#it's been bouncing around in my head too

[lamoureg]

i hear mel medarda say "try not to lose your nuts" and i start drooling like a pavloved dog

[popinade]

carmine & kieran doodle bcuz I’ve been a bit kitakami-brained lately…

the perpetrator was found

[sysig]

Growing closer than expected (Patreon)

[ladydragonkiller]

one of my hips only lies, the other tells naught but the truth. shakira ain’t got nothin on me

[fulcrum-art-fox]

I don’t know if I’m alone in this but Jinx telling Caitlyn “I didn’t know your mom was there. It probably wouldn’t have made a difference, but. I didn’t know” does not read as an apology to me. or I suppose more accurately, apology does not feel like quite the right word for it. it’s many things, there’s a whole lot of complexity and nuance and context and subtext to it, but it’s not an apology. it is an unexpected moment of genuine connection between Jinx and Caitlyn. it’s Jinx recognising an echo, acknowledging the pain of losing a parent, the pain that she knows well, that she taught to Caitlyn. it’s Jinx contemplating the cyclical nature of violence. it’s Jinx wanting the record straight, that her mothers killing wasn’t personal, wasn’t part of the dance of paranoia and pain she and Cait and Vi were treading. it’s also incredibly blunt, even though Jinx’s state of desolation softens it. she acknowledges to Caitlyn that it wouldn’t have made a difference; she would always have fired that missile, for Silco, for his mission, his vengeance. Jinx has no love for the upper city. she has no love for the ruling body of Piltover. but she didn’t kill Cassandra Kiramman bc she was Caitlyn’s mother. she didn’t even know. I don’t think this necessarily means she feels guilty about killing Councillors; there’s little evidence of that. but she does feel something about Caitlyn having lost her mother. and I think Jinx is holding those two, somewhat opposed, things at once. I think it’s interesting that Jinx desires to get this across to Caitlyn at all. there’s a lot going on in this line, but it’s not really an apology. it’s more like recognition. it’s more like honesty. it’s more like sympathy. it’s all and none of these things. all the descriptors and boxes I can come up with feel too small to hold it, and honestly, I love that in a scene

[oldmanfuckerbrigade]

please tell me you're going to expand on why the newsies movie is perfection and the musical is ass, I'd love to see it

(because you are right)

yknow, i was gonna save my rant for my imaginary video essay but it’s too in my head now so i might as well do the deep dive here. you asked so i shall deliver! (Be forewarned this is long as fuck i didnt know how much i needed to say until i started writing this)

Newsies is a (Gay) Love Story and That’s Why The Musical Fails™️

Ok. So. First and foremost, let’s talk about Newsies 1992. To be fair to my own biases, I have a very strong personal connection to 92sies, it was the first musical I ever saw on screen - one of the first movies I ever watched PERIOD - and some of my first memories are of listening to the soundtrack. So you could, on a certain level, chalk up my vehemence about its quality to my fondness for it, and I will gladly admit to that.

BUT. I have now been on this earth for 20 years, and in those 20 years I’ve watched a lot of movies, and a LOT of musicals (and am now studying film full time yippee for me). So I think I can say confidently, with my broadened tastes, that Newsies (1992) is a goddamn masterpiece of a movie musical.

It succeeds spectacularly in both regards, as a film and a musical. It had a stacked deck going in honestly, with directing and choreo both done by Kenny Ortega of High School Musical fame, as well as music by the inimitable Alan Menken. You know this shit was boutta pop off. From a filmmaking standpoint, it’s beautiful. Gorgeous matte paintings in the wide shots, fantastic set work and costume design, as well as the lighting and cinematography being on. fucking. point. every damn time it’s so good it makes me sick. You don’t even need me to say anything about the acting, cause we already know it’s phenomenal.

As a musical, it’s also right on the money. Every tenet of musical theater is respected, we have our intro ensemble number, introducing us to the world, the people within it, and the stakes of the story that we’ll follow. We have our absolute fucking BANGER of an “i want” song which Christian Bale puts his whole Baleussy into. And ofc we have some fantastic call-to-action, come-together, and uplifting songs and dance numbers.

