#i personally think the movie is better than the musical and the off-broadway production is better than the west end one

[tropes-and-tales-archives]

Whistle Down the Wind, Chapter Six

Word Count: 2948

TW:  Pining, unrequited love, angst.

AN:  Part of a series.  The series masterlist here.

The ride back from Montauk was tense, and Nicole spent a few nights at a friend’s place while everyone cooled off.  Sonny went back to the grind of SVU, and for once, he appreciated the distraction from his personal life.

Nicole eventually came home, contrite and crying.  Sonny forgave her, and he tried to make her understand that he was in it for the long haul if she was.  She assured him that she was.  They made up, once on the couch and once in the shower afterwards, and for a while, things seemed a lot better.  

For a while, anyway.

*******

To say you were hurt was an understatement, but there was a bright silver lining:  after Bella’s wedding, you deciding to stop thinking about Sonny altogether and instead focus on your work.

You finished the score to the indie movie.  The movie, admittedly, was glorified film school tripe, but the producers managed to screen it at some smaller film festivals.  While the writing was mocked, the acting was declared wooden, and the editing looked like it was done on Windows Movie Maker, critics were largely universal that your music was better than the film deserved.

You got a meeting with a smaller studio in Los Angeles.  You flew out for a few days to meet with them and walk them through your portfolio.  When you flew back to New York, you didn’t have the usual relief at being home.

But there was some buzz in New York about you too – people had heard about your scoring work, and you had a reputation as being reliable and innovative in musical circles – and you had a meeting with a semi-famous playwright who wanted to set an original script to music for an Off Broadway production.

Between all of the work opportunities, you didn’t have time to think about Sonny at all, even if you wanted to.  You were so busy that you usually collapsed in bed late at night (or early in the morning), musical notes and phrases echoing through your dreams.

It was a Saturday afternoon, and you were performing a series of tasks that you colloquially called “unfucking your life.”  You had a tendency to get wrapped up in work for long stretches of time, and then you’d raise your head and take a breath and notice that you had no groceries, no shampoo, and no clean clothes, and that your apartment was a hovel.  When this happened, you set up some “unfucking” time:  you made a list of errands and tackled them.

You were halfway through your list (done with grocery shopping, just starting on cleaning the bathroom) when your phone rang.  You looked at the caller ID and saw the familiar name.  Your stomach dropped but you answered it.

“Hello, Mrs. Carisi,” you said.  “How are you?”  You tried to sound cheerful, and it wasn’t that difficult – Sonny got his sunniness from his mother, and you let the older woman chatter about her hobbies now that she was an empty nester, as well as updates on all of her grandchildren.  She asked about your work and life in general, eventually circling around to what she had called you for.

“Are you coming around for Thanksgiving?” she asked.  “I want to know if I can count on you to bring one of your pies, so that I can plan my calories accordingly.”

You laughed.  You spent almost all of your holidays with the Carisi’s, and you usually contributed by bringing your famous chocolate bourbon pecan pie.  Mrs. Carisi especially loved it, but she usually complained as she cut herself a second slice about all the Zumba classes she’d have to take to burn it off.

Your laughter tapered off, and you thought about how to answer her.  Sonny’s girlfriend’s words echoed through your head – you weren’t family, after all – and you didn’t want a repeat of Bella’s reception.  Everyone had been awkward and uncomfortable afterwards, and you didn’t want to ruin a family holiday.  

“Actually, I’m heading out to see my dad,” you lied.  “He’s remarried and has a few new kids, so I thought I’d go get to know my half-siblings.”  It was only a half-lie, technically.  Your father had remarried and had a new family, but you hadn’t been invited to spend the holiday with him.  You usually only heard from him once or twice a year anyway.  Similarly, you weren’t going to your mother’s house – she was probably off on a singles cruise anyway.

“That’s great,” Mrs. Carisi said.  “We’ll miss you though.”

You felt a sad twinge.  You hated to lie to her, and you’d miss them too, but it had to be this way.  You weren’t family, and it had to end someday. Why not now?  Might as well cut the cord before Sonny and Nicole got engaged and then married.  You didn’t want to be forty years old, sitting across from them and their children.

“I’ll miss you too,” you replied.  “Maybe next time.  Give everyone my love though.”

You both signed off and hung up.  You looked at your phone for a while afterwards.  It was better this way, you reminded yourself.  Maybe you’d even eventually believe it yourself.

********

By the time Thanksgiving came, Sonny was ready for a break.  He traded off with Fin, agreeing to cover Christmas, and he headed to Staten Island for a long weekend.

Nicole went to Chicago to spend the holiday with her family.  She had invited Sonny, but he declined.  The brief period of domestic bliss after making up from the Montauk disaster had ended.  She was back to spending late nights out with friends, generally harping on him about the contents of the refrigerator, and not being very supportive of his struggles at work.  SVU had just closed a big case against the Catholic Church, and it left Sonny heart-sore and disgusted and thrown off of his usually demeanor.

He dragged himself into Thanksgiving weekend, looking forward to family and good food.  And, he was hoping against hope, time with you.

When he saw the set table, though, he saw that there was one less place setting. His heart, already low, sunk even lower.

Dinner was delicious, as always.  Sonny’s mother was an excellent cook, and he stuffed himself on the usual turkey and stuffing and mashed potatoes with parmesan.  Firsts, seconds, and (for the potatoes) thirds.  Sonny ate enough to make up for all the nights with Nicole’s self-imposed ban on carbs.

The meal was subdued, though.  Bella, he could tell, missed her best friend.  Tommy mirrored his mood to Bella’s.  Theresa and her husband were fighting again, so there was tension there, and Sonny’s nieces were quietly cranky.  Emma had asked where you were, and when Bella told her, she had cried a little.

Even Mia, despite her disaffected teenaged shtick, seemed to miss you.  

After dinner and before dessert, it was a Carisi tradition to play board games. Before you, it had been classics: Monopoly, Battleship, Sorry.  You had introduced them to the wider world of role playing and strategy games, and it had been your tradition to bring a new game every year to add to the guest bedroom closet in Staten Island.

“What’re we playing this year?” Bella asked.  

Sonny’s mom told the girls to go pick a game from the closet, and Emma sprinted off with a shriek, outrunning her sisters.  She came back a moment later with Risk under her arm.  Your favorite.

“Can she come now?” she asked.  Risk was well out of Emma’s age range, so she usually teamed up with you, “helping” you strategize and moving your Calvary pieces while neighing like a horse.  She also would imitate your evil cackle when you won.  It made Sonny smile to remember it.

“She’s with her dad’s family,” Sonny’s mother told her.  Sonny was surprised by this.  You rarely spoke badly about people, but you didn’t have anything nice to say about your dad.  He had been absent for most of your childhood, only showing up at your big occasions to fight with your mother and ruin it for you.

Bella chimed in.  “She’s not at her dad’s,” she scoffed.  “The last time she talked to him, she hung up the phone and called him a ‘living trash fire.’”

Sonny’s mom looked confused.  “She lied to me?”

It was Mia with her teenaged ability to cut through bullshit and see to the heart of the matter.  “She probably isn’t here because Uncle Sonny’s girlfriend told her she wasn’t family.” Mia looked around the suddenly silent table and shrugged, embarrassed.  Sonny ducked his head and felt a fresh wave of guilt wash over him.  

—–

He found himself outside of your apartment that evening.  His mother had packed him a massive box of leftovers to take you.  

And if you’d let him in, he needed to talk to you.

He stood outside your door, his ear turned to it.  He could just make out the murmur of your television.  And faintly, through the crack between the door and the jamb, the faint smell of pot.  He smiled to himself.  You weren’t a heavy smoker, but it did make you giggly.  It might make this easier on him.  

He knocked and listened to the footsteps that came to the door.  He knew you looked through your spyhole, judging by the “ah, fuck” you mumbled, but he heard you slide back the chain and deadbolt and open the door to him.

“NYPD, narcotics division,” he joked, but you didn’t smile at him.  You just glared at him for a moment until he sighed and added, “can I come in?”

You didn’t answer.  You just nodded and stepped aside, allowing him entry.  The pot smell was stronger inside, and he watched you as you shut the door and locked it back up.

Your hair was twisted up and held in place by a mechanical pencil, and your face was makeup free, which made you look much younger than you were. Your eyes were a bit red from smoking, and you were doing that slow blink you did when you had a bit too much.

You were wearing dark grey sweatpants that ended mid-shin, and a concert t-shirt for some band he never heard of.  It didn’t look like you were wearing a bra, he noted, but then he felt like a pervert for noticing.

“My ma wanted to send leftovers,” he said, handing you the box.  “So she just sent everything that we didn’t eat.”

You took the box and placed it on your kitchen table, peering inside.  “She packed it in the good Tupperware,” you noted. “That’s when you know you’re important.”

“You can just give it back to me when it’s all empty,” he replied, trying to sound nonchalant.

“Or I can give it to Bella,” you retorted.  Sonny frowned.  The giggly version of stoned you was nowhere to be found.  Maybe you were on a different strain?  He didn’t know enough about marijuana.

Suddenly the past few months caught up to him.  The slap on the street, not seeing you or talking to you, the wedding and reception, and constant bickering with Nicole, the stress at work, the latest case against the Catholic Church…it all pressed down on him at once like a load of bricks.  His shoulders slumped and he felt like he could lie down and sleep forever.

Your face softened a bit, and you gestured for him to sit down on your couch, which he did gratefully.

“You okay, stretch?” you asked haltingly.  You sat down beside him, tucking a leg underneath you and facing him.  

He scrubbed his hands over his face.  “Just tired.”  He looked at you and gave you a rueful grin.  “A lot going on.”  You nodded, and he continued.

“I just wanted to talk to you about…all this.”  He gestured between the two of you, and you nodded again.  There was an awkward silence, and you finally broke it.

“I’m sorry I slapped you.  I’m ashamed I did it, and you didn’t deserve it.”

“I did deserve it,” he replied.  “I should have never said what I did.”

You shook your head at him.  “No one deserves to be hit, Sonny.  You work with SVU, so you should know that better than anyone.  I’m sorry, and I wish I could undo it.”

“Well, I’m sorry I said what I said.  I wish I could undo that myself.”  There was another awkward silence, longer this time.  He watched you out of the corner of his eye as you played with the drawstring on the waistband of your pants.  You had elegant fingers, long and tapered, and Sonny loved watching you play your various instruments.  

He reached out and stilled your hands, taking one in his and holding it lightly.  He waited until you raised your bleary eyes to look at him.

“Why didn’t you ever tell me that you…had a thing for me?” he asked.

You snorted lightly and pulled your hand away.  “It wasn’t a thing, Sonny.  I was in love with you for such a long time.  And I almost told you once.”

“When?”  He was surprised by this.

You went back to playing with your drawstring.  “Remember the night we watched ‘Lost in Translation’?”  He nodded, and you continued.  “You had just broken up with that middle school teaching aide, and I thought ‘this is my chance.’  It was a perfect night.  You had your arm around my shoulders and it was movie night….” You trailed off, obviously remembering it.

You took a deep breath.  “I literally had my mouth open to tell you, but the movie started.  You remember how that one opens?  The first scene is literally Scarlett Johansson’s ass, and you started ranting about how you wanted a woman like that.  You just went on and on about how she was the perfect woman and how you weren’t going to settle for anything less.”

Sonny laughed but you didn’t.  You only looked at him with your solemn eyes.  “I kinda remember that,” he admitted, feeling sheepish.

“That’s when I knew,” you said with a shrug.  “You were never going to go for someone like me.  You’d never settle for anything less than someone with Scarlett Johansson’s ass.  And you never really have, Sonny.”  He started to protest, but you cut him off.

“You date the hottest, most beautiful girls.  I’m pretty secure about myself.  I’m not hot or beautiful, but I’m talented and have a lot going for me.  It’s just not anything you want.  You want a woman that looks a certain way, that takes care of herself a certain way, no matter how mean or boring they are.”  You looked away.  “I used to be jealous, but I’m not anymore.  Nicole is gorgeous, Sonny, but she’s the meanest person you’ve ever dated, and that’s saying a lot. Who comes to their boyfriend’s sister’s wedding hungover and bitching at family friends?”

Sonny replied, “she’s not always mean.  She can actually be quite sweet.”

You rolled your eyes at this.  “Sonny, the last time we had a movie night, you spent the first hour complaining about your greying hair because Nicole said it made you look old. I missed crucial plot points because the woman you want to marry made you feel bad about the way you look.  That doesn’t sound sweet to me.”

“I don’t…” he said but trailed off.  You let the silence between you grow before you continued.

“The wedding reception was tough, but Nicole was right.  You’re not family and never were.”  You shook your head, and Sonny noticed the tears that were springing up in your eyes.  “You were just a dream, Sonny.  But I have to grow up now.  I want a life of my own.”

“But I miss you,” Sonny protested, his voice low.  “I miss my friend.”

You reached over and patted his hand.  “I know.  But I can’t be your friend without wanting more.”  You took a deep breath.  “I haven’t told Bella yet, so keep this to yourself until I can talk to her, but I’m going to move to Los Angeles.  There’s more work out there for me, and I can get a fresh start.”  You smiled at him sadly.  “Maybe find my own Scarlett Johansson’s ass.”

