#matt lange

[notengoteclas]

[twistedappletree]

meet me in my hell,

will you go down with me?

even if i cross the styx unaided,

you’re on the periphery.

[pintsofguinnesmakeyoustrong]

NPMD best line deliveries

oh shit! oh fuck!! i didnt think thered be a skele'uhn here ?!? im so fucking scared of skele'uhnz!!!

dont frighten him pokey you nasssssty boy

were going to jail...and with my luck no one will even B O T H E R making me their bitch...

🐦 heyus the thing about a bãrbĕqüe...it brings folks together...from awl wawlks of laife...theyres a storhé behand everyh burrghurr...everyh kehbahhb...

but I...called God a sonofa B word...who am iaieEUGHAHuhuuuh...

[wowowwild]

The acest of attorneys (and friends)

[hatchetfield-scarecrow]

I honestly love how Starkid wrote the Lords in Black. Cause usually eldritch gods in media are completely cold and dismissive of humanity and don’t even acknowledge them, but the Lords in Black are full of energy and love tormenting humans and treating them like their toys, and I think that’s so fascinating and arguably more terrifying.

[kairithemang0]

Imagine calling your brother in the middle of the night and going “calendar man your days are numbered” and that’s how you start the conversation

Absolutely legendary

[isogenderskitty]

obsessed with the fact it took the langs about a year to go from “wow this is such a cool idea, someone should make this! oh well” to “OH WAIT WE HAVE A PRODUCTION COMPANY”

[onlinehorseproblems]

I don't understand the "starkid only does hatchetfield musicals 😡" train. Because if i were lang brothers???

i would also make multiple musicals and readings of the different aus involving my OCs, like Oh you liked the coffee shop au?? haha just wait till you see the catboy au

[man-down-in-hatchet-town]

THERE'S A CASTLE ON THE HILL, AS THE STORY GOES...

As promised, some initial thoughts on the things I loved about seeing this show. Spoiler free, since most of us haven't gotten to see it yet, and under the cut since I do wax a bit poetic...

Cinderella’s Castle is, in a strange way, an exercise in irony. The show is a retelling of an ancient story that is beloved and recited throughout so many cultures, and yet somehow feels completely fresh. The modern take on glam-punk lighting, a score infused with styles from 80s synth to anime, a high fantasy set with the costumes to match, the spirit of Jim Henson lingering through both the puppets and some larger and intangible vibe, a script combining that Starkid humor and Hatchetfield darkness with a whole different style of speaking… all of these beautifully executed elements melted together into something that I’ve never before seen. To take a tale as old as time and make it unique is no easy feat, but Starkid did so with magic and charm to spare.

Like any good Starkid show, Cinderella’s Castle is relentlessly dynamic: fun and tragic and exciting and just-plain-silly, with many twists and turns and character moments will make you gasp or cheer just as often as you laugh. It simply rollicks. The story clicks right along, especially in act 2, but the characters are so distinct and fun that I found myself almost wishing the Langs had sacrificed their plotting and pace just to spend more time hanging with every single member of this ensemble of personalities.

And that’s also a tribute to the actors themselves. Jeff is David Bowie reborn as the impish and fabulous narrator. Jon and Joey bring Hop A Lot and Crumb to life with so much charm and presence that they practically had the audience eating out of their hands from the very first second. Like, seriously, you will not believe how invested you will immediately become in these talking animals. Kim’s Fairy Queen is as radiant and terrible as promised; her portrayal of immortal inhuman power compels and commands and stands fully distinct from the Lords in Black. Lauren and Mariah are delightfully disgusting as the vile but deeply lovable troll step-sisters; you can feel the fun they’re having practically radiating off of them. Curt’s Tadius is dryly funny and put-upon, but also provides a vitally grounding and centering presence in the larger-than-life world of the Lands That Are. His big scene with Bryce is probably my favorite part of the whole show. James Tolbert is nothing short of an absolute STAR as the Prince, stealing scene after scene after scene with ease and charm and more jokes about genitalia than I think any of us expected. Angela once again displays a completely different facet of her never-ending range, exuding such elegance and control even in trollish filth that I do fear that the kids on the internet are going to start calling her “mother” with greatly increasing frequency. "Facade" was an absolute highlight of the night. And of course Bryce anchors, propels, and heightens every scene she’s in with such apparent ease you forget she’s been rehearsing for weeks and isn’t simply Ella herself. Ella is this world’s bruised, brave, and angry heart, and you will absolutely root for her every step of the way as she wrestles with who she is and learns what it means to claim her own power.

This was Starkid’s biggest budgeted show to date, and you could tell. This group of Michigan Wolverines and friends have accomplished incredible things since the Very Potter days of a single door and some cardboard columns, and I’m so proud of how far they’ve come. And yet Cinderella’s Castle, the fifteenth musical in the fifteenth year, still retains some of that core Starkid magic that I’ve always believed boils down to love. You can so often see that love emanating from the performers on a Starkid stage: love for the show, for their friends, for their craft, for the audience’s energy pushing them through. And the sense of love and support and community radiating from the audience is just as palpable. The man sitting behind me last night was at his first ever Starkid show, and afterwards he remarked in awe how that was the best audience he’d ever been in. And all that love isn’t unearned—it is built and it is nourished by a proud history of creativity, of song and of dance and of laughter and tears. And Cinderella’s Castle, I think, is going to prove an installment worthy of both Starkid’s past and future.

Starkid family, Bogs Hollow grants thee Starlight.

[heavymetallovrrr]

reminder to WARN PEOPLE ABOUT SPOILERS ON YOUR POSTS ABOUT CINDERELLA’S CASTLE. this goes for the people who are seeing it live and the people who are getting the digital ticket (that’s including me)! HIDE. THE. SPOILERS.

[yourawizardkatniss]

these are MY workin’ boy

[