But most importantly, every song does the one of two things any musical theater number should do: advance the story or give us insight into a characters thoughts and feelings. Let’s talk about them all in order (i promise this is gonna tie in to the stage show in a second just bare with me):

The Music

Carrying the Banner is ofc our opening theme, introducing us to the world and characters. Where and when are we, who are the heroes of our story? This is the “known” part of our hero’s journey, the home base and the place to which we will return. This is our Normal Time.

Santa Fe is, as we all know, Jack’s “I want” song, the song that tells the audience the hopes and dreams of our main character, so we can understand, well, what he wants. We can discover through this song what Jack’s character is all about. Through both what he has, what he lacks (or perceives he does) and what he hopes to gain. Jack has no family, he’s alone, but he has seemingly given up on ever being NOT alone, so he pins all his hopes for a better life on the mirage of Santa Fe. If he can pave his own way in the world, leave the city which has done nothing but take from him, maybe he can feel whole again. He’s a dreamer, despite his rough exterior, and he dreams of a life of freedom, beyond what he can find in New York. So there we get, all wrapped in a tidy bow, the essence of Jack Kelly’s character. a deeper look beyond what we have seen up until this point. Ok moving on.

In between Santa Fe and The World Will Know we have a small song which Medda sings. While that song in and of itself isn’t terribly important (it’s just part of her show), the scene that it’s in is VERY important. This is where we have an introduction to one of the few people we could consider part of Jack’s family, as a sort of mother/aunt figure. Overall it serves to give Jack more humanity, therefore giving our audience surrogate David (and hey i’m gonna go off about Davey just gimme a minute) more reason to trust Jack, and thereby the audience can trust him as well. We also get a little interaction between Jack and Davey that was pretty much ripped wholecloth from the movie and supplanted on Jack and Katherine in the show. It’s literally the same shit, Dave and Katherine are mistrustful of Jack and his intentions, they argue, it’s homoerotic as fuck, and it all takes place at the theater. (And also we get the one scene in the movie that does a weak ass attempt to un-gay David by having him drool over a pretty lady. It does not work lmfao).

The World Will Know is a standard call-to-action, but it by no means is mid-tier in any way. This shit slaps. HARD. We have Jack as the voice of the people convincing the gang of erstwhile children to band together with him on this, and stand up for their rights. This is also the first real time we get Jack and David teaming up to achieve a goal. Jack may be the voice of the people, but it’s David who’s the brains behind the operation, knowing what to say and do, while Jack has the respect and tenacity to put it forward. THIS IS VERY IMPORTANT. BECAUSE THE STAGE SHOW ALL BUT BRUSHES OFF DAVID’S INVOLVEMENT IN THIS SCENE, SO IT NO LONGER SERVES IT ENTIRE PURPOSE. A big secondary point of this scene is to illustrate that while Jack and David are strong boys independently, they work so much better together, and are able to achieve what they wouldn’t normally, alone. And the musical does not understand this. But i’ll get to that later.

Seize the Day is David’s first step towards standing in his own power. The newsies are losing steam on the strike train after Brooklyn refuses to join so David is the one to raise everyone’s morale and bring back their fighting spirit, getting all the other boys to take up the call, preaching brotherhood and community, the strength of standing together. Here is your come-together song. But this is the important thing: It’s David who does it. The song becomes an ensemble number as it goes on but HE is the one who STARTS it. David was hesitant to really rally behind the strike at first, but now he’s all in, he’s connected with the boys and he believes in the cause (thanks to the spirit that Jack brought to it, and how much Jack believe in it cough cough). He does start it in the musical as well, but the tone is very different, it’s only after Jack’s urging that he says anything. Bro didn’t even have to say shit in the movie. But whatever moving on.

