#interesting periods of recent music history

[orphicarchives]

For The Glory of Rome

MARCUS ACACIUS X READER

You're finishing your senior year at Orpheus University when your history class is chosen to give an evaluation on one of the professors. Why does he feel so familiar?

⚠️ Past lives AU! Reader is Geta and Caracalla's sister! Reader is also 22 years old, Pedro is older. ⚠️

The mountains were just visible through the window you were sitting next to; their peaks reaching toward the sky above, almost as if in embrace. They were beautiful at this wintry time of year, with the snow cascading down their formations and painting them white. Bare trees that flanked them transformed into branches of green where the cold hadn't hit just yet- your eyes traveling further down the scene. It was that transitory period of the merging seasons, where autumn became winter and left everyone with an odd illness due to the changing weather patterns. Both snow and leaves were tracked inside the bustling classrooms that were alive with the excited chatter amongst the students. Everyone was excited for the upcoming break that would mark the end of the semester. For you, it would mean the midway point of your senior year at Orpheus.

You'd gone to Orpheus all three years of your college career so far, immediately entranced by the large stone pillared building it was. It was so different from your usual pace in the rainy countryside, with its suburban feel and authentic restaurants. It wasn't immediately that you felt the urge to explore the grand halls of the place and to make it your home, but that feeling came soon enough. One glance at the psychology department and a sip of coffee from the bistro down the road were enough to convince whatever part of you left unsure this would be the place. Even with how far you had to uproot yourself and make such a move, you'd made the connections you'd needed and the friends you'd always wanted.

Lee had sat himself next to you this morning with a coffee cup in hand and his phone in the other. He was addicted to that screen- any video that would appear around his recent interest in Danish pop music would be enough to send him down a spiral of excitement. The coffee, however, was for you.

"Morning!" He said, way too chipper for an 8:00am class. He usually went to Starbucks way too close to the time you were meant to be seated with only a minute left to spare. How he didn't have crippling anxiety around his time management, you'd never know. But he did bring you a drink.

"Hey, Lee." You said, with as much energy as you could muster at the moment given how tired you were. "Thanks for the coffee."

Lee threw his bag onto the ground under the long tables in the lecture hall. His spot had been on the other side of the room for the majority of the class as he'd argued he couldn't focus if seated next to you for laughter purposes. However, today he plopped himself down into the one next to you with his notebook open to the most recent material from last week. His hair was a mess as he'd most likely not had the time to brush it but at least his pants matched his shirt today.

"Yeah, 'course."

You took a sip of the drink, wincing slightly at the heat on your tongue. He'd remembered you liked your coffee black.

This morning, you had your history course which was conveniently in the building furthest from your shared apartment. Deciding the added three minutes to your walk would mean a warmer outfit for the day, you wore a white button down with fleece tights under your skirt. You had to substitute your usual leather jacket in favor for a heavier coat but still opted to wear the full face of makeup you had on every day. Eyeliner was your saving grace and you swore you'd never be caught outside without it on. You weren't much of a "girly girl," but that beauty product was the one exception.

Your shoes were still a little damp from the snow and the water had melted into the bottom of your bookbag, to your dismay. Your notebook was mostly fine except for the bottom edge, where the pen ink had run together, ruining your script.

"Did you hear about the evaluation today?" Lee asked, with his arm outstretched, offering you one of the Starbucks napkins to dry your notebook.

You hummed in a quizzing tone, signalling you didn't hear about it as you got to work cleaning up the mess before class started. There wasn't much you could do about the few pages that had been destroyed, but thankfully it wasn't the topic you needed at the moment.

"Well," Lee went on assuming you wanted him to continue, "Professor Klotsbach had to officially go on maternity leave so they're giving us someone else for the duration of this year. Apparently they're having this new guy come in today and we get to decide whether we like him or not." Lee said, rustling through his own belongings. "The history majors are saying this is the fifth one this semester."

"Oh? that'll be interesting. I didn't realize she was out already." You stated, throwing the napkins into your coat pocket. At least that meant this class would be easy today and you wouldn't have to worry too much about the notes. You took another sip of your coffee and turned your attention back to the large window to stare at the mountains again. The sun was really starting to come up now, which would hopefully make the walk home warmer. The sunlight shone over the leaves and made its way into the classroom, turning the wood paneling into that comforting auburn color you loved. Even with the weather outside, the inside felt like summer.

You directed your attention back to Lee, who was now back on his phone. You decided you weren't too tired for a conversation.

"I wonder why they're so particular about a professor for a general education course?" You asked, inquiring Lee as though he'd know the ins and outs of how the administration worked. Orpheus was always a semi-prestigious university; you wondered if they did so many evaluations for all the subjects.

"No idea," he said, taking a sip of his own drink, "I guess they wanted insight from other majors as well."

"Ah." You said, thankful that it would at least be some form of deviance from your usual schedule. After this, you and Lee had plans with the rest of your roommates to go to the bistro down the road so you considered today an easy one. A listening lecture followed by a sweet treat was a great morning.

As you were thinking of your plans, the door on the right side of the room finally opened, meaning the professor had officially walked in and class was about to start. Lee put his phone in his pocket although he didn't turn it off, so you assumed he was listening to music. You scavenged in your case for a pencil that wasn't broken and directed your focus to the front of the room, where the evaluated professor would begin.

Your breath hitched in your throat.

This man had to have been about ten years older than you but he was gorgeous. The brown in his eyes and his hair shone under the sun with such elegance; he appeared to be a painting. His brown leather jacket placed stylishly over his buttoned shirt- save for the two at the top- and his dress pants neatly drawn with a belt. An expensive one at that. He looked less like a professor and more like the cover of a teenage romance novel. Even his facial hair was properly trimmed and accentuated the angular curves of his face, which widened into a heartthrobbing smile.

"Hello, I'm Mr. Marcus." He said, turning around and writing it onto the chalkboard with whatever chalk was left in the tray from the class before. He then wiped his hands against each other and stood in front of the desk, leaning against it in an effortless grace as he stared at the class. His eyes scanned the room before they fell on you. It was only for a moment before he looked elsewhere, but you were starstruck and your stomach flipped.

Lee snickered quietly at the face you were making which took you out of your trance. "Dilf season, huh?"

Your cheeks were flushed and your whole body felt hot. It was unlike you to immediately be so caught off-guard. You shook it aside and attributed it to intimidation. That had to be it, you were just nervous of a new professor and at this guy's confident yet inviting demeanor.

"Shut up, Lee." You said with a small smile, so he'd know not to take offense although you were serious. You didn't want to draw any attention to your heart beating wildly in your chest.

As he continued talking, however, the burning in your abdomen only got stronger. There was something to this man, some sense of familiarity that struck you defenseless, although you were unsure as to why. You were certain you'd never seen the man before in your life, yet there was an undeniable pull that rendered you speechless for the rest of the class. He was wonderful at explaining everything in full detail and perfect when it came to answering questions. One thing was for certain though, and that was there'd be no way you could focus on any topic if Mr. Marcus was the professor. Despite how well he performed his job, you just couldn't concentrate. So, when the papers came around at the end of the class for the evaluation, you checked the box stating your disinterest in Mr. Marcus as your professor. How would you be expected to learn in a place where he was the teacher if you were so flustered? All you wanted to do was go home and decompress.

You submitted your paper to the front of the room, Lee in tow. You placed it face down on the desk even though the evaluations were anonymous; you felt awful for the decision you made. How was it fair for him to do everything perfectly and to not be granted the occupation?

As you were about to turn towards the door, you locked eyes with Mr. Marcus. They were a golden honey brown, very similar to the warmth of the room you were in, and they had you entranced. He smiled at you and raised his eyebrows as invitation for conversation, which was when you realized you'd been standing there in front of him with open eyes for longer than you meant to.

"Miss (Y/N), did you enjoy the lecture?" He asked, calm and composed. He must've read your name off the seating arrangement sheet and pieced two and two together.

"Uh, yeah-yes. Yes, I did. I find Rome pretty fascinating." You said, trying to regain your own composure. You smiled back at him in a last effort to appear normal and then walked out of the room and into the large hall where Lee followed close behind.

Alone in the Lecture Hall once all the students had departed, Marcus let out a hitched breath. You must have noticed it too? There was something so off about you and he was immediately drawn to your presence the minute he'd entered the room. It was as if he'd bumped into you before, only this odd feeling of familiarity was far more intense than anything he'd encountered before.

He learned against the desk for support and reached for the evaluation papers. He remembered exactly which one you'd placed down as he counted the number of sheets placed on top. He was unsure as to why he needed this clarification so badly, as if the evaluation was going to be enough insight as to how you truly felt about him.

You'd written that he performed everything perfectly. Checked all the boxes showing the administrators that he'd done as he should. But, at the end of the form, you'd written you didn't want him to have the job.

He smiled to himself, just slightly. He must've been overreacting.

...

It was with disdain that his eyes followed yours, the vituperative look etched into his skin. He appeared no older, even with the worry lines becoming apparent as he frowned; kohl seemingly molded into the flesh of his face with its darkness around his eyes. His tunic adorned with goldened jewelry held his red cloak fastened at his shoulder, which swiftly moved side to side as he walked about the palace floor. With his domineering personality and flamboyant demeanor, one could argue he very much belonged here. But those who truly knew him, such as you, would argue the complete opposite. A child in the body of man, ruling over the Roman Empire with the ability to kill any one of the men who'd built the imperial palace with the flick of his wrist.

And to think, he was your brother.

Emperor Geta manically moved back and forth, his steps echoing in the greatness of the hall where the two of you stood. Your other misfortune of a sibling somewhere entranced by his monkey, you presumed. Even with neither of them being much too intelligent, Geta was definitely the force to be reckoned with. This flurry of anger he felt was often of your own doing and today was no different- although the situation was more dire than previous mishaps.

What was usual sibling banter had turned into something fierce, unforgiving. It seemed as though the two of you no longer stood on the same plane and no words could be spoken to alleviate the tenseness between you two.

"There's a traitor-" He began, voice laced with more anger than anything else now that the shock had subsided. "Someone is helping the Senate to conspire against us. A traitor within the castle?" Geta dramatically flung his fingers over his heart and buried it into the fabric of his dress, steadying himself from falling as if he were intoxicated.

"I've heard nothing of the sort, brother." You let out, hardly above a whisper. It felt wrong for the secret to spill past your lips after all this time of keeping it. Although this had been going on for nearly five months, to speak it aloud even partially breathed it into existence. You, who had no family other than Geta and Caracalla, were plotting the demise of both of them. Rome was a collective and you'd been appointed to preserve the democracy of the people- something your brothers had turned into tyranny under their rule. However, it seemed as though they'd just caught wind of the plot without knowing who was leading the rebellion. Of course, Geta would eventually figure it out but the best thing you could do would be to deny anything that would lead to you or Acacius. He would have his head by morn and yours by the next.

Geta focused his eyes toward the nearest column so as not to look at you, forcing himself to tongue over the idea as it repeated within his head. His ornate laurel wreath crown he wore glistened in the light from above, casting a radiant glow on the floor. He was beautiful, if undeservingly so.

"Geta." You started, still fighting the fear that was always prevalent when conversing with your brother, "You are the emperor. Who would dare conspire against you?" you asked, knowing you had to do damage control. It all felt too real and too sudden for anything to happen just yet, this was unplanned. There was still so much more to be done and now that Geta had heard, Caracalla would be next to be informed- potentially halting the senate from being able to make a proper move. Your brothers would behead them all and force you to watch.

There had to be an informant within the Senate, someone who sided with your brothers in hopes of some grand reward for ratting you out. If they told Geta of the uprising, there's no telling how long it would take until they knew you and Acacius were leading it.

Suddenly, it was as if the color returned to Geta's white painted face. The creases that had formed out of worry now resumed with a smile so horrid and vile that your stomach seemed to drop to your toes with dread. The redhead inched closer to you until he was standing directly before you, inches away from your faltering breath. Smug look upon his face with his hands placed behind his back, he whispered in your ear the one thing you never wanted to hear from him.

"Make sure to relay this message to the Senate. If I hear of any further plans or catch the name of anyone involved within the operation, I will make sure the streets of Rome run red with their excrements."

Your veins turned to ice. It was as if your body had become as still as the marble statues surrounding the two of you. The sunlight hitting your brother's hair was not a warm and comforting light, but the light of a thousand fires ready to destroy anything within its path. You could smell the antimony from his makeup, and it was churning your stomach the longer you stood next to him. And then, he pulled you into a forceful embrace.

"You're my brethren, (Y/N). But bloodshed triumphs over blood. My mercy doesn't spill out of my fingertips such as the weak do. I am to carry on the tree of my lineage and I will do so from the seed of my power. Don't let me ever hear my dear sister has fallen into the conspiracy of the people."

Then he left, and a piece of your soul died with the slam of the door behind him.

...

General Marcus Acacius, still clad in the paludamentum from the evening's dinner, gathered himself after a lengthy conversation with some of his troops. He was fortunate for the day's conquer, but he was entirely ready to return to his chambers to meet with his love; hoping she could soothe the grievances that emanated from his soul. A slight glance into the reflection of the gate showed a man worn down by war. Physically and spiritually he felt beaten and old. His face, which had appeared so bright when he'd first started his efforts, had now succumbed to the weight he felt inside. He was duller than the man he'd always been. A light had been extinguished and would never again be set aflame. His body felt as though it were an empty chamber, hollow with only the sounds of the maternal screaming he heard from war. Mothers calling home their only sons that would stay calling for the remainder of their lives. Praying for the boys who'd become soldiers, fallen under an empire that prided themselves on greatness.

The Romans were cruel murderers. And he did their bidding.

Trying his best to push his stressors aside, he stepped into the small garden flanking the back perimeter of the palace, knowing that was your usual place upon nightfall. The fountain seemed to hum as the water rushed down into the basin. The sounds of bugs chirping filled his ears. The calmness of the fire tamed within the confines of the torches made flickering shadows upon the stones beneath his feet.

And then, there was you. Turning to face him once he'd entered the palace and meeting his gaze. He'd sworn he never understood the meaning of goddess until he'd met you. From the first encounter at the palace, Acacius knew he was in love. Every statue and painting couldn't compare to the beauty that radiated off you, he knew. Your eyes were pools of mystery and your skin softer than the sheets lining the bed you shared, fragile under the callouses of his hands that were worn by the hilt of his sword. You were a delicacy. He thought you were more striking than the sun itself.

The word love would never be enough to describe the power that flowed through his veins upon the mere mention of your name or the gentleness of your kiss.

You were here in your usual palla, the purple dye of the fabric shimmering under the soft glow of the fire. Your face was hardened into a concerned expression and your lips were downturned. What was usually a gleeful expression when your fiancé returned home safely seemed to be just a little short of animosity.

Acacius immediately went to place his hands gently at your sides, pulling you in slightly with a quizzical look, assessing for any physical ailments. "What troubles you, my Lady?"

You wanted to cry, to scream, to let out all your frustrations through vile words such as your brothers did, but you felt so beaten down you couldn't even formulate the words. Acacius had done nothing wrong but be within your proximity. And now your lover would be subjected to the unforgiving wrath of Geta.

"My Lady?" He asked once more, softer this time. He had a rough day, you could tell, and his forehead lines became more apparent as his brows furrowed. His beard was trimmed but not shaven, so as not to flaunt off some of the scars he'd gathered below his nose. He had one on his cheek and one on the back of his hand that you would run your fingers over in an intimate embrace. He was beautiful, even with the years of war embroidered into his skin. He was your heart.

"It's Geta," you finally mustered, holding Acacius's hand to your cheek and letting a tear fall, "he's enlightened to our uprising."

It was the General's turn to express his worry. "How was he informed?" Hs asked, pulling you in for a stiff hug as he was still wearing his breastplate.

"Macrinus must have caught word after last night's gathering. W-we were so careful, I-"

"Shh." Acacius said, slowly rubbing circles into your back, "We'll be okay, we'll find a way." He said this almost so convincingly you wanted to believe it yourself. But you knew Geta would do his best to punish you in every way humanly possible. There would be no escaping.

"We can run away before they find out its us-"

"To where? We both have the faces of those known in Rome, we'll never even make it past the gate without our identities being revealed. And then what? Where will we go that has no promise of being conquered?" He asked, holding onto you as though your arms alone would ground him. "And (Y/N), you know my heart belongs to you and the people. I couldn't leave one in place of the other."

Any form of democracy was going to be dead if your brothers continued to be the ultimate monarchs the were. Their reign had caused nothing but horrors to the people .

"Geta may want my head when he finds out, but he'll never kill you," Acacius said, looking into your eyes, "He'd never kill our kin." At this, his hand dropped to your stomach, caressing the top of it gently.

"You will not die without me." You said, knowing what he would suggest in the hopes of keeping you safe. "I will not allow it."