Sonny felt his stomach drop.  “You can’t leave New York,” he said.  When he got upset or tired, his accent came out stronger, so it sounded like “New Yawk,” making you smile.  “I’m not sure I can function without my friend.”

Your smile faded a bit.  “You’ve functioned just fine the past few months without me,” but Sonny shook his head vehemently.

“I haven’t though,” and you started to talk over him to argue and he felt his stomach roiling at the thought of you leaving New York and him forever, and before he realized what he was doing, he was lunging across the couch to kiss you and make you stay.  You jerked your head to the side at the last minute, and he caught the surprise written across your face before you shot to your feet.

“What the actual fuck, Sonny?” you yelled, and he hunched over on your couch, apologizing.

You didn’t let him finish.  “I think you should go,” you said.  You crossed your arms and scowled at him until he dropped his head and nodded.  He stood up, wanting nothing more than to reach out and wrap you into one of his hugs.  

Instead, he left your apartment.  When he heard you slide your deadbolt behind him, he tried to pretend it didn’t sound like something ending.

[princesssarisa]

Reasons why the original "Little Shop of Horrors" ending flopped

I've been thinking of the various possible reasons why test audiences reacted badly to the original ending of the film version of Little Shop of Horrors. Off-Broadway audiences hadn't objected to the end of the stage version, where Audrey and Seymour are eaten and Audrey II wins in the end. So why exactly did the movie's test audiences find that ending so upsetting, forcing a new, happier ending to be shot?

Frank Oz has always cited two big differences between theatre and film as the main cause:

*Film has close-ups. They make the audience engage more closely with the characters' emotions than they do in live theatre, so we care more about Seymour and Audrey.

*At the end of a live theatre performance, the actors come out for a curtain call. That's an immediate reminder that they didn't really die. Whereas in a movie, while rationally we all know it's just a performance, it feels like they're really dead.

Here are some further arguments I've read in various places:

*Orin and Mr. Mushnik's deaths are rewritten in the film to tone down Seymour's guilt. Without the stage song "Now (It's Just the Gas)", Orin dies more quickly, without giving him much time to beg Seymour for help, and we don't hear Seymour cold-bloodedly debating whether to save him or not in his mind. Later, Mushnik holds Seymour at gunpoint and tries to blackmail him into giving him the plant in exchange for his keeping quiet about Orin's murder, while onstage he just threatens to have him arrested. In response, Seymour only backs Mushnik toward the plant (possibly even by accident – it's vague) instead of tricking him into looking inside its jaws, and then tries to warn him about it at the last moment, too late. These changes make a big difference in whether the audience thinks Seymour deserves comeuppance or not.

(There are alternate film takes, though, where Orin's begging for help is more drawn out, and where Seymour clearly backs Mushnik toward the plant on purpose and doesn't try to warn him about it. I read somewhere that those changes were made after the negative test screenings to make the new happy ending work better, but I don't know if that's been confirmed or not.)

*Rick Moranis has too much inherent likability as an actor. With or without the above rewrites, he gives off too much of a sweet, innocent vibe to let the audience stop rooting for Seymour.

*Showing Audrey's fantasy of married life with Seymour during "Somewhere That's Green" makes the audience sympathize more with her dreams. When she only sings about them, it's easier to laugh at how she romanticizes stereotypical '50s suburbia. But seeing her fantasy onscreen, even though it's still played for laughs, makes us root all the more for her to achieve it.

*The stage version of "Don't Feed the Plants" is less bleak because it ends at the very beginning of the plants' conquest, without leaving the shop or showing any massacres. It's just a warning: don't feed the plants, or else they'll destroy the world. Showing giant Audrey IIs already destroying the world leaves us feeling more hopeless.

*While the final "Don't Feed the Plants" sequence is visually spectacular, it drags on for too long.

*In 1986, people didn't expect a musical to end tragically. The rise in popularity of dark, tearjerking musicals in the mid-to-late '80s and '90s hadn't taken off yet in the US, so the ending was more of an unpleasant shock. (Personally, I'm not sure if I agree with this theory. The stage ending wasn't criticized in 1982, and plenty of musicals already existed with dark themes and with sad or bittersweet endings: The King and I, West Side Story, Fiddler on the Roof, Sweeney Todd, etc. Although I'm sure it was a shock for some people to see a campy musical comedy end tragically.)

I'd like to add some more suggestions of my own:

*Onstage, depending on the production, Audrey's death can be played more for dark laughs, more as a spoof of melodramatic movie death scenes. On film, the medium's comparative realism forces the sadness to be played straighter. This is enhanced by Seymour's attempted suicide afterwards, which doesn't happen onstage.

*The addition of "Mean Green Mother From Outer Space" makes Seymour's death much more brutal. Onstage, he's eaten fairly quickly, and he goes down fighting. But on film, we have to watch Audrey II playing a slow game of cat-and-mouse with him while singing a gloating song and destroying the shop, then wrapping him in its vines and slowly lifting him into its jaws, with closeups of his terrified face all the while.

*Onstage, during "Don't Feed the Plants," Seymour, Audrey, Mr. Mushnik, and Orin all reappear as flowers sprouting from Audrey II and sing to the audience. Thus, even before the curtain call, they're not portrayed as really "dead." And the fact that it makes no sense in-universe – maybe Mushnik and Seymour could have survived being swallowed, but Orin and Audrey were already dead when the plant ate their bodies – reminds us that this is only a show.

Basically, I think a perfect storm of factors combined to make audiences dislike the original, tragic film ending, even though there was no such objection to the stage ending.

@ariel-seagull-wings

[the-kestrels-feather]

So through listening to Broadway Gatsby's songs they've released an uh... Truly unhealthy amount of times, I've come to the realization that I like it as a show but not as a Gatsby adaptation, and that I also think that Gatsby as a book is fundamentally gonna be REALLY hard to work into a musical

Before I get too far into this I want to specify I'm specifically talking about Gatsby on Broadway in this post. I don't know much about Gatsby: An American Myth outside of a few production photos and a video I'll talk about in a second, so I don't feel super qualified to talk about it. Second, I'm gonna link Wait in the Wings' fantastic video right here. It mainly discuses An American Myth, but I think he makes a lot of great points about Gatsby as a musical that I'm pretty sure I'll end up parroting at some point and I don't wish to pull a James Somerton. Also I should add I have not SEEN Gatsby. I'm broke and live in the Midwest so that's not possible right now, I'm basing this solely off what is publically available online, a friend who did get to see it, set photos, music, and WITW's other FANTASTIC Gatsby video.

But so I wanna say again, I do really like Gatsby on Broadway based on what I've seen. I love Eva Nobelzada, the set photos are BEAUTIFUL, I wish the music that was released was jazzier seeing as it's the literal JAZZ AGE but I like it overall, and Jeremy Jordan is... Also there (he's fine and I think he's very talented, but like if I were able to go see it he wouldn't be the reason I went to see it. JJ Stan girlies please don't come for me), but in terms of like. How faithful it is to the novel, I think it's kind of fundamentally just. Not Gatsby. And I don't think that musical theatre specifically will ever create something that is. I think if Gatsby was a straight play specifically it would work better. The OG novel hides so many things and has a fundamentally unreliable narrator and has so much subtext, and I think that putting it into a medium where characters have to reach this heightened state of emotion where they reach a point that words fail and they have to sing their feelings doesnt realky lend itself well to that. That's part of the reason love stories work so well in musicals, and I think why Gatsby Broadway seems to be focusing on the love story.

There's also the fact that creating theatre that's critical of the Wealthy class for Broadway is... Extremely hard to say the least. Lindsay Ellis goes more into this in her Rent video, but Broadway is a business first and foremost and moreover is a business funded by the wealthy people who can buy tickets. I know that's obviously not a universal assumption, but whether we like it or not at the end of the most of Broadway is funded by the wealthy people buy $200+ tickets. And making any piece of art that is critical or alienating to that group is going to be, shall we say, a bit of a hard sell. Gatsby at its core is a criticism the American Dream and the idle rich. I just don't think a musical that attempted to hit those plot points well would've ever done well commercially, or if they'd tried to I don't think it would've come across as anything other than largely toothless. The only musical that has been on Broadway in the last few years that I can think of that has achieved mainstream success and hasn't closed within the year that does it fairly well is Hadestown, and even that one had its more anti-capitalist edges softened before it transferred to Broadway. So they choose to focus on the love story, no matter how tragic and at the end of the day not a love story it is.

I don't know if any of this makes any sense or if lit Tumblr (or even theatre Tumblr for that matter) will see it as a valid take, I mean, I also personally think 2013 Gatsby movie was pretty good, so I don't know if that decimates my credibility or not, but I needed to word vomit this out

[alldisneyrankings]

WDAS Ranking: Wish

So I was expecting to hate this movie going in, because the reviews were atrocious and it’s now considered a huge flop. Fans are even making their own versions of the movie to make it better, and considering the original concept to be superior.

So when I finished the film I thought…

It wasn’t THAT bad!

Like I agree it’s not Disney 100th anniversary material, but on its own it’s not a terrible movie! I think part of it is knowing what we could have had vs what we got is making people upset. And this was also SUPER hyped because it was released for disney’s 100th anniversary.

I’ll start with the bad parts.

Asha is a bit of a boring character, because she’s too perfect. The movie even comments on this! (“My weakness is that I care too much”). I mean, Disney has done this a lot lately with their movies, the main girl character is too loving, willing to defend her people, wants to stand up for….etc etc etc. She just doesn’t have any real flaws, she doesn’t grow as a person in my eyes.

The animation style I felt like they tried to appease the 2D fanatics but it didn’t look as polished as some of their shorts. If it was stylized a bit more, I think the movie would look much better. The color palette they used is also kinda muted and dark.

The songs….oh boy. I love Julia Michaels I really do. I think she bit off more than she could chew for this. There’s been a rumor that she wasn’t supposed to write all the songs (only the end credits song) but so many staff quit the production and everything was super rushed and they just had Julia write everything in the span of weeks. And if that’s true I can totally see it. AI HAD to have been part of the writing process, at the very least. Otherwise, she’s a pop writer/singer, not a broadway musical writer like L-M M.

The goat character kinda sucks. I feel bad for Alan tudyk for some of the lines they had him record. He’s just kinda there and comments on everything.

Speaking of characters, there’s WAYYYY too many characters in the movie! You have Asha’s family, the king and queen, 7 of her friends, and the star. That’s a lot of main characters, and none of them were fleshed out.

I think the thing that hurt the story the most was they tried to cram in all these Disney references EVERYWHERE! At some point it’s not cute, it’s annoying. You didn’t need to do that. Just make a good movie. I’m sure that frustrated a lot of writers/animators.

Okay, good-ish things.

The story is simple and cute, it’s about one kingdom that has one king that goes a bit crazy and then gets punished for it. You don’t need to have a complicated story to get my attention.

The star character is pretty cute I KNOW I KNOW, I’m sorry! I know we could have had star boy (and I would rather have had him) but what we got at least wasn’t ugly. And I guess it kinda makes sense if the goal is to get Asha to make the decisions instead of Star.

At LEAST we got an actual villain. And he wasn’t that bad! He may not be up there with Ursula and scar but he’s fine in my book. Probably the most entertaining character in the movie.

Before I make this too long, I was expecting to hate it and I didn’t hate it. Would I watch it again, maybe! Not anytime soon though.

[maddieladner1999]

Bad Idea Right? Chapter 9

After graduation, Ricky was free for the summer. And he was excited because that meant time with EJ. EJ was still staying with his aunt and uncle and not talking to his dad. Ricky understands why but it’s still his dad and EJ should talk with him. So he decides to talk to EJ about it. He’s not gonna push just open the conversation to the idea

He decides the conversation is best had in person so he heads over to Ashlyn’s. Her parents aren’t home and she lets him in. She calls for EJ and they go to the guest room which is now just EJ’s room. 

Ricky: I was thinking more about what my parents said about you telling your dad. Have you thought about telling your dad?

EJ: no I haven’t why?

Ricky: I just think it might be good for you to talk to him. You don’t have to start with that just you know getting back on terms with him

EJ: why? He cut me off. He can’t even be proud of the things I’ve done. I mean I directed a musical in 2 weeks and he could care less

Ricky: I know and it sucks but he’s your dad. Maybe telling him about all your college achievements will show him you’re better off than he thought you’d be

EJ: what do you mean?

Ricky: like you said he cut you off. You’re a full time college student in an acapella group with 3 jobs to pay for your college tuition all by yourself. That’s impressive. 

EJ: you think he’d care?

Ricky: you won’t know till you talk to him. But I bet he thinks you’re not capable of keeping your life together like you are. Probably stays in touch with your aunt and uncle just to see if your ok. I can’t imagine he’d just stop caring all together. 

EJ: you’re right. I guess I can try but that’s it. And no I told you so from either of us depending on how this goes

Ricky: why would you say I told you so anyway?

EJ: cause I don’t think he’ll be impressed. 

Ricky: you don’t have to you know. It was just a thought. You can wait till you’re ready. 

