#legally blonde the musical analysis

[personinthepalace]

Lost Footage: Laura Bell Bundy as Elle Woods in the 1st US National Tour of Legally Blonde the Musical

This is the last 22 mins of the show and the only known video footage of LBB playing Elle in the US tour!

What is of particular interest to me is that this includes LBB's performance of the ballad without the door. I personally believe that there should be a door (a physical barrier) between Elle and Emmett when this song is performed so that Elle can't hear Emmett confess his love for her (the way it was played on Broadway). In the US tour version, Emmett confesses directly to Elle in the room, and she hears him.

However, I think that LBB's performance of this doorless version is quite beautiful. There are two distinct pauses she make during this piece (the music even stops with her). The first time is to touch D.B. Bonds' face (Emmett) with one hand (similar to how she touches Christian Borle's face before escaping into her room in the Broadway version). The second pause is to cradle his face with both of her hands before pulling him into a hug.

Even though I will always be a proponent of having the door during the ballad, I really love LBB's take in this performance. It is truly the only version of it that I like so far, and I actually kinda wish we could see her do this specific performance with Christian Borle.

[antics-of-a-spiteful-stickbug]

God I hate just how much stage presence Professor Callahan has, because he's such a shitty person, but it also makes so much sense for his character TŤ>ŤT

Like, the dude is a wildly successful lawyer (not because he's a good person with a decent moral compass ofc, but his unethical practices aren't necessarily relevant to this post), so of course his every move would demand attention and respect, no matter if he's in the court room, teaching a class, or just standing off to the side.

He's incredibly charismatic, which makes you want to like him based on pure instinct. Your subconscious tells you that this is someone you can trust, which makes sense since he's built an entire business on top of that fact

It just infuriates me that he's such a well-rounded character, because no one wants to like the guy! He's a manipulative, lying scumbag with no sense of justice (which is ironic considering his occupation), and he does it so well that you're simply forced to find him somewhat trustworthy, someone that you can go to for advice or help.

Your instincts tell you that you want to be in this guy's orbit, that it will benefit you to stick around. But in reality, the only one gaining anything from any form of relationship with him, is he himself.

God it infuriates me so much, he's such a well-written character and I absolutely despise him for it

(This is all based on the Broadway musical, I haven't seen the movie)

[phoenixkaptain]

I absolutely love Legally Blonde (the musical). Elle is such a great character!!

The audience is introduced to her in such an amazing way, with her mathematically trying to figure out what to wear. “It may be perfect for a blonde, but I’m not that blonde. I may be in love but I’m not stupid, lady, I’ve got eyes.”

Elle in general is so good. She’s so smart and she’s legitimately the most interesting character to follow.

But!!! The best!!! Part!!! At the end of the musical, when she says she’s leaving, Emmett confessing that he loves her isn’t what convinces her to stay. Instead, it’s the other female characters showing their support for her!!! The way the girls in this movie support each other!!! The “Greek Chorus” is perhaps my favourite example, if only because they’re so supportive of absolutely everything Elle does!!! It’s so sweet!!! “We came to see our president be legally blonde”? Best line, I love it, it’s so good.

But also, the romance between Elle and Emmett is so fucking good. Emmett supports her through absolutely everything. Emmett is such a great person, but also his musical cue is an oboe, which means I’m biased to like him anyway-

“They laughed at me like they’re laughing at you. We can’t win if we don’t follow through.” “Though it’s hardly my business to say, could it be the real thing in your way is the very man you’re trying to impress?” “But I know it’ll all be worthwhile when I win my first lucrative trial, and buy my mom that great big house out on the cape.” “As I hugged my mom and told her, with the chance I’ve been given, I’m gonna be driven as hell.” All of Emmett’s lines are so good, all of his songs are perfect, Emmett is the best character ever.

I love the ending, when Elle proposes to Emmett. It’s the character coming full circle. She begins the musical by planning an outfit that will be perfect for Warner to propose to her to; “This dress needs to seal the deal, make a grown man kneel, but it can’t come right out and say bride.” “I’ve got t leave Warner his pride.” She’s fulfilling the stereotypical idea of the woman having to be proposed to. She can’t propose to him or look too desperate to be proposed to, because that will ruin his “pride.”

Elle proposing to Emmett at the end shows such an amazing character growth. She knows she doesn’t have to fulfill the stereotypical female role in their relationship. She proposes in a room full of people, proving that she is no longer concerned with her partner’s “pride.” She proposes by saying “Emmett Forrest, please make me the happiest woman I know.” She proposes in the stereotypical male style, but it’s so fucking sweet because Emmett is so excited and they just love each other so much-

But the best way to portray the character growth is two specific interactions. To set it up, the Greek Chorus mentions, in the very first song, that being married won’t come between Elle and their “sacred bond of sisterhood.” Later in the same song, the Chorus sings: “We love you guys.” And Elle responds: “No, I love you guys.” Note that she specifically says “I,” because presumably, Warner doesn’t actually care all that much about them.

Now, in the finale, the Chorus repeats the line, this time to Elle and Emmett: “We love you guys.” But, this time, Elle and Emmett respond together: “No, we love you guys.”

Emmett supports Elle’s interests to the point that she feels comfortable sharing them with him. She feels comfortable introducing her best friends to him and he actually likes them. It comes full circle. Elle finally has someone who supports her completely, just like she supports Emmett completely, they make each other happy. It’s so sweet.

Also, it’s kinda funny because Emmett is Elle’s sugar baby-

[fuckitydoodah]

Obsessed with “Whipped Into Shape” and the way Brooke is portrayed in it. Obviously Legally Blonde as a whole is a treatise on uniting femininity and competence, and the way our society tends to treat the two as mutually exclusive, but Brooke’s second verse in this song demonstrates the way that sometimes society goes as far as demonizing women for no reason.

The law students ask, “Did she do it?” And Callahan replies, “Keep watching.” And then Brooke sings about using her product as a defensive weapon. Yes, she’s talking about killing a man, but specifically in the context of self defense. She refers to this hypothetical man as an “assailant” or “attacker”. Which is a very real threat that women face! She’s advertising to women, her target audience, a way to protect themselves from unprovoked violence, a danger that women are always at risk of. And the characters interpret her very practical solution to a very real and scary issue as, “Clearly this woman is capable of violent and unprovoked murder.”