"And then what? You die and there will be no hope. Not for the people or politics or our son. My work to free us from the grasp of Rome will be for nought."

Your tears started to cascade down your face as quickly as they came, taking your kohl along with it. This was unfair. All of it was unfair. You wanted nothing to do with your brothers or ruling or Rome or anything. All you'd hoped for was to live peacefully in a world without it- how foolish.

"I love you, Acacius. You know this." You said, burying your face into his shoulder. You took in the metallic scent of his breastplate, trying to ease yourself. You knew as a general that he would never leave Rome defenseless.

"As I love you," he said, moving you gently so you were facing each other, "You know what has to be done."

You composed yourself and met his eyes, trying to find solace in them. He felt more like family than the insufferable gingers you shared a bloodline with. And you knew you'd do anything to protect the family you made for yourself, even if that meant sacrificing the birth one.

"We have to kill them." You said. You found the words didn't trouble as much as you thought they might.

[marnie1964]

thoughts on the 70s music poll tournament?

My dude I am so afraid to look. What's happening now??

[mellxncollie]

Part 2 — this time with a focus on the flashbacks

(Check out the first post for some background info that will be useful)

When we’re looking at the cinematography of any piece, once we’ve established what the norm is (which is the use of anamorphic lenses, as per the last post) we can then look to see where it diverges. As far as I can tell, the only part of Dead Boy Detectives that doesn’t use an anamorphic lens is Edwin’s flashback scene. 

Now this is particularly interesting since not only is it filmed with a spherical lens, but it also is the only scene with a different aspect ratio, and the only scene in black and white. Everything about this scene is glaringly different. The easy and obvious reason is that it sets this scene apart as something important to pay attention to, as well as emphasizing the difference in the time period. But I want to highlight how exactly it does this since it is quite clever. 

It also raises the question: Why not film Charles’ flashback scenes differently? 

Like last time, let’s start with a review of history and technical information. 

What is an aspect ratio?

This is just the ratio of the width to height of the frame. 1:1 is a square, whereas 2:1 is a rectangle twice as wide as it is high. In film, aspect ratios are usually listed as a ratio of x:1, so you get common formats like 1.85:1 and 2.39:1 (the second being a super-widescreen format, i.e. a long rectangle). Other common ratios are listed with different numbers, like 4:3 and 16:9. Any time I write an aspect ratio with other numbers, I’ll also list it at least once with the x:1 format so you can compare things easily.

What are some common aspect ratios and what have the standards been across the past 100+ years of film and television history?

Brief history of aspect ratios in Film 

The original silent films were mostly filmed in 4:3 (1.33:1). This aspect ratio persisted until the late 20s/early 30s when the Academy Ratio, 1.375:1, was introduced and somewhat standardized (at least in the USA) until the 50s. Then, widescreen became pretty popular and was used to draw audiences to the theaters. At this point, we get tons of variation in aspect ratios in films. But, for American theaters, common projections are 1.85:1 (which became super common) and 2.40:1 or 2.39:1, whereas in some European theaters, 1.66:1 is a more common ratio. 

Some other common ratios deal particularly with 70mm film:

Standard 70mm film is usually 2.2:1. However, using anamorphic lenses will create a higher aspect ratio, and unless using a specific format common in the 50s and 60s (Todd-AO), this wasn’t often the aspect ratio that viewers would see. (The Sound of Music was shot with Todd-AO in 2.2:1, but until recently, most people only saw the general release in 35mm, which had a different aspect ratio)

IMAX, which is 1.43:1 (if IMAX is shot on film and not digital, it uses 70mm film)

Brief history of aspect ratios in Television 

Pretty much all televisions until around the 1990s-2000s used 4:3, and broadcasters would show content in that aspect ratio. If a movie was broadcast over TV, sometimes there would be letterboxing (black bars), but pan-and-scan was common, where they would crop the movie to the 4:3 ratio, and pan around to wherever the action was happening. Starting in the 90s, widescreen televisions started to gain traction, and the 16:9 (1.77:1) format prevailed, and TV broadcasting had some more wiggle room for aspect ratio. 

**Side note: Computers are often at this ratio, so if you watch older TV shows on your laptop, you’ll probably see pillarboxing (black columns on the sides), whereas newer movies are often shot with higher aspect ratios so they have letterboxing (black bars on the top and bottom)**

A note on widescreen

Movies are usually considered widescreen if they’re any higher than 4:3 (or 1.33:1). However, because of the aspect ratio of modern TVs and computers, and the even higher aspect ratios of most smartphones in landscape mode, a lot of people (especially younger generations) won’t consider things “widescreen” until they’ve got a much higher aspect ratio.

Streaming and Aspect Ratios

A weird effect of streaming services, and in particular Netflix, was the rise of a new standard in aspect ratios, 2:1. It’s used in shows like Stranger Things. It’s widescreen enough that it feels cinematic but it displays well on lots of devices. There’s minimal letterboxing (or none) on your phone, and more letterboxing on your computer and TV, but not enough to seem like you’re watching a movie instead of a show. 

Netflix (and Amazon) really like this aspect ratio. In 2017, one of the production requirement documents from Netflix stated that any aspect ratio greater than 2:1 had to be subject to further approval (though now they state “Aspect ratio choices should be discussed with Netflix for approval”). It’s become increasingly common, and these companies have a pretty set standard for 1.9:1 and 2:1. If we see those ratios on a streaming show it isn’t always a creative choice, similar to the way older TV shows were required to be in 4:3. 

A brief reminder about lens types with some extra bits about the timeline.

That 2.39:1 aspect ratio that movies use? That’s the standard for anamorphic lenses (discussed in Part 1). Anamorphic technology was developed around 1915 (for military reasons), but wasn’t used for films until 1927, and didn’t become commonly used until the 50s. 

So, with that, let’s look at Dead Boy Detectives.

Aspect Ratio

The whole show is shot with anamorphic lenses, but instead of a 2.39:1 ratio, they use a 2.2:1 ratio. This is a really interesting choice since it is an uncommon ratio. It’s more widescreen than Netflix shows (they started shooting before being acquired by Netflix though so we can ignore any impact Netflix may have had on this decision) but not quite the widescreen that anamorphic lenses typically use. 

Movies and shows can use almost any aspect ratio today, but it is still common to stick to the standards. When they choose something else, it’s not because of technical limitations, but because of a creative choice.

The one caveat I have is that Doom Patrol used 2.2:1, so it’s possible that HBO and DC originally just chose this for continuity between the two, before the show was shifted over to Netflix and the Sandman universe. But for this post, I’m going to assume that they were sort of starting from scratch when choosing the look. 

If we consider what a 2.2:1 ratio has been used for, and what viewers have been “trained” to associate it with, we end up with Todd-AO 70mm prints and a few others from the 50s and 60s. It’s the kind of aspect ratio you don’t see often unless you’re lucky enough to live near a theater with a 70mm film projector. There are a few notable movies shot in this aspect ratio: Lawrence of Arabia and 2001: A Space Odyssey. Some more recent movies that used 2.2:1 include Dunkirk, Tomorrowland, Nope, and the non-IMAX parts of Oppenheimer. It’s also occasionally used in recent TV, but not a ton, and not with many popular shows. 

This is an aspect ratio used by large-format, high-budget movies. As mentioned in the previous post, anamorphic lenses are associated with a romanticized notion of “cinema” and this aspect ratio only serves to further that, associating Dead Boy Detectives with the limited pool of content made in this aspect ratio. It may be a TV show, but it’s being shot like a movie. 

Another really interesting point that follows up on the previous post is the idea of using cinematography to enhance the sense of the supernatural and separate the characters from the normalcy of the real world. The aspect ratio is a bit unnatural too, which serves to complement and augment this. 

Let’s briefly look at what the show would look like in different aspect ratios. As a baseline, this is the 2.2:1 aspect ratio that the show is in:

If they had gone for a 2.39:1, a very typical aspect ratio for the kind of lenses they’re using, it would look like this:

When we see things shot with anamorphic lenses, we’re used to seeing it in a frame like this one. Especially in shots like this with the dramatic lens flares, this is going to look and feel familiar to people who watch a lot of movies. It has more of that Star Trek (2009) look, and feels kind of glossy and polished. 

Next up, we have 2:1, the aspect ratio popularized by Netflix. It’s a reasonable possibility that if this show had been produced by Netflix from the very beginning, this is what it would look like.

Over the past few years, this has become the “streaming platform” aspect ratio. With the extra vertical height, it’s got some extra space to breathe. We would get less of the background and more of the characters, especially since Dead Boy Detectives favors centered shots of single characters over group shots like this one. 

Finally, I’ve got the scene in 1.85:1, a ubiquitous film aspect ratio, yet one that is not used often on TV.

This is considered to be standard widescreen and it’s a great aspect ratio. Given how many creative decisions in this show were made to emphasize the supernatural, this could have been another good option as an aspect ratio, since we’re not used to seeing TV shows like this. However, they’re using anamorphic lenses so this would have required a lot of cropping. Because of how the anamorphic lenses work, this would also necessitate a lot of additional attention during the shoot. If they had gone with 1.85:1, we likely would have gotten a show shot on sphericals instead. 

So what about Edwin’s flashback?

This section is shot in 4:3 (1.33:1). It’s the only part shot in a different aspect ratio. Sure, changing the aspect ratio forces us to acknowledge the difference in time period, but why exactly does it work so well?

Remember the history part? 4:3 was used for most of the early silent films. If we are to consider the “historical accuracy” of shooting the different time periods in this show, anamorphic lenses and 2.2:1 make sense for the present-day parts and Charles’ flashback. 

But in 1916, widescreen cinema wasn’t a thing. If Edwin had ever been to see a movie while alive, it would have been in 4:3. The first time he would have ever gotten to see something in widescreen (if we assume he watches any movies at all) would be after he escaped Hell. 

Using this aspect ratio is not just a vague decision that a lower aspect ratio and black & white looks older. It is, like many other aspects of the show, historically informed. They could have used the academy ratio here, but they didn’t. They used 4:3. 

Not only does the aspect ratio switch for this scene, but also the height of the image changes.

This transition also sort of mimics the breathing effect of anamorphic lenses:

Something you may not know about how Netflix usually works is that regardless of the aspect ratio of the picture, the video file you see is part of a larger container, which is usually 16:9 (1.77:1). The black bars on top and bottom are part of the file, as shown in this screenshot of how it looks when you load up some screencaps in photoshop.

If you make gifs, edits, or are otherwise just used to having video files you are probably familiar with this. The Dead Boy Detectives files have letterboxing that is cropped out whenever people make fan content with it, whereas if you have a file for an independent movie, it usually does not have those black bars. Those black bars being part of the file make this transition possible.

We don’t usually realize that the container extends beyond the picture. For all we know, that’s the edge of the frame. But then it changes and forces us to reconsider what we previously thought to be true. Breaking out of what we think to be the image height is jarring, especially considering that this is the only time it happens (other than the brief flashbacks to the same footage later in the show). 

Here’s a mockup of what it would look like if they kept the same image height, and just moved from 2.2:1 to 4:3 without expanding vertically. I find that it doesn’t have quite the same effect.

This would look so cool if it was being shown at a movie theater on a huge widescreen, but we’re not watching this show in theaters. We’re watching it on screens where this would make it look small; what they do instead retains the feel of watching something big and cinematic. 

So back to the actual transition:

In breaking out of the perceived container, it’s as if it were breaking the fourth wall, an acknowledgment of the video’s format and its true container. This story is addressed to the audience in a way that the rest of the show is not, and it uses the aspect ratio to let us know that. 

Spherical Lens

(I would highly recommend you read pt 1 if you haven’t already)

Edwin’s flashback is not only the sole scene with its own aspect ratio, it’s also the only scene shot with a spherical lens. Like the aspect ratio, this is a historically informed choice. Anamorphic lenses technically existed during the last year or two of Edwin’s life, but movies were not being shot on them. 

How do we know that a spherical lens is being used, and how does this affect the show?

One of the quickest ways to identify the lens is to look at the shapes of the bokeh. There’s not much bokeh in the flashback, so I apologize for the intensity of my first example. But here, look behind Edwin’s head, where the lights from above reflect on the wet basement floor. They’re all circles, instead of the ovals that we get with the anamorphics.

The lens flares are also really different. Remember that the anamorphic lens flares are horizontal lines. Spherical lenses don’t do that, but they can produce lots of different kinds of lens flares. In this shot, the flashlight pointed at the lens lets off lines in lots of directions, kind of like sun rays.

This shot has another cool flare, in much more detail this time:

The next shot shows us more of the circular bokeh and another kind of lens flare. 

For the bokeh, look at the lights on the ceiling as well as the corners of the out-of-focus architectural details (the semi-arches). 

The lens flare here is the bouncing, blurry circle near the middle, as well as the brighter shape near the center bottom. 

We can then look at the things that are not different, but absent when using the spherical lens: barrel distortion and focus falloff. 

In this example, look at the windows in the background, as well as Edwin’s chair. An anamorphic lens would distort the vertical lines, bending them into a gentle fisheye. It would also make that chair and the lines of the window frames a bit blurry, as they’re close to the edges of the frame. Instead, the lines are straight and clear throughout the whole shot.

In this next example, not only do we get a great view of the lack of focus falloff, with clear lines throughout the shot, but we can see more of the difference in perspective and distortion of lines. 

You may notice that the windows and doors are not perfectly straight up and down. But is this barrel distortion? If there was barrel distortion, the walls would curve back towards the center of the frame at the top. 

Spherical lenses are often the ‘default’ lens. They’re wonderful and used in a lot of media because they are neutral. They distort less, thus representing the world closer to how it actually is. If we consider the anamorphic lenses in the rest of the show being used to enhance the sense of supernatural and story, changing to a spherical lens enhances the sharp reality. This is Edwin, alive.

The image breaks out of its perceived container, reaching out to the audience, and then changes the lens to be more ‘real.’ In these two changes, not only do we have a more historically accurate image, but it's as if the creators are issuing a warning to us. Maybe the demon isn’t real, but bullies are. Kids can be cruel. Classmates hurt their queer peers. This is not fantasy, and this is as true in 1916 as it is today. 

Using a spherical lens in this instance, juxtaposed to the rest of the show, is a dramatic shift to make, as it alters just about everything in the image. In using a less distorted picture, for this, we are reminded of reality and life and the mundane. 

On Charles’ Flashback (and an experiment)

Edwin’s flashback got the Cinematography Treatment™ but what about Charles’ flashback? It’s shot with the same aspect ratio and lens as the rest of the show. From the perspective of historical accuracy, this is fine. It’s a scene that could have been shot in 1989, cinematographically speaking. The reason I suspect that it wasn’t given any stand-out look is because, unlike Edwin’s flashback, Charles’ flashback scenes are closely tied to the present-day plot. They aren’t just scenes of Charles remembering things, they are a direct result of the Night Nurse’s “memory magic.” 

Maybe changing something here would separate us too much from the plot. Both flashbacks (in episodes 4 and 7) are induced for a specific purpose related to other present-day characters. It wouldn’t make as much sense to have them be standalones. 

However, if I were simultaneously the showrunner, screenwriter, and cinematographer, I would give Charles a standalone flashback scene. In that flashback scene, here’s how I would shoot it:

There would be a much deeper depth of field/smaller aperture than the rest of the show, so the background would be more in focus.

There would be harder, less-diffused lighting. This would also impact the coloring, and I’d maybe add some more saturated lights.

I’d try to make an argument to shoot that scene on film (and then argue to do Edwin’s on film too).

There would be a different aspect ratio; 2.2:1 isn’t out of the realm of possibility for the 80s, but it wasn’t common, and it wouldn’t have the kind of impact I’m searching for if it didn’t change.

There are three different aspect ratios I would choose between, and the lens would change depending on my pick. 

I’ve made some mock-ups for how these would look, though I cannot adjust things like bokeh and depth of focus, and I can only do so much with the lighting.

2.39:1 with anamorphic lenses (specifically Panavision lenses) This is a super standard widescreen, with a popular lens from the time. We don’t have lens info for the rest of the show, but I think they’re using Panavision anamorphics anyway so the lens may not be a change. Big, blockbuster action movies from the 80s would often be shot in this (perhaps most relevantly, Ghostbusters), and it’s a style that kind of faded in popularity in the 90s and 2000s, so it can have more of a retro look, especially if shot on film. One downside to this would be the aspect ratio change would not be as dramatic.