EJ: I might never be ready to face him but it’s ok. One step at a time right? I’ll just call him give an update and see what happens. 

Ricky: ok well goodnight. I’ll see you tomorrow right?

EJ: yeah. I think I’ll call him after you leave. I should do it before my aunt and uncle return

Ricky: keep me posted then. 

EJ: of course. I love you you know. 

Ricky: really? I had no idea. 

EJ: ha ha very funny

Ricky: love you too you dork

So Ricky leaves EJ alone and after a few minutes he calls his dad 

——————-

EJ’s pov

EJ is waiting to see if his dad even answers and to his surprise he does

Cash: EJ, what do you want?

EJ: just thought I’d talk to you

Cash: about what? Another stupid musical? When are you gonna get your life together? 

EJ: I have gotten my life together

Cash: I doubt it

EJ: well tell that to my 3 jobs to support my college tuition. The fact that I’m a full time college student supporting my own self. All cause my father cut me off cause I didn’t want to go to his stupid business school

Cash: you aren’t gonna make a living in musicals. 

EJ: I never said I was. I liked directing sure but there are so many fields with that that make money. I could be a movie director. I could direct a Broadway play. They make money

Cash: you’d have to be good to do that though son. Idk if you’re good enough 

EJ: is that what it takes for you to believe in me? Proving you wrong? I guess I’ll do that then. See you in 5 years

Cash: it’s good you’re taking care of yourself. I’m impressed I just think you aren’t thinking your future through. You need a plan

EJ: I have a plan. I’m gonna get a film production master and become a director and you’ll see just how wrong you are. 

Cash: and if you fail?

EJ: I’ll still be better off without your opinion. I don’t even know why I bothered I knew you wouldn’t care. You wouldn’t try. 

Cash: son wait. I’m willing to try if you just go for a realistic career. Like sports doctor or something 

EJ: I don’t owe you anything anymore. You can’t accept me for me then forget it. I’m not gonna go halfway just to meet you. It’s my life. I’m gonna choose my own path. 

Cash: I guess this is goodbye then. 

EJ: goodbye dad. Wasn’t nice knowing you. 

EJ hangs up before his dad says something else and FaceTimes  Ricky. Ricky immediately answers of course, shirtless and brushing his teeth. 

Ricky: *holding toothbrush* hold on a sec

EJ: nice to know you do brush your teeth

Ricky: you saying my breath sticks or something?

EJ: only occasionally. 

Ricky: so what’s up how’d it go?

EJ: he sucks still. Tried to meet me halfway say I should choose a reasonable career path like sports doctor and he’d try. I told him I wasn’t gonna meet him halfway. He needs to accept me as I am

Ricky: good for you standing up to him. So you didn’t tell him you’re gay. 

EJ: nope. Didn’t  see the point. He can’t even come to terms with the theatre thing or my chosen path of becoming a director. 

Ricky: you decided your major?

EJ: yep! I’m starting film school in the fall. 

Ricky: I’m so excited for you. 

EJ: thanks. Sorry you were wrong. 

Ricky: it’s ok. He wasn’t even impressed by you putting yourself through school?

EJ: he was actually but it wasn’t enough to get him to try to be my dad again. 

Ricky: it might be a helpful step though. Maybe he’ll reach out?

EJ: I doubt it. We said goodbye. I basically told him I’d see him again when I prove him wrong and become the director he doesn’t think I can be

Ricky: oh well go EJ! Stick it to him

EJ: I should get some sleep good night. 

Ricky: good night. I love you. 

Note: so Lynn is great and cash sucks. Sounds like that’s about right. also yes finally updating this with more!

[writerchickmarie]

John Lloyd Young At The Space - Only The Best - Simply The Best

There is nobody else who can do what John Lloyd Young can - not only with a song, but with an audience.

Those of us who have followed him and his career for quite some time know this. We know about his phenomenal vocal range, the way he interprets a song and makes you feel every emotion with each word and note, his knowledge and storytelling on stage, and his care for each and every person who is there to see him perform.

And now, many more people are discovering all of the things that make JLY so special, as we longtime friends and fans knew that they would. It's a wonderful ride that we get to enjoy along with him - and we all definitely enjoyed every moment from The Space.

There were those who were able to be in Las Vegas in person, and for those of us who couldn't attend that way this time, thankfully there was a livestream so we could all participate in the music and the joy.

The energy was off the charts the entire time, from the intensity of the first notes of "My Prayer", right into the fun and enthusiasm of "Oh What A Night" and the exuberance of "Show And Tell".

Through all of this, JLY was backed by a stellar band, led by Chris Lash on piano. Chris has played Jerry Lee Lewis in several productions of Million Dollar Quartet, and was also a conductor for Jersey Boys at the Paris Theatre in Vegas - which, of course, makes him the perfect person to work with the Tony-winning, original Frankie Valli on Broadway. And everything ran seamlessly throughout the evening, on all of JLY's "Best" set - Jersey Boys and beyond.

Next up was one of our absolute favorites...JLY's powerful, heartfelt version of "Only The Lonely", complete with the cry in his voice that moves every single audience member. Then a favorite for a different reason - "Hold Me, Thrill Me, Kiss Me", with JLY coming around the room to as many people as possible for some always thrilling audience participation. It's kind of cool to watch it from the livestream vantage point...almost as much fun as actually being in the room and participating!

The two standout moments came next. JLY's "I Only Have Eyes For You", arranged by Ron Melrose from Jersey Boys, is on a whole other level, making any other version of the song pale in comparison. Then it was "Can't Take My Eyes Off You" - but with a twist. JLY mentioned the trip to Italy that he and several others just got back from a couple of weeks ago, where he sang some favorite songs in Italian. On this night, he had Chris go back and start playing part of the song again so he could sing it in Italian for us. It was so beautiful that I cried...and it is very much appreciated that he shared this for those of us who were not able to be in Italy on this particular trip. I could definitely see him performing this special version more often, and maybe even recording it.

This began the Jersey Boys portion of the show, where JLY also told several entertaining stories about working with Clint Eastwood on the movie. And during "Walk Like A Man", he proved that he still has the dance moves as well! He then performed the always beautiful and moving "My Eyes Adored You", with more interesting stories to go with it.

The next story was about singing to, and with, Smokey Robinson in Cuba during the US Arts Delegation, leading into JLY's breathtaking rendition of "Ooh Baby Baby". He followed up with "Unchained Melody", which is better than ever, before he came around the room again to serenade everyone with "Cara Mia".

The next song is a personal favorite of mine, and I'm so glad that JLY included it in his Only The Best set. His "Maybe I'm Amazed" surpasses Sir Paul's original, to the point that when I hear the original come on the radio, all I can think about is JLY performing it. And it was beyond wonderful again for this show.

We closed out the evening with "Working My Way Back To You", and everyone on their feet (both in person and at home) for "Sherry", singing along to end the evening that was on a continuous high note from start to finish.

You could tell that JLY was having as much fun as we all were, and that he is in stronger voice than ever. There is so much more on the horizon, and the best is truly yet to come. I can't wait to see what's ahead!

[supercantaloupe]

didn't expect this to get interest but nevertheless pleasantly surprised that it did. anyway the show was great 👍

kennedy center's broadway center stage productions are always of the highest quality. while they don't produce new shows* i otherwise think it's as good if not better than what you can find on broadway or major national tours when it comes to musicals. this is i think the fifth production of theirs i've seen and they've all been just outstanding. top notch casts, great sets and choreo, and always an onstage band which of course caters me specifically

(*apparently they're premiering a stage show version of schmigadoon later this season. pretty sure this is an actually New show. but everything else they've done since starting the series has been an existing show.)

spelling bee is easily my favorite bill finn musical, i like the music more and think the characters and narrative are more cohesive and satisfying. it's not my Favorite Show Of All Time or anything but it's a fun concept and well executed, and i really appreciate how much it loves being – and is not ashamed to be – a Musical. plus, it has a good level of (optional) audience participation, integrated into the show in a much more seamless and purposeful manner than a lot of other shows with audience participation. not just the five audience spellers onstage either, or chip tossing candy around, but mitch also making the whole audience get up and do stretches with him at the beginning and awkwardly recite the pledge of allegiance too, lol

the cast was good. they always get good casts for this. i wouldn't say anyone in particular stood out to me, except maybe Ben Platt who wasn't even in the cast i was just shocked he was there. though i guess his husband being in the cast might've had something to do with it. bonnie milligan and taran killiam did a good job with the improv and playing off the audience (again not just the guest spellers onstage. at one point there was a joke about the minions rise of gru movie and one person in the audience laughed/clapped way longer than everyone else and they joked that steve carrell was in the audience. and then when that guy kept going, they were like "okay tone it down no more drinks tonight steve.")

overall, just a really well done show. the set was a little static but understandably so, and that's a very minor nitpick anyway. really funny, like genuinely laugh-out-loud, moreso than a lot of shows i've seen recently. and i appreciate how much liberty the cast was given to crack jokes and insert lines to cater to the time and place of performance rather than just being word-perfect loyal to the original script (even if not Every addition landed for me, especially re: logainne whose brand of over-the-top activism doesn't really fit my taste).

i'd say you should all go see it if you can, but alas the show's run ended today. but i think that's part of what i like so much about the broadway center stage productions. they're limited and in-house, so if you don't see it here and now, that's it, the moment goes**. which makes getting to see it that much more special.

(**unless it's spamalot. then it gets a limited broadway transfer i guess.) (spamalot was good. not my favorite show but an inarguably top notch production.)

there's a line of people downstairs outside the orchestra seating doors waiting to sign up to be spellers

[mayyourshipsbewithyou]

Things I loved about In the Heights

-The sounds of the city are part of the music of the opening song

-The frame story is the only way this story should be told; the story only works if it shows the results of Usnavi's decision to stay

-Anthony and Lin shaking hands

-Yay to random mixed race couple asking for directions

-“I hope you’re writing this down I’m gonna test you later” only makes sense with kids

-Showing different residents of Washington Heights provides scale

-I’m not sure about the decision to cut Camila, but if it means less Nina drama, then I love it

-I love how Usnavi has his friends’ orders all ready to go

-LOVE how Usnavi announces Benny’s entrance

-Everything about Vanessa in this movie is perfect=> she’s given so much more depth, her beauty is downplayed, she’s kind of a nerd, but has a beautiful smile

-Nina’s heels=> metaphor for her reaching for the stars

-I love the actress that plays Nina; she’s the right age and her singing voice is so sweet

-Nina’s hair is straight when she’s at school; as soon as she comes home, it’s curly=>she can be herself at home

-When Nina turns around and sees the crowd of people counting on her=> I felt that

-I love seeing Nina get her acceptance letter; I remember what that was like for my brother

-Camila must have died while Nina was at college in this version; Nina lost her mother recently which helps explain her different reason for dropping out; she feels lost

-I don’t know why Sonny is using this deep voice, but I love it!

-Whoever decided to have 96,000 take place at the pool is a genius

-The graphics at the beginning of 96,000 are good for helping regular people understand the rap

-Pete just put his arm around Sonny=> are they dating?

-Sonny yelling 96,000 as he enters the pool=> the sound design

-Pete nodding along to Usnavi=> sucking up to the family

-Usnavi is such a proud cousin-uncle during Sonny’s part in 96,000

-Vanessa making her “I'll be downtown” walk down a ramp

-The dancer doing flips is now a diver doing spins into the pool

-On stage, the lighting was dark; in the movie, it’s underwater

-The circles of people in the pool reflect the zeros in 96,000

-Lin and Chris being rivals is perfect; their bromance is everything

-Nina and Benny being together before the events of the movie means they are the beta couple and have less drama than Usnavi/Vanessa which is how it should be

-Benny joins in during “on that fire escape”=> like West Side Story

-Benny’s “Let me in” against the fence is hilarious

-Nina and Benny are FUN, not angsty like in the original

-Nina following the little girl=> following herself, following her dreams which eventually lead her to the sea; all of this is done while she’s talking about her past

-Nina and Benny instrumental™ part 1 in the middle of “When You’re Home”, Benny interrupts=> their story isn't complete yet

-Benny says he believes in her without discounting her feelings

-Everyone loving Nina=> I finally get it

-Nina is home geographically and with people who love her

-Benny is Nina’s home

-In the Heights is about how dreams are great, but the life you have now can be so beautiful

-Nina’s hair during the dinner/club scene is great

-Usnavi is wearing his dad’s hat for his date with Vanessa; he knows that she is to him what his mom was for his dad

-Family dinners are the same in every culture

-Awkwardness of long-time friends going on a date

-Vanessa offers Usnavi his first drink of the night; he thinks that’s what she wants; because why would she want him and only him?