It’s a very sobering representation of the way women simply cannot win. Get murdered in an alley? Aw, how tragic. Successfully defend yourself from an attack? That’s a dangerous and unstable woman.

Of course, this is not a revelation to anyone who pays attention to the world around them. But I only just noticed this subtle portrayal of it in Legally Blonde, and I wanted to talk about it. It makes me sad for Brooke. It makes me sad for the real life women who didn’t get her happy ending.

[cocoabeloved]

❛ ♡ WELCOME !! ☕ ୧

↳ જ⁀➴ 🏹 ｡˚ “i want to do something splendid before i go into my castle--something heroic, or wonderful--that won't be forgotten after i'm dead. i don't know what, but i'm on the watch for it, and mean to astonish you all, some day. i think i shall write books, and get rich and famous; that would suit me, so that is my favorite dream.” — JO MARCH, LITTLE WOMEN <33 (my absolute beloved!!)

❝ 𝐈'𝐋𝐋 𝐒𝐀𝐕𝐄 𝐀𝐋𝐋 𝐌𝐘 𝐑𝐎𝐌𝐀𝐍𝐓𝐈𝐂𝐈𝐒𝐌 𝐅𝐎𝐑 𝐌𝐘 𝐈𝐍𝐍𝐄𝐑 𝐋𝐈𝐅𝐄 ❞

││↳ 🖇️ [FATMATA] -> fourteen • 🇸🇱/🇬🇧 • student • INFJ, 4w5 • november scorpio • slytherclaw • casual swiftie • major coffee addict (me 🤝 lorelai & rory over being insane over coffee) • PROUD FEMINIST • sacred moonchild • avid reader • CAT LOVER • pacey witter lovergirl • sunset & sunrise enjoyer • i hate it here by taylor swift as a person!! • philosopher at heart • major english & history lover • middle child • okokok girlie <33 (methinks) • sylvia plath & oscar wilde enthusiast • relate to 'chosen last' by sara kays more than i should • big brown doe-eyed cinephile • self-diagnosed pinterest whore • legally married to spotify • fashionista & red nails enthusiast • stationary shops adorer ♡ • forever a lover of the sea • total perfectionist, overthinker & teenage girl-er 25/8

╰┈➤ [MAJOR INTERESTS/HOBBIES] -> true crime ➝ music ➝ reading ➝ playlist-making ➝ philosophy➝ media/character analysis ➝ video essays ➝ english literature ➝ greek mythology ➝ dancing ➝ reading ➝ poetic cinema ➝ defending my beloved characters ➝ deep intellectual conversations ➝ greta gerwig films ➝ arts & crafts ➝ FASHION ➝ sleeping ALL day ➝ online shopping but never actually buying anything? ➝ researching random shit on the internet ➝ photography ➝ skincare ➝ crocheting ➝ cooking & baking ➝ studying ➝ writing in planners/organising journals ➝ going to stationary stores ➝ board games ➝ girlblogging ➝ maladaptive daydreaming ➝ scrolling on pinterest/tumblr for unhealthy amounts of time ➝ making moodboards ➝ etc. (but i also DESPERATELY want to learn the electric guitar because it's def the best instrument to ever exist?!)

╰┈➤ 🎧 [ARTISTS] -> taylor swift, lana del rey, olivia rodrigo, gracie abrams, conan gray, sabrina carpenter, beabadoobee, maisie peters, mitski, cigarettes after sex, sza, beyonce, reneé rapp, ABBA, melanie martinez, tv girl, marina, doja cat, the smiths, fleetwood mac, nirvana, rihanna, ariana grande, adele, lorde, mac demarco, phoebe bridgers, avril lavinge, boygenius, the cranberries, suki waterhouse, fiona apple, clairo, billie eilish, kali uchis, girl in red, arctic monkeys, pastel ghost, mazzy star, harry styles, the neighborhood, roar, alex g, pinkpantheress & more!!

╰┈➤ 🎬 [TV + FILM] -> dawson's creek. skins (uk). dead poets society. the virgin suicides. black swan. gilmore girls. bridgerton. derry girls. little women (2019). anne with an e. the breakfast club (1985). the perks of being a wallflower. the edge of seventeen. thirteen. heartbreak high. ten things i hate about you. girl interrupted. gossip girl. heartstopper. miraculous ladybug. uptown girls. legally blonde. [2000s chic rom-com teen girlie movies have me in a lethal chokehold, send help] etc. and MANY MORE 🫶🏾🫶🏾

❝ 𝐒𝐇𝐄 𝐂𝐎𝐔𝐋𝐃 𝐇𝐀𝐕𝐄 𝐁𝐄𝐄𝐍 𝐀 𝐏𝐎𝐄𝐓 𝐎𝐑, 𝐒𝐇𝐄 𝐂𝐎𝐔𝐋𝐃 𝐇𝐀𝐕𝐄 𝐁𝐄𝐄𝐍 𝐀 𝐅𝐎𝐎𝐋 ❞

╰┈➤ MY ABSOLUTE BELOVED!! - @catastrxblues, @sparksssflytv, @youronlymagnolia, @svnflowermoon, @i-miss-you-im-sorry, @stvrlighhttt, @halucynator, @nqds, @alltheliars, @tooinlovetothinkstraight14, @diorgirl444, @stvrlighhttt, @urgirlnextdoorr, @girlfailing, @shefollowedthestars, @wntrrdoll, @weeping-in-the-willows, @skeelly, @reminiscentreader, @isitoversnowtvs, @jewelledmoths, @moonanditstars, @french-toadt, @dandelions-fly-in-summer-skies, @christmasslights, @urapocolypticcrush, @cottoncandywhispers, @lost-in-reveriie, @folklore-girl, @betteroffnowthatwedonttalk, @theladyinwhite13, @iwanttomarrynoahshaw, @emailsicntsend, @someones-name-insterted-here, @astraeasparrow, @evermore-4-life - ILY TO THE MOON AND TO SATURN 🪐 (let's all get married and live in the forest together fr)

┕ » • » i’d love to make more friends, feel free to ask or message me!! inbox is always open - PLEASE come say hi, i literally don’t mind at all! ꒱ྀི « ━━━┙

NOW PLAYING: PEOPLE WATCHING - CONAN GRAY‎ — ♬

01:23 ━━━━●───── 02:38

↺ ◁ㅤ ❚❚ ㅤ▷ ㅤ↻ ☆

ִ ࣪ ⟡ ִ ۫ ִ 🕯️ ── ꒱ ◠ 🎹 ۫ ִ ۫⊹

#THIS BLOG FULLY SUPPORTS PALESTINE 🇵🇸 !!