Movies from the 80s shot with this combo: Raiders of the Lost Ark (and other Indiana Jones movies), Star Wars: Episode V - The Empire Strikes Back (as well as Episode 4, which came out in the 70s. Episode 6 used the same ratio and did use anamorphic lenses, but not Panavision), Ghostbusters

1.85:1 and spherical lenses. This is also ‘widescreen,’ but the advantage of using this aspect ratio is that we could get another dramatic breaking of the image container, just like in Edwin’s flashback. It’s an incredibly common setup, so it’s not really unique, but it would look different from the rest of the show. Given how pervasive ultra-widescreen still is today, I think a lower aspect ratio would also ramp up the ‘nostalgia’ factor a bit. Using a spherical lens we’d end up with the same sense of stark reality that we get for Edwin’s flashback as well (the warning that kids are cruel, but this time to people of color), and I like the idea of that as a parallel.

Movies from the 80s shot with this combo: Back to the Future, Dirty Dancing, The Princess Bride, An American Werewolf in London, Clue, Another Country

1.66:1 and spherical lenses. This is a ratio that was used widely across Europe, but has never been a common ratio in the USA. However, by the 80s, filmmakers were going for a more widescreen look so it was fading from popularity everywhere. The 80s liked widescreen, so it’s maybe not the best pick for making a scene look “80s”. However, my main motivation for this ratio is that my personal picks for the most Edwin-coded and most Charles-coded queer films are both 80s films shot with a 1.66:1 ratio. We would also get the same benefits from using the spherical lens as I mentioned in the 1.85:1 section.

Movies from the 80s shot with this combo: Maurice, My Beautiful Laundrette, Law of Desire (La ley del deseo), and an honorable mention to Chungking Express, a 90s film that really exemplifies the kind of look I'm going for here

Giving Charles’ flashback a special treatment would probably do a lot to more firmly establish his character as a co-protagonist rather than a deuteragonist, which is definitely not the case but does seem to be how some people view him.

With the impact of the spherical lens and aspect ratio in Edwin’s flashback, the final two options for Charles flashback would be the closest in terms of echoing Edwin’s flashback, and would probably provide the most gravity and sense of crushing reality to the scene. 

Setting a single scene (or two scenes) aside like this, with a unique aspect ratio, lens, and color grading (which I didn’t explore much for the Charles flashback), makes us consider a scene more independently from the rest of the show. Edwin’s flashback is a striking moment with a very different look, and that’s deeply memorable. It comes together to push how tragic and unjust Edwin’s story is. 

—————

This concludes the planned portion of my cinematography analysis. I had a ton of fun researching and writing this (and making all the graphics) and I hope you all find this interesting/helpful/informative :) 

Finally, I want to give another name drop to the cinematographers, Marc Laliberté, Craig Powell, and Pierre Gill. They’ve really nailed it from the very first episode to the last, and there’s so much intention and thought given to every aspect of how they shoot this.

[malarign]

jay as your boyfriend!

(soft moments with him)

contains: bf!Jay x gn!reader (implied that reader wears a dress but no pronouns were used) | genre: fluff | tw! mention of food, kissing, crowds | wc: 1,4k

reblogs, likes and comments are highly appreaciated!!!

other members’ versions: LHS - SJY - PSH - KSW - YJW - NRK

➶ wiping food off your face *ೃ༄

Jay and you were truly a match made in heaven. Both of you shared many hobbies, one of them being cooking and trying out new recipes from around the world. What you both enjoyed after cleaning up the kitchen from your activities was eating the meal you prepared. Sharing what you liked and disliked about the dish and discussing what to do next time to perfect the recipe you often got a bit of sauce or some scrumbles in the corner of your lips. They wouldn’t be there for long though, Jay was always quick to wipe it off your face.

“I really like the texture but I think it needs a little bit of lemon juice, don’t you think?” you asked taking another bite of the meal.

You looked at your boyfriend, Jay who sat in front of you. He looked down at his plate, brows furrowing as he munched on his bite.

“You think so? I would say more soy sauce would do,” he suggested looking at you.

“Actually I read somewhere that if something tastes bland it might need some sourness.” You took another bite.

As you were eating you noticed how a smile grew on his face. You were confused at first, but when he reached to your lips and wiped a sauce off them with his thumb you also put a smile on your face.

“Should we try it out now, then?”

➶ zipping up your dress *ೃ༄

Him doing that was a highlight of you getting ready for dates or when you just decided to wear a dress. The way he gently put your hair out of his way, his fingers delicately touching your skin while doing so. Usually, you would stand in front of a mirror while he helped you so he could see how you blushed when his eyes were plastered on yours for this whole time.

Jay turned you around so that he could face you after he was done zipping up your dress. Too mesmerized by the way your eyes held stars within themselves he just leaned in and plastered a passionate kiss, hands wandering on your sides, as you placed yours at the back of his neck, deepening the intimacy.

When you finally pulled out of each other’s arms you looked at him, a serious look suddenly appearing on your face.

“Jay Park, maybe you could tell me how I look? After all, you bought this dress,” you spoke and your confidence made you look even more attractive in his eyes.

He smiled and eyed you up and down, making you regret your question, feeling the blood rushing to your cheeks.

“Oh my dear Y/n, you look gorgeous,” he said and bent down to kiss your palm making you giggle to yourself at his chivalrous action. “You are gorgeous,” he said, this time putting your hair behind your ear and placing his warm hand on your cheek.

➶ smiling while you’re talking about something you’re passionate about *ೃ༄

Jay is a man of many hobbies. His passions like guitar, dance, singing, music in general, and his never ending curiosity of the world made him much more attractive in your eyes. What you didn’t know was that he had the same feelings when it came to you. He often found himself so immersed in how you’re telling him about what you found out about your fields of interest. Unconsciously he would smile slightly at the way your tone changed, how your gestures became bigger and your eyes shined with passion.

Jay listened carefully to your monologue about your recent obsession which was an ancient history of Rome. At first, he tried to join you in the talk since he also grew an interest in this period during his high school years, but then the pure urge to just listen to you talking avidly about it made him want to listen to your voice and watch how you couldn’t sit at one place from the emotions it brought to you.

The dreamy look on his face made you think for a second if he was truly listening to you.

“Jay? Are you listening to me?” you asked, worried he was bored by your rant.

“Of course, love,” he reassured you. “I love it when you’re talking about things that you’re curious about,” he confessed, helping you realize his true feelings about you.

➶ pulling you closer in his sleep *ೃ༄

For you and Jay nights together looked pretty similar. At first a little bit of talking about your plans for the next day, some soft loving touches, and then laying down to finish the day. You never had any problems with sleeping at night, but still, you couldn’t top how quick Jay was to doze off. And you couldn’t blame him - the amount of work he had during the day often drained him, yet he still tried to not let you know how sleepy he was at the moment. That’s why you were the one to fall asleep much later than him. Whenever you took a little longer to doze off, you felt his arms unconsciously wrap around your waist, bringing you closer to his body.

His hot breath fell on the back of your neck sending waves of shivers down your spine. Knowing he wouldn’t wake up from your movement you turned around to face him, his arms still messily wrapped around your body. Seeing his features in a faint moonlight that poured through your bedroom curtains made you smile to yourself. He looked so peaceful, the pout that formed on his lips made him even cuter than usual.

You raised your hand and gently brushed his short, black hair to the back, leaving a few scratches at the back of his head.

“I love you, my love,” you whispered and soon you also fell into a deep slumber.

➶ kissing your hands and tips of fingers *ೃ༄

When you first started dating Jay you didn’t expect how soft his heart truly was. Full of surprises he never failed to make you melt at his actions that expressed nothing but pure love and affection. What made your heart flutter the most was probably the way he kissed you dearly, especially your hands. Whenever you were getting ready to go to sleep he would take your hand in his and plant soft kisses on its back and tips of your fingers.

“Your hands are so soft,” Jay spoke in a baby voice making you giggle at his cute side.

Soon he started leaving tickling pecks all over your hands, firmly holding you as you tried to seize it from him, but it was all in vain.

“Jay it tickles!” Your laugh and the sensitivity of your fingers just made him want to tease you more. He only stopped when you pulled him into a sweet kiss, finally leaving your hand alone, now busy with your lips.

➶ taking your hand firmly in his when in a crowded place *ೃ༄

Knowing how uncomfortable you got in places where lots of people gathered, Jay took taking care of your comfort as his duty. And he was great at that, either by asking you questions if you wanted to go somewhere else or you were feeling good enough to stay. But in places where those solutions wouldn’t be possible he would simply take your hand firmly in his and forced your way through people that surrounded you. His grip and occasional thumb rubs made you feel a lot better.

You looked at the now pretty much-crowded place you were having your mini-date with Jay. The number of people there doubled or even trebled, making you feel how your heartbeat started to increase. Before it started to race you heard Jay’s soft voice in a room full of noise.

“Love, I think we should go as quickly as it’s possible. Let’s not wait, okay?” Jay suggested, a worried look making you feel at ease.

In response you simply nodded your head and grabbed his hand interlocking your fingers with his. He started guiding you through the crowd and worked your way to the exit. Your gaze was fixated either on your feet or his head, which turned around from time to time to check on you.

In a minute you were out, fresh and cool air hitting your skin helping you relax. In contrast to the inside the night seemed peaceful, just like you almost didn’t have to go through a huge amount of people.

“Are you okay, love?” you heard Jay question and smiled at him.

You climbed on your toes to plant a sweet kiss on his jaw.

“Yes, thank you, Jay.”

thank you for reading! back to the masterlist

permanent taglist: (send an ask to be added) @nicholasluvbot, @en-chantedtomeetyou, @kpopstanmeg, @skzenhalove, @nfrgirl, @edensgardenn (in bold can’t be tagged)

[heliphantie]

Happy second anniversary of Encanto movie!

I had (then and year ago) more ambitious idea of mock poster, but again, to execute it properly, decided to put it aside until skills and tools for it gained. So I opted for the piece reflecting on my personal take from the story.

The drawing is an experiment, drawn traditionally in complementary colors and put through color inversion in an editor.

I’m not a fandom person, admittedly. What piques my interest in exploring of piece of fiction is, usually, is its origins, history of creation, cultural background and, in some cases, impact it leaves on the art coming after it, rarely anything beyond. With all things I’ve had getting into recently, it was like that, generally observatory things. When I’ve got into MLP, it was a phenomenon of its large fandom, sheer variety of art forms it produced (from the music and games to automata toys), people of different upbringing and cultures being all inspired by it – fascinating to witness such a movement in present time. With The Simpsons, it was its legacy, its large influence in modern media – seeing the roots, the blueprint of it, getting understanding of why it was such a powerful piece of storytelling and visual direction to raise the cult around it. With Encanto, it got me curious at first to see aesthetic of magical realism being translated in form of animation, and I was surprised Disney decided to dip their toes into attempt of it. Generally, I’m more enticed by potential of the story and its artistic presentation, most of it is left in concept studies rather than in finished work, as often in mainstream production, possibilities and imagination and artistic talent poured into it is much more stunning than the product released to the public. I may feel reasonably cynical about modern Disney as company, but I can’t deny the imagination and immense genius of professionals who are still at work in it. I wish we’ll see the true Renaissance of what always was its major power - traditional animation.

So, what’s the outcome of it: while any piece of fiction that wins my full attention does make my creative juices flowing, nothing of it got to see the light of day until I felt the urge to express what was brewing in my mind affected by that new and hot thing, not to a lesser extent getting inspired by other people’s concurrent creative works, it did kick off renewal of drawing practice I had abandoned years ago and continued postponing for indefinite period. It still induces me to work toward my own progress, for it provides me with backlog of ideas to make into drawings when I really need motivation. It’s going to keeping up, hopefully, until some other thing sweeps me away or something makes my enthusiasm fade. And so, the movie in question is what had the most productive impact on me so far, it helps me keep going, and I’m grateful for that.

On the different note, Bruno in this image is based on Disney Magic Kingdoms's Encanto event video:

[hyperpotamianarch]

So, for the time being, I pretty much dominate the #alternate jewish history tag. By which I mean, all posts under this tag are ones I either wrote or reblogged. This is, of course, meaningless. Even so, I intend to take care of this little corner of my supposed kingdom, though invaders are fully invited. Please, it would be my pleasure if you add to this tag.

Either way, this tag currently has three AUs. As the purported owner of this tag, I intend to list them - while tagging the original creator when necessary.

The first AU is going to be the one I conceived of, naturally, since there can be no ownership disputations of it: the Jewsade.

The Jewsade is an AU based on the historical divergence of His Dark Materials. However, it's an AU worth exploring for its own merit IMO. Its divergence point is around the 1520s, with the Jewish false Messiah David Reubeni and Shəlomoh Molcho. In our world those two ended up eventually killed by the Spanish Inquisition; in the world of the Jewsade, they succeeded in getting the artillery David was trying to obtain and used it to conquer Eretz Yisra'el from the Ottomans. What happened with it later? Currently it's a riddle I can't answer, possibilities range from a disaster by the hands of the Ottoman Empire or Portugal to the continued existence of a Jewish kingdom in the Middle East, barely holding its own against both Christians and Muslims who want to take the Holy Land to themselves. Exploration of it is still at work, and I'm considering presenting it in random documents of various sorts from the period. It doesn't currently have a clear masterpost, I might work on that in the future.

The second AU I've put under this tag belongs to @aviad1b. This is the Hasmonean independence AU. It's not too well-built as of yet (and might also be related to the next AU, we'll see), but the basics are: the Hasmoneans don't give up their independence to the Romans and remain a kingdom for longer. This is a bit of a hard feat, because the Hasmoneans were sort of allies to the Romans even prior to that and the civil war is what caused them to turn to a passing Roman general to solve the dispute. After you avoid that... well, the Hasmonean dynasty still needs to keep its independence between the ever-greedy Rome and the rising Perthian empire, which is not going to be easy by any means. Even if they manage surviving one civil war... well, there will be others. However, it might be interesting to picture them somehow still prevailing, despite all the odds.

The third and more recent addition comes from @magnetothemagnificent's idea of a world where the 2nd Temple was never destroyed, the 2nd Temple Still Standing AU as I chose to call it, if you have different suggestions I'm open to hear them. A lot of the discussion on it includes the note of how much we don't know what the world will look like. Christianity might not exist, or be way smaller. The Jewish Diaspora would be way smaller adn would be mostly merchants. New technologies would be applied to old traditions and sometimes adjusted to them - the beacons to indicate the start of the month will stay, but their role would be fulfilled more with modern communication technology; flights to Eretz Yisra'el will commonly have space for cattle for the Korbanot; Cohanim would dominate the field of dermatology in order to be experts on Tzara`at, some working in construction (and some with textiles?) for the other types of it as well; religious institutions will be vastly different, with structures from 2 milennia ago surviving to the Modern Day in some form; Levyim maybe being dominant in fields of music and poetry; maybe melodies used for written texts in the place of punctuation; no written Mishnah or Talmud, things are mostly kept oral; and a lot more stuff.

There's the question, with that latter AU, of how that might happen. No rebellion against the Romans might be a possibility, though a bit hard to pull up. The Hasmonean Dynasty retaining independence can help, hence the reference I've made earlier. The Great Rebellion could also (maybe) fail before it escalated to the level of besiegeing Jerusalem. I really don't know. And unless you go by the "History is a rubber band" theory of time travel, there really isn't any way to know. So I suppose we should all just think about it a little more, and making stuff up can work, as long as you keep an eye on historical events.

Now, you might accuse me of certain hautiness in writing this. Please don't. Believe me when I say, I'm just enthusiastic about alternative Jewish histories, and would like to popularize the use of that tag. I would really like seeing farther AUs based on Jewish history - I had the pleasure to encounter a couple on Facebook, following a workshop on writing alternate Hannukahs in a meet-up organized by a group of interest on Jewish Fantasy in Israel. But there can be many more, and while I would love to contribute where I can and where my help is wanted, I prefer not to start any more than the one I'm already working on. So thank you to all the participants.

Note: the reblog chain for the Hasmonean Independence AU I shared here is only an exchange between me and Aviad. However, the 2nd Temple Still Standing thread includes (beside my and Magnetothemagnificent's posts) contributions from @alyssumlovesthecosmere and @fromchaostocosmos, hope you don't mind I'm tagging you as well.

[kaiserin-erzsebet]

tell us more about your complicated feelings about the accuracy of shows like Bridgerton, please!!!

Thank you for asking. I've been wanting to get it out of my head.

First off, I think "historical accuracy" can be a somewhat impossible standard. We don't know the past well enough to do a one-to-one recreation, and even if we did, it would probably be kind of uninteresting. We understand that romance or mystery fiction isn't a one-to-one recreation of modern life either, even if it is set in our own time.

I hold historical accuracy to the same standards as book accuracy when it comes to adaptations. Something is going to change between mediums and that is a pretty neutral thing on the face of it. I often look for an understanding of themes (or predominant concerns of the period) and vibes more than I look for accuracy. And I let the media itself tell me how serious it wants to be about recreating the past.