-Usnavi whispering in Vanessa’s ear is so sexy

-Love that Benny is on Nina’s side instead of being mad at her

-I wonder if they thought 5 years of Benny working for Kevin was too much or too little since they changed that line to "all these years"

-Benny’s reactions to Vanessa dancing at the club are hilarious

-Vanessa laughing at Usnavi dancing with someone else

-Nina is always smiling and laughing at the things going on around her; not as self centered

-Nina and Benny dancing at the club=> all of the yeses

-Usnavi is too nervous about being alone with Vanessa that he un-dated himself; he wasn’t quite ready

-Love that they consciously cut all the “Usnavi, help me” parts=> Vanessa is not a victim

-Fireworks are a romantic setting for Sonny and Pete, just saying

-Usnavi/Benny/Nina talking about the fourth member of their square gives me feelings; I need more of these four in fanfic, my dreams

-“I got to wait for Vanessa”=> the stuff dreams are made of

-Benny is such a good person; he’s even better than the original which is what he deserves

-Usnavi is relieved to have Vanessa call his name

-“Don’t walk away from us tonight”=> great addition

-To give Usnavi and Vanessa some of Nina and Benny’s original lines is to see the face of God

-The first time I saw this, I’m ashamed to admit, I thought Benny was going to steal money from the dispatch; I was a fool

-Dancer with fireworks on his shoes

-Benny is smart and good; he isn’t doing this for Kevin or Nina but for the people of New York

-Abuela was able to see stars again on the last night of her life

-I’m sad Blackout isn’t exactly the same but the orchestral parts that cover up what is unsaid is so beautiful it makes up for it

-Abuela’s family is her “fireworks”; they are what light up the Heights

-Sonny came to Usnavi instead of being with his dad during the blackout; his real family

-Abuela’s smile as she looks at her family while reflecting on her childhood is the most beautiful thing there will ever be

-Paciencia y Fe as a dream sequence is how it was meant to be

-The transition on the subway from reality to memory

-Paciencia y Fe is a mixture of cultures; like Abuela’s memories

-“Wide awake”=> stepping off the subway

-The same actress played Abuela on Broadway and in the movie

-Abuela may be in a musical, but she’s still an old woman

-“As I feed these birds”=> back to the present

-Calor means heat in Spanish but in English it sounds like color

-Abuela dying during the night of the blackout is perfect

-Usnavi saying “she was just here” twice: when she was literally just there and many years, maybe a decade, after the fact

-Usnavi’s daughter is the life that goes on after Abuela is gone

-Usnavi and Nina crying together

-Those closest to Abuela are inside and everyone else is outside

-Iris was sitting on the outside and now she’s in the middle; needed comfort from her friends

-“Should we take a break?”=> we’re past the point of an intermission

-“No daddy, keep going”=> does this look like a stage production to you? It’s a fucking movie

-There isn’t a clear point for an intermission; the action stays strong over where the intermission should be; this is a movie, not a play, and movies don’t have intermissions

-Everyone’s holding candles; like the stars Abuela loved so much

-Iris called Usnavi Daddy for the first time because that was the point in the story where he needed to hear that the most

-“I thought about the people I care about the most, I thought about you”

-Anthony makes Usnavi sexy in a way Lin never could

-So many people love Vanessa, but no one better than Usnavi

-Abuela paid to have Camila's napkins cleaned after all

-Usnavi is the kind of parent that doesn’t sugarcoat life

-Vanessa listed no emergency contacts even though she had people

-“That’s senorita to you”=> yes girl, get it

-Love Daniela for getting everyone out of their asses

-“Tonteria” means foolishness=> the more you know

-How fast Carla says no to “ask me why” shows how quickly she wants to please her love

-Usnavi’s Nueva York t-shirt=> I need it

-Daniela’s first effect being on a woman whose hair is terrible

-Carla pushing that man away from her woman with a bullshit excuse

-My friend was laughing at the parts that were meant to be jokes

-Usnavi’s entrance being announced in Carnaval del Barrio; just like Benny in the opening song

-“There’s nothing holding me down”=> assuming he was rejected

-The different communities dancing with their flags

-Nina being part of Carnaval del Barrio is great

-Even Kevin, kind of an old man, can get down

-Since Nina and Benny sex scene wasn’t shown on screen (praise Jesus), I have to assume Nina told Daniela even though she knows she’s a huge gossip

-Everyone stops because Sonny, a kid, starts singing

-Vanessa and Sonny are so powerful together

-Vanessa’s hand on Sonny’s shoulder

-A kid providing Usnavi with the “flag I’ve got in my hand”

-Usnavi and Vanessa dancing together is muy romantico

-Everything about Nina’s appearance in “When the Sun Goes Down”

-“Let me just listen to my block”=> peak Nina

-Abuela wrote “for Usnavi” on her lotto ticket 😭

-They cut so many songs but kept Champagne=>I love their priorities

-The pause before “you outta stay”

-Everyone has such great chemistry; especially Usnavi and Vanessa

-The choreography in Champagne is what I’ve always imagined

-Usnavi didn’t have time to cash in because Vanessa came over

-Vanessa and Pete friendship for the win

-“Best days of my life” is said thrice=> good things come in threes

-Usnavi staring at the room where Vanessa kissed him

-Iris knows he stayed; she loves her dad so much

-Usnavi looking out his window in Washington Heights and seeing his friends on his dad’s beach

-When Usnavi talks about Kevin at the dispatch, the camera flashes to an abandoned building

-“Vanessa at the salon”=> Usnavi sheds a tear

-Vanessa being front and center during Usnavi’s decision to stay

-Hearing the sounds of the beach during the unveiling

-It’s all about Vanessa=> perfection

-Lin being at the ending is perfect no matter the context

-“Say it so it doesn’t disappear”=> the sad reality is your neighborhood probably will disappear

-Usnavi telling his daughter “you’re it” is everything

-Iris understanding all of the little details of her father’s store now that she knows his story

-Iris is the goddess of the rainbow like the light that appears when water appears on a sunlit day

-“Man, you talk forever”=> that’s so “How I Met Your Mother”

-Iris has a necklace of seashells, like the islands

-Vanessa would sooner get wet than let go of Usnavi’s hand

[franki-lew-yo]

The Romantic (2009, R, Gothic Fantasy/Horror), aka the most forgotten animated film in the world

What if I told you there was a movie under serious threat of becoming lost media with no clear reason as to WHY it's been lost other than no one has apparently watched it besides me and a few people on Reddit? What if I told you that movie wasn't half bad and would no doubt have some interest peeked if anyone DID know about it?

The name of that movie is The Romantic.

It was released in 2009 and it's Rated R for nudity and sex scenes [insert Robbie Rotten meme here], though none of it too graphic. It was a pet project created by animator Michael P. Heneghan, originally starting as a flash project for his animation class before he expanded it into a feature film. The film was inspired by movies such as The Dark Crystal and Labyrinth, but what I see every time I look at it is a touch of Jhonen Vasquez, Tim Burton, and Roman Dirge- the guy behind Lenore the Cute Little Dead Girl. It's flash animation especially remind me of the puppet-rigged toons of the 2000s (again like Salad Fingers or Lenore). It's not bad, it's just not inherently 'feature film' quality flash, nor is it exceptionally artistic like Sita Sings the Blues in it's simplicity. Like, really, if you happen to find this thing it's not the worst animated project at all it's just amateur for a professional production. I've seen worse flash movies. Heck, if The Romantic were released in separate parts on youtube or Newgrounds as a series (ala Homestuck) I'm sure it would have been really successful and totally in it's element. But it wasn't.

Because next to no one has seen it and I'm lucky to have not only ever seen it when it was available for free but have also found it recently (hush hush, I ain't telling you how) I'm going to actually give you all a plot synopsis under the cut. There will be some details I leave out and I think I've spelled some characters names wrong. It's a bit of a surrealist film as well, so you might need some things explained.

Spoilers ahead:

The Romantic is set in an autumnal, surrealist world inhabited by humans and monsters and ruled by three gods; Po the goddess of love; Pik the god of Hate; and Pjorrc the god of time though Pjorrc was made to live inside a pumpkin moon as everything he touched rabidly aged and died.

((Tapestry art featuring the main three gods of the film.))

A young man (called “Romance” or “The Romantic” by the other characters) performs a bull sacrifice in order to summon Abbledepopa, the unseen creator of the other gods and ‘storyteller’ of the world. The sacrifice does not conjure Abbledepopa but, when Romance spares a monster that was ready to eat him, the monster tells him of a profit named Patience. Patience is a foul-mouthed dwarf living alone with an army of babies who points Romance in the direction of Po.

((Romance outside of Patience's house.))

Romance wants the god’s help because he has fallen out of love with his girlfriend. Po grants him his desire and restores his love only for Romance to return home and find his girlfriend with another man. Blinded by heartache and rage, Romance kills her. He then swears vengeance on the gods for ‘making’ him do it. In the midst of this vow, a corrupt prophet called Fat Daddy kills the queen of Vauxhaul (Romance's home) and her guards, and forges a new body for his newborn son with their bodies. Fat Daddy rallies the townsfolk behind him in supposedly finding the Queen’s murder into follow a new religion called "The Poetic End".

((Romance (right) besides the monster he spared at the beginning of the movie.))

Patience accompanies Romance on his quest and tells him to take Po’s mask, which hides her true face, once he kills her. Romance buys Po’s trust by weaving her a tapestry that tells her story: in the dawn of time Po and Pjorrc were in love. However, Pjorrc gradually became distant and Po became resentful when their daughter, Love, earned Po's original title as the god of romance and love.

In the present day, Romance sleeps with Po for over a year before finally killing her and taking her mask. He and Patience return to his home of Vauxhul only to be chased out by Fat Daddy’s personal army. They flee to Marshallton, the town nearest to the god Pik.

((Romance's hometown of Vauxhul. ))

The king of Marshallton, King Crookie, tells Romance of a prophecy he, Patience, Fat Daddy and all the gods are a part of and that the world is soon to change. Romance then fights and successfully kills Pik when he shows the god of hate his reflection in a mirror King Crookie gave him, but not before losing his hand to Pik.

When Romance comes down the mountain he learns from Patience that nine years have passed since his fight with Pik began. Patience reveals to Romance what Pik saw in the mirror that allowed Romance to take the killing blow; after Love had grown up and married, Po asked Pik to tell her where her husband was always running off to. Pik reluctantly revealed Pjorrc was disguising himself as a human and married a mortal woman. Po found Pjorrc and his pregnant second wife, forcing Pjorrc to leave his human family behind, but not before asking his wife to name their son “Patience”. In retaliation for his treachery, Po proceeded to sleep with fifty men and produce the fifty bastard children in Patience’s house.

((Fat Daddy, the main villain.))

Marshallton and the entire rest of the world has fallen to the rule of Fat Daddy, who captures Romance and Patience. Fat Daddy tortures Patience into telling him how to get to Pjorrc but is unable to convince Romance to take part in his ‘new world’ or give him Po’s mask. Romance and Patience escape and leave the village to be torn apart by the fifty babies Po had, now transformed into veracious monsters after Patience didn’t feed them for the past ten years. Romance confronts Patience when he realizes the latter is Pjorrc’s son. Patience calls Romance out on his mantra of vengeance and points out that all his decisions are his own, not the gods, and instructs him to seek Love herself in Po’s basement. Patience then attempts to confront Pjorrc but is cornered and killed by Fat Daddy before he can do so.

In Po’s basement, Romance finds Love nailed to a wall, her face torn off and half eaten by her deformed husband. Love tells Romance that Po ripped off her daughter’s face in rage over Pjorrc’s infidelity and Pjorrc did not intervene fast enough. Po then threw Love into her basement, turned Love’s husband into a monster, and wore her daughter’s face as a mask - which Romance had broken into pieces moments ago after Patience had shown him his face in King Crookie’s mirror. Romance then finds Pjorrc hanging himself. As he dies, Pjorrc tells Romance to take the hand Fat Daddy had cut off and sew it onto himself, which will in turn help Romance defeat Abbledepopa.

Romance traverses the wasteland and does not find Abbledepopa, but instead a golden loom. Having seen all the destruction he and others had caused, Romance sits upon the loom and accepts his fate as the new ‘storyteller’ of the world, as he begins weaving a new one...

---

I mentioned before the animation quality of the film and why maybe that caused people to overlook it. The only other thing I could complain about on a technical level with The Romantic is it's sound design. Some of the voices and music is a little too quiet and so all these key details I had to go through the film a few times to really piece together. But that leads me to the thing I like about this movie and I'm sure others would to: the lore.

It's very hard to create a new fantasy world w it's own customs, religions, history and rules out of the blue as any YA Harry Potter/Hunger Games ripoff book could tell you. The Romantic is so unique in how it handles the pantheon and culture of these three gods and their kin; really only four or five characters throughout the entire story aren't connected to the gods or prophecy in some way, as there's the main three gods, Abbeldepappa, and the prophets Patience, Love and Fat Daddy, who make up your main cast besides Romance. There's a lot that's intentionally left unexplained and other info that must be explained, like Pjorrc and Po's marriage and Romance's feelings towards the gods, if we want to understand the former. The movie is paced pretty well and knows when to follow up on what, it's just that again some of those animation and editting shortcomings might make it hard to understand...but I don't think THAT hard. Look, if someone can enjoy Starchaser: The Legend of Orin or even better surrealist world-building films ((Fantastic Planet comes to mind)), then I say there's no reason The Romantic wouldn't have a following. There's no other way I can articulate why and what doesn't work about the story except just to recommend you watch it yourselves, but before I get into that I want to talk themes...because I love the themes and tone of The Romantic.