[mik-mania]

What hemocaste suits Elle?

In considering Legally Blonde within the framework of the Homestuck universe–more precisely, Alternian culture–Elle Woods’ hemocaste becomes crucial to understanding her journey. The film’s core message is that of an underestimated woman defying expectations, which can be mapped onto Alternia’s complex social hierarchy. I’ve narrowed it down to three possible interpretations for Elle Woods: olive-blood, jade-blood, or fuschia-blood, each offering different perspectives on her character and thematic function in Alternian media.

(This analysis blends elements of both the movie and the musical, so any lore differences between them should be regarded as inconsequential.)

Olive Blood: The Underdog Story Perseveres

Elle Woods’ underdog journey in Legally Blonde aligns well with the olive-blood caste. Olive-bloods are typically seen as frivolous or less competent due to their lower position on the hemospectrum–perhaps even because of their associations with feline traits. This mirrors Elle’s initial treatment at Harvard, where she is dismissed as superficial and unintelligent. On Alternia, an olive-blood Elle would face similar prejudices on Alternia, striving to prove her worth against society’s assumption that she belongs in a lesser role. Her success would highlight the triumph of intelligence and determination over caste-based expectations, preserving the core message of the original film. 

However, this interpretation might clash with traditional Alternian media norms. While underdog stories may exist, a film that depicts a lowblood triumphing over systemic caste oppression would likely be considered subversive, even dangerous. Such a narrative might be seen as rebellious propoganda, potentially landing this version of the film on Alternia’s banned media list. While the olive-blood interpretation fits well with the original Legally Blonde message, its counter-cultural nature requires deeper consideration.

Jade Blood: The Commodification of Privilege

Casting Elle as a jade-blood offers a more nuanced perspective on privilege and societal roles, though the parallels to the original film are less direct. Jade-bloods hold a somewhat protected status due to their connection to Alternia’s reproductive system, reflecting a bioessentialist view of women’s roles in human society. This special jade status typically spares them from the threat of culling; however, this privilege comes with restrictions–jade-bloods are confined to certain societal duties, much like how Elle is initially confined by the expectations of her beauty and wealth. 

If Elle were a jade-blood, Warner would likely be a teal-blood, a higher-ranking caste who might date her to elevate his social status–essentially treating her as a trophy and furthering the feminist critique of objectifying women–before ultimately rejecting her for not fitting into his long-term ambitions. The jade-blood reading also emphasizes the sorority dynamics of the story. Jade-bloods, as seen in Hiveswap, tend to have intense social hierarchies and are prone to internal drama, reflecting the social politics within Elle’s life. Her shift to Harvard from her community in Malibu can comparatively be seen as stepping out from the insular brooding caves and into the “real world.” However, one key issue with this reading is that jades are stereotyped as “school-girls” in Homestuck, whereas Elle is dismissed not for academic failure but for her perceived superficiality, making this interpretation less of a direct translation of the original feminist message.

Fuschia Blood: Privilege and Critique of Class

A more critical reading of Legally Blonde could argue that it is about a privileged member of the upper class maintaining the status quo. Elle Woods, as a wealthy, cisgender, heterosexual, white woman, benefits from an extraordinary level of privilege,m which allows her to pursue any goal she chooses. It is worth considering that had she been born into different circumstances, Elle Woods may never have had the resources to attend Harvard Law in the first place. While Emmett represents the American ideal of “pulling yourself up by your bootstraps,” his character is clearly the exception ot the rule. In fact, nearly half of Harvard students come from families that earn over $120,000 a year–double the median household income in the U.S. Moreover, 53.1% of students identified as white, with only 8.4 percent of white freshmen coming from families earning under $40,000 — the smallest percentage of any demographic. 

This critique supports the interpretation of Elle as a fuschia-blood. Fuschia-bloods, as royalty, are born into success, reflecting Elle’s inherent privilege in the original story. Despite this, she still faces underestimation due to her appearance, much like a fuschia-blood princess might be seen as frivolous or unworthy for superficial and misogynistic reasons. This reflects a critique made by Porrim in Homestuck’s Beforus timeline, where she notes that even in a technically matriarchal system, social norms are upheld by male-dominated upper hemocastes. Similarly, Elle’s struggles might be framed within this broader critique of a male-dominated system that reinforces stereotypes, even at the highest levels of privilege.

Elle’s strong association with the color pink further supports this interpretation, as fuschia-bloods are literally “pink-blooded.” In this version, Warner would likely be a violet-blood, positioning him just below her in the caste hierarchy and reinforcing the idea that Elle is “too good” for him both figuratively and literally. This version of Elle’s story could serve as a critique of class, illustrating that even those born into privilege must content with social expectations. 

Superficially, Legally Blonde feels like a relateable, feel-good story for many–Elle Woods, in some ways, serves as a female Everyman. However, a critical reading reveals that the film’s portrayal of privilege and the upheld status quo should resonate most with either those who already hold similar privilege to Elle or temporarily embarrassed millionaires. Similar to a propagandized Alternian version, Elle’s journey may appear inspirational on the surface, but in reality, the only story here is one of extreme privilege.

[vilnmelling]

Figured I'd do a little intro!

'Sup! My name's Vil N. Melling, and I go by she/her pronouns. I'm 19 years old, I'm from quaint little Sweden, I'm a rare species of Hatchetfield fan that's cishet (I was brought here by a couple of lesbians: my sister and her girlfriend), and while I'm not officially diagnosed, if I'm not neurodivergent there's just something unrelated that's terribly wrong with my brain.

I'm a writer currently swept up in a Hatchetfield hyperfixation. While I'm nerding out about Hatchetfield, I'm also writing my second book and editing my debut novel. NPMD also managed to suck me back into fanfiction writing after only writing original works for two years!

Hatchetfield favorites

Characters: Richie's in first place, closely followed by Paul. After that it's a big ol' tie between Ruth, Emma, Miss Holloway, Wiggly and for some reason, Trevor.