I love this scene from Marie Antoinette for capturing Rococo excess, and there is a pair of Converse in it:

When I talk about shows like Bridgerton, I mean the ones that exist in this kind of "less than serious, but recognizably historical setting." Overtly self-serious works like a certain recent Napoleon movie that everyone panned are easy to critique on the grounds of historical accuracy, because they are presenting themselves as trying for that.

Bridgerton, on the other hand, is Regency with a giant asterisk. The sparkly dresses and pop song covers tell you that. I feel like it occupies a similar niche to something like Reign, where the aesthetics and the music and the story tell you it is more about romance than about serious history. You're here to have fun and watch pretty people kiss. Yet, there are recognizable historical figures in it at points, which keep it from being full fantasy.

And I don't have anything against something that is interested in being fun and romantic. My own media diet isn't exclusively serious stuff either.

The complicated part of my feelings come more from reception than anything the show is necessarily doing. To me, a historian who consumes a lot of historical media, it's pretty obvious that the show is wearing "not that historical" on its sleeve. And generally, I give that more grace because it is being clear about what it is.

However, in the wake of the show's popularity, I've seen people engaging with it in a way that gives me pause. For example, on a video of a woman making a dress for a Bridgerton premiere, a lot of people in the comments were trying to tell her to do a "period accurate" Regency dress. Period accurate. For Bridgerton. The show that takes actual Regency fashion as a suggested base that they build off of.

I've similarly seen videos along the lines of "POV a Bridgerton era girl doing [x]" that seem to be thinking Bridgerton is a representation of the time period rather than existing in its own bubble. Or people discussing it saying things like "back then [insert thing] was true" trying to draw from the actual Regency period (usually rather badly).

It's like the popularity has broken through to people who don't usually consume history or historical media, who simply miss how much the show is saying that it isn't history. It's a sort of undiscerning audience who isn't catching the blatant, intentional differences from a serious period piece because they know very little about the period. And then things merge into how they think about actual history (see also: people who bring up plot points from Reign to characterize actual Mary QoS in Mary vs Elizabeth discussions, or people who talk about "back then" with GoT or HotD)

And my complicated feeling is this: I don't actually think these shows could do more to differentiate themselves from actual history. They're giving you all the clues to say they aren't trying to do that. Yet, I can't help but think that there are still ways that they bleed into perceptions of history. And I wonder if that is an inevitability with loosely historical media.

[dinitride-art]

Au fics that i think are neat and that i want to compile into a list because im trying to figure out how to comment on a chapter of a fic but i need time to sort out my thoughts (usually for fic recs i try to rec fics with less kudos/engagement because reasons but im just gonna throw everything in this list. probably multiple fics by the same author in the same universe because thats the one im trying to sort out my thoughts on.)

the strawberries are dying by eggowlss - historical fiction and very interesting character relationships and also character exploration within the time period. I really like this one because the pacing and tone are very gentle. There’s a srt of ebb and flow to the story that makes both the time period and the characters really fit into it. idk how to describe it i just like it a lot.

in the quiet of the night (acswy ao3 series) - they’re putting those characters in situations. It’s a very good time. 10/10 do recommend. If you haven't heard of this one though, it’s basically a modern au where everyone works at a summer camp and Mike and Will cause problems for themselves, each other, and usually everyone else around them. 

si vis amari, ama by perexcri - demons and angels and heaven and hell and its honestly just one hell of a story. like ive got vivid images in my head of scenes i imagined when reading this. 

you start to kiss (and the record skips) by eclipseadventure - this is a band au with a side of a secret relationship and im a sucker for secret relationships. a bit of drama/high stakes in here too which is always pretty fun. 

End Racism on the OTW! - you and me and the horrible teenaged ghost who keeps eviscerating himself in our apartment makes three by TheWrongKindOfPC - i am also a sucker for buzzfeed unsolved aus. buzzfeed unsolved, hauntings, ghosts, yknow the fun stuff. 

into the daylight by andiwriteordie - THIS IS NOT THE FIRST ONE, it’s just the first one that came up in my bookmarks. anyways, this is the second fic in a fantasy au series. The worldbuilding is really cool and there’s magic and history and politics and i like it a lot. the most recent chapter is spinning around in my mind.

the heartbreak prince by andiwriteordie - THIS IS THE FIRST ONE. 

beneath these boughs, my devotion blooms by perexcri - this is the fic that nearly killed me. i literally cant summarize it because im still recovering from what happened to me when i read it. Did i read it in april? Maybe. Listen, it had me asking questions about things i had never considered before. its 11k but im pretty sure it took me a good few hours to read because it made me think about it so much. again, ive got a bunch of visuals running through my head. its just... so much.

sweetheart, you're so cruel by perexcri - Mike’s in a band, Will’s a music snob, they’re both contemplating their life choices. very fun, very interesting, also made me think about some things. 

keep it hush by wiseatom - theres an amusement park and the horrors of customer service. and some other stuff but basically its pretty bright (the visuals of the fic in my head are bright- like sun glinting off metal- and idk how else to describe it)

the start of an age by delusionaltogether (Whyyyyy) - this ones funny and serious at times and its got Max in it. fantasy au with prince will and knight mike and a secret relationship and a small scheme between three parties that involves a fake (ish) marriage. 

superhero therapy by silverluminoqity - spiderman au with a side of trauma and healing? it’s complicated theres stuff happening, i had a good time reading it. 

you've got this spell on me by andiwriteordie - this one was really fun. basically its a fantasy au theres magic and mike gets himself hit with a spell that makes him fall in love with will and will freaks out about it for a while.

Daydream by disaster_energy - i really really liked this fic. its a fantasy au and its got gods and stuff and will gets chosen by the moon goddess because hes Will and everyone is like... woah.

takes one to know one by andiwriteordie - i also liked this one a lot, its a superhero au and its got ironic (like... dramatic irony- i think is what im talking about? maybe? but like fun irony) secret identities. 

Love goes 'round by evil_ontheinside - conversations in a laundry mat. mikes flopping (as in, flopping around like a fish) around a bit and this was pretty cute. 

my promise could be your fiend (could be the smallest of signs) by s0ld_it - spider man au, theres a bookstore involved and a lot of stuff. ive read this fic twice and greatly enjoyed it both times. 

Tip-toeing on Lily-pads by cherryisgone - very very fun, fantasy au and... mike gets cursed to be a frog. can only be un-cursed with a kiss. 

filling in the blanks as we go by delusionaltogether (Whyyyyy) - bookstore meetcute

there’s more but i spent all day painting my room and i am tired. Ive also got way too many bookmarks to go through and i have decided to stop here. still haven't figured out how to write that comment (but i am working on it because i love the fi(s) and ive been thinking about one specific thing that came up in a new chapter for so long). anyways, i hope someone enjoys this list of au fics from my bookmarks. 

[eyeodyssey]

The Post-Futurist Fossils of LITCHI HIKARI CLUB In a somewhat recent research tangent, while considering the possible “genealogy” of the Tokyo Grand Guignol’s themes and aesthetics, I made an interesting personal discovery regarding Litchi Hikari Club. Specifically some distinct thematic parallels that the play shares with the Italian futurist movement, less in relation to the art of the movement itself, but rather the ideologies of the movement’s controversial founder, Filippo Tommaso Marinetti, and his relation to the Italian fascist party. This is all of course in the context of understanding Litchi as a transgressive/dystopian horror story. This is less of an absolute statement than it is a sort of open train of thought, so take things with a fair grain of salt. This is more or less just my own personal analysis of all the materials I could gather of the original play. Beyond inspecting the play as a possible allegory for futurism, there's also just a lot of general analysis of the play in relation to Ameya's overall body of work, both with the Tokyo Grand Guignol and also as a performance artist. I rarely put a 'keep reading' tag on these things since I'm an openly shameless product of the early days of blogging, but this one's a doozy (both in the information but also just the gargantuan length). Hopefully others will find it just as interesting. The full essay is below...

The futurist movement itself was nothing short of an oddity. In their time, the futurists were pioneers of avant-garde modernist aesthetics, with their works ranging from deconstructive paintings to reality-bending sculptures and even early pathways to noise music with the creation of the non-conventional Intonarumori instruments of Luigi Russolo. Russolo’s own futurist-adjacent manifesto, The Art of Noises, would go on to influence such artists as John Cage, Pierre Henry, Einstürzende Neubauten and the openly left-wing industrial collective Test Department. When visiting the MOMA in New York City as a child, I was fascinated by Boccioni’s Unique Forms of Continuity in Space, a sculpture that appeared to be a spacetime malformation of the human figure encapsulated in a continual state of forward motion while in total stillness. Despite this, the futurists were also a social movement of warmongering misogynists, with their own founding manifesto by Marinetti describing the bloodshed and cruelty of war as being “… the only cure for the world”. Their manifesto would also feature quotes such as “We want to demolish museums and libraries, fight morality, feminism and all opportunist and utilitarian cowardice”. They would originally pin anarchism as being their ideological ground in the manifesto, but shortly thereafter Marinetti would pick up an interest in fascism along with the politics of Benito Mussolini, going on to be a coauthor for the Italian fascist manifesto alongside the futurist manifesto. In consideration of how throughout most of World War II, modernist and post-modern works were considered “degenerate” forms of art in contrast with traditionalism, a whole avant-garde movement founded from fascist ideals is paradoxical. But for a period of time, that parallel wasn’t only in existence, but backed by Mussolini himself with there being a brief effort by Marinetti to make futurism the official aesthetic of fascist Italy. One of the draws of futurism for Marinetti was an underlying sense of violence and extremity. According to Marinetti, his initial inspiration for the movement was the sensations he felt in the aftermath of a car accident where he drove into a ditch after nearly running over a band of tricyclists. He conceived his works to be acts of social disruption, intending to put people in states of unrest to cause riots and similar bouts of violence. “Art, in fact, can be nothing but violence, cruelty, and injustice”. He sought to destroy history to pave the way for a rapid acceleration to futuristic technological revelation.

“As shown in Edogawa Rampo’s Boy Detectives Club, young men like to hide from a world of girls and adulthood to form their own secret societies.” - June Vol. 27 In Litchi Hikari Club, a group of middle school-aged boys are faced with a crisis on the brink of puberty. At the twilight of their childhoods, they form a secret society known as the Hikari Club (or Light Club), a collective that’s devoted to the active preservation of their shared youth and virginity. The boys naively mimic an authoritarian organization and its hierarchy as they seek a means to preserve their boyhood, which they see as being idyllic in contrast to adulthood, a dreary state of existence that they call old and tired in the Usamaru Furuya manga version of the story. Similarly, in the Litchi Hikari Club-inspired short manga Moon Age 15: Damnation, the boys go on to liken their hideout with the paradisiacal garden of Eden. In said story, Zera would directly name the poem Paradise Lost in reference to the discovery of their hideout by adults (arriving in the form of ground surveyors) and the wide-eyed daughter of a land broker, with their contact to the virgin industrialized land being an ideological tainting of the sacred lair. In their mission, they seek refuge in technological inhumanity by having their penises replaced with mechanized iron penises, symbolic devices of power and violence that can only procreate with other items of technology. Working in absolute secrecy, they collectively manufacture a robot known as Lychee. The purpose of Lychee, previously only known to Zera, isn’t revealed to the other club members until its completion. It’s when they unveil their “cute” robot in a scene that parallels the 1920 German expressionist film The Cabinet of Dr. Caligari that Zera tells the other members of Lychee’s purpose as a machine that would kidnap women for them. The robot's efforts are assisted by the girl capturing device, a strange rice cooker-shaped mask that’s laced with a sleeping drug. When questioned about the fuel source for the robot, Zera explains how it will run off the clean fuel of lychee fruits rather than an unsavory yet plentiful substance like electricity or gasoline as a means to further match the robot’s perceived beauty.

While the club share a general disdain for adulthood, they hold a special hatred to girls and women. Going off the dogmatic repulsion to sexuality that Kyusaku Shimada shows as the teacher in the Tokyo Grand Guignol’s prior play, Mercuro (1984), it could be assumed that the Hikari Club hold a similar dogmatic viewpoint about the vices of sex. In this context, it’s likely that they would’ve perceived women as being parasitic by nature as spreaders of the “old” and “tired” adult human condition through pubescent fixation and procreation. Sexual thoughts are inherent to aging for most people, given the process of discovering and exploring your identity throughout puberty. It’s that exact pubescent experience the club seek to eradicate. Further insight is given to the Hikari Club’s dystopian psyche through their open allusions to nazi ideology. While Zera travels out to gather lychees from a tree he planted, the club get a special visit from a depraved elderly showman known as the Marquis De Maruo, performed by none other than Suehiro Maruo himself in the 1985 Christmas performance. Despite the club’s disposition to adults, they hold an exception for the Marquis for his old-timey showmanship and open pandering to the children’s whims. He always comes with autopsy films to show the young boys, and as they watch the gory videos he hands out candies that he describes as being a personal favorite of the late Adolf Hitler. He was said to also be the one to convince the boys to name their robot after the lychee fruit. It isn’t until Zera returns that the Marquis is removed from the hideout on Zera’s orders. Just before his exiling, he foretells to Zera the prophecy of the black star as both a promise and a warning to the aspiring dictator. It should be noted that there is a fascist occult symbol known as the black sun.

Suehiro Maruo as the Marquis De Maruo. On the right side is a caricature of Maruo as drawn by a contributor to June magazine, excerpted from an editorial cartoon in June Vol. 27 covering Litchi's 1985 Christmas performance. In addition, the Marquis’ role alongside Jaibo’s appearances in the play (which I’ll get to later) show distinct parallels with the presence of the hobo in the Tokyo Grand Guignol’s first play, Mercuro. In Mercuro’s case, the hobo (performed by Norimizu Ameya, who would go on to also act as Jaibo) visits the classroom in secrecy to lecture the students his depraved ideologies. Whilst the hobo in Mercuro was a figure of perversion that existed in contrast to the teacher’s paranoid conservatism, in Litchi both Jaibo and the Marquis are enablers of the club’s fascistic leanings, with the Marquis being a promoter whereas Jaibo is a direct representation of the underlining perversions of fascist violence. Though completely omitted from the Furuya manga, the element of the autopsy films shines a unique light on Zera’s death at the end of the story. In both the play and the manga, Zera is gutted alive by Lychee when the robot undergoes a meltdown after being forced to drown Kanon (Marin in the original play) in a coffin lined with roses. In the manga, Zera appears deeply unsettled when realizing his intestines resemble the internals of an adult. It’s unknown if this aspect is present in the theater version, as the full script remains unreleased to this day. It would fit however knowing not just the club’s repulsion to adulthood, but also how they retreat to technological modification to eradicate the human aspects they associate with adulthood. What is described of Zera’s death in the theater version has its own disquieting qualities as, from what’s mentioned, when confronted with his own mortality he appears to regress to a state of childlike delirium, a demeanor that’s drastically different from his usual calm and orderly presentation. Upon seeing his intestines, one of the responses he is able to muster is “I’m in trouble”. He says this as he questions whether or not he can fit his organs back inside the cavity before eventually telling himself that he’s just tired, that he “need(s) to sleep for a while”.

While never directly stated, it’s heavily implied that the club’s ideologies and technological fetishism ultimately root back to Jaibo, an ambiguously European transfer student who secretly manipulates the club’s actions from behind the scenes. Referred to by Hiroyuki Tsunekawa (Zera’s actor) as the “true dark emperor” of the Hikari Club, he was said to haunt the stage from the sides, closely inspecting the Hikari Club’s activities while keeping a distance. The iron phallus was first introduced by Jaibo through a monologue where he reveals how he fixed one to his own person, carefully describing its inner mechanisms and functionality before demonstrating its inhuman reproductive qualities by using the phallus to have sex with a TV. A television that he affectionately refers to as Psychic TV Chan, in reference to the post-industrial band fronted by Genesis P’Orridge. In the same scene, he promises the other members that they would all eventually get their own iron penises just like his own. In a subsequent scene, he reveals the iron phallus’ use as a weapon when, arriving to the club’s base with a chained-up female schoolteacher who accidentally discovered the sanctuary, he uses the device to brutally kill the teacher through a mocking simulation of sexual intercourse. Just before raping her, he likens her to a landrace, bred for the sole purpose of reproducing and being processed into meat for consumption. He menacingly tells her that he will make her as “cut and dry” as her role in society before carrying out her execution. While there was some confusion on whether or not the iron phallus was a machine or solely a chastity device, it was found in bits of dialogue that the iron phallus at least shares the qualities of a pump with a described set of rubber hinges. The teacher’s death gruesomely reflects the death of Kei Fujiwara’s character in the later film Tetsuo: The Iron Man (1989), with the iron phallus mangling her insides as blood splatters across the stage. While the club treats adult sexuality as a plague, they manage to find through the iron phallus a way to convert their own states of chastity into a form of violence, stripping all humanity away from the penis and rendering it to a weapon of absolute power through desolate mechanized cruelty.