King of New York is a hard song to mess up. It’s just good. and fun. and I like it. It probably has the least to do with moving the plot forward or giving us an internal look on any specific characters. It’s an ensemble and dance number. I do like it better in the movie rather than onstage, though that’s mostly personal preference. The stage show kind of beats it to death, like why is it 10 minutes long I swear to god. They know it’s a good song and they wanna capitalize on it, which makes it all seem kind of transparently cynical to me. it’s still like, good and the dancers are on top of it but….its too much y'know. The movie just has a good time with it. Because it’s a good time. Also Jack is there in the movie and he’s not in the stage show for some reason, I forget why. Probably because of some plot contrivance they got from trying to shove new elements into an already lock tight story. sorry ok back to actual critique.

Once and For All is like maybe my favorite song of the whole soundtrack. It just eats. Every time. This is the song we should play while smashing in the heads of the capitalist pigs that run our stupid fucking country. It’s a banger. AND it moves the plot forward, which is always a slay. Let’s make that underground pape and radicalize all the child workers being abused across the city!! yeah!!!

And then we got our TWWK and CtB reprises to tie up the ending in a neat little bow, bringing us back around the our beginning, a la the hero’s journey. We’ve completed our circle and are back to the beginning, changed but better for it, with our characters at transformed equilibrium, the evil vanquished, and bright days ahead. Jack realizes that he doesn’t need to chase the illusion of Santa Fe when what he really wants and needs is to be with the people who love him, the family that was right under his nose the whole time. David is a full fledged newsie, has come out of his shell, become more confident in himself, and his relationship with Jack is assured. So. Let’s talk about Jack and David.

Jack and David

Historians would call them “good friends”. This whole section is gonna be me preaching to the choir, so to speak, so I’ll try and keep this concise. We all know they’re gay, everyone and their mother knows they’re gay, so why is it important? It’s not like that shit is actually baked into the story right? WRONG. Jack and David are at the heart of the story of Newsies. Jack may be the “““main character”””, but David is the impetus for the events of the story, the driving force behind the plot. He is, in essence, the call to adventure that our hero Jack receives at the start of his arc.

He is also the audience surrogate. It’s through him that we learn the ways of the newsies, the ins and outs of the newsboy life, the trials and tribulations. It’s through him that we come to know Jack’s character on a deeper level. We only get Santa Fe after Jack has met Dave’s family (talk about U-Haul lesbians like my god he knew the guy for a DAY and he was already meeting the parents), and we get to see how seeing David’s loving family is painful for Jack, how he grieves that lack of connection but copes by pinning his hopes on Santa Fe. Most everywhere we see Jack go, we see it because David goes too. (MOST. There are exceptions, like his talk with Pulitzer. But of course, David is still RELEVANT in that scene). We see the story through David’s eyes.

Which is why the musical fails.

Because in the musical, David is so far removed from the narrative you could replace him with any guy and it would still work. He is an after thought, all but scrubbed from the script, and for why???

This I don’t have an answer for, which is really frustrating. My best guess is that it was a well-intentioned but misguided attempt to tighten up the script by placing Jack as the main character. And to make room for Katherine.

Oh Katherine….I used to really vehemently hate Katherine, and her addition to the story. I’ve obviously grown since then, I can recognize her importance as a woman within the story, and how that is important for young people to see in media. But also. She is unnecessary. TO THE PLOT. I won’t speak to her necessity from a larger, misogyny-on-the-world-stage level, but to the actual plot itself she is completely unnecessary. And you know how I know? Because they took movie David’s whole personality and just copy and pasted it onto her.

Ok now hear me out, I KNOW that it is not 1:1, but it really doesn’t have to be. If you step back and look at the bare essentials, it is the same shit. Jack and Katherine have the same enemies to lovers type dynamic that was Davey and Jack’s in the movie. There’s the initial mistrust, the dislike, she’s very professional, and kind of a know-it-all. Jack is the charming street rat, all dry wit and golden retriever energy. They tease and bicker and snap at each other. Exactly like Dave and Jack did in 92. Watching both versions back to back made this almost glaringly obvious to me. Like it was actually kind of shocking how obvious it was.

And the thing is, I understand why they did it! Sarah was such a nothingburger character in the movie (sorry Sarah, love you in fics, hate your actress with a burning passion) that they knew they had to add SOMETHING more to any potential romance subplot, and if they were conveniently sidelining David’s character anyway, why not take some cues from the most powerful relationship in the film? I understand the logic behind it, I really do.