Musical: Nerdy Prudes Must Die easily takes the cake for me.

Songs: High School Is Killing Me, The Summoning, Let It Out, Bully the Bully, Literal Monster, What If Tomorrow Comes, Time Bastard and Virginity Rocks

StarKid actor: Jon Matteson, if you couldn't guess from that list of favorite characters (and from a whole bunch of my posts)

Hatchetfield ships

Ships I ship: Paulkins (Paul Matthews + Emma Perkins) (favorite) Lautski (Stephanie Lauter + Pete Spankoffski) Flipschitz (Ruth Fleming + Richie Lipschitz) Lexthan (Lex Foster + Ethan Green) Barneston (Tom Houston + Becky Barnes) Holloduke/Holloweane (Miss Holloway + Duke Keane) Swedish Barbecue (Trevor Lipschitz + Rudolph) I can see Tedlotte (Ted Spankoffski + Charlotte Sweetly) Legally Blonde (Gary Goldstein + Linda Monroe) in a "they have a regular affair" kinda way Alice and Deb if they work a bit on trust and boundaries And of course, Henry Hidgens and his six boyfriends

Ships I'll gladly stay away from, please and thank you: Max and Richie ANY Human x Lord in Black Paul and Emma with anyone but each other (they are fucking meant to be)

Any ship that wasn't mentioned in either, assume I'm neutral about it.

Other fandoms

Arcane. Arcane's undoubtedly the best story I've ever seen. It's the main inspiration behind my steampunk fantasy trilogy, and I fucking adore it.

Newsies. The first musical I liked! (The only other musical I actually care about-). It was my 2021 hyperfixation, as evidenced by the fact that I have an (now inactive) Instagram fan page with 700+ posts. If you wanna check it out, it's newsies_square.

While I'm not really active in any other fandoms, I do really like The Umbrella Academy, the Grishaverse (more specifically Six of Crows), The Good Place, Encanto, Gravity Falls, Modern Family and Brooklyn Nine-Nine.

Other platforms

I'm all over the place, baby B)

Instagram: vil.n.melling_cant.write (writing tips + writing memes + incorrect quotes + occasional content about my books) vil.n.melling_cant.draw (where I post my drawings) vil.n.melling_stealfromtherich (a page just for stuff about my book (titled Steal From The Rich)

YouTube Vil N. Melling. I've published one NPMD analysis (as well as a couple of other analysis and writing tip videos), and I'm planning on making a good few more of them!

TikTok vil.n.melling_cant.write (mostly book marketing, but also a few writing/reading memes)

I'll soon have my first Hatchetfield fanfic up on AO3, at which point this will be updated to feature my handle there!

[local-falsettos-obsession]

Welcome!

Heyyyy! Welcome to my blog, here’s an introduction ig?

I’m Alee

my pronouns are She/they

I’m AroAce, a QPR (Queer platonic) Lesbian, and a Demigirl.

I love falsettos and X-men (Specifically Cherik) a probably unhealthy amount. I also like tbom, the legally blond musical, and Gutenberg. I’ve watched a ton of other musicals too (Hamilton, RTC, six, Chicago, mean girls, heathers, little shop, something rotten!, Annie, the wizard of Oz, Mamma Mia, etc. I’m working on watching a ton of musicals so feel free to recommend what my next watch should be!)

What I do is just silly Falsettos and Cherik stuff and occasional analysis and art.

Also if you find another social with Local_falsettos_obsession it’s probably me, I have A03 and TikTok. My TT is kinda cringy so just beware if you look me up (Also I have like another whole internet presence under a different name with other socials, so don’t mind that please 🥰🥰🥰)

please feel free to asks me anything and I’ll try to answer it

For future reference, any master posts will be linked here if they come about:

Enjoy gremlins!

[evelynhk]

Music Video Analysis

Part 1: "thank u, next"

Ariana Grande's "thank u, next" music video is a vibrant homage to iconic romantic comedy movies, including "Mean Girls," "Legally Blonde," "13 Going on 30," and "Bring It On." In the video, Grande recreates memorable scenes from these films while infusing them with her own unique style and narrative, inviting famous friends and other celebrities that have been connected to her to reference her life within these recreations. Throughout the video, Grande reflects on themes of personal growth, self-love, and empowerment, and cleverly addresses her own love life and the public's fascination with it. Having publicly addressed her love for old rom-coms, she also celebrates the strength and resilience of female protagonists from the rom-coms she references. The video showcases Grande's creativity and artistic vision, as she embraces her independence and confidently moves forward after experiencing heartbreak. Overall, "thank u, next" is a visually captivating and empowering tribute to both iconic movies and Grande's own journey of self-discovery.

Deleuze explores the complex interplay between repetition, generality, and law, challenging traditional philosophical notions. Deleuze emphasizes “repetition and generality are distinct; repetition involves non-exchangeable singularities, while generality allows for exchange or substitution of terms.”(1) For him, repetition is not about replicating identical instances but rather about the emergence of difference within a repeated pattern. He argues that genuine repetition involves the recurrence of non-identical elements or singularities, which he terms "difference in itself." This notion of difference disrupts traditional conceptions of identity and sameness, highlighting the dynamic and unpredictable nature of repetition.

 Each segment of the “thank u, next” music video references iconic romantic comedy movies, and represents a repetition of familiar narratives and tropes. However, rather than simply replicating these stories, Grande infuses them with her own unique perspective and experiences. We see this from the very start, when she recreates the iconic introduction of the character Regina George from “Mean Girls” (0:00:01). While the general idea and tone of the scene remains the same, she replaces Regina with herself, and inserts many references from her own life that were considered scandalous by the media, poking fun at the public’s interest. In another shot, still as Regina, Grande is scrapbooking in the famous Burn Book from “Mean Girls” (0:00:43), but instead of writing nasty secrets like the original movie does, she pays homage to her previous relationships with nothing but love and respect, aligning with the lyrics of each ex while she flips the page from one ex to the next. These reinterpretations of familiar narratives highlight Deleuze's notion of difference within repetition. Despite drawing inspiration from existing cultural tropes, Grande introduces new elements and perspectives, allowing for the emergence of difference and novelty within the repeated patterns. 