JAIBO: “Length, 250 mm, with a weight of 2.4 kilograms. Arm diameter, 30mm. Cylindrical thrust, 170mm… With pins, plates and rods of die-cast alloy. And hinges of rubber… the rest is pure iron. It is the iron phallus.” - June Vol. 27 In the same interview, Tsunekawa would go on to recall how the members of the Hikari Club were effectively Jaibo’s guinea pigs. In both the play and the manga, an after-school night of the long knives ensues with the slow collapse of the Hikari Club as Jaibo influences the exiling of certain club members, with Zera left ignorant to the social engineering as a mere extension of Jaibo’s elaborate puppeteering. Left embittered by a chess match where he lost to Zera, Tamiya is easily tricked by Jaibo into burning the lychee field as a way to get vengeance. Upon being caught, Tamiya is castrated of his iron phallus, resulting in his exiling from the club as a traitor while also being mockingly likened to a woman in the process. In another scene, it’s recalled that Jaibo and Zera exchange a conversation about the Hikari Club’s loyalty to Zera as they observe the outside world through their periscopes. By all contemporary recollections, Jaibo was the club’s puppet master. He would’ve been the likely source of the club’s ideologies, the underlining hatred to women and fixation on technological violence, replacing mankind with a race of humanoid weapons. Zera would be a shell without his influence. The presence of futurism could arguably even be rounded down to Lychee’s presence in the story. Beyond his theoretic work, Marinetti was also a playwright. He would be most well known for his futurist drama La donna è mobile, a story riddled with similarly perverse renditions of sexual violence. The play notably featured the presence of humanoid automatons a full decade before the term “robot” would be coined by Czechoslovakian author Karel Čapek in the play R.U.R., with the French version of Marinetti’s script referring to the machines as “puppets” for their visual similarity to humans.

All of this plays out over a soundscape that’s dominated by unnatural electronic frequencies and synthesized percussion. The sound design was arguably one of the most important aspects of Ameya’s plays, with Ameya at one point describing the Tokyo Grand Guignol productions as being an ensemble of his favorite sounds. The setting further compliments the atmosphere, made to resemble the internal of a junkyard or factory warehouse where heaps of technical jump decorate the stage around the monochrome cabinet that would eventually birth Lychee. Some of the featured artists in the play’s first act include Test Department, The Residents, 23 Skidoo and Deutsch Amerikanische Freundschaft. The play’s opening, which depicts the capturing and subsequent torture of a student named Toba through a so-called “baptism of light”, is underscored by the S.P.K. song Culturcide, a grim primordial industrial dirge that paints the image of a dystopia where the genocide of ethnic cultures is likened to the infection of human cells by parasitic pathogens. Instead of being hung with a noose, Toba is suspended by a meathook, left as a decoration amidst the heaps of mechanized excrement. He would eventually be joined by the lifeless bodies of various women the Hikari Club abduct as they’re steadily gathered in a small box at the back of the stage. “Membrane torn apart, scavenging with the nomads. Requiem for the vestiges. Dissected, reproduced. The nucleus is infected with hybrid’s seed. Needles soak up, the weak must destroy. Cells cry out, cells scream out. Culturcide! Culturcide! Culturcide! Culturcide!” - Culturcide (from S.P.K.'s Dekompositiones EP)

“We are now entering an era which history will come to call ANOTHER DARK AGE. But, in kontrast to the original Dark Age, defined by a lack of information, we suffer from an excess of information, which has been reduced to the repetition of media-generated signs. Through this specialization, it is no longer possible for an individual to attain a total view of society. Edukation is struktured to the performance of a limited number of funktions rather than for kreativity.” “Kommunications systems are designed for the passive entertainment of the konsumer rather than the aktive stimulation of the user’s imagination. Through the spread of the western media, all kultures come to stimulate one another. By the end of the millennium, this biological infektion will have penetrated the heart of the most isolated traditions - a total CULTURCIDE.” “Yet in every era, a small number of visionaries rise above the general malaise. Those who will succeed, will resist the pressure to become kommercialized “images”, demanding identifikation and imitation. They will uphold their principles in the face of impossible odds. By remaining anonymous, they will be free to develop their imagination with maximum diversity. For this is the TWILIGHT OF THE IDOLS, - the end of the proliferation of the ikons and the advent of a new symbolism.” - From the back cover of S.P.K.’s Dekompositiones EP (released under the moniker SepPuKu) Over the course of the play, the story undergoes a drastic tonal shift as the focus moves from the Hikari Club’s hierarchical order and internal conflicts to the relationship between Lychee and Marin. Marin (performed by synthpop musician Miharu Koshi) was the first girl the Hikari Club successfully kidnap through Lychee after implementing the phrase “I am a human” in Lychee’s coding so it can understand the concept of human beauty. This small implementation causes a full unraveling in Lychee’s personality as it quickly forms a close bond with Marin, convinced that it is also a human like Marin. The soundscape changes alongside the overarching atmosphere, going from cold industrial drones and percussive electronica to ambient tracks. Some of the major scenes play out over moving piano-focused pieces and music box tunes from Haruomi Hosono’s soundtrack for Night on the Galactic Railroad. Originally created a weapon like the iron phalluses and the girl capturing device, Lychee is eventually defined in how he transcends from being a weapon to a conscious being with feelings. In this context, the play can be read as a juxtaposition of human emotion against inhuman futurist brutality.

This split was likely the product of the radically different creative ideologies of Norimizu Ameya (the Tokyo Grand Guignol’s founder and lead director) and pseudonymous author K. Tagane (the playwright for the group from Mercuro to Litchi). Ameya had come into the group with radical intentions, holding Artaudesque aspirations to transgress the literary limits of modern theater to achieve something deeply subconscious. Meanwhile, Tagane was a romantic who was known for their poetic and lyrical screenplays. Ameya purportedly sought out Tagane’s screenplays specifically to find a literary base he would “destroy” in his direction, deconstructing the poeticisms in his own unique style. He describes it briefly in an interview regarding the stage directions of Mercuro, stating how he took elaborate descriptions of a lingering moon and ultimately deconstructed them to the moon solely being an illusion set by a screen projector, mapping out the exact dimensions of the projection to being a 3-meter photograph of the moon rather than a “fantastic moon”. It’s believed by some that the Tokyo Grand Guignol’s formation and ultimately short run were the product of a miraculous balance between Ameya and Tagane’s ideologies. It’s possible that Litchi could’ve been a last straw between the two artists. After Litchi, Tagane left the group, with Ameya having to write the troupe’s final screenplay on his own. LYCHEE: “Marin is always sleeping… all she does is sleep. She doesn’t eat anything. Why does Marin sleep all day?” MARIN: “When you’re asleep, all the sadness of the world passes over you.”

"The second half of Litchi was predominantly driven by the sounds of Ryuichi Sakamoto and Haruomi Hosono. During a scene that featured a piece from the Galactic Railroad soundtrack, Miharu Koshi sang to Kyusaku Shimada while dancing like a clockwork doll to the sounds of a twisting music box. The scene lasted for a while and was very romantic, the interactions between Lychee and Marin were all very sweet and cute. The second act of Litchi was all a product of Tagane’s making. By the time of the following play, Walpurgis, I was told by a staff member that Ameya had written the screenplay by himself because Tagane had left.” “… While the first half was filled with repeated mantras and the unfolding aesthetics of an aspiring militia, the second half was immersed in the world of shoujo manga. It did appear that through the intermission, much of the junk and rubble around the podium was sorted out.” “… The Tokyo Grand Guignol’s plays were always defined by a strong nocturnal atmosphere. But in Litchi’s second half, it wasn’t a dark night, but a brightly lit one under the moonlight and plentiful stars in the sky shining through an invisible skylight. Marin doesn’t forgive Lychee immediately for his actions, responding to him harshly in a way that would confuse him and make him sulk. It came across as a somewhat bitter reimagining of a French comedy like Louis Malle’s Zazie dans le Métro or Jean-Pierre Jeunet’s Amélie, it was different that way in how it wasn’t only Maruo’s inferno.” - From a Twitter thread by user Shoru Toji regarding the 1986 rerun of Litchi Hikari Club Some questionable qualities do exist in the relationship between Lychee and Marin. What should be a peaceful retreat from the dystopian corruption still has a sinister undertone in the disparities between Lychee’s cold masculine features in contrast with Marin’s childlike girly innocence. It doesn’t help that Zazie dans le Métro (one of the mentioned films in the recollection) was directed by Louis Malle, who while known for such films as My Dinner With Andre and Black Moon was also responsible for the infamously discomforting Pretty Baby. Then again, Litchi was the product of a confrontational transgressive subculture, so the sinister undertones could be intentional. Keep in mind the contents of Suehiro Maruo’s prolific adaption of Shōjo Tsubaki and how it unflinchingly depicts abuse and manipulation through the eyes of a confused child. It could be possible that Lychee himself was intended to be childlike in its mannerisms. Throughout the existing descriptions, Lychee was shown as speaking in fragmented sentences while struggling to understand basic concepts. Zera was mentioned to also use certain phrases like “cute” when referring to the robot when it was unveiled. And it’s through Marin that Lychee learns morality like a child. The robot’s masculinity could be passed off as the cast all being adults. Hiroyuki Tsunekawa for instance shows distinctly sculpted features from certain angles when performing Zera.

In his aspirations to become a human, Lychee eventually “dies” like a human. With the burning of Zera’s lychee tree, the robot is left with a finite limit on its remaining energy before it totally loses consciousness. After his rampage, Lychee attempts to reunite with Marin, but he runs out of fuel. Before what should be a moment of resolution, things are cut short as the stage goes black, eventually illuminated to show an unpowered Lychee cradling Marin’s corpse in his arms. Zera reemerges to observe the remnants of Lychee and Marin. He speaks of how Lychee will crumble into nothingness alongside Marin for foolishly giving into human emotion, further implying the club’s views on humanity. After this, recollections of the play’s final lines differentiate somewhat. It was said that in the original Christmas performance, Zera calls out to Jaibo, posing the corpses of Lychee and Marin as being his seasonal gifts to Jaibo. Whereas in most popular recollections, it’s described that after his monologue, Zera shouts “Wohlan! Beginnen!” (German for “Now! Begin!”) before prompting the decorations across the stage to collapse, revealing a set of stepladders from behind that the remaining previously deceased club members stand, all drenched in blood with spotlights illuminating their faces from below. ZERA: “And with that, our tale of a foolish romance between woman and machine reaches its conclusion. It ends before me as I stand here, watching. Lychee, the machine, will rust away into dust. And Marin, a young girl, will rot away leaving behind only her bones, which too will crumble…”

Multiple readings can be deciphered from this conclusion. The most established theory is in relation to the Hikari Club’s aspirations for eternal youth, with the members technically achieving their goal through the stagnation of death. They will remain eternal children since they died as children, unable to ever grow into adulthood. In the context of futurism and mechanized fascism however, it could be read as a bitter observation of a lasting dictatorship. With how the Hikari Club members had rendered themselves less human than their own robot, they survive death to continue their work, seeking to one day eradicate humanity in favor of a race of sentient childlike weapons. “To admire an old picture is to pour our sensibility into a funeral urn instead of casting it forward with violent spurts of creation and action. Do you want to waste the best part of your strength in a useless admiration of the past, from which you will emerge exhausted, diminished, trampled on?” “… For the dying, for invalids and for prisoners it may be all right. It is, perhaps, some sort of balm for their wounds, the admirable past, at a moment when the future is denied them. But we will have none of it, we, the young, strong and living Futurists! Let the good incendiaries with charred fingers come! Here they are! Heap up the fire to the shelves of the libraries! Divert the canals to flood the cellars of the museums! Let the glorious canvases swim ashore! Take the picks and hammers! Undermine the foundation of venerable towns! The oldest among us are not yet thirty years old: we have therefore at least ten years to accomplish our task. When we are forty let younger and stronger men than we throw us in the waste paper basket like useless manuscripts! They will come against us from afar, leaping on the light cadence of their first poems, clutching the air with their predatory fingers and sniffing at the gates of the academies the good scent of our decaying spirits, already promised to the catacombs of the libraries.” - from the 1909 Futurist Manifesto by Filippo Tommaso Marinetti

I forgot what exactly first caused the parallel to cross my mind. I do recall it being reignited when having a closer look over the poster and flyer for Litchi’s Christmas performance in December 1985. The flyer in particular is really a wonderful thing to look at. Predominantly featuring an art spread by Suehiro Maruo, a suited man with Kyusaku Shimada’s likeness is shown caressing a girl in front of a modernist cityscape with spotlights shining up to a night sky. Other suited men in goggles fly in the air with Da Vinci-reminiscent flying apparatuses between the beams of the metropolis’ spotlights. A student in full gakuran uniform flings himself into the scene from the far left side of the image with a dagger in hand, and a larger hand comes from the viewer’s perspective holding a partially peeled lychee fruit. While not based on any direct scene from the play, it perfectly instills the play’s atmosphere with an air of antiquated modernity, like the numerous illustrations of the early 1900s that show aspirational visions of what a futuristic cityscape might resemble. The bizarre neo-Victorian fashions of the future and its post-modernist formalities. The term futurism came to mind somewhat naively from this train of thought. It was a movement I recalled hearing about, but my memory of it was hazy. It wasn’t until I went in for a basic refresher that I felt the figurative lightbulb go off in my head. That was when the pieces started to come together, but then also strain apart from each other into tangents. Granted, many of these parallels could be read as coincidental. Many of them can even be passed off the play being a work of proto-cyberpunk, knowing how Tetsuo: The Iron Man would subsequently explore similar themes of cybernetics and human sexuality. It should still be noted however that in contrast with many of the Japanese cyberpunk films, Litchi was explicit in its connotations between technological inhumanity and fascism, with the machinery itself being the iconography of a dictatorship rather than a product of it. In addition, with Tetsuo the film has strong gay overtones, with the technology being an extension of the sexual tensions between the salaryman and the metal fetishist. For a period of time, efforts were made to make futurism the official aesthetic of fascist Italy, and modern fascism as we know it is in the same family tree of Italian philosophy as futurism. The Hikari Club are explicit in drawing from German aesthetics rather than Italian however, speaking in intermittent German and predominantly using German technology. The spotlight that they used when torturing Toba in the first act, for example, was a Hustadt Leuchten branded spotlight. And if that isn’t a German name I don’t know what is. It was also said that Jaibo’s outfit in the play was modeled after German school uniforms. Though then again, the Tokyo Grand Guignol’s works were a bit of a cultural slurry. Jaibo’s name for example is Spanish (derived from Luis Buñuel’s Los Olvidados), while the character is implied to be German.

Similar to the cited origins of futurism, Ameya stated in a 2019 tweet regarding the June 9th, 1985 abridged Mercuro performance on Tokumitsu Kazuo’s TV Forum that in the following August of that year, an airplane accident occurred that led to the conception of Litchi’s screenplay. The exact nature of the accident was never specified, but the affiliates he was communicating with all appeared to be familiar with it and expressed concern when it was brought up. This was however one of an assortment of influences that were cited behind Litchi’s production, with the two more established theories regarding the then-contemporary mystique around lychee fruit in Chinese cuisine along with the play being a loose adaption of Kazuo Umezu’s My Name is Shingo. For what it’s worth, the themes of Litchi, along with the Tokyo Grand Guignol’s other works, were closely tied with certain concepts that Ameya personally cultivated throughout his career. A frequent recurring topic Ameya would bring up in relation to his works was the nature of the human body in relation to foreign matter, need it be biological or unnatural. With Mercuro the students taught by Shimada are made into so-called Mercuroids by having their blood supplies replaced with mercurochrome, a substance that is referred to as the “antithesis of blood” by Shimada while in character. In an interview for the book About Artaud?, Ameya cites an interest in Osamu Tezuka’s manga in how certain stories of Tezuka’s paralleled Ameya’s observations of the body. He directly names Dororo and Black Jack, observing how both Hyakkimaru and Black Jack reconstructed their bodies from pieces of other people, going on to bluntly describe Pinoko as a “mass of organs covered in plastic skin”.