I revisited The Romantic a week before I made myself watch Centaurworld and The Owl House for the first time...and what a week that was~! The Romantic has the vibe of those kinds of shows along with Adventure Time and Infinity Train ((so I hear, I haven't watched the latter)). It's surreal and you'll only marvel at 'woooah wut an acid trip' for so long before you get into the vibe of the universe. It also reminded me substantially of the Broadway musical Hadestown and not just because this movie is also a self-contained, somewhat self aware fable about the relationships between humans and gods - it's very raw in how the characters talk. It's very emotional and blunt in how kind and how cruel they can be, and it doesn't make excuses or really worships any one of them. Romance himself is the world's most likable Incel: he murders a woman he thought he needed to love and blames his emotions on the gods of those passions...except the gods AREN'T the manifestations of love, time, and hate - they simply dictate and oversee it in the lives of men. It's a dynamic I really like in religious works where Gods are powerful but not all knowing or puppet masters to everyone's design- they have morality too and there is only so much you can blame and get from them.

"You made your gods into excuses and your excuses into gods!"

-Patience. This here is a cool quote. I like this quote.

No matter what, The Romantic is not gonna be a film for everyone. We all have our tastes - I think I'm drawn to it and accepting because I've come to love these kind of worlds that used to keep me up at night - these trippy 70s inspired fantasy landscapes given a whole Avatar: The Last Airbender degree of worldbuilding and character worth. It also doesn't feel exploitive in it's violence, it's sexuality, it's grimmness - it doesn't feel like it's trying to hard or going over the top because it happens to be an adult animated film, something that I love in movies like 9 or Hair High but really turns me off in stuff like Sausage Party or Wizards. Whatever go watch The Romantic...

if you can.

-----

When I first saw this film in 2016 it was actually very accessible and was even uploaded to youtube by the creator himself. I don't know WHAT happened to Michael P. Heneghan, but simply put, the man's disappeared...like...REALLY disappeared.

Lookit his IMDB. He has The Romantic and a wapping two other projects to his name. His Twitter isn't very helpful either. He last updated in early 2020 and he says next to nothing about The Romantic. It's so odd that he would one day be happy with the film enough to host it on Vimeo and Youtube but then just cop out.

According to a Reddit user: "On Valentines Day 2011, Heneghan released the film for free online through all kinds of platforms including direct download, bittorrent, Vimeo, and even directly through Archive.org. He even joked about releasing a 300 gig uncompressed version.

I know I watched it on Vimeo probably as recently as 2016. Now I can't find it anywhere. The website is dead, the Vimeo video went private, even the archive.org version has been taken down. It really looks like he wanted to wipe it off the face of the internet. His newer website mentions it, but again, the Vimeo link is dead and even that website is closed for business."

It's weeeird. What happened Michael?

And yes, obviously, other people worked on the movie.

No - I can't find out anything about them either.

I'm betting on three theories at the moment: 1) this film is an SCP or some Candle Cove weirdness with only me and a handful of people ANYWHERE remembering it, 2) something weird is going on w Michael Heneghan and it involves too something about this film. It was a scam or a scheme or a hidden agenda weirdness, 3) Heneghan's doing okay he just doesn't like this film anymore and wants it hidden while he takes a break.

Look, I get it Michael! What was once our life's worth can become cringe as you improve as an artist - you're not the person making the stuff you were ten years ago...but you should still have the film kept alive somehow. Someway.

I'm seriously the only person to have ever made fan art of this movie on the internet. That just doesn't happen, and I don't think I like being in a fandom of one. The Romantic is a testament to the power of design and storytelling > animation quality itself. Too often I see people equate good animation with smooth animation, with a budget with squash and stretch. These animations are good but art is diverse and there's so many kinds of films out there, the value of the medium can't just be in one style/form. There's a lot of honestly wonderful pieces of art out there if you know where to look and you're willing to see where it leads you.

Don't let The Romantic be the most forgotten movie of all time. Reblog this post. Show it to your friends. PM the animation community reviewer people like Saberspark and someone who isn't Saberspark and smuggle them a copy.

Keep telling the story...

[reginaofdoctorwho]

if anyone wants to recommend musicals to me I would fucking adore that. Until then, here are some suggestions:

Love in Hate Nation-- LET’S GO LESBIANS! 1960s sapphic love story taking place in a girls’ reformatory. Also, trans girl played by trans actress!!! Some of the amazing songs are “I Hope” and “Oh Well”. Susannah Son wants to be a singer, her performative activist boyfriend is gross and also wants her to marry him so he’ll have better options politically. Sheila Nail is so fucking cool and I love everyone in this. My brain cuts out about this I’m so sorry babes. There is not a cast recording but there IS an original cast bootleg on youtube.

Holy Musical B@man!-- If you liked the goofiness of 1960s Batman and Robin, but think “man, these guys should’ve been able to swear! And also should have had a candy themed villain!” this is the musical for you. Also if you’ve heard of the very queer Harry Potter musical that JK herself tried to sue over, it’s made by the same group <3. As usual with Team Starkid, whole thing is up for free on youtube by the creators.

Firebringer-- Speaking of the same group... Cave people sapphics who I think are bi or pan. I love them and they’re all so dumb. Also, if you’ve seen the “I don’t really wanna do the work today” vine, that comes from this. I do not remember any of the second half other than one of them taking the ring the other is proposing with... to propose. And the “*blows kiss*” “fuck no, Zazz” “duly noted”. Kind of like a shitpost musical. Once again, free by creators. Actually, check out any of their musicals.

The Prom-- In Indiana, Emma just wants to take her girlfriend to the prom, and in response, the PTA cancels it. With some help from some broadway actors looking for good publicity, they manage to pull it off. So, to summarize, teen lesbian gets gay uncle who knows what she’s going through!! This musical makes me cry every goddamn time. There is a movie now, and I’m very happy about that because *high profile gay rep on netflix*, but I personally did not like the direction they took with it. They put a weird amount of emphasis on biological rather than found family in the movie, and were a little too forgiving when it came to trauma from family for being gay. Also, they took away Emma being butch. This was sadly (loosely) based on a recent true story from I think 2012. Also, was the first gay kiss in the Macy’s parade. You know those movie musicals the straight girls in theater like? The music is similar, but gayer, and for some reason that makes me so fuckng happy. I think it’s because non-queer people have had musicals for so long, and those normally have a 60s vibe, and the music in this does too and it feels more classic?? Sapphic promposal song (het at the beginning). “Unruly Heart” and the end of Act 1 will break you. Please ignore the bad wigs.

Spies Are Forever-- GAY SPIES GAY SPIES GAY SPIES!! Curt Mega (played by... Curt Mega) lost his partner Owen during a mission. Now, he’s just trying to get back into spying like Owen would want. I fucking weep every time. Also, a song about comphet (at 6:36)!! And here is a video essay on how it relates to the Lavender Scare. I want you all to know that everyone also headcanons the femme fatale spy in it as either a lesbian or aroace, which uh, makes sense. Also high quality videos put up by creators. They had Jewish people making fun of Nazis while writing this, but “Not so Bad” is... kinda bad. “Torture Tango” has so much goddamn sexual tension and becomes devastating.

Hadestown--  If you know the myth of Orpheus and Eurydice, it’s like that, except capitalism part 1. Orpheus is a poor musician, Eurydice dies, just like the myth. Except, the Great Depression post-apocalyptic setting that works better than it probably should. There are actually 3 soundtracks: the concept album, off-Broadway, and Broadway. I personally don’t like the concept album purely based on vibe. Off-Broadway has an absolutely gorgeous sounding Orpheus, and if you’ve heard of the disaster that was Spiderman: Turn Out the Dark, then you’ve heard of surprisingly amazing Broadway Orpheus Reeve Carney. The Fates are gorgeous and I’ve decided they’re queer. Tony’s performance link here. Explores relationships, with Hades and Persephone’s aging relationship mirrored by Orpheus and Eurydice’s relatively new one. Anyway, unionize.

Jasper in Deadland-- If you know the myth of Orpheus and Eurydice, it’s like that, except capitalism part 2. Jasper is a teen who’s best friend Agnes is pretty much the one good thing left in his life. His mom left, he got kicked off the swim team (he’s manic pixie dream boy in this, especially for swimming), and Agnes dies at the beginning trying to show Jasper that she’s brave and he should be too. So, he bravely ventures into Deadland to find her, meeting Gretchen the tour guide along the way. He also finds out that since he’s still living, he can bring memories back to the dead. Songs like “Stroke by Stroke” (he’s uh, definitely a teen, guys) and “Living Dead” (I shared a prinxiety animatic of that on here a while ago).They blend Greek, Norse, Egyptian, Christian, and whatever Dante’s Inferno counts as together to create Deadland. Story’s kinda hard to follow from the soundtrack, so if u wanna learn how it all ties together message me.

Death Note Musical-- Okay babes, here’s where it gets tough. It was written originally in English, and there is a spectacular English concept album, but the only productions have been in South Korea, Japan, and I think Taiwan. Listen to it anyways, find a bootleg of it with english subtitles. It has so much gay tension and also a truly ethereal character who seems to be a lesbian who is also either demisexual or demiromantic. If any of y’all saw the anime like me, it kind of cuts out the arc after episode 26. I personally thought it was actually a better story for it.

Alice by Heart-- Okay, this one makes me fucking cry every goddamn time. In WW2, these poor goddamn kids are all alone in the Tube System (is that what y’all call it? genuinely asking here) with none of their parents but still some grownups. Alice’s best friend Alfred is dying of tuberculosis, and to try to have one last thing together they start reading Alice in Wonderland, only for Nurse Hart to rip it apart to try to separate healthy Alice from dying-from-TB Alfred. It doesn’t work, and Alice proclaims she “knows it all by heart”, She tries to linger in the story with Alfred to have more time with him, he keeps trying to move it along because he’s dying and wants to finish it one last time. Themes are growing up and grief I guess.

Last I checked, there is a bootleg for all of these on youtube. Have fun!

[bloodywonder1846]

Yes! This!

I have a very strong connection with this show, I’ve loved it for a while now. I have very strong opinions on the story and the characters, and I have very specific interpretations, but you don’t see me being hateful towards people with different opinions, or acting like I know more & am better because of my own opinions. (This isn’t me trying to pat myself on the back for not being a jerk, just saying.)

I’ve never seen the Broadway revival live, but based on the soundtrack and what I know about it, I love it! I do have a couple of criticisms, there are some things that the revival does that I’m not into, but overall, I love it & I love the cast! You don’t have to like the revival, and you can have your criticisms, but don’t be a jerk or a gatekeeper about it.

I’m always afraid to admit it because I’m terrified of all the backlash, but I first got into Sweeney Todd when I was 13 & watched the movie version on Netflix after school. I’ve been a huge fan of the musical ever since, and this musical is actually what got me into theatre in the first place. I know the movie is a mixed bag within the theatre community. In fact, many of you hate it. I was always so scared to admit that I liked it, and even more scared to reveal that it was the first version of the musical I ever saw, because I didn’t want to be accused of being a “fake fan.” “Just some young person who doesn’t REALLY care about Sondheim or musical theatre.” I felt like I had to prove myself to the older fans, that I was just as dedicated and knew just as much about the musical as them. I did as much research on the show as I possibly could (though that wasn’t only to make myself feel less like a fraud, I’m also just neurodivergent and this is a special interest of mine, lol). I’m tired of people being gatekeepers, acting like only the version they like is the valid one and that everyone else is wrong and a fake. Trust me, I have criticisms regarding the movie too, but I still like it, and I’m tired of pretending I don’t. (My little joke with myself is that the movie is “Sweeney Todd abridged,” lol)

And regarding the shipping- Just leave people alone! I know that Sweenett isn’t for everyone and that’s perfectly fine, but you don’t have to harass people who like it! Let me have my silly little fun & wholesome headcanons and one shots and such without getting um actually’d about how it ends and how Lovett lied to Sweeney and so on and so on. I get it, I know.

I love Sweenett. I think they’ve got a very interesting dynamic. They’re two lonely and broken people who find friendship and connection with each other. They’re incredibly messed up and flawed, but they do clearly care for each other and enjoy each other’s company (depending on the portrayal, a lot of things about this show tends to vary, but still). I know they’re both criminals and I know their story ends in tragedy, and yet I love to think & write about them being adorable. I like to think that had things gone differently, they could’ve been happy together. This is another thing I’ve always feared sharing, especially in general theatre spaces, because I didn’t want to get harassed and bombarded by people telling me how much they hate it and all the reasons it’s bad and how I’m dumb for liking it. (Just leave me and my silly little Victorian crime duo alone, okay?)

I love Nellie Lovett as a character. I think she’s far more complex than people give her credit for.

I love the 1982 pro-shot, the og Broadway cast recording, the movie, the Broadway revival, and the clips I’ve seen of the off Broadway revival from a few years ago. (There are many productions I have yet to learn about, I just love this show in general)

I have many other strong opinions about this show and these characters, which I won’t get into right now, and I’d like to be able to express them without being harassed or treated like a fake.