Baudrillard examines the dominance of consumption and the signifier in capitalist societies, exploring how “postmodern communication technologies, principally television, are said to flood the world with self-generating, self-mirroring images; and experience” (2). He contrasts simulation with representation, arguing that simulation has replaced representation, challenging conventional notions of reality and power dynamics. Images no longer reflect reality but create their own hyperreal realm, blurring the boundaries between real and simulated experiences. His work offers a critical perspective on the impact of hyperreality, highlighting the complexities of navigating between real and simulated realms. 

In "thank u, next", Grande’s idealization of high school culture and romantic comedy (rom-com) tropes contributes to the construction of a hyperreal world, resonating with Jean Baudrillard's concept of simulation. The video references iconic high school movies like "Mean Girls" and "Bring It On," as well as rom-com classics such as "Legally Blonde" and "13 Going on 30," embodying specific tropes and narratives associated with adolescence and romantic relationships. She blurs the line of reality and simulation consistently. In one instance, Grande pays homage to the movie “Legally Blonde”, where she replaces the main character, Elle, with herself. When she talks to Jennifer Coolidge in a montage referencing the iconic hair salon, who originally plays Paulette in the film, she talks about her real life relationship as Ariana Grande, while Coolidge fully embodies her original character and responds as Paulette (0:03:20). With this exaggerated and hilarious reference to the movie, Grande’s using these classic rom-com scenes to explore her own reality ends up contributing to the construction of a hyperreal realm, where the boundaries between reality and fiction are blurred, and images and narratives take on a heightened, almost surreal quality. Baudrillard argues that in hyperreality, signs and symbols no longer represent anything real but instead simulate reality itself. Grande's idealization of high school culture and rom-com tropes in "thank u, next" contributes to the construction of a hyperreal world, where the boundaries between reality and fiction are blurred, and images and narratives take on a life of their own in the realm of popular culture.

Fredric Jameson explores the impact of postmodernism on social, economic, and cultural changes, challenging the idea of a 'post-industrial' phase and highlighting capitalism's expanded hegemony. He argues that capitalism's power has intensified throughout the years, and examines how changes in capitalism's mode of production relate to new forms of cultural production, identifying postmodernism in literature, music, film, and environments as characterized by surface, pastiche, and paranoia. He discusses pastiche as a key element in postmodernism, representing a neutral mimicry without parody's satirical impulse, reflecting a shift towards stylistic diversity.

Fredric Jameson's analysis of postmodernism within the framework of consumer society underscores the dominance of capitalism in shaping cultural production and consumption. In his essay, he critiques the notion of a distinct 'post-industrial' phase, arguing instead for the expanded hegemony of capitalism. He highlights how changes in the mode of capitalist production influence cultural forms and expressions. The video itself is a product of the entertainment industry, driven by commercial interests and profit motives. It serves as a form of cultural commodity produced and consumed within a capitalist system. The references to iconic romantic comedy movies in the music video can be seen as part of a broader cultural phenomenon where nostalgia is commodified and marketed to consumers. The inclusion of many famous celebrities as the other stars in the video also highlight this obvious tactic of gaining consumer's attention. Fredric Jameson's exploration of postmodernism also offers insights into how Ariana Grande's "thank u, next" music video engages with this cultural phenomenon. Postmodernism, characterized by Jameson as a cultural shift towards surface, pastiche, and a blurring of boundaries between reality and fiction, resonates with various aspects of the music video. Grande's incorporation of references to iconic romantic comedy movies and high school culture embodies the postmodern tendency towards pastiche, where cultural elements are borrowed and recontextualized without necessarily critiquing or subverting them. While she does use them to focus on the story of her own life, the original elements of the rom-com movies aren’t particularly built on. The stylized and exaggerated portrayal of these cultural tropes reflects a focus on surface aesthetics and a blurring of the distinction between original and copied content.

Part 2: "Freedom! '90"

"Freedom! '90" is not just a music video but a statement of artistic intent by George Michael, featuring iconic supermodels (ie. Naomi Campbell, Cindy Crawford) lip-syncing the song's lyrics without himself into the video. This decision to have the models represent him was a way to signal his desire to break free from the manufactured pop star image that had defined his earlier career. The video is visually captivating, with the models of all different looks exuding confidence and attitude as they strut and pose in an abandoned mansion. Their presence symbolizes not only glamor and beauty but also a sense of power and independence. By placing the focus on these iconic figures rather than himself, George Michael effectively distances himself from his previous image and asserts his autonomy as an artist. Thematically, the video explores concepts of liberation and authenticity. It represents a departure from the glossy, commercialized imagery typically associated with pop music videos of the time. Instead, "Freedom! '90" embraces a more raw and authentic aesthetic, reflecting Michael's personal journey towards self-discovery and creative freedom. 

Through the lens of Deleuze, who emphasizes the idea that repetition involves non-exchangeable singularities and challenges established norms or structures, we can analyze Michael’s music video as a unique singularity amongst music videos themselves. In contrast to typical music videos that portray the artists in a spotlighted fashion and generally shape the narratives around the presence of the singers, “Freedom! 90” chooses to feature supermodels lip-syncing to his song. This departure from the expected repetition of the artist's presence challenges the conventional structure of music videos and disrupts the established norms of representation. Additionally, his decision to step back and allow the models to take center stage can be seen as a form of resistance against the manufactured image and commercial pressures often associated with the music industry. In this video, he intentionally distances himself from his previous image, which is symbolically conveyed through visual elements, like leaking water. Water is often associated with purification and renewal, and its presence in the video suggests a cleansing process—a metaphorical washing away of the old to make room for the new. As the water pours from various sources like the walls and the ceiling (0:03:22), it represents a release from the pressures and expectations of celebrity, allowing George Michael to distance himself from his previous image and embrace a fresh start. By breaking away from the expected repetition of celebrity presence, the video embraces a new form of repetition—one that is non-exchangeable and challenges the norms of representation and identity.