A section from June Vol. 27 highlighting some of the more established performers from Litchi's 1985 Christmas performance. The actors from left to right are Norimizu Ameya as Jaibo, Naomi Hagio as the female school teacher (best known in cult circles for her role as Kazuyo in the 1986 horror film Entrails of a Virgin), Suehiro Maruo out of costume and Miharu Koshi as Marin. During his temporary retirement from theater, Ameya would take up performance art, with some of his performances revolving around acts with his own blood. While my memories of these works are a bit hazy, I remember one action he performed that involved a blood transfusion, with the focus being on the experience of having another person’s blood coursing through your veins. While I didn't have much luck relocating this piece (probably from it not being covered in English), I did find on the Japan Foundation’s page for performing arts an interview where Ameya discusses being in a band with Shimada where Ameya had blood drawn from his body while he played drums. He would also describe an art exhibition where he displayed samples of the blood of a person infected with HIV. “After 1990 he left the field of theatre and began to engage himself with visual arts - still proceeding to work on his major topic - the human body - taking up themes like blood transfusion, artificial fertilization, infectious diseases, selective breeding, chemical food, and sex discrimination, creating works as a member of the collaboration unit Technocrat.” - Performing Arts Network Japan (The Japan Foundation) There are still an assortment of open questions I’m left with in regards to the contents of the original Litchi play. One of the most glaring ones is Niko’s eye. In consideration of Ameya’s interest in the body, the detail would fit perfectly with his ideologies. A club member who, to show his absolute loyalty to the Hikari Club, has his own eyeball procedurally gouged out to be made a part of the Lychee robot. Despite this perfect alignment, none of the contemporary recollections mention this element. While Niko does have an eyepatch in certain production photos, it never seems to come up as a plot point. He isn’t the only one to bear an eyepatch either, with Jacob also being shown with an eyepatch in flyers. More questions range from Jaibo’s motives in causing the dissolution of the Hikari Club to the true nature of Zera’s affiliation to Jaibo. While Tsunekawa has stood his ground in the relationship between Zera and Jaibo being totally sexless, in the cited volume of June the editor playfully refers to Jaibo as being Zera’s “best friend” in quotes.

A side-by-side comparison of the cast listings on the back of the flyers for the December 1985 performance of Litchi Hikari Club alongside its 1986 rerun. The 1985 run's lineup is at the top while the 1986 run is at the bottom. Much speculation is naturally involved when looking into the original Litchi Hikari Club since it is in essence a cultural phantom. There’s a reason I used the term genealogy in relation to my research of the Tokyo Grand Guignol’s works. It is an artistic enigma as while its presence lingers in subculture, the original works are now practically unattainable due to the inherent nature of theater. As Ameya himself would acknowledge in another interview, theater is an immediate medium that can only be perceived in its truest form for a very short span of time before eventually disintegrating. So with the Tokyo Grand Guignol’s plays, you are left to scour through the scattered remnants and contemporary recollections alongside the figurative creative descendants of the plays. You analyze the statements of both the original participants and the people they openly dismiss, as even those people were original audience members before reinterpreting the plays to their own unique visions. Despite the apparent differences, I still feel that Furuya’s manga gives a unique perspective to the story when viewed under dissection. That is if you want to see it in strict relation to the play. Outside that, I feel it firmly stands on its own merits. I like the manga no matter what Tsunekawa says, that’s what I’m trying to say. Ameya approved it anyway. It took me a full day to write all this out, and like the first time I went down this train of thought, I’m pooped. During that first excursion, after excitedly spiraling through these potential connections, I noticed in passing mention something about Marinetti’s cooking. You see, later in his life Marinetti aimed to apply futurism not just to art and theater, but cuisine also. As an Italian, Marinetti openly despised pasta, seeing it as being an edible slog that weighs down the spirits of the Italian people. Just further evidence that I would never get along with the man, no matter my liking of the Boccioni sculpture I saw at MOMA all those years ago. Well, outside of him being a fascist and all obviously. I like pasta. Either way, he was on a mission to conceive all-new all-Italian cuisines that would match the vision he had of a new fascist Italy. Nothing could prepare me though for when I saw an image of what would best be described as a towering cock and ball torture meat totem. It is exactly as it sounds, a big phallic tower of cooked meat with a set of gigantic dough-covered balls of chicken flesh on the front and back where you have to stick needles through the thing to hold it together. Words cannot express just how big it is. The thing was damn well near falling apart from how unnatural its shape was, and you’re expected to eat it while it has honey pouring from the tip of the tower. I genuinely winced watching its assembly, I instinctively crossed my legs somewhat when it was pierced by wooden sticks and then cut into sections to reveal the plant-stuffed interiors. As a person with no interest whatsoever in cooking shows, I was on the edge of my seat watching a PBS-funded webisode of someone preparing futurist dishes. Seek it out for yourself, it’s an excessively batshit culinary freakshow. That is more than enough talk about penises for the rest of the week. I’m going to spend the next few days looking at artistic yet selectively vaginal flowers to balance things out, equal opportunity symbology.

[charcubed]

Disneyland's Rogers: The Musical, propaganda that turns Steve Rogers into more myth than man, and revisionist history (possibly) to a purpose

Any of my thoughts in this post could just be me reading too far into things. I'm very aware of that, and please know that this post exists just because this sort of thing is fun for me! This is a thought exercise where we propose "What if we live in a world where the MCU is actually doing a cool and interesting thing as a longcon?" If you have anger at Marvel, that's valid and relatable, but please don't get angry at me or imply I'm an MCU stan who doesn't think critically about the mouse. Thanks!

Breaking news: I'm back on my bullshit!

A quick personal recap: I infamously hated Avengers: Endgame for a long list of reasons (and I even rewrote the movie). One of those reasons is that I've always taken issue with Steve's ending. But in the years since then, and as the MCU's phase 4 has evolved, my frustration at Steve's "ending" has turned into an ongoing and legitimate theory that the MCU could be slowly leading into a loosely adapted Secret Empire plot line. I know we've all been joking about Steve being trapped or about an imposter Steve since 2019, but uhhh, it's kind of not a joke to me anymore? It feels weirdly plausible at this point and so I enjoy discussing the potential.

You can find a full elaboration on that here, where I wrote out my "Steve was snatched by HYDRA" theory in 2021.

In that post, one of the things I mentioned at the time was Rogers: The Musical being in the Hawkeye trailer.

[The musical's] very existence is an example of how in-universe the stories of the lives of the heroes are being commodified, especially (in terms of how they’re framing it) for Steve’s. The heroes are no longer seen as people, if they ever were. They are, as Kate Bishop says to Clint in a recently released clip, more about “branding.” Sam Wilson will be redefining the shield moving forward in a Cap context, but simultaneously, the world is still enamored by Steve Rogers as a symbol in his own right. And that is ripe for manipulation as a Trojan horse to control public opinion… whether in the context of things like this by themselves (is the musical portraying Steve accurately, or is it painting an inaccurate picture of him the world accepts as fact?) or in future (is this propaganda that makes the public see Steve a certain way and continue to love him, to set up a fake or brainwashed Steve coming on the scene later?).

Now a form of the musical exists in full, at Disneyland and all over Youtube. Considering some of its baffling content – which I will break down below – this perspective seems even more strongly worth considering.

I have two main reasons for why I'm defending examining this musical so closely:

1. It is (arguably) an in-universe piece of media that has bearing on the MCU canon. It isn't like any other typical Disneyland attraction; its very existence is meta and it was in canon first. Obviously it's seen in Hawkeye, but there are also posters for it in several different phase 4 properties. It's lurking in the background indefinitely. So what can this musical tell us about what the wider public within the MCU is being told about the life story of Steve Rogers?

2. This Secret Empire graphic – which is animated in the center of the stage of a prolonged period of time – feels like a literal sign to pay attention.

Granted, this is obviously still ancillary material. 99% of the MCU audience will never see this musical, whether in person or on YouTube. But just because it isn't a vital piece doesn't mean it's automatically an entirely irrelevant piece.

They've given me an inch with that sign and I'm taking a mile.

So if you're interested, please join me on this journey :)

For the record, let me just say that I salute the creative team behind this show. It's pretty fun and the songs are catchy, the sets and costuming are cool, and the cast is overall very talented.

It's also fucking maddening. LMAO.

Why? Firstly, because of the seemingly deliberate ahistorical inaccuracies. We all know Ant-Man is wrongly shown in the Battle of New York, which originally "came from [the Hawkeye showrunner] and Marvel, as something to further aggravate Hawkeye as he watched the show, and also as a comment on how movies and articles and people always get something wrong." It seems like they expanded those meta nods, but most inaccuracies are now in service of glorifying Steve and Peggy's "love story." Yes, romance objectively makes for good theater; but again, I feel that this is worth examining considering the full context.

And secondly, Steve's ending is framed as an offer presented to him, convincing him it's the happy ending he deserves because he's tired. In my mind, these two big elements go together, and I'll walk you through the details of what happens in the musical before I tie the thought threads back around into some theorizing.

For your reference, here's a list of the main songs and story beats:

• "U-S-Opening Night" - the Starkettes (who are basically a Greek chorus) frame the show's story, and then it turns into an ensemble that loosely takes place at the Stark Expo. • "I Want You" – Steve's "I want" song about trying to enlist in the army. • "Star-Spangled Man With A Plan" – Steve performing on the USO tour obviously, and then there's a reprise with an added voiceover that (very briefly) covers the Howling Commandos' rescue + the war via comic book imagery. • "What You Missed" – Fury and the Starkettes tell Steve some pop culture things he missed while he was frozen, + they tell him about the Avengers. Then Fury goes down a list of other hero characters, including the Guardians? Doctor Strange? Wanda?? It plays loose and fast with time, because many non-2012 characters are bafflingly mentioned in this nonlinear Avengers list – including the Winter Soldier (???). • "Save the City" – this is the song seen in Hawkeye, with the civilians + the Avengers all involved, but it's slightly different here and expanded to also reference other battles. • "End of the Line" – Old Steve presents main Steve with the time stone as an opportunity for his happy ending, and they reflect on things together. (Yes, this is insane.) • "Just One Dance" – Steve and Peggy reunite and sing about their love. • And then there's basically a reprise of "Save the City," with the Starkettes and the whole cast closing the finale out.

Right out of the gate, let's address this: the main reason you're going to see some fans pissed about this musical is not only that Steve and Peggy's ~epic romance~ is made a pillar of the story... but also that Bucky's importance/involvement in Steve's life is minimized as much as possible.

And they took Bucky-related elements from canon and made them center more around Peggy instead.

• For some weird reason, Peggy is in the Stark Expo scene. When a soldier is hitting on the Starkettes ("hey sweetheart, I wanna dance!"), Steve tells the soldier to show the ladies some respect. The soldier grabs Steve and throws him down, and then Peggy swoops in to yell "Pick on someone your own size!" and punches the guy before walking away. So she's given Bucky's TFA line verbatim, and she is given the role he had of saving Steve from bullies. There is blatantly no reason they couldn't have had Bucky still serve that function and be truer to "history," because he briefly enters this scene in uniform less than a minute later to announce he's shipping out to the 107th – and then he spins off with a date on his arm. (We don't see Bucky on stage again until the full cast comes out for the finale!)

• After the Star-Spangled Man show, Peggy rushes in to talk to Steve. Steve is excited about his USO performance (???) but she urgently tells him to listen as she says that the 107th has been captured. Peggy apparently knows it's Bucky's division, and she knows Steve is going to go, so she tells him that she's already arranged transport for him. This is a subtle twist from the truth of how it went down in TFA, in which Steve recognized 107 as the number of Bucky's division, and his dogged determination inspired Peggy to relent and help his rescue mission. Here, Peggy is given a stronger role in the Cap origin story. And before Steve rushes off, Peggy sings a short untitled ballad hoping for their dance, so Steve pauses before he leaves to ask her to go on a date with her when he returns. • The most egregious Bucky-to-Peggy change of all is the song "End of the Line," in which the infamous Steve and Bucky line/promise (that broke Bucky's brainwashing...) is re-contextualized to be about ???? Peggy waiting for Steve in the past??? Old Man Steve and regular Steve sing it together. But we'll go back to that in a minute.

Again, I get it, yeah? It's for theater. Whatever. But in reality, the obvious logical truth is that Peggy is centered (to the point of taking elements from Bucky's story, and in turn Bucky is downplayed) because they needed to convince the audience that Steve going back in time to be with her makes sense. Steve's time travel ending had to be justified, so the Peggy and Steve "love story" had to be a pillar in this with everything else being given lesser weight.

And the inherent selfishness of him doing something as big as going back in time also had to be justified... which is why they do their best to convince you Steve fought so much he deserved it.

Let me elaborate on that by describing the lead-up to the "End of the Line" song.

So, right before "End of the Line" is "Save the City" – which includes Steve belting "I can do this all day!" repeatedly, of course. It's the 2012 Battle of New York as the Avengers come together to win.

As they begin to disperse, the song then transitions to a voiceover alert mentioning Sokovia being under attack by artificial intelligence (a.k.a. Age of Ultron). The Avengers group rushes back to center stage to say "Save the city! Help us win!" together for battle again.

And then things get fucking weird.

Because the next voiceover threat is "Washington DC. Attack: the Winter Soldier." This is not accurate to the order of events! The Winter Soldier events were before Age of Ultron; the public of the MCU would also know this.

And suddenly on stage Steve is now in the center while everyone else gestures to him. Instead of singing with him, they're telling him "Save the city! Help us win!"

Then, another voiceover: "Wakanda, under attack" (Infinity War) and again, Steve is centered while everyone else points to him. The ensemble says, "Save the city, help us win! Save us all from the state we're in! Got to hear you, got to hear you, got to hear you say..." as Steve is buckling to his knees under their pointing. And as the lights go down to one spotlight on him and everyone else leaves, he says "I can do this all day" one last time, but now it's subdued.

The implication is that Steve has been fighting and fighting, people leave him or he loses them, and he's tired.

And then fucking Old Man Steve arrives.

He says "On your left," because yes, they gave him Sam Wilson's line. BATSHIT.

So now there's two Steves on stage! There has been no mention of Thanos or infinity stones or anything up to this point! (I can only assume that's because in the MCU universe no one would want to be reminded of the trauma of "the Blip" – though it's pretty wild that they're allowed to know about magical time travel?)

Steve is baffled by Old Man Steve's arrival. I, too, was baffled by Old Man Steve's arrival.

As Steve questions how this is possible, Old Man Steve shows him the time stone from his pocket – and only the time stone – which Steve recognizes.

OLD MAN: "You've got to remember where you've been to know where you're going." STEVE: "Where am I going?" OLD MAN: "A date with destiny." STEVE: “Destiny. So we’re the hero till the end?” OLD MAN: “That’s the thing about endings, Steven. They can be rewritten.”

Lmao???????

Steve starts singing about how he hopes this means they "win" and calls himself a "tired hero."

STEVE: "But sometimes I wonder, who will save the savior? Can we really do this all day? So here I am, now and also then. Just a man, looking back at where he's been." OLD MAN: "The road is rough but wounds are healed by a thing called time. You can't forget what's waiting at the end of the line."

Me, watching this: the fact that he says this out of the blue makes absolutely no sense.

There's a bit more singing, including "end of the line" repetition, and then Old Man Steve pulls out the time stone to essentially show visions of... I don't fucking know. Past, present, and future?

That's pre-serum Steve, Steve with Mjolnir, and Sam Wilson as the new Cap. This is the only reference to Sam in the whole thing.

More singing, and then: Peggy's silhouette.

OLD MAN: "Can't forget who's waiting..." STEVE: "I can't forget who's waiting..." BOTH: "Don't forget who's waiting..." STEVE: "At the end of the line."

At this point I'm like, what in the hell?

Did Old Man Steve just brainwash normal Steve into thinking "end of the line" is now about Peggy? Because uhhhh, sorry, that's what it feels like!

Then Steve uses the stone to go back in time, reunites with Peggy, etc. etc. finale.

It's truly some crazy shit.

[drags hands down face]

Look... there's a lot to unpack here, and there's a lot that gets me about it. I know this is dramatized for the stage! I KNOW! But the fact that Old Man Steve shows up to convince Steve he should go back in time makes me want to gnaw on furniture.

Another person essentially uses the lure of a life with Peggy to tempt Steve into doing this, dramatized or not. That is how it's framed.

It's a hell of a way to frame it, and it makes Steve's ending stand in even starker contrast to so many other things in phase 4. Desperately trying to go backwards when you shouldn't or to bring back a lost lover is an evil temptation, and it results in a trap or negative cosmic consequences for basically all of the other characters in the MCU.

• In Shang-Chi, Wenwu is tempted by the Soul Eaters beyond the Dark Gate. They use the voice of his deceased wife to convince him to set them free. • In "What If" episode 4, Doctor Strange becomes evil in a desperate bid to save Christine and he destroys his universe. Along the way, he tries to tempt/trap the good Strange who's fighting him by using visions of Christine, but good Strange knows she isn't real. • Wanda's grief and desire to bring back Vision leads to – well, you know. • In No Way Home, Peter trying to undo things is what causes the multiverse problems.

And the fact that they frame it as Steve being tired, so basically the argument is he deserves that time travel ending (just like MCU fans who defend Endgame say in real life)... Well.

There's no way to make it hold up, especially because in "What If" they explicitly subverted that and had Captain Carter not go back in time despite how she felt she'd "earned" it.