I think any way that gets someone into this show is valid & worth-while, whether it’s the movie, the pro-shot, the Broadway revival, one of the many cast recordings, etc.

I have a major passion for this show and these characters. I know many of you do too. We can all have our own opinions, our own interpretations, our own personal favorite versions & actors. But please, don’t gatekeep. Don’t be rude to people. We’re obviously not all going to agree. I’ve seen many takes that I disagree with, I’ve seen many that I outright dislike, but I’m not going to be rude about it. I’m going to leave those people be. I think we’d all be a lot happier if we just focused on the things we like, and weren’t constantly attacking each other & focusing on what we don’t like.

Let’s just enjoy this amazing show, okay?

i’m not a fan of the possessive, self righteous i-know-the-show-better-you’re-a-fake-fan energy up in here i see sometimes. we’re all here because we adore this show. that is a beautiful thing!!!! we love something SO MUCH collectively that we have a little community to be crazy about it together. so why bring in all that gross dividing energy? sweeney todd is a piece of art and a very complicated one at that. we are allowed to interpret it a certain way and still respect different interpretations. let us have our messed up ships. let us have our stupid headcannons. let us have our favorite actors/actresses. no one’s changing the objective story or manipulating characters beyond recognition. we are watching and analyzing and learning new things about these characters and this story we all love so much. i understand the deep passion and appreciation for the original story and production of sweeney todd. i share that. i also love geeking out about sweenett and josh groban and annaleigh ashford. two things can be true at once. i think a lot of this division comes from differing feelings about the revival. first of all, can we be happy this incredible musical is THRIVING on broadway and getting thousands of new fans? so many people have been pulled into this delicious, dark rabbit hole only because of the revival, myself included. of course some things in the show were adjusted for modern audiences. mrs. lovett reads sexier and sweeney a bit softer because people like that shit (also modern audiences are dense and cannot pick up very subtle messages.) i believe the original production intended that dynamic between sweeney and lovett as well. stephen sondheim The Creator has indicated such himself. this one is just more upfront with it so audiences can understand explicitly and get the most out of the show. people love dark, sad romances and evil hot girls. and the show is doing AMAZING. you can have your harsh criticisms on the current production and actors. you can be boring and hold a hateful grudge against the revival. fine!! you’re missing out!!! but don’t make it the problem of people who love it and are having fun. please stop ostracizing people and giving yourself a medal for having a closed mind.

happy new year xoxo

[byneddiedingo]

Tunes of Glory (Ronald Neame, 1960) Cast: Alec Guinness, John Mills, Dennis Price, Kay Walsh, John Fraser, Susannah York, Gordon Jackson, Duncan Macrae, Percy Herbert, Allan Cuthbertson, Paul Whitsun-Jones, Gerald Harper, Richard Leech, Peter McEnery. Screenplay: James Kennaway, based on his novel. Cinematography: Arthur Ibbetson. Production design: Wilfred Shingleton. Film editing: Anne V. Coates. Music: Malcolm Arnold. Tunes of Glory is a kind of anti-buddy movie, meaning that its chief distinction is that it gives us a chance to see two great actors paired off, though hardly as buddies. Director Ronald Neame originally thought that Alec Guinness would play Col. Barrow, the reserved, by-the-book officer who comes as a replacement for the gregarious, happily boozy Maj. Jock Sinclair at the head of a Highland Regiment sometime just after World War II. Among other things, Barrow had been interned as a POW in a Japanese camp and still suffers from post-traumatic stress. This similarity to the character Guinness had played, and won an Oscar for, in David Lean's The Bridge on the River Kwai (1957), may have caused Guinness to ask for the role of Sinclair instead. I happen to think it was a mistake on his part: Although Guinness is known as a chameleonic actor, able to efface his own personality in his roles, he also carries with him our memories of other performances. Too often in Tunes of Glory, I think, we're distracted by watching an actor act, rather than being caught up in the character he's creating. I was as distracted by the image of Guinness showing through the part of Sinclair as I was by the fake red hair on his head. Mills comes off rather better as Barrow, although the film doesn't give him enough scenes to develop the character's backstory -- his suicide comes as rather too abrupt, I think. Neame noted in an interview that accompanied the film on the Criterion Channel that New Yorker writer Roger Angell once suggested that Tunes of Glory should have been a play in which Guinness and Mills switched roles on alternate nights, the way Laurence Olivier and Anthony Quinn did in a production of Becket on Broadway in 1960-61. Or maybe the point is that the too-talky, rather static Tunes of Glory would have been a better stage play than movie.

[turtlegirlave]

So this has a ton of opinions which I usually stray away from but i really let all my opinions out here. Also there is definitely fact mistakes, probably name mistakes and some incorrect singing terms in here, I wrote this at 2 A.M. with a limited knowledge of theater I’m just trying to get a point across.

Why s2 of hsm the series should have been newsies instead of beauty and the beast:

They say straight up in the show “we need a real Alan Menkhen musical” and they pick beauty and the beast instead of newsies, a literal Broadway stage production???

At first I assumed it was because the cast was primarily male, but that isn’t even a reasonable argument. 1)as shown by s1 when a boy played sharpay, gender doesn’t matter when being considered for a role. 2), a cast with multiple male leads would give the gay men in the show a chance to shine, instead of shoving them to background roles like Chip. Not to mention Carlos is a dancer, and newsies is a musical driven by choreography. 3), since nini moved there are only like 2 lead females anyway, which works for the 2 female roles in newsies.

Casting Wise, the play works SO MUCH better!

Ricky: jack kelley is a much better role for him than the beast for many reasons. First, their personalities are very similar with the mischievous main teen vibe, so the role would be like Troy where Ricky can slip into it easier. Second, it fits him better vocally. It is very clear from listening to Joshua basset sing that he has a relatively high vocal range, and singing low notes or in a deep voice doesn’t come as naturally to him. Jeremy Jordan has a similar vocal range, where he stays in higher octaves and more rarely uses a deep, monotone voice (at least never to the beast’s extent). Ricky would sound perfect singing in Jack’s vocal range. The beast, however, sings almost exclusively in an extremely deep, monotone voice that Joshua cannot easily perform.

Ashlyn: not only does she look quite similar to Katherine, but they have similar personalities as well. Also, katherine’s high and bubbly singing voice would sound lovely with Ash’s, which is also high and bubbly but often softer. This would allow her to push herself to sing louder and more confidently. And she still gets to play a smart bookworm lead female role.

Kourtney: she was born to play miss medda larken. Mrs. Potts’ debut song “beauty and the beast” is a soft romance ballad, which does not match kourt’s stadium reach, strong, powerful voice. “That’s rich” not only shows off her vocals better, but matches her personality and voice much better with the grit and power behind it. Also, Mrs Potts as a character is the soft, motherly type. Miss medda is a rambunctious, empowered, “I got men if I want em but I don’t need em” kinda woman. Which role better fits the girl power, loud, activist, personal cheer squad type person that Kourtney is?

Carlos and Sebastian: not only would this stop shoving the gays and only interesting men other than Ricky to background roles (sorry big red), but it would show off their talents. Seb would make a wonderful crutchy, with his innocent nature and likeness to the character. It would also give him a chance to flex his vocals and sing a duet with Ricky in Santa Fe, further developing the friendships in the show. Carlos could play really any of the main boys, I mostly think he would kill in this due to his dance and choreography skills, which newsies really emphasizes.

Big red: PLEASE this boy would be perfect as Ben Cook’s role (can’t remember the newsie’s name). They’re both the kinda dumb but endearing friend type, and he leads “king of New York”, a song with a killer tap dancing break, which is the whole reason big red wanted to try out! His chemistry with Ricky as crutchy would make that a fine role for him too, but since Sebastian has stronger vocals I think it’s better for him to take a more prominent role while big red relies on his dancing skills over singing.

Gina: though there’s no more lead girl roles, I think she would kill it as mr. Pulitzer. They could add some spice to the character through her insane dance skills, and she would play a great “cunning yet intelligent buisinesswoman” type. This dude also gets 2 or 3 songs, and honestly I don’t remember who she plays in Beauty and the beast so idk.

EJ: I admit Gaston is a perfect role for him and I can’t fit him into newsies well. He would play a good spot conlin, though it is a significantly smaller role. No one really cares about ej though so small loss.

Plot valuability:

doing newsies makes literally way more sense. Firstly, they are kinda planning entering this show last-minute compared to the competition, so to pick a show already written and choreographed for stage production would really save time. (Even though it would still need work to be condensed for a high school production). Second, miss Jen is so determined to stand out from the crowd and win the contest so she picks... beauty and the beast? One of the most popular Disney movies (and honestly with one of Alan’s weaker soundtracks compared to tangled, Aladdin, and the little mermaid imo). Having them do newsies, especially when switching up gender roles like casting Gina as Pulitzer, would actually make them stand apart from the dozens of schools performing Disney movies. It would also give a significantly more impressive vocal and dance performance, since the songs were written for Broadway singers rather than actors. The set is also more cheap and condensed, while still looking professional, which would help with their “we’re too poor and late to afford a straight-up aquarium so let’s do the most with what we’ve got.” Putting the characters in these roles would also not alter their development or main story plots much, besides strengthening certain friendships and pushing aside less popular characters (ej). It would also give more rep for the gays as well as switching up gender roles. Imagine, the gay guys get actual things to do in the show and aren’t defined by the sole plot of “my boyfriend rich” relationship drama! (I love these two but I am a tired ace). Also jerjor performs in both this and tangled the series, so it’s a double whammy for Alan menkhen representation.

Marketability: I know the musical has to be widely known and appealing to viewers. People watched s1 because they love hsm. People also love beauty and the beast, so viewership may raise with fans of the movie. Newsies doesn’t die here, though. It is a very widely popular play among theatre people, and existed first as a movie musical so it isn’t exclusive to theater kids. Also, fans of Newsies are generally between their tweens and early twenties, the exact age demographic for the show. Beauty and the beast is a classic and more widely known, but also doesn’t draw in large numbers of the exact age group you want. Also, the fact that newsies is a little less mainstream only helps the plot point of them choosing it to still have something well known while also standing out from the competition. Doing beauty and the beast is not only an awful choice for casting that limits the actors vocals or is completely out of their range, but it also makes them blend in with the crowd.

Final notes: beauty and the beast was IMO the worst choice for the play this season. Movies like Aladdin and tangled both have very energetic and loud soundtracks that allow these characters to belt their hearts out. Beauty and the beast has a very folksy, quiet, ballad type of track that limits the actors. The only actor that I think sings ballads better than big booming tracks is Nini, who isn’t even in the play this year. Ricky also sings great ballads, which is why ballads that are still slow but also emotional and powerful like “Santa fe” or “something to believe in” (which would sound AMAZING in his and Ashlyn’s voices) fit much better than the deep voice of the beast that he can not comfortably sing in. Also, the beast has very few songs whereas newsies would allow him to belt his heart out in nearly every song with that lovely voice he has. The age range of the newsies cast (that characters are supposed to be 17) fits better with these very teen actors than a movie about old fashioned French young adults. Really newsies was the best musical choice for this season, but I also believe beauty and the beast was the last one they should have chosen.

(After reading comments I rescind my statement that beauty and the beast was the worst choice, but it’s still second to newsies imo)

Feel free to debate me in the comments or point out my mistakes, I’m very open to other points of view

[wrenhyperfixates]

Opening Night

Pairing: Loki x reader Summary: When Loki scores the lead in a production of West Side Story, the two of you become fast friends. You help convince him to face his fears and invite the Avengers to see the show. Warnings: a bit of innuendo, fluffy, and extremely self-indulgent A/N: It isn’t necessary to know the plot of West Side Story to read this, but I still recommend you guys check it out. They made it into a movie that’s pretty much the same as the stage version. And if you’re interested in the songs I used in this, they’re here and here. Also, idk if this is common knowledge, but a stage manager is the person in charge of tech, set changes, and all that jazz. Theater has always been a huge part of my life, so I definitely wrote this with myself in mind but I hope you can all enjoy too!

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Disclaimer: Picture not mine.

He looked so beautiful up there on that stage, you thought. He almost didn’t get the part either; Auggie, the director, had been worried that putting the God of Mischief in the lead role would be bad for business. You’d fought for him, though, and you’d been right; tickets were nearly sold out once people found out an Avenger was performing. Besides that, Loki was extremely talented, and you were certain no one else could have carried the role quite so well as he had been. It was a definite plus that he had become a very close friend, too. And you maybe, just maybe, had a tiny crush on him.

“It’s getting late,” you said once he finished singing, applauding as you walked out of the wings. Everyone else had already gone home, so it was just you and Loki. He’d wanted to stay and practice a bit more, and as stage manager, you had to stay to lock the place up. “Are you ready to head out?”

He looked out at the empty seats in the audience of the community theater. You wondered why he hadn’t tried out for off-Broadway, or even Broadway itself; he was certainly talented enough. Somehow, he didn’t see it. You could still remember the look of excitement on his face when you officially met him for the first time. How he’d told you he hadn’t been expecting the lead role. It hadn’t been what he’d tried out for, after all. You assured him that in this production of West Side Story, it was a clear choice who should play Tony. Him. Your friendship moved rapidly after that.