But. That still leaves David, flopping around the script like a severed limb, with nowhere to go and nothing to do to help the plot. Cause here’s the thing, his and Jack's relationship is what makes the movie. I don’t care if I'm fandom-goggling this my tin hat is ON I have a MASTERS in FUJOSHI STUDIES. The movie is at its core, about brotherhood and community. It’s about boyhood and friendship and banding together with your peers to achieve great things. They give us this theme through Jack and Dave.

Dave is an outsider, unfamiliar to the ways of the street kids and working within a community like that. Jack is old hat to it, born and bred in it, it’s his home and his family. They come together through a twist of fate, Jack initially thinking only about what’ll earn him the most money at the end of the day, and Davey rightfully mistrustful of him. But they end up forming an organic bond through the strike, finding common ground with one another, and realizing if they team up they can accomplish great things. We see them struggle together, and break apart for a bit. We see Jack realize he’s gotten too close to this boy, brought him into something dangerous and now he genuinely cares for him which is even worse. David goes so far as to break Jack out of jail, but not before Pulitzer can get to him and threaten him with the one thing Jack will take seriously: David. Jack is forced to destroy David's and the rest of the newsies' trust just to keep them safe.

But through all this, facing incredible adversity, dangerous circumstances, gaining and losing a close friend, David is forced to come into his own, take on a role of leadership and stand up for what he believes in. In this way, his own character arc is fulfilled, by the end of the movie. And the one thing that gets Jack back to the newsies? Why David being in trouble, of course. The one thing he hoped to avoid by agreeing to Pulitzers terms. That’s all it takes for him to take it all back, the prospect of David being in danger.

BRO. WHEN I SAY. THAT THEIR RELATIONSHIP IS WHAT DRIVES THE PLOT. I FUCKING MEAN IT.

And y'know they make their own paper and radicalize all the kids in the city, they go to Pulitzer TOGETHER. BY THE WAY. TOGETHER. Which the musical cannot seem to understand. It’s only as a united front that they are able to beat Pulitzer and win fair terms for the newsies. And then jacks like ahhh yeah im goin to santa fe so long fuckers and then is like never mind actually i wanna come back and kiss Dav- I mean Sarah.

Which is also a hilarious fucking scene to me like that whole last interaction between Dave and Jack is so damn romantic in tone that the only way for the tension to break was with a kiss, so they had to have Sarah come in out of nowhere to kiss Jack 💀 like they knew that shit was leading to something but they couldn’t have the boys kiss obviously so they had to throw a woman in there real quick.

-

So. tldr. I meant this to be a lot more organized and make a lot more sense than it did but oh well. The reason the musical fails is because it fails to recognize that Dave and Jack are EQUALLY both the main characters, you can’t have one without the other, their partnership is the core force of the plot and story, without both of them you are left with something resembling the story you once knew, but with none of the heart and spirit of the original.

Other Technical Things That Are Bad

i wanted to take a second and just touch on some smaller details that also stood out to me, but are less connected to my central thesis.

//

Costumes. Oh boy did they fuck that one up on stage. Now to be fair, I’ve only seen the 2017 pro shot and one (1) local children’s production. Not any of the other runs or anything. So I'm only talking about what I’ve seen here. But what I’ve seen is Not Good. There’s already a lot of names and faces flying around in the movie which are hard to keep track of as it is, but everyone looks different enough from the person next to them that you know who your main players are. Each kid has his own way of dressing, unique color palette, accessories, and other styling choices that make them stand out. If you know who you're looking for, you can pick out any named newsie from any of the major ensemble scenes. You can't do that with the show. Everyone is wearing a variation of the same bland shirts and pants, and the color palette is dull gray-brown across the board. I'm not saying you have to go crazy with colors and shit, the costumes in the movie are believably period accurate, but I can still tell Racetrack from Mush without having to squint. (Also hey shout out to whoever decided to do that little red/blue color palette motif on movie Jack and Dave. I see you, and I appreciate you.)