Lastly, in this musical as Steve decides to pursue time travel as his course of action, he basically has the meaning or memory of "end of the line" rewritten for him. I refuse to not think that is some nefarious shit. Yes, it's not out of the realm of possibility that it's just some general Disney erasing Steve and Bucky nonsense.

But... this is on another level to me. I do think that it's a blatant choice that they had to be aware even general MCU fans would call bullshit on. Everyone knows it's inaccurate. "End of the line" is embedded in pop culture consciousness as being connected to Bucky. It just is! Surely that means it's not a stretch to theorize it could be deliberate meta commentary.

How, in the MCU world, would the in-universe playwrights even know the phrase "end of the line"? How the fuck would it be accidentally applied to Steve and Peggy? Not to sound like a crazy person, but who the fuck was rooting around in Steve and/or Bucky's personal business or their brains in order to obtain that knowledge and then remix it, and why? Neither of them would flippantly mention it in the public eye or interviews ever. So where did its inclusion come from?

And in the finale ensemble, this is Bucky's line when he comes out on stage and salutes + points to Steve: "Don't forget who's waiting..." And Old Man Steve completes it with "...at the end of the line."

What on God's green earth am I meant to do with THAT?

Smh.

The vibes are fucked, folks.

The MCU public wouldn't know enough to say the vibes are fucked. The MCU public wouldn't know the origin of "end of the line" as a phrase. But us? The ones who know the "true story" via the movies? We can call bullshit.

Whether the creative team behind this musical did every aspect of this consciously or not, in my opinion the fact that they had to tweak canon "history" to A) make Peggy's involvement in Steve's life more central and B) emphasize Steve as a tired hero all works as commentary on and almost a condemnation of Endgame's frustrating ending. In a way, it's also what Endgame did with the compass and 1973 moment with Peggy as well.

Steve's ending had to be convincing.

It's theater.

And so, maybe the same is true for the in-narrative perspective of this musical in the context of the MCU world. What purpose would it serve to tell the MCU public a feel-good narrative about how all Steve Rogers wanted was to no longer be a tragic man out of time and get to make a life with his best girl? To frame it as being about how he fought so hard for years and so he earned a happy ending? To minimize and nearly erase Bucky's importance in his life?

Who would want to do that sort of propaganda, and why?

The MCU civilians are given this happy explanation and maybe don't widely question it. Who cares about the details or logistics if it makes a good story, I guess. It's a stretch, but maybe they mostly applaud it. Maybe they're happy for "America's favorite son" (not unlike people who uncritically liked Endgame). In a way, it's even a rehabilitation of his image (after the Accords) like putting the shield on the Statue of Liberty. And maybe they'd even be ready and waiting to applaud if Steve ever made a dramatically selfless and de-aged return to the spotlight or a position of authority.

But mostly, the public is being conditioned to not know or to forget that anyone else like Bucky Barnes or Sam Wilson would possibly know Steve Rogers the person well enough in the modern day to call bullshit on any of this – or on his hypothetical miraculous future return.

So. Sure, it's probably nothing.

But what if it's not?

-------

UPDATE: @faeriecap added to this post with some incredible information and further behind-the-scenes context about the MCU/Marvel stuff at Disney parks! Check it out here :)

[horriblehistorieslandfill]

youve gotten me interested in horrible histories, could we get a lil rundown of it all? what is the idea behind it? :D

GLADLY !! I’m feel so honored that I was able to get you interested in this wonderful show :-) !! I’m assuming you’re only asking about the show BUTT you’re also gonna get an explanation about the books, Horrible Histories: Gory Games show AND the animated Horrible History characters too hehe

HORRIBLE HISTORIES 2009 SERIES:

Horrible Histories, a British sketch comedy and educational television series, first aired its 2009 season on CBBC. The show, primarily aimed at children, uses humor and parody to teach viewers about various historical events and figures. Each episode focuses on specific periods, cultures, or historical topics, presenting the information in a fun and engaging manner.

The series is based on the bestselling children's books of the same name by Terry Deary. It uses a combination of live-action sketches, animations, and musical numbers to make history more accessible and entertaining for its audience. The show's cast (Season 1 to 5), which includes Matthew Baynton, Simon Farnaby, Martha Howe-Douglas, Jim Howick, Laurence Rickard, and Ben Willbond portrays a range of historical characters, often in a comedic or exaggerated manner.

Today’s Horrible Histories (Season 6 to 10) isn’t as much as loved compared to the older Seasons, and I see why. The main reasons as to why the recent Horrible History seasons aren’t as loved is because of some controversial topics and some rewrites of history (So I recommend maybe just watching the earlier seasons).

(Just a quick note that I do not support nor condone any of the controversial topics that were written in the recent seasons, the only reason why I visit the recent episodes are to fast forward to the parts to where they show the animated clips.)

Back to the older seasons, Season 1-5 shows a great way of explaining and presenting historical topics in a fun, harmless and amusing way to its audience. There are also a bunch of British references and subtle jokes that will get a laugh out of you. The songs are quite catchy too :-D

If you are interested in watching Horrible Histories, you could always go to the BBC Horrible Histories Iplayer website or use this google drive I found on Reddit to all the episodes of Season 1-5 !!

Pros of watching Horrible Histories:

COOL FUNFACTS THAT YOU CAN FLEX TO YOUR FRIENDS THAT DON’T KNOW JACK ABOUT HISTORY !!!!!

FUN CAST I ABSOLUTELYLOVE THE SIX IDIOTS GO CHECK OUT THEIR OTHER PROJECTS

FUNNY SIDE CHARACTERS LIKE DEATH, RATTUS, SAM, CLIFF WHITELEY AND MORE !!!!!

someone kissed a priest idk

THE SONGS ??? THEY’RE THE BEST I ABSOLUTELY LOVE THEM

Cons of watching Horrible Histories:

getting the Monarchs song stuck in your head for months

sad song ending :-(

there will never be another season of horrible histories with the original cast (six idiots)

Summary: silly history show that is hosted by a talking rat with a variety of fun signs and fun other characters like Death and a historical news report guy with ADHD. also uhm a lot of people really like Matt Baynton dick turnip for some reason

HORRIBLE HISTORIES BOOK FRANCHISE:

Horrible Histories is a series of non-fiction children's books written by Terry Deary. The books, published by Scholastic, delve into different periods of history, presenting facts in a humorous and often gory manner. The series aims to make history fun and engaging for readers by focusing on the unusual, terrible, and gruesome aspects of the past.

Each book in the series covers a specific historical era, such as the Awful Egyptians, the Measly Middle Ages, or the Terrible Tudors. The stories are told through amusing anecdotes, illustrations by Martin Brown, and timelines, often featuring shocking facts, jokes, and quirky characters. Some books also include activities, such as puzzles and quizzes, to further engage the reader.

The first titles in the series, “Terrible Tudors” and “Awesome Egyptians”, was published in 1993, and since then, the series has expanded to include more than 30 titles, covering various historical time periods and regions, like the Rotten Romans, the Vile Victorians, the Cut-Throat Celts and even gruesome guides to places you may know such as the USA, France, London and more !

The books have been translated into multiple languages and have sold millions of copies worldwide. By presenting history in this unique and irreverent manner, Horrible Histories has played a significant role in making history more appealing to readers, helping to inspire their interest and encourage further exploration.

Martin Brown is an illustrator best known for his work with Terry Deary on the popular children's book franchise, Horrible Histories. He started off with illustrating greeting cards and now writes his own projects and draws illustrations for the recent Horrible History books such as “Up in the air”, “Right on Track”, Paws, Claws and Jaws”, and the upcoming new Horrible History book “The Truly Terrible History of the Toilet”.

Martin Brown’s illustrations play a significant role in the franchises' success, as they bring the gruesome and humorous aspects of history to life. His unique style combines a cartoonish aesthetic with realistic detail, creating a vivid and engaging visual experience for readers.

Besides reading the books, you could also play some Gruesome (not really, I just added that word for fun) Games like the Horrible Histories: The Board Game, Horrible Histories jigsaw puzzles, Horrible Histories Battle cards, Horrible Histories: Gruesome Game-A-Thons and many more !

Pros of reading Horrible History books:

FRIGHTENING FACTS !!!!!

MORE ILLUSTRATIONS !! PICTURE BOOKS 🔛🔝 !!!

dude the books are genuinely so fun theres pop up books, sicker activity books, coloring books, journals, puzzles and MORE ?????? also horrible history themed stationary stuff ANDD horrible history figurines which is like ,, well wicked.

Cons of reading horrible history books:

I haven’t ran into any cons yet so THATS A WIN FOR THE BOOKS !

Summary: READ THE BOOKS DAMN YOUR EYES !!!! god I absolutely love the books so much they’re so fun to read when ur bored and the illustrations were the reason why I even got into Horrible Histories so let’s all say “Thank you Martin Brown” I’ve learned so much from reading these books ANDDDD I spend less time on my devices woohoo !

HORRIBLE HISTORIES: GORY GAMES:

(I don’t know much about Gory Games because uhm I haven’t watched them yet I’m too busy watching Horrible Histories and the Beatles Saturday morning cartoons archived on youtube)

"Horrible Histories: Gory Games," a spin-off of the well-known BBC historical comedy sketch series, “Horrible Histories," is a children's game show that premiered in 2011. Created by the same team behind the original series, it's aired on CBBC. It also has a companion app for iOS and Android.

Hosted by Dave Lamb and Rattus Rattus, the show focuses on obscure historical facts. Three young contestants, known as "Horrible Historians," compete to collect "Year Spheres." These spheres represent years, either A.D. or B.C. Scoring A.D. years adds to their point total, while B.C. subtracts. The winner is determined by the contestant with the highest score after three rounds of historically-themed challenges or quizzes.

Pros of watching Horrible Histories: Gory Games:

THE ANIMATED CHARACTERS ARE THERE WHATT !! AMAZING RIGHT

You get to see Ben Willbond is a georgian costume

WATCH THE SHOW FOR YOURSELF I HAVEN’T WATCHED IT YET

Summary: if you wanna watch kids answer historical trivias then watch Horrible Histories: Gory Games (episodes can be found on youtube !!)

ANIMATED HORRIBLE HISTORY CHARACTERS:

(prepare for a long long LONGG explanation)

Canon/Official Information:

The reoccurring animated characters you may remember seeing in a normal Horrible Histories episode are probably the Rotten Romans soldier, Gorgeous Georgian lady, Frightful First World War british soldier or the Measly Middle Ages peasant. But do they have any background other than being a character from that era ?

[DING, DING, DING !]

These lovable but forgettable cartoon characters you’ve probably seen before make appearances in Horrible Histories: Gory Games, Horrible History book covers, Horrible History merchandise and even in the Horrible History games.

The animated/cartoon characters are used for the animated sketches or era headings in the 2009 Horrible Histories show. They also made multiple appearances in the Horrible Histories: Gory Games show, usually introducing the era topic, questions and answers. While most of the characters are recognized from the shows, almost all of them originated from the Horrible Histories book covers.

You may be surprised to hear that some characters have official names like this Victorian Gentleman, did you know his name was Howard ? Now you do.

How about this Tudor lady from an animated Terrible Tudors sketch ? Her name is Alice.

The Roundhead chief ? Oh yeah, his name is Victory.

We don’t get much information/background about these little shits, but when we do it’s usually shown in a subtle or way that wouldn’t be mentioned again. So what do I do ? LIST DOWN EVERY SINGLE FACT ABOUT THEM. (Probably not every single thing about them, but a lot of facts that you may not know !)

Since my discussion about the animated characters might be a bit too long, i’ll be breaking some of the subjects I’ll be talking about into 3 topics:

Canon facts

Fanon information (Things I made up about them)

Crabby Clash (Fanon once again !)

CANON/OFFICIAL ANIMATED CHARACTER FACTS:

The animated characters can interact with non-animated characters.

The mummy giggles alot

The Vicious Viking has a daughter (Fanon name: Eirunn)

The caveman is a father of 2 boys.

The Measly Middle Ages peasant’s family business is pig farming.

The Terrible Tudors headsman (Book cover character) does doodling

The (other) Measly Middle Ages peasant is a pilgrim.

The miner minor’s (Wales book cover character) father is shown in “When I grow up”

The Viles Victorian gentleman has a wife (Name unknown).

⬆️ He also sells cakes at science fairs !

The FWWI soldier has a trench mate (Shown in HH: Gruesome Game-A-Thons)

The Terrible Tudors Headsman has an official voice claim, voice actor unknown

There’s an animated HHTV News reporter named “Simon Skirmish” (Shown in “Protesting with Pankhurst” S9 EP3)

Animated Simon Cowell is canon in the animated Horrible Histories dimension

The Vile Victorian gentleman was ran over twice

I would name abunch of other facts I know, but I don’t want to make this post longer than it already is.

FANON INFORMATION:

(Note: This is just MY personal fanon opinions, other people have their own views, names and headcanons for these characters :-D)

Since BBC won’t give us more background about the animated characters, we’ll settle this the old way like any other fandom would; MAKE HEADCANONS !!!

Me and a few other HH fans gave most of the characters their own backgrounds and who they are, I’m truly taken back with what their creative minds came up with. You can check some of the names I’ve given the characters with the help of a friend in this post !!

I really don’t know where to start since there are so much fanon topics I could discuss right now, but here are a 2 topics I chose to discuss for now :-)

RELATIONSHIPS:

Headcanons:

(You may want to read the fanon names before reading my headcanons)

Ma-Nefer is blind (due to the fact that his pet falcon that Senouphis trained to rip his brother’s eyes out so he could become Pharaoh), his artificial eyes serve no purpose.

While Ma-Nefer was stuck at his burial, his only companion was a mummified cat he named “Geb”.

Senouphis gets a reoccurring nightmare where Ma-Nefer comes back from the dead and takes his revenge, of course that would never happen ,, yeah right.

Wycliff used to have a pet parrot, unfortunately he still hasn’t gotten over his parrot’s death.

They all hate Rattus (except for Médard aka the frenchie)

If Madeleine was ever to die during a bombing, Madeleine’s daughter would think of her doll as her mother and treat the doll as how Madeleine treated her.

Ma-Nefer is willing to forgive Senouphis.

Egbert is unaware that he’s related to the other medieval peasant.

Archie is the troublemaker, Toby is the problem solver.

Eirunn wants to be a vicious Viking just like her father, Ragnar supports her decisions but thinks that she shouldn’t be adventuring at her age.

Chopsalot loves plum pies he would devour one in SECONDS.

Rip Chopsalot you would’ve loved raisin muffins.

Ronnie likes to write poems and record his life in the trenches.

Lady Jane despises Egbert (peasants), she will not survive 5 seconds standing near him.

Benjamin is BALDING.

My mind has gone blank at the moment, so I don’t really know what else to say but I post a lot of animated HH character stuff so if you’re willing to listen to me ramble, then make sure to stay tuned :-)

CRABBY CLASH:

“What is ‘Crabby Clash’ anyways ?”

It’s an HHAC (Horrible Histories Animated Characters) AU where all historical periods/eras go to war against eachother, some eras/periods will have alliances while some will be on their own.

As of right now, I stil haven't figured out the alliances yet, but the whole story is completely up to you! Who wins in the Crabby Clash? Yes, that's the name of the AU (corny I know :-( ).

FUN FACTS about the Crabby Clash/HHAC:

The non-animated HH characters (Bob hale, Charles the II, Mike Peabody, Sue, Death, etc ..) are canon in the universe too.

A little conflict between 2 eras was the reason for the war (just like any other world war).

Women from some eras are able to go to war (because I SAY SO IT’S MY AU).

there will be yuri angst and brotherly angst so you should totally be interested in my au

The AU is still in the making, if you’d ever like to suggest something for my AU that would be heavily appreciated <3

And that’s about it I suppose :-) thank you for coming to my ted Jimb talk and see you next Friday night folks ! walks off stage and gets swallowed by an ottoman

[prisoner-000]

Let's talk Apples, Bauhaus, Ads & Kazui Mukuhara's MVs!

I've seen a lot of people talk about art history when it comes to both of Kazui's MVs, but usually, the analysis tends to focus on more surface-level aspects. I'm a bit of an art history nerd, so I thought - hey, why not, let's look into it some more when it comes to these two videos! Particularly I am focusing on 20th century art.

Everyone and their mom has already deciphered the appearance of Magritte's The Son of Man in half (Cat confirms the similarity by making a direct reference to the painting), but I'm gonna be quickly repeating it anyways without simply going off the Wikipedia summary.

The Son of Man is, like many of Magritte's works, about not giving the viewer all the details to understand the work. His photorealistic style contrasts with his phantastical subjects to create a dream-like atmosphere and to invite the viewer to step into this dream world of surrealism he's crafted. "half" borrows the surface theme of not being able to see everything about the man who is depicted, his face being obscured, almost as though he is wearing a mask.

But that's not all! The apple from this painting has been borrowed to be a symbol in Kazui's story as a whole.