“I do not know, darling,” he replied. “Opening night is this week, and I want to make sure I am as good as I can be. If you would like to lock up and leave, I can just teleport home.”

“No. If you’re staying, I’m staying.” He smiled as you put your bag down and sat on one of the wooden blocks you’d painted weeks before. “Don’t you think you should give your voice a break, though?”

“Ah you forget darling, I have the stamina of a god,” he replied with a wink. You averted your eyes, hating where your mind went after that statement. “Besides, I have been resting it at home.”  

“Fine, but I swear if you lose your voice, I’m not helping you break the news to Auggie,” you giggled.

He chuckled, “Fair enough, darling.”

Convinced that he could handle it, you let him play the track and start singing. As he practiced his part from the Quintet, he walked over and knelt before you. You were certain the expression of complete adoration on his face was just good acting, but it still made your heart flutter. As the music crescendoed, he stood up and offered you his hand, taking you to center stage. He kept singing to you the whole time, his hand coming to caress your cheek as was dictated by his choreography. Again, you knew that’s all it was, but the butterflies in your stomach didn’t care.

As the song ended, he didn’t immediately move to turn off the music like he usually did. Instead, he stood where he was a minute more, one hand cupping your cheek, the other on your waist. A kiss most certainly wasn’t supposed to happen here, but you swore he started to lean in towards you. Afraid to break the spell, you didn’t say anything. When the next song started playing, he came out of whatever trance he was in and moved back, clearing his throat.

“Sorry,” he apologized, the faintest of blushes coloring his cheeks. “I just got lost in the song, I suppose.”

“Oh, uh, yeah,” you replied, rocking back and forth on your heels, disappointed. “It’s fine, I totally get it.”

After turning off all the lights, the two of you finally left, stopping for a coffee on the way home, as had become tradition. You laughed as he told you a story of his childhood on Asgard, animatedly waving his hand about. Waiting for a light at a crosswalk, your phone chimed, and you checked it.

“Shoot. I got to go, Loki,” you informed him. “The copy place finished with the playbills, and I should run to pick them up before it closes. I don’t wan’t to hold you up, though.”

“Nonsense,” he said, changing direction to walk back the way you’d came. “It would be my honor to accompany you.”

You made it just in time to pick up the box, which was heavy enough that you swallowed your pride and let Loki carry it. Since it was cheaper to just fold and staple the pages yourself, you had quite a bit of work ahead of you. Sure, you’d get the rest of the crew to help you tomorrow, but you wanted to get a jump start tonight. You told Loki as much when you’d started the trek back in the direction of your apartment, and his answer surprised you.

“Why not come to the Tower? I can help you put them together,” he offered.

“Oh,” you replied, the butterflies in your stomach returning. “I wouldn’t want to impose.”

“It would be no trouble to have you, darling. Really.” It was already dark out, making it hard to see, but you were pretty sure he was blushing again. “It is much closer than your home. Of course, there is no pressure to say yes.”

You shyly smiled at him. “Thank you, Loki. That’s very generous. I would love to come.”

The smile he gave you could have lit up the whole city, it was so bright. It was probably silly to be so happy that you could make his face light up like that, but you couldn’t help it. That was when you realized that your little crush had turned into something much, much more. You were falling in love with him. You were convinced it was unrequited though, so you wouldn’t say anything. You just hoped that you’d stay in touch once the show was done and rehearsals stopped.

Everyone knew of Avenger Tower, of course, but few had ever been inside. You marveled at the massive lobby as he led you to a private elevator that said “Avengers Only”. It made sense, you thought, that they should have their own if they lived here. And of course it was so high tech that it had to scan his eye to start working. He chuckled a little at the amazement on your face, thinking you looked absolutely adorable.

“Ok,” he whispered as you stepped out of the lift. “I am sure most of the team is asleep by now, so if we just slip past and-”

“Brother!” Thor boomed, cutting off Loki. “There you are! You’ve been gone all day- Oh. And who is this?” he asked, noticing you.

You introduced yourself, and Thor shook your hand with a firm grip. Even though you’d already known Loki for months now, you were still freaking out a little at meeting another Avenger. Really, how many civilians could say they knew not one, but two superheroes? You nearly lost it when Iron Man and Black Widow rounded the corner.

“Hey, Reindeer Games. You made a friend,” Mr. Stark said. Then he wiggled his eyebrows and added, “Or maybe something more.”

“Oh, shove off, Tony,” Nat said, flicking the side of his head. “You’re ridiculous.”

You introduced yourself to the newcomers, and they asked you to call them by their first names. The only other time you’d been this star struck was, unsurprisingly, when Loki had shown up at the audition. You looked over at Loki, who seemed rather uncomfortable. Though you wanted to chalk it up to him just being nervous his two worlds were colliding, you could tell there was something more to it. You worried for a second that he was embarrassed of you, but you didn’t really think it was that either, certain that notion was just your insecurity getting the better of you.

“Well, we should be going then,” Loki said, ready to retreat to his room.

“Oh, come on,” Tony replied. “That’s no fun. Why don’t you guys join us for a drink in the kitchen?”

You were tempted to say yes, but Loki shifted the box in his hands, reminding you of why you were there in the first place. Besides, if Loki wasn’t feeling up to it, you didn’t want to subject him to socializing. Not to mention an evening alone with him sounded absolutely magical.

“No, it’s fine,” you answered, and Loki sent you an appreciative smile. “We’ve got work to do, anyway.”

“Oh?” Thor questioned. “Does it happen to have something to do with the mystery box my brother is carrying?”

“Actually, yes,” you told him with a smile. “See, they’re playbills for-”

“For the show that they are a stage manager for,” Loki interjected, looking absolutely panicked. “That is all. No more questions needed.”

“Oh, that’s so exciting!” Nat smiled. “Are the tickets available yet? Can we come see it?”

“No, sorry, it is sold out,” Loki replied before you could, an expression of utter befuddlement on your face. “Maybe next time. Now, as we said, we have work to do. Alone.”

“Hey, it’s alright, Reindeer Games,” Tony said, winking, and ushered the others away. “I get what you’re saying. You two kids have fun now.”

Loki’s face was burning from embarrassment as he led you to his quarters. Your mouth dropped open at the sheer size of it. You guessed that after the lobby it shouldn’t have surprised you. Besides how vast it was, it somehow screamed Loki. The green furniture with black and gold accents. The numerous floor to ceiling bookshelves that didn’t have a single inch unoccupied. The carefully crafted decor, often featuring snakes subtly carved into it. And you were completely surrounded by his scent that you could never exactly figure out, but was very distinctly his.

You were brought back to reality by the light thud of the box on a table. As you walked toward him, Loki kept his eyes averted, focusing on taking the stacks of paper out. Standing beside him, you worked in silence for a few minutes until you couldn’t take it anymore, and finally had to ask what was on your mind.

“So, uh, what exactly was all that about?” you inquired.

“Oh, they are just very animated people,” he replied with a shrug. “And Stark is, well, Stark, so he has basically no filter. I am very sorry if they bothered you, darling.”

“That’s very sweet, Loki, but I didn’t mind it at all, actually,” you replied, folding the first playbill together. He snapped his fingers and a couple of staplers appeared on the table. “That’s not really what I was talking about, though.”

“Oh? Whatever did you mean then?”

“Please don’t play dumb,” you begged. The light clicks from the stapler filled the silence of the room as you waited for him to reply. When he didn’t say anything, you sighed. “I mean, why didn’t you say you had the lead in the show that these are for? In fact, why haven’t you told them about it already?”

He shrugged and made a noncommittal mumble, focusing on the repetitive task in hopes of distracting himself. You stopped working in favor of resting your hand atop his. It made Loki stop, too, and he finally looked you in the eye.

“Look,” you began. “You obviously don’t have to talk about it if you don’t want to; I understand, and I’d never want to pressure you into something that would make you uncomfortable. But I know you bottle a lot of things up, and that’s not really healthy. So if you do want or need to talk... I don’t know, I guess I just want you to know that I’m here for you.”

Then you hugged him. The simple action seemed to startle him so much that you feared it was unwanted and you’d been too forward. But when he hugged you back, you could feel the gratitude in his embrace, easing your worries. It was like he was holding onto you for dear life. As if you you were a lifesaver, and he was adrift at sea. It was a tense sort of desperation leaving his body, you realized, as he sank against your touch. You gently rubbed his back as his head nuzzled into the crook of your neck. You’d always thought he might be touch starved, but now you could feel it in the way he practically molded his body against yours, obviously trying to make the most of the contact. You wondered if that may have something to do with why he kept West Side Story a secret. Maybe he’d been neglected too many times in his life, now thinking the things he does don’t matter to anyone.

“I suppose I am just scared, darling. Scared that they would not want to come, that they would make fun of me, that I would fail in front of them,” he sighed. “Perhaps it is silly. I am sorry.”

“Oh, Loki, there’s no need to apologize. I meant what I said, I’m here for you.” You didn’t think it was possible, but he held you even closer. “Everyone gets stage fright from time to time. And you’ve never even performed before. Whatever the reason, it’s still perfectly valid and understandable.”

“Thank you, darling,” he sniffled, and you realized he was crying.

Leading him over to the couch, you sat and continued to hold him. You whispered and cooed calming things in his ear. He tried to apologize for the tear stains marking your shirt, but you were having none of that. Everyone deserved a good crying session every once in a while, and you told him as much, encouraging him to let it out.

“Better?” you asked, wiping away the last few tears from his cheeks when he did finally calm down. There were some stray locks of hair sticking to his wet face, and you brushed them away, too.

“Mhm,” he nodded. He looked so fragile in this moment that you wished there was something more you could do to help him. “Thank you so much, darling. I think I needed that.”

You were worried that kissing the tip of his nose would be too intimate an action, but you couldn’t help yourself. You were very happy when he preened under the attention. “You’re very welcome, Loki.”

“I must ask, you are not going to tell them, are you? That I have the lead, I mean.”

“Well, no.” You ran your fingers through his hair as he sighed in relief. “But you should.”

“Do I have to?” he asked, giving you puppy dog eyes that made you chuckle a bit.

“I mean, it’s not required. I think you’d feel better if you did, though.”

“I suppose.”

“From what I can see, they love you, Loki,” you comforted him. “They’re your family, don’t you think?”

“How is it that you always know what to say?” he smiled up at you.

“I guess I’m just magic,” you laughed. He made to get up, but it seemed like it was a chore to tear himself away from you. You gently pulled him back down to you. “You don’t have to get up. You know, if you don’t want to.”

“I do not, but we hardly put any of the playbills together.” Even as he said that, he cuddled into your side. “I feel guilty taking up all our time.”

“Believe it or not, I’m perfectly happy to spend our time like this,” you reassured him, reaching for a blanket and covering your bodies with it. You’d been so concerned about Loki’s well-being that you hadn’t really contemplated the situation you were in. Now you couldn’t help but wonder if this snuggling was a normal thing for friends to do, or if it were a sign of something more. “I’d much rather help you through whatever’s on your mind than put together some playbills. There’s still plenty of time for that.”

“Thank you again, darling,” he hummed as both of you began to doze off, tired from a long day of run-throughs. As sleep claimed you, though you felt it must have been a dream, you swore you heard him whisper, “I love you.”

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

The rest of the week leading up to opening night was so hectic, you barely even had a second to dwell on that night with Loki. It was probably better that way, for if you had thought too hard about that morning, waking up in each other's arms, you were certain your heart would burst from happiness. So, no, it was better that you were focusing on the show.

“Guess who, darling,” Loki whispered in your ear as you reviewed the script in the wings, making sure everything was set for top of show.

“Loki,” you smiled, spinning to face him and throwing your arm around his shoulders. One of his arms encircled your waste. When you stepped back, his other came around from behind his back to present you with a bouquet of flowers. “Thank you so much! I actually have something for you, too.”

You grabbed the arrangement that you’d bought and gave it to him. You nearly melted under his soft gaze as he expressed his thanks. His makeup was already done, accentuating his already striking beauty. A large part of you wanted to lean forward and kiss his plump, pink lips.

“I have some news,” he declared. “I have told my fellow Avengers about the show. Sort of.”

“Sort of?” you asked, cocking your head.

“Well, I left tickets and a note for them to come tonight.” He nervously shifted his weight. “They do not yet know that they will be watching me perform, though. It was too hard to tell them, so I figured why not show them?”

You beamed at him. “That’s wonderful! I’m so proud of you. You’re going to do amazing.”

There was a slight hesitation behind his eyes, as if he was contemplating something very carefully. “Darling, there is something I have to tell you.”

“Yes?”

Just as he opened his mouth to speak again, the director burst into the wings. “There you are, Loki. I’ve been looking all over for you. Mic checks in five,” he said.

“My apologies, Auggie,” he replied before turning to you and resting a hand on your arm. “We’ll talk later, ok? Have a good show.”

“Thanks. Break a leg,” you nodded as he left, agonized by not knowing what he was going to tell you. You noticed Auggie giving you a look. “What?”

