father that DAISY didn’t even send flowers, GATSBY's father asks NICK who DAISY is. This works as a tragic ending, as it shows that GATSBY’s pursuits were largely for nothing, and no one will ever truly remember or understand the lengths that he went to for DAISY, along with being tragic due to the reminder that DAISY was not all that important to anyone else, and that she was only a dream of GATSBY’s, and not nearly as lifechanging for others. It just ties up DAISY and GATSBY’s relationship in a tragic little bow that I think works

And I would prefer this. NICK and WOLFSHEIM have a conversation about GATSBY after WOLFSHEIM doesn’t attend GATSBY’s funeral, that generally goes with NICK saying that GATSBY should’ve meant enough to WOLFSHEIM that he be bothered to go to the funeral, and WOLFSHEIM saying that GATSBY meant everything to him. WOLFSHEIM’s monologue ends with him saying that “[GATSBY] was a beautiful fool” and I think this makes for a good ending.

I’m sure there are other places that would make for a good ending, but not the one I’m about to tell you.

WE BEAT ON

FULL COMPANY

I hate it. I’m sorry, I hate it so much. We did not need a full company number at the end, it really just ruined it. It sucks so bad, I’m so sorry. I’m sure there’s a good reason to have it, maybe, probably, but my idea is that reason was just that they wanted the whole company on stage for bows, which is not a good enough reason to have this number included. It’s a boring song, with boring choreography, and I don’t think it serves a good enough purpose, or emphasizes the message of the show in any way. I believe that this song was only included to have the entire company onstage at the end of the show to prep the stage for bows, and nothing else. Sorry, but not really.

i’m a d1 hater of this song, and will be pretending it doesn’t exist.

so, that’s the scoop!

if you enjoyed this review, let me know. if you didn’t, that’s too bad, sorry about that. please follow me for more content, and feel free to ask me any more questions about this show, my experience with it, or content in general! i’m always down to chat, and i’m open to reviewing more scores, soundtracks, and/or albums! all the love, all the kisses, and have a fantastic day or night, wherever you are.

8.12.2024🍨 eleanor

[toxictoad]

I've been putting this off for so long so: Pinned Post time

Call me Toad or Nate if you prefer. I'm an adult. I use he/him pronouns. I'm a trans man. Fuck Terfs :P

I hyperfixate on things. Right now it's mostly Greek Mythology/Epic The Musical/Hades. I ignore fandom drama and I don't care what you ship

Gravity Falls AUs:

Decon AU

A post-canon AU where Bill is reformed in the Theraprism. Lots of Billford and probably out of character bonding with the Pines family.

Addition AU

An AU where Bill and Ford have babies. Their names are Juno and Quentin and I love them. Lots of angst here.

Gatsby Falls AU

A Gravity Falls/Great Gatsby mashup. Mostly aesthetics right now

Zenith/Nadir AU

An AU where Bill is Reincarnated as a pretty girl with no memories and everyone has to Deal With That.

I have an Ao3 account that I post on occasionally. Current fics:

Gravity Falls:

Discordant Echoes

A fic for route #2 of the Addition AU! Family angst and bonding

Star Wars:

Dawn to Dusk (or The Convoluted Education of Dawn Skywalker)

An OC fic about Anakin's clone during the New republic Era. It has very niche appeal and I'm very proud of it. Still in progress. Not sure when I'll update

Baldur's Gate 3:

Rabbit's Blood

Another OC fic about a dhampir Tav who's Cazador's son. Weird kinda brotherly relationship with Astarion. Eventually there will be Tav/Wyll. Still in progress. No real update schedule but it'll happen eventually.

Secrets of the Weave

More OC. Tav is Gale's secret sorcerer kid with Mystra. I hate the title but I can't think of another one. Still in progress (?). I might never update it but it's a possibility.

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