//

The new songs suck but what can you do :/. Sorry to Alan Menken you ate with the movie my guy but you were just not on your A-game with this one. I didn’t even know it was still Menken doing the music in the stage show honestly, with how different and sucky the new songs were. Personal taste on this one I guess. But I don’t like them. Why does Pulitzer need a song. Literally why. If they had to give any pre-existing character their own song it should've been David! Like literally no question about it, it should have been David. Also why are we doing Santa Fe at the opening?? Did we forget how musicals work?? We never open with the "I want" song! ESPECIALLY if it's a ballad!!

//

The set. Yeah I’m really here to tear everything down ig, I didn’t know I had this many gripes until I started writing this sorry guys 😭 But yeah it’s not as gooood. And I'm like. ok. I know they were never gonna be able to do anything close to the movie. It’s onstage. They had to make sacrifices. But tell me why it all had to be cool toned?? The movie's color palette is so nice and warm, it feels antiquated but also real, it’s homey and nice. But also unforgiving and rough when it needs to be. They could’ve done that with lighting and shit onstage, changing the tone when it needs to, but instead they opted to throw out the warm tones for mostly cool gray steel backdrops. Whatever. I’m not a set tech. They know better than me.

//

THAT KID. IS SO MOTHERFUCKING ANNOYING. I AM SO SORRY. BUT IT IS HOW I FEEL. No hate at all to the kid playing Les in the 2017 pro shot, he was just a child he was doing his best not his fault at all. I’m choosing to blame the writing. But also goddamn if that kid's choices for delivery did not grate on my ears. His voice. just. did not sit right with me idk. Les in the movie is such a cute and endearing kid, I always adored him as he reminded me a lot of my own younger brothers. But this kidddd. is so unlikeable it’s like, going PAST annoying unfunny comic relief character straight into “how the fuck did anyone think this was a good idea”.

//

The ending suuuuuucks boooooo it’s bad I don’t like it I'm kinda running outta steam here but I still got shit to say so fuck it we ball. it’s so over explained that it’s just. just dumb. It just becomes dumb at a certain point. Jack going to do cartoons for Pulitzer??? What??? Don’t get me wrong I actually really love them giving him artistic talent I think that really adds some actually GOOD dimension to his character, but this????? Really????? Everything is just so like *perfectly* wrapped up that it totally destroys my suspension of disbelief. In the movie it’s definitely very wish-fulfilling and unrealistic, but it’s from the perspective of kids. It’s exactly as a kid would perceive it. And we don’t see exactly how the conceding of Pulitzer goes down and we SHOULDN’T!! Because then it gets all bogged down with the logistics of it all which is exactly what happened to the play! We don’t need all the details, we just need to know they won.

//

This one isn’t a gripe actually because I apparently DO have love in my heart: I love musical Crutchie. I love him, I love him so much my sweet boy. I love him being Jack’s little brother I love them having that deeper connection. I love Crutchie in the movie so to see him getting more screen time (so to speak) is just lovely. The one change I agree with. I love you forever Crutchie.

ok i’ve been writing for hours and my hands gonna fall off so im done now. if i think of anything else…well, you’ll just have to wait for my video essay i guess.

[gracebethartacc]

I woke up and was haunted by visions aka Mlp redesign/rewrite ideas yayyyy :3

[queerofthedagger]

One thing I think about a lot is that when Nargothrond falls, it is heavily implied that as good as everyone perished or, if not, got captured. Like, unlike with the Fall of Doriath, there is no mention at all of any refugees removing to the Mouth of Sirion - and yet, I assume that is very likely where Celebrimbor, at least, went? I definitely think he would have fought, but clearly he survived and neither Doriath nor Gondolin really were an option for him, and I doubt even more that he would have gone back to his family.

And there are a lot of implications to all that, but maybe the one that keeps me up most is that this means he would have likely been there when the refugees of Doriath arrived, when they told of what his family did. That his father is dead. What would he have been thinking? What would the survivors of Doriath been thinking? Like, I know there were technically several different camps to some extent, but I doubt they would have been wholly separate, especially upon arrival. What kind of horror to find someone who looks just like one of those guys who just slaughtered your friends and family. What kind of horror to look like someone who just committed such horrors.