In Baudrillard's framework, Michael’s breaks free of the traditional simulation of artists we typically see from the music industry. Many artists in the music industry are carefully curated and marketed by record labels to fit specific personas or images that appeal to target demographics. These constructed identities don’t reflect the artist's true self or experiences, leading to a simulated version of their identity being presented to the public. The music industry relies heavily on media coverage and public relations strategies to shape public perception of artists and their work. In his early years as a pop star with Wham! and as a solo artist, George Michael was presented to the public as a polished, marketable figure with carefully curated image and persona. This manufactured image, while successful commercially, often overshadowed his true identity and artistic intentions. In later years, George Michael sought to break free from the constraints of his manufactured pop star image and assert his authenticity as an artist. As his lyrics illustrate the process of “breaking free” and deviating from societal expectations, he includes the iconic blazing jacket (0:2:18). The blazing jacket worn by a model in the video serves as a powerful metaphor for shedding the past and breaking free from the constraints of fame. As the jacket ignites and burns, it represents the destruction of the old persona—the glossy, manufactured pop star image that George Michael had become known for. By showcasing the jacket engulfed in flames, the video symbolizes the artist's desire to let go of his past identity and emerge anew.

Jameson warns readers about the “death of the subject”(3), refers to a shift in postmodern culture where traditional notions of individuality and personal identity are destabilized or decentered. This concept suggests that in contemporary society, the individual subject becomes increasingly fragmented and deconstructed, unable to maintain a coherent sense of self amidst the complexities of postmodern life. He argues that various cultural and technological developments, such as the rise of mass media, globalization, and digital communication, contribute to the dissolution of the subject. These forces work to erode the boundaries between individual and collective identity, as well as between public and private spheres. As a result, the subject is no longer able to maintain a stable and unified identity but instead becomes fragmented and dispersed across multiple discourses and social contexts. In George Michael's "Freedom! '90" music video, he subverts the notion of the "death of the subject" by reclaiming agency and autonomy over his own identity and artistic expression. Towards the end of the video, the jukebox and guitar previously featured are blown up. These actions can symbolize a radical departure from the artist's past image and musical style. These acts can be seen as symbolic gestures of rebellion against the commodification of music and the constraints of traditional celebrity culture. The jukebox and guitar represent established symbols of music consumption and rock star imagery. By blowing them up, the video rejects the superficiality and commercialism associated with these symbols, challenging the idea that music and art can be reduced to mere commodities for consumption. Instead, it asserts the importance of authenticity and creative freedom in the face of commercial pressures. It can also signify a declaration of independence and a refusal to conform to expectations imposed by others. Additionally, the destruction of these symbols may represent a desire to start anew and redefine oneself creatively. Blowing up the jukebox and guitar in the music video can be interpreted as a symbolic act of liberation and a statement of artistic autonomy, subverting Jameson’s idea of “death of the subject” and challenging established norms and cultural expectations. 

Questions: - How does Grande's use of references to iconic movies contribute to the construction of a hyperreal realm, as discussed by Baudrillard? What insights does this offer into the dynamics of cultural consumption, representation, and the construction of reality in the digital age? - How does Ariana Grande's "thank u, next" music video embody Jameson’s idea of postmodern tendencies, particularly in the video’s engagement with commercialized nostalgia and use of fame? - How does Deleuze's notion of repetition involving non-exchangeable singularities help us understand the significance of this departure from the expected repetition of celebrity presence? How does it contribute to the exploration of authenticity and artistic autonomy in the video?

Works Cited

Deleuze, Giles, "Introduction: Repetition and Difference" (New York, NY, Columbia University Press: 1994).

Baudrillard, Jean, “Simulacra and Simulations” (New York, NY, Pearson Education Limited: 1992).

Jameson, Fredric, ““Postmodernism and Consumer Society”(New York, NY, Pearson Education Limited: 1992).

[forabeatofadrum]

First Line Analysis

Rules: post the first lines of your last 10 fics/chapters posted on AO3 (if you have less than 10 fics posted, post the first lines of all your fics) and try to draw some conclusions.

Thank you @wellbelesbian and @that-disabled-princess for tagging!

1. Find My Way - Legally Blonde the Musical

Vivian is staring at her ceiling.

2. Ljubili se - Glee (Klaine)

"I love you."

3. Just Some Guy - Carry On

To be honest, I can’t quite believe I am finally at Watford.

4. All of me loves all of you - Doctor Who's Class (Charlie x Matteusz)

Matteusz is wondering where it all went wrong.

5. 吃了吗? - Glee (Tike)

Mike has some guts.

6. February Friday Event 2024 - Radio Silence

“Hello, I hope somebody's listening.”

7. A beautiful day in the neighbourhood - Glee (Klaine)

Kurt’s staring out of the window of his parents’ house with a wistful smile on his face.

8. The Final Gift - The Good Place (Cheleanor)

Eleanor is asleep.

9. The Class Menagerie - Glee (Klaine)

Kurt is about to lose his mind.

10. A Sandy Situation - Check, Please! (Zimbits)

Jack's tired.

--

Well, if I see this, then two things are noticeable: 1) Most of the first lines are short. 2) Most of the lines describe what a person is doing/feeling: Person is/has X. The three exceptions to these are Just Some Guy, Ljubili se and the February Friday ones. The first is the only first person fic, so the first line is Matty's thoughts on something. Ljubili se has "I love you", since that's basically the bookend of this series. Ljubim te's first and last chapter started with "I love you", so of course the same will happen here. And February Friday's line is a callback to the iconic Radio Silence line. It starts with Aled doing his podcast, and every episode starts with “Hello, I hope somebody's listening.”

EDIT: Welp. Looks like I posted this. I thought I had put it in my drafts. Here are the tags! @quizasvivamos @rockitmans @special-bc-ur-part-of-it @cutestkilla @artsyunderstudy

@bookish-bogwitch @you-remind-me-of-the-babe @bitbybitwrites @cerriddwenluna @thnxforknowingme and whoever wants to join!

[singinghufflepuff]

other Alice by heart nerds exist???? What?????

hi there

back on Tumblr after a bit (theater kid/school overachiever here)

Thank you so much for the morsels of love on my Alice By Heart post! I will always (and I mean ALWAYS) take invitations to talk more about Alice By Heart and its story so I am taking prompts related to the show (I.e, specific song analysis, character analysis, headcanons, parallels, more stuff about the book, etc, etc) if anyone is interested :)

I will also take suggestions for the following other musicals:

-Into The Woods

-Hadestown

-Beetlejuice

-The Outsiders

-Legally Blonde

-Newsies

-Merrily We Roll Along

And many moreeeee

Also I would love to engage in fun little threads about these instead of just ranting lmao so hit me up with those suggestions ok thank you g'bye and live laugh Alice By Heart

[indiaalphawhiskey]

Hi, I have a follow up question to lhh as rebellion. I've not been around for the 1d days and have only read about that time. But I've read several times that Niall was kind of forced to have his hair blonde even though he himself didn't want that so if I'm not completely remembering that wrong, wouldn't it be possible that Harry's hair was also controlled by management? It would have been easy for them to force him to cut it, wouldn't it?