“I swear, you two better kiss before this week is over,” he muttered, leaving the wings shaking his head.

The remainder of the day passed in a blur, and you could hardly believe that it was already time for the show. You’d peeked out before it started and noticed the Avengers sitting in the front row. Those tickets had been sold out for weeks, and you smiled, realizing that Loki had wanted to invite them all along. He just needed a little push to actually do it.

Before Loki walked out onto the stage, you gave his hand a little squeeze. Despite how nervous you knew he was, he gave his best performance yet. After his first song was done, you glanced out at the audience to see the Avengers already giving him a standing ovation. You could see in his eyes how taken aback he was. He waited around in the wings until your set change was done so you could share in his joy. He gave you a quick, tight hug, absolutely radiant.

The rest of the show went perfectly, and Loki stunned the audience every time he stepped on stage. You were beyond happy for him, especially when he received thundering applause during bows. He came and hugged you again as soon as you finished closing the curtain.

“Loki, you were amazing,” you told him.

“Thank you, darling. And your set changes were flawless,” he complimented you in return. “I cannot believe the first show is done already.”

The two of you talked for a minute more before he had to go change out of his costume. You looked out from the stage a little bit later to see the Avengers hugging him and giving him more flowers than you could count. Even from a distance, you could see happy tears welling in his eyes. It made you grin uncontrollably to see him happy like that.

Later that night, you’d told the rest of the cast and crew to go ahead to the diner to celebrate without you, that you’d catch up later. You wanted to stay behind and touch-up a set piece that some paint had slightly chipped off of. Suffice it to say, you were a little startled when a voice cut through what you had presumed to be an empty theater.

“Always you. Every thought I’ll ever know,” Loki began singing his part from Tonight, walking down the aisle towards the stage. “Everywhere I go, you’ll be. All the world is only you and me.”

You chuckled as he ascended the stairs and took your paintbrush from your hand, setting it down on the tarp. He skipped to his next part in the song and began twirling you around the stage. After hearing so many rehearsals, you knew the words by heart and joined in, singing the duet with him. When you reached the dialogue breaking up the song, you stopped dancing, both panting a little.

“Loki,” you laughed. “What are you still doing here? I thought you went to the diner with everyone else.”

“Yes, well, you were not going to be there yet, and I have not had the chance to tell you what I have wanted to all day.”

“Oh my goodness,” you gasped. “I nearly forgot about that in all the excitement of the day. But you have my full attention now. What’s up?”

“I love you,” he said plainly.

You weren’t convinced that this wasn’t a dream or a hallucination of some sorts. But no, he’d said it, clear as day. He loves you. Loki loves you. It was shocking, to say the least. Of course, it was completely welcome, though. In your surprise, you took long enough to formulate a response that his smile faltered a little. His worries were erased when you kissed him, however. The god responded immediately, kissing you back with just as much passion as you did him.

“I love you, too,” you told him just as simply as when he’d said it to you.

After finishing up in the theater, you exited the building. Once outside, Loki couldn’t resist kissing you again before meeting up with the rest of the company. And, being the fluffy sap he was, he absolutely had to tell you he loved you again, this time referencing the show.

“Te adoro,” he said.

You beamed at him again. “Te adoro, Loki.”

[sassypotatoe1]

Ooooohhh okay so I know what you mean and I totally agree, but I agree from a personal taste perspective not a technical one. I studied media, and from an industry perspective the two parts thing here serves multiple purposes. First is money obviously, two movies mean two box office releases, two sets of merch, renewed interest after a year to boost merch sales and growing an audience through creating interest. The first movie will usually do worse than the second for a well-known and well-loved adaptation like this, because you'll have original Broadway audiences seeing it and a couple of mainstream audiences if you market just right.

However, if you release it in two parts, mimicking the two parts of the stage musical before and after intermission, you retain the Broadway audiences, because they're going to absolutely eat up the nod to the stage like this, and you gain massive audiences for the second movie through word of mouth among the mainstream audiences, if your first film is good. And because wicked is such a beloved musical, and Ariana and Cynthia have a proven track record of being skilled and well-liked each, you're basically guaranteed it will be.

It also serves the same emotional purpose as the intermission in the original Broadway production, because now you have to think about the implications and story built in the first half, but instead of an hour or half an hour it's an entire year to process. So you'll, if you're a mainstream audience member, learn about the background, discuss subtext, get to understand the media better. When you come back for part two, with that stronger connection and understanding, it'll hit much harder and mean a lot more to you.

The talking interruptions were put there for mainstream audiences, because musical theater uses a LOT of subtext and other dramatic devices because of how restrictive lyrical structures are, and if you don't know and understand musicals you're not going to pick up on them. Motifs, word play and subtext will fly over your head, so they give talking lines that explain what's happening to the mainstream audience so they DON'T miss things.

So while I agree from a personal taste perspective, the pacing was off and the talking dialogue didn't always land and was sometimes annoying, I do understand why these choices were made from a technical perspective, and so I can't actually really fault the film for it.

Anyway I hate what Dennis Villeneuve has done to the film industry. Stop releasing half a movie I'm gonna kill you. Wicked does NOT need to be that lang and the pacing is dogshit why do they interrupt the songs every five seconds.

[aceofshitposts]

I saw that you like CATS the musical. What are your thoughts on the movie?

AAAAH AHHAHA oh man oh boy y'all should BUCKLE IN cuz it's a ride

my simple thoughts? it's entertaining if only because it butchered the stage show so badly in an attempt to idk modernize it? Well, modernization is one part of it I think. The other part I'll go into below lol. I don't necessarily hate some of the more modern renditions of the songs (mostly the ensemble sets like Jellicle Song for Jellicle Cats) but then others are just... so poorly done it's insulting.

I've said this at the end of this whole rant too but I'm gonna put it up here in case people don't (justifiably) wanna see me go on and on about it:

The movie wasn't made for fans of the musical. It was made to make money and I believe they choose, at least partially, to do that through making it the weirdest and worst possible adaptation they could so that people would want to go see the train wreck. Which, really, worked! It was all people could talk about for a good while so like... Goal achieved, I guess.

A MUCH MORE COMPREHENSIVE ANALYSIS UNDER THE CUT cuz i don't wanna. flood your dash with... this

ALRIGHT SO. Most of my friends know I'm actually a huge fan of new adaptations of things. I love remakes (provided the people making it are coming at it with some form of heart and not just... cash grabbing which is more often the case) I love seeing other peoples interpretations of characters, or changing settings. It's one of the reasons I like American comics so much, getting to see different writers takes is fascinating.

I think musical movies can be wonderful ways to introduce people to a stage show that might have been unavailable to them otherwise! Chicago, for example, is one of the BEST musical to movie adaptations in my opinion. It kept the heart of the show, it's funny and the song numbers are done really well.

There are of course other famous examples, such as Grease or Bye Bye Birdie. Hairspray was also a wonderful take. These are simply off the top of my head, there are of course more.

CATS in particular has a history. If you go through my CATS tag you may see a few posts from @catsnonreplica which posts photos from non broadway productions of CATS! It's a fascinating read and I love, love, love looking at the other interpretations of the characters! CATS is a musical full of fun and wonderful characters if you take the time to see past the ridiculousness haha and the Korean and Japanese runs of CATS especially have some of my favourites.

How does this relate to the movie, I hear you say well. As you might has noticed the movie's interpretations of the characters is........ lackluster at best and downright uncanny valley at best.

CATS is, at its core, a ridiculous thing. I will fully admit that! But it's fun, it's entertaining and if you pay a little attention you can actually get the plot. (Honestly I don't understand when people complain it has no plot but that's a whole other rant for another day)

The movie was... obsessed with this idea of like... semi realism? Like obviously, as a fan, I think they should have leaned into the over the top character designs but instead we got...w ell:

Bombalurina:

Demeter left and Bomba right. Demeter was actually cut! From the movie which is. upsetting lmao.

Macavity is one of the worst offenders for me:

Macavity was... I wish I could know what the hell they were thinking there cuz it's even in his song? Ginger cat??? THAT IS NOT... A GINGER CAT...... but I digress. I would show more examples but I think you get the point.

So. We've butchered the characters appearances. Okay that's fine but what about their personalities?

ALSO BUTCHERED.

There's... there's a lot to unpack here. Just for context: the Jellicle Ball happens once a year and the Jellicle leader chooses a single cat to be reborn into a new life. In the stage play all the cats who are nominated for this honour are on the older side (Jenny-Any-Dots, Bustopher Jones, Skimbleshanks, Gus The Theatre Cat, and eventually Grizzabella) AND are always nominated by another cat. Not themself, unlike the movie where they all seem to nominate themselves.

Jenny-Any-Dots went from a doting grandmother figure who's celebrated for her selfless volunteering and tireless work into a conceited, vain younger cat who is obsessed with fame.

It's an incredibly strange dichotomy. I don't doubt some of it isn't the result of the uh people playing the characters honestly. I do think some of them did the best they could! I don't really blame Jason Derulo, for example, for Tugger. And honestly, Tugger was probably closest to his stage version (while being a trouble maker, he's shown to show Deuteronomy an immense amount of respect)

Speaking of Tugger! This will bring us to one of the biggest grievances with the movie and that is how they handled Mr Mistoffelees.

So... Ugh. So. We have Victoria as the pov character, which imo is like whatever in the grand scheme of things, and then we have Misto who they have decided will be get live interest cuz... Of course. Misto is shown throughout the musical to be awkward, unsure of himself and well. Really, kinda incompetent. Which is Wild cuz in the stage show he might be aloof but he's fairly confident in his powers.

So, Old Deuts gets kidnapped. In the stage show Tugger is the one to bring Misto forward! It's really quite sweet, imo, and I'm showing myself as a Tuggoffelees shipper here, but again Tugger is previously shown to be pretty conceited but then here he is boosting and hyping up Misto to bring Deuteronomy back. My friends and I have lovingly dubbed this the boyfriend hype song.

SOMEHOW. The movie manages to make this, easily, the MOST BORING number in the whole thing. Which, again, WILD. Misto awkwardly stumbles through his whole song, which again is... Boasting of his supreme magical powers which movie Misto clearly. Does not have or believe to have. The song, to me, feels super awkward and unnecessarily drawn out in the movie which sucks cuz it's one of my favourites in the show.

The declawing (heh) of Mr Mistoffelees actually reminds me strongly of how they changed Gaston in the live action Beauty and the Beast movie. He's gone from a beloved figure in the animated movie to someone so disliked in the town that Le Fou has to pay people off to say nice things about him. It's just. Wild character choices were made!!

Skimbleshanks the Railway Cat is probably my favourite in movie non ensemble number. It feels the most... Genuine? Compared to the other nomination songs.

Other problems include but are not limited to:

The inconsistent size scale of the CATS which throws me off constantly.

The weirdly overt sexual overtones added to MANY of the songs (Jenny and Bustopher being the worst)

This is just a personal gripe and opinion but I don't like that they used the UK version of Mungojerrie and Rumpleteazer. The American version is both better known and tbh way more fun. Teazer's giggle? Adds ten years to my life every time.

Victoria's added solo song, Beautiful Ghosts, while I like the song as a song it doesn't fit the style of message of the musical. In the movie she's singing directly to Grizzabella who's being an outcast for years that she should be grateful she even has memories of being part of the tribe?? What?? But I know they had to add an original song to be able to be nominated for awards in like the Grammys n shit (which is why all musical movies will have an original song, fun fact!!) kinda funny they went to the effort though considering........... I don't think anyone could have genuinely believed CATS 2019 was gonna win anything but golden rhaspberries.

Movie Mr Mistoffelees has made repeated appearances as my sleep paralysis demon

The various cut characters, shout outs to Jemima, Demeter and Jellylorum especially

Bombalurina being a henchman to Macavity rubs me the wrong way

God I've written... So much. You probably get it by now haha. Like I said at the beginning, I try to go into any adaptation with an open mind but... Let's be honest, this movie wasn't marketed to people who are fans of the musical.

It was marketed, and made, to make money. And they choose to do that through, I think, intentionally making the worst possible version ever. Bad press is still press and the more outrageous people said the movie was the more people wanted to go see exactly what kind of train wreck it was.

Which is a disservice to the stage show, honestly, and all the people who've worked on it over the years.

But what can we do, right?

And besides all that, I do... Still own the movie version and I do still rewatch it on occasion. It is entertaining even if it's in a train wreck kind of way. I usually end up watching the 1998 version, then 2019 and then various tour runs that are on YouTube. (I highly recommend the 2016 tour, it's very good)

So in conclusion. It's fun (?) to watch. I enjoy picking things apart and doing analysis (if you couldn't tell!) so like... I don't hate it?

It did what it set out to do, I guess, and I can't fault it for that but. It's not a fair metre with which to judge the stage show imo. But I know it's not everyone's cup of tea, haha.

Jazz hands. I'm more than happy to elaborate or just chat about CATS if anyone wants! I grew up listening to the Broadway CD since I was a toddler so it's been! A very long standing obsession haha. Probably the only other thing on par with CATS is my obsession with Jurassic Park which I've also been a fan of since I was 3 (but that's a whole story in and of itself)