The apple as a symbol of sin, desire and the downfall of man has been used in essentially all mediums of art since... the invention of abrahamic religions and the writing of the story of the garden of Eden? The Tanach/Old Testament (and, of course, the New Testament) and tales within it have inspired a lot of art symbolism (e.g. crosses, apples...) so it's not a surprise this pops up in modern anime music videos. Hell, the apple was even used as shorthand in Snow White. If you'd like to look more into apple symbolism and its origins, I'd suggest looking into this article. Especially interesting for us and theory-crafters, of course, is the 'desire' aspect of the apple symbolism.

So, "half" and "Cat" reference The Son of Man. But one connection to a painting isn't enough to warrant a theme of art history, is it? You're right! Let's talk about "Cat"'s visual style!

Many people have already pointed out Cat's print, advertisement-like style with its CMYK color scheme and torn paper at the edges. But it seems a lot of people in the fandom don't really know what this style in particular is called. The combination of these geometric shapes with print colors, slick design and the Helvetica font has its roots in Bauhaus design — it's based on the modern idea of the "Bauhaus" style.

Students of the Bauhaus school were mainly involved in designing furniture, architecture, and print design. Bauhaus' design philosophy was 'form follows function' — Walter Gropius' (the founder of Bauhaus) goal with his school was to streamline design as a whole and make mass production of designs possible. This led to a rather strict design process - students were encouraged to follow the school's motto and not add 'unnecessary' elements to their designs. This is why, more than 100 years later, designs developed in the Bauhaus school are still being used for print media and furniture.

Why is this important? What I want you to focus on in that aspect of "Cat"'s design is the inherent strictness that came with this philosophy of design. Bauhaus designs followed purpose rather than simply existing for art's sake (even originally being created with more political ideas, that being socialism, in mind).

In contrast to this, let's focus on what Bauhaus' groundwork design was used for in the late 20th century.

You might recognize the advertisement style presentation from more recent Pop Art works such as Roy Lichtenstein's big canvas works or, more famously, some of Andy Warhol's print works, which were also made by utilizing similar techniques in color and print. Particularly, you might have also drawn connections to Andy Warhol's Marylin Monroe prints.

Pop Art is (in)famously one of the most modern-culture-heavy art periods. Pop Art is all about consumerism and ads. And, in turn, consumerism and ads are about society, which is about upholding norms, which is Sometimes Also about gender and masculinity. So, we close this weird circle and we're all the way back to that suffocating masculinity theme.

The only thing in Cat that breaks away from the print ad influence is the ending section, where the background is a harsh red. That's on purpose. It's not really supposed to be part of the Pop Art world everyone that isn't Kazui seems to be living in.

I personally believe the progression from half's theater, Magritte-based symbolism to Cat's loud and modern Bauhaus/Pop Art style to be purposeful. Half gives you the story of a sad man trapped in a tragedy, Cat gives you the story of a liar who tries to embrace the societal standards that are suffocating him. While Magritte's work leads you into a world of dreams, Pop Art makes you face reality in the most obnoxious and colorful way possible.

And, really, isn't that just what Kazui is all about? Dreaming? Closing his eyes to escape the print ad reality he lives in? Waking up to see something he has never faced before, dark red, color splotches that don't fit into this ideal CMYK world, splattered on the sidewalk below?

[the-nosy-neighbor]

History of the Stickers Page

In the interest of finding more information about what is going on with this puzzle, I went and checked the archived versions of the Stickers page.

A bit of this is repeated from when I was writing the other post on solving the puzzle.

I was looking at the Halloween update once again.  Based on information from Nightmind’s stream about it, they verified that the looky loo page in the beginning is a code.  It appears to be a directional code that uses the sticker page as a guide.  They were unable to finalize decoding it.  There is some confusion as to what it means, what direction to move in and what the origin is.  In the news portion of the update, it says that they are starting with a musical monster so that makes sense, and on the sticker page it states:  “remember, there’s no place like Home, neighbor!” 

In order to understand a little bit better what is going on with the stickers, I decided to hit the internet archive:

Jan 13, 2023

This is July 23 of 2023.  

I looked at it and thought, normal, but wait!  Barnaby is missing.  Sometimes on the archive layered items are left off, but I don’t think it would have been the only layered item.  

From November 2023:

He’s back, and they all have new outfits.

This is from February of 2024.  

This is Wally’s answer from the small update.  I noticed recently while looking at this that he has included quotes around OK, like the prompt has.  He didn’t include the period.  He has also made himself a little house where he and home are hanging out.  He also has put an eye in a home.  Based on this, I am wondering if there are other shapes in there or if he just threw the extras down to the bottom.  There are multiples of each banner and sticker. All of the character banners are on “I.”  There is a Wally banner at the top on his face, his seems to be the only one with some that have just his face, not I.  But up there at the top is Wally and his good buddy Barnaby.  Notable is that this page is titled “spread the good word,” which connects to our theories about religion.  

In reviewing the notes again, I wanted to focus on phrasing. This text about starting with Julie has to be a really strong clue. They are talking about the record sets and how they are in terrible shape, “we thought we would organize these findings by each of the neighbors.  After all, every neighbor is important and we want our favorite puppets to shine as brightly as they did so many years ago.  A musical monster seems like the perfect start. Keep an eye open and have a Happy Halloween.  Don’t forget to wave down below.”  

Side note:  I thought the “down below” bit was a clue in the past, but it might be just a Halloween thing.  

So, there are a few potential hints there:

“Shine as brightly” could be a reference to Sally

“Musical monster seems like the perfect start” considered to be a hint to begin with Julie.  This makes me think of some stuff released on ko-fi before the update that is not found on the site at this point.  It was related to music.  

But this–”keep an eye open”; I thought wait–Julie is keeping an eye open.

For more info on who is staring at who, see my previous post about Looky-Loo.

Also, and this isn’t chronological, but nowhere in this seemed to make sense so far, (forgive me if I repeat myself from my last post) but I noticed that on the title page, the biggest black smear is on the title page where you would see the author’s name.  I’m a little unsure if Wally is responsible for the black stuff.  We’ve seen him paint over the page with Julie’s family, and use bright colors, but there is also black.  I have theorized in the past that the black stuff is from the transfer from their reality to ours, but there are also the tendrils to deal with.  I assume escaping.  I wonder if we should be looking for more black stuff in the media from the show itself.  Back to the title page.  I have attempted to lighten this photo, and it surprisingly worked really well.  

So it looks like there isn’t an author’s name to begin with, but maybe they were all counting on me to not lighten it.  Another option I thought it might be is a character (still looking for Sunny), but you can see there isn’t a character there.  

I found a parallel in between the experiences of both Eddie and Poppy.  They both pull the Steve Martin “all I need is this…:” (from The Jerk)

Eddie: (He lets out a heavy sigh as he finally relaxes.) Maybe this is what I needed… A loveseat and my single pea on a plate... Yeah… Yeah! I’m finer than a frog’s hair split four ways!  

POPPY: [Sighs]…What a relief, I’m not sure I could have done another show. Who knows what she would have had me done that time. All I need is my peace of mind. Oh and my um- Where is my lantern-

[Doorbell chime plays. Scratching on wood.]

POPPY: Ah- There you are, you beauty… Allow me to light you.

POPPY: [Sighs] Everything I need. My sewing needles, my lantern… And my peace of mind…

And I just have to point out, she had crochet needles earlier.  She is holding crochet needles in the picture.  I’m not sure that it is relevant, but I figure it could be a clue to things going wrong. 

[lightleckrereins]

why did the aragon tour close?

For the record this is pure speculation and a lot of oversimplification. An official reason was never given (and probably will never be). Tldr, a mix of demand changing and it being more convenient to take the ANAT production lot to Canada instead of making a new one from scratch.

But in general very few shows can sustain two tours at the same time (and those who do only do it for limited periods). If you don't count Hamilton which tbh could be its own category aside from six in recent years only Wicked and The Lion King have had two tours at the same time.

First history time. Before the original Broadway opening (in march 2020) six had announced a new sit down production of six in Chicago for summer 2020. There was no announcement but a general assumption that it would be used to launch the US tour (which was later announced to be the case around reopening). But there is also a format some shows follow where they launch a long tour stop/short term sit down production independent from its US tour, where they will do anything from a couple of months to a couple of years in a city outside New York and then move to another and so on. With six there was definitely some degree of interest on doing this. And the Aragon tour ended up basically being that production, they did multiple stops lasting over a month while most tours stay on the same city for three weeks tops (usually one or two which they also did for some periods).

And it could have been just ANAT with a year of long stops before switching to the regular tour schedule, but they had the possibility of having a second touring company at the same time and I think it might have been convenient at the moment.

Tours are a matter of demand. Shows don't decide which cities they tour, theater owners approach them and offer their theaters (and then a lot of logistics happen to fit things within the theater seasons and make a semi coherent touring route). They try to balance a mix of different types of show that will appeal to their local audiences for each season. Broadway hits particularly of the family friendly variety, shows that jumped into the mainstream or have some mainstream appeal, older well known shows, and shows that aren't too expensive to run hold the biggest appeal for theaters. Better if you can boast a best musical tony attached to it.

Six has both pros and cons in its touring appeal. Pros: it is a hit show that went viral online through lockdown, is small so not too expensive or too complicated to run, appeals to young audiences including a lot that don't usually watch musicals and by extension their parents, music and message are very contemporary, hate to explain it like this but its diverse in a way thats easy to accept for most urban audiences, and it has a few important awards. Cons: it is a concept musical so kind of hard to explain if you don't know it already, its too hype and too sexual for older audiences, its a history reinterpretation so alienates some people, and while it won some big awards neither is a best musical Tony or Olivier which says music is good but not necessarily the whole thing. Theaters will balance this and decide if they want the show and if they want it fast.

And that fast is a key factor for the two tours thing. At the time Broadway reopened there were a lot of less commercial and more artistic shows opening that's great from a theater community perspective because it means a lot of shows and voices that usually wouldn't be in a stage as big as Broadway made it there. But a lot of those shows are unlikely to tour, or to do anything past a couple of short runs in other cities post closing basically what the 2019 six tour and later ANAT did.

If we go back to late 2021 and early 2022 the touring landscape was weird and not from a lack of tours. Most of the big tours were running, some closed and reopened in slightly altered formats, some long running tours continued, some reopened just to fullfill pre pandemic commitments before closing, a lot of short tours and a lot of tours that don't appeal to every audience happened. But the big new Broadway hits that would headline theater seasons were not really there.

Six and Moulin Rouge tours would open in early 2022 (with MR being delayed from late 2021), Beetlejuice and Tina got delayed, JLP was drowning in controversy, Mrs Doubtfire got bad critiques and doesnt appeal to a lot of audiences, MJ and Company had announced tours but had no date, and Funny Girl was in no place to announce a tour. With really only two new hit musicals touring Six being the smaller, easy to tour and to properly do with social distancing one had a lot of demand from theaters. Enough for two tours in slightly different formats to happen

But by early 2023 things had gone back to normal. More tours opened so more picks for theaters, most if not all the cities that would have short sit down productions had been covered, ANAT cast was moving on and the Canada opening was approaching. So things lined up really well for extending contracts for a few months (or bringing in short term replacements), closing one tour and taking that set to Canada. And in some ways Canada was the ANAT year two short term sit down production extension.

So yeah a mix of Six taking advantage of the status of things in late 2021 to open two tours and things going back to normal a couple of years later.

[thatrickmcginnis]

These photos of Robert Smith of The Cure sat forgotten in a negative binder for over 35 years until I rediscovered them last fall while looking for something else. I had, in fact, done my level best to forget about them, as they were evidence of what I remembered as a massive fail made during my earliest years working as a photographer. They were a major stumble on a steep learning curve, and I was sure all evidence had been lost. But let's start at the beginning, when I was assigned to interview Robert Smith and The Cure when they were passing through town on what was apparently called the Beach Party Tour, playing the Kingswood Music Theatre just outside Toronto on July 13, 1986 with 10,000 Maniacs opening.

Another writer at the magazine, Perry Stern, was a huge Cure fan and phoned begging me to let him do the interview; I agreed, provided I still got to take the photos. (I also asked if he could give me a ride to and from the venue.) I had an idea: I'd seen an article in a photography magazine showing how you could get interesting colour washes on your backgrounds by putting complimentary coloured filters in front of your lens and flash. This might have produced interesting results if I bothered doing a test shoot, but I was too cheap/rushed/arrogant for that sort of thing, so I showed up with green and red filters on my Pentax Spotmatic and my Vivitar flash and shot away in a fenced-off grassy area beside the stage.

It's worth talking about the unusual look Robert Smith was rocking during at least part of 1986 - trainers and golf shirts and jeans and short hair. If I still had the transparencies I shot that day including the rest of the band I'd be able to tell you if the Cure as a whole were taking a vacation from their Goth image and dressed down similarly, and if this was one of the few artifacts attesting to a brief sportswear period in the band's history. But the results were awful - overexposed, with a greenish tint, mostly because I had no clue what the ideal ratio between the bright sunlight and the flash strength should have been. The magazine might have reluctantly printed one remotely salvageable frame but my ambition had definitely overstripped my skill and I tried to forget about this shoot.

But at some point a few months after my disastrous Cure shoot I thought I might be able to salvage the results by converting the slides to black and white negatives. I either found someone who could produce an internegative or borrowed the gear to do it myself, but inexperience won again and the four portraits of Robert Smith that I produced were too overexposed for me to work with all those years ago, so I filed them at the bottom of a negative sheet and forgot about them.

Until last fall when I found them again and decided to see if they could be saved with scanning and the neural filters that were recently added to Photoshop. The film grain that was so hard to deal with back in 1986 suddenly became a feature, adding to the retro feel the shots had acquired either with time or in my own mind. With some judicious application of the restoration filter these frames cleaned up nicely, but I decided to push things one stop further by using the colorizing filter as well - making sure Smith's signature smeared lipstick wasn't just retained but highlighted. Now I like to imagine that these shots were taken in 1937 with an old Kodak folding camera like my Jiffy Six-20, and hand-coloured by some underpaid darkroom assistant working for a developing lab in a building down in the warehouse district of town. It's certainly a better story than the one about the kid photographer who screwed up on a big job nearly forty years ago.

[pussyhoundspock]

having seen it now, i think the mixed review for the new york transfer of the 2024 frecknall cabaret make a lot of sense -- it's easy to see both sides. on one hand, it's an incredibly well produced, choreographed show with great aesthetics; the performances, especially the older b-couple are fantastic (i'll talk more specifically about cliff/the emcee and sally in a minute); cabaret itself is phenomenal. so it's a great show with great costumes stages effects and great performances. of course its getting praise!

but on the other hand, there isn't much the revival is doing that's very revolutionary. it's really just doing the sam mendes production but "more". cabaret has a really interesting history -- the original stage show, then the movie (all different songs), then the new stage show in 1987 (combo of songs), then the sam mendes/alan cummings revival which was so impactful that's the song list and book that was used in the frecknall revival. it set the tone for the aesthetic, as well as the themes, and even did its own attempt at making audience members feel like attendees of the kit kat club. however, of course, the frecknell version does more to do that. more to immerse the audience, more frenzy to sally, more demonic energy to the emcee -- though i would say the frecknell emcee is much closer to joel grey then alan cummings -- i.e., sexless, vauderal-ian figure/jester, puppet master/architect, etc, but i won't get too into that. anyway that is to say i understand the frustration or negative reviews because i dont really think the frecknell revival is doing or saying anything different than the mendes one, which was a lot more recent in america than london, though arguably the frecknell version takes things further for better or worse. and some stuff really works -- like i think one of the strongest scenes in the whole show is the brick through the window scene GENUINELY incredibly

the frecknell cabaret did have its flops for me, though. for example, while i liked what they were doing with this version of the emcee -- especially the clown suit! the costuming was great! i didn't really like redmaynes version. it felt like he was working way too hard and trying way too hard -- whereas with joel grey and alan cummings i truly felt that character come alive and it was creepy and compelling and fun and many other adjectives with redmayne it was just like. a version of the emcee that was sexless and also had negative rizz and also was visibly like Trying. i don't know. what they were doing with the emcee really worked for me; redmayne's performance didn't. but that's very like my personal taste. i also didn't really love the performance of 'cabaret' at the end which is unfortunate because that's one of my favorite musical theater moments in like. well. the whole damn thing. i did generally like the portrayal of sally, even dialed up as it was, because it did feel resonate with our time -- i think cabaret revivals really reflect the time they're in.

THAT SAID. speaking of time periods. an aside but. this production felt like the dialogue equivalent of tiktok face. the acting/actors just felt too modern at times. also. while i'm doing minor asides. i didn't really feel like they leaned as into the immersive thing as they could've but that could've been because i was rear mezz. anyway.