He also would have been there when the third kinslaying occurred, or at least very close to it. What an experience, to end up on the other side of it. To see exactly what might have become of him had he not foresworn his father years ago, and also to see yet again what became of his family. Like yeah, everything before/during the Nargothrond Disaster would have already been formative for him and his future choices, but I do feel even being in the vicinity of all of that would have been such a dire reinforcement of all those convictions and reasons that made him disavow them in the first place. And especially in terms of the third kinslaying, it's also why I personally really doubt that there is a chance at any kind of reconciliation with any of the brothers, whether it's his father or I don't know, Maedhros or Maglor. Like, I just don't think there is any coming back fromt hat, really, if there ever was.

[kaisollisto]

based off of this

Today is frigid and windy, she feels it unforgivingly on her cheeks. Clouds part around her, clinging to her jagged features. They are wet and stifling, a brushing reminder of what she cannot have. It is the only thing claimed from the earth she can touch.

She passes above skylines and craggy mountains and watches. The earth is still cold and unyielding and she yearns for it in a reckless way. A silly wish to feel all that it has to offer in her mouth. She wants to touch, to feel the grainy sands between her fingers and find sand in horrible unbefitting places. The encapsulating experience of teetering the fine line of tasting the sun and burning herself. She wants to be down there.  

She’s heard many names weaved in between her. There are many she’s been called but one that has truly stuck with her, Ava. 

A soft sound pressed between lips, a gentle thing for a large entity like her. She likes to believe that’s who she was before this, a force too big to contain that she had to become this. A mangled thing of roots and chunks of dirt. 

It’s better this way, someone tells her in a foggy haze, she’s fighting them, a sloppy sluggish battle of desperation. Ava doesn’t know why but the memory lingers like a prolonged goodbye. A sort of awkward suspension holding her rooted to the spot like there’s more to it, a truth sitting in plain sight. 

(pt 2.)

[akkivee]

i was watching some carrot cake baking youtube short and had the immense displeasure of having the hitoya living in my head suddenly chime ‘there are two things that i can’t stand; one: vegetables in a dessert—‘

and i’m now terrified that this might actually be a thing hitoya hates LMAO

[dawnsies]

drew my version of Alice and Ares :V

[atticcreationz]

[Ruth is talking to Brooke at her locker, then the bell rings, and Ruth runs over to join Richie and Pete on the way to class, blushing]

RICHIE: Ruth, is that a ~spark~ I detect between you and Brooke?

RUTH: maybe 😏 I get all warm and fuzzy when I talk to her...!

PETE: uh, that might just be the fires

[all three turn around to see Brooke setting her own locker ablaze]

[prettymediocrewizard]

Uhh I'm a little sorry if anyone followed me here for not-Monster shipping drawing. I'm in a bit of a mental battle of sticking to my principles of 'draw whatever, post whatever' but trying to be a little considerate since my subjects are shifting.

Because I'm going to be super honest that I do want to draw more suggestive work but don't really want to split off and make another side blog. I won't ever post explicit nsfw here because this site is allergic to it but it might be implicated or toeing the line in future drawings. I guess this is just me putting this out there as a soft warning so it doesn't come as a surprise to anyone if I do start posting more! (Although at this point it really shouldn't be a surprise with how it's been going lol)

Also big thank you to those that are not Monster fans but are still here through it all (‘-‘*ゞ

[wigglingandwriggling]

diagnosed with missing you disease it means i miss you. yeah unfortunately it’s fatal. only cure is you come back and hug me.

[wolfwarrior142]

Wait shit so THAT is The Book in the Aaravos posters and why they were all themed after the 6 sources?? And why the Key was there and glowing?

[thetalee]

"I wonder where Doheny Park is supposed to be. This chick's GPS shows Lambourne Place, let's see where- Holy fucking shit."

I firmly stand by my assumption that either the LAFD have TARDIS-tech, or the space/time continuum is just fucked in this city, because there's no way they get from the Crestview/West Hollywood area (Buck says they were crossing Robertson) all the way to fucking Lambourne Place and not get there to a bunch of smoldering coprses.