So, again this is all retrospective personal analysis on my part, and all my evidence to support my theories are circumstantial, so please remember this isn’t fact but just how I read the situation, looking back.

Yeah, Niall wasn’t allowed to stop dyeing his hair, that’s correct, but I suspect that was something that was stipulated in his contract from the beginning, because when he auditioned for TXF, he was blond.

There were a few times the back-end marketing referred to Niall as “the blond one” or made references to needing “a blond one” in the band, so I think that was very closely tied to his PR identity, which is why it would be a hard no in his contact until the band went on hiatus.

Harry’s hair length, on the other hand, didn’t have the same tie to his image as, for example, his curls. He’s also had varying hair lengths throughout his time in the band (as have the others), so we can surmise that that wasn’t included in the strict physical image his contract dictated, which is probably why he decided to rebel that way (similarly to how the boys all got tattoos as a way to speak out).

It’s true that management could have probably bullied him into cutting it, but the energy around the band around 2014-2015 was pretty frenetic, in that the boys were pushing the envelope so much in many different “little” ways, having realized, I believe, that they were too lucrative and successful at that point for their management to fight them over small things, especially things that had no legal backing (unlike rebelling through breaking their cleanliness clause, which, we suspect now, Louis and Zayn also tried to do).

Also, just in terms of practicality, enforcing a strict hair length/hair style across the band wouldn’t really work, because the boys were also trying to appeal to an older market at this point. Seeing them get tattoos, and then begin to write their own music, and then grow into more “rough”/rebellious images allowed them to cross the line of “pop band that appeals mostly to teens” and made them desirable to an older market, which, from a business standpoint, you wouldn’t want to kill by over-sanitizing them and sending them back to the TMH era.

[nyctophile-moi]

intro post:

(dividers by the incredible @saradika)

★nyc ★(she/her) ★19 ★bookworm ★love enthusiast

✰got lovesick all over my bed✰

hello hello hello! welcome to my little corner of the internet on this hell site (said with all the love i swear <33). this blog is essentially a dumping ground for all my scattered thoughts and rambles, along with things I find relatable. well, it's mostly about things i find relatable tbh. i'm very sentimental and a little bit mentally unstable so.. okay who am i kidding? very mentally unstable so some breakdowns might be in order. also f**k jkr!!

➟ basic info :

•asian •19 •bilingual •funny (please let me have this) •scorpio (still skeptical with my belief) •"love" lover •adhd haver(?) •anxious always •oversharer •flirt •coffee addict •eldest daughter •gifted kid burnout •trying to be a woman in STEM •overthinker (just give me a degree in that atp) •sarcastic af •you'll be surprised to know how much stuff i have not watched •will read anything except non-fiction •queer •cannot deal with confrontation •may oftentimes make inappropriate jokes •procrastinator (another degree right there) •easy to please •gets obsessed with things pretty easily •will shit talk with you all you want •overanalyser •pinch of grammar nazi sometimes •pathological people pleaser who doesn't want anyone to see her •may get over shit quite fast •has a new crush everyday •23 wives and counting •if we're mutuals we're besties already

➟ interests :

•people •music •books •playing guitar •making people listen to songs i like •ranting about anything and everything •making my own theories about stuff •character analysis •poetry •classics especially •rewatching the same four shows over and over again •keysmashing •eating food •making playlists •scrolling on pinterest/tumblr •sleeping •researching random shit on the internet •maths •computer science •hating physics (i'm sorry it sucks) •plotting revenge (which i'll never be following through with) •spending a tonne of my time looking at expensive aesthetic clothes that i can never afford •looking at pictures of renee rapp and asking them (read: her) to marry me over and over •collecting wives (okay i'm sorry wifeys that sounds very objectifying ilysm) •going over conversations that have already happened in my head and making myself sound better •yearning

➟stuff i love :

»music

•taylor swift •maisie peters •lana del rey •gracie abrams •niall horan •julien baker •phoebe bridgers •lucy dacus •boygenius •the 1975 •olivia rodrigo •renee rapp •arctic monkeys •lizzy mcalpine •hozier •chappell roan •ed sheeran •the neighbourhood •cigarettes after sex •billie eilish •the national •bon iver •sabrina carpenter •girl in red •lorde •ariana grande •5 seconds of summer •conan gray •ricky montgomery •the lumineers •bleachers •shreya ghoshal •arijit singh •ar rahman •shankar-ehsaan-loy •mohit chauhan •sanam •md rafi •kishore kumar •lata mangeshkar •asha bhosle •mukesh •pankaj udhas •jagjit singh •pritam

»books

•book lovers •beach read •happy place •people we meet on vacation •the picture of dorian gray •pride and prejudice •emma •sense and sensibility •wuthering heights •the diary of a young girl •the murder of roger ackroyd •and then there were none •the fault in our stars •i fell in love with hope •the harry potter series •the seven husbands of evelyn hugo •heartstopper •boyfriend material •murder on the orient express •the mysterious affair at styles •the kiss quotient etc. etc.

(can you tell i have a versatile taste? also, emily henry is my auto-buy author and agatha christie is the queen of crime. hercule poirot is the better detective. argue with the wall pls.)

»movies/shows

•brooklyn nine-nine •friends •never have i ever •love, victor •fleabag •dead poets society •the theory of everything •bridgerton •poor things •derry girls •barbie •la la land •harry potter movies •red, white and royal blue •enola holmes •mean girls •legally blonde •the princess diaries •emma •pride and prejudice •heartstopper •little women •k3g •any srk movie basically •badhai do •shubh mangal zyada savdhan etc. etc.

➟DNI - racists, ableists, ED-promoting blogs, pedophiles, people younger than 13, empty/untitled blogs (y'all might be bots idk), jkr supporters/anyone affiliated with jkr, haters, zoophiles, anti-palestinians, misogynists/misandrists, fatphobes, homophobic people, transphobes, xenophobes etc. and anyone else who fits into that majority!!

(thankyou for reading all of that, can't believe i wrote it <33)

[phoenixkaptain]

I saw someone call Legally Blonde sexist and it makes me honestly wonder if they even watched it???

Maybe the movie is wildly different, but the entire point of the musical is accepting yourself and being as feminine as you want because stereotypical femininity doesn’t make you any less intelligent or capable.

Elle’s entire story arc is going from thinking that she has to wait for Warner to propose to her, thinking that she can’t look too desparate to get married because that will make Warner look bad, to proposing to her boyfriend at the end of her graduation speech. She learns that she doesn’t have to wait for a man, she doesn’t have to make life decisions based on a man, she can make changes to her life and circumstances entirely of her own volition.

The entire point of the musical is staying true to oneself. Callahan, the literal villain, tells his students that they have to change themselves to be taken seriously. They have to change their moral compass, and they have to win every case by any means possible. He mocks them for thinking compassionately. He doesn’t even entertain the idea that a woman who teaches self defense didn’t murder her own husband. He teaches Elle that she has to change herself to be taken seriously in any context, but no matter how much she changes, she’ll still just be viewed by him as eye candy.

Meanwhile, the actual mentor figure is Emmett (at least when it comes to law). Emmett’s song is the antithesis of Blood in the Water. Chip on Your Shoulder is about sticking to your guns. Emmett tells Elle all about his motivations to be at Harvard law, and his motivations and backstory fuel his entire character. He grew up with just his mom and the men his mom dated, not very good men, and he became protective of his mom. He’s there to make his mom proud, he’s there to make his mom happy, he’s there because he made this chance for himself and he’s taking it.

Unlike Callahan’s point of changing yourself to be taken more seriously, Emmett’s is entirely about how Elle doesn’t have to change herself, she just has to actually start putting effort into studying. He doesn’t expect her to change anything about herself except for the amount of work she’s doing. He teases her, but he’s completely accepting of her interests.

Emmett is the one who inspires and teaches Elle to be passionate about school, not Callahan, and it’s because Emmett’s teaching methods involve staying true to your morals. Staying true to yourself.

More than that, the entire musical is built on Elle’s relationship with her female friends. The “Greek choir,” the female students, Paulette, Brook Wyndham, etc. Enid is one of my favourite examples, since she has this line: “I used to pray for the day you’d leave, swore and down you did not belong. But when I’m wrong, then I say I’m wrong, and I was wrong about you. So listen up! I see no end to what you’ll achieve, that’s only if you don’t turn and run. You proved it to me, now show everyone what you can do.”

Enid is a feminist and generally, in the beginning, is snide about Elle, but she learns from Elle that she doesn’t have to be afraid of showing her own femininity. Enid is in a highly male-dominated field and she’s a lesbian; she acts more masculine and tries to fit in with the boys, and she does this because she wants desperately to be taken seriously. Elle shows her that she doesn’t have to pretend. She goes from looking down on Elle to looking up to her, and the character arc is just super sweet.

Legally Blonde is about as far from sexist as it’s possible to be. Just because a few characters (who are literally antagonists or are misguided and grow and change over the course of the story) are sexist, that doesn’t make the core of the musical misogynistic. It’s not, and to look at it that way is incredibly diminutive.

[galaxyzone]

My top 6 favorite musicals

6. Next to Normal

This list was gonna be a top 5 but I couldn’t not include this musical. I’ve only seen one production of it and it was actually at my college but it was the best production I ever saw there. Really pulls at the heart strings and it has wonderful music.

5. Beetlejuice the Musical

I finally got to see this for the first time back in December and it was just really fun! Phenomenal set design and costume design and of course amazing performances. It even made me cry during one scene and I wasn’t expecting this one to make me cry! Also made me a bit nostalgic for the movie. Just so much fun and definitely a must-see for live theatre!

4. Fun Home

This musical absolutely breaks me every damn time. Even just listening to the soundtrack gets me crying, this musical destroyed me in the best way. I unfortunately have a bittersweet memory of it as it’s the last show that my ex and I worked on together right before we broke up (I was the SM & she was Medium Alison), so I haven’t been able to listen to it or even think about it since, but that doesn’t change the fact that this is such a fantastic and heartbreaking musical that resonated with me so well.

3. Hadestown

Oh my GOD this musical gives me chills. I’ve gotten to see it live twice and both times have just left me so awe-struck, I don’t know quite how to explain it. Everything is just phenomenal. The story telling, the set, the acting, the singing, the music, the choreography. Seeing this musical was one of those experiences that reminds you exactly why you’re pursuing what you’re pursuing. This musical made me fall in love with theatre all over again and reminded me why I want to do it.

2. Legally Blonde the Musical

I will always love this musical and it will always hold a special place in my heart, especially as a feminist. This is such a good musical for women and feminism in general. The way that Elle learns that she doesn’t have to change who she is in order to be successful is SUCH an important message for women and girls. Being feminine doesn’t make you any less serious and people shouldn’t think less of a woman simply for the way she chooses to live her life. Also, Elle and Emmett are just adorable and one of the cutest couples in musical theatre. I’ll always have a soft spot for this show.

1. Into the Woods

What I consider to be a theatrical masterpiece. This show will ALWAYS be my favorite. It’s the first musical I ever fell in love with and it’s never leaving my #1 spot. I just don’t see that happening. The storytelling is some of the most creative and genius storytelling I’ve seen in theatre. The music is obviously iconic and challenging as hell but SO good. There are so many clever themes and motifs, so much symbolism and parallels, I could go on about my analysis of each character and their respective character arc. I also just love the way they were able to tie multiple iconic fairytale stories together and they touch on what happens after “happily ever after” and I just love that. I remember when the movie came out and people thought it should’ve ended on the happy ending (which would be the end of act 1 in the stage version), and it just bugged me how those people so clearly missed the whole point of the second act. The show is telling us that life isn’t as simple as “happily ever after.” This musical is one of the few musicals that wasn’t afraid to touch on more taboo subjects and darker storylines, and I love it so much for all of that.

[thegaythespian]

hello would anyone like to hear my Legally Blonde (musical) analysis about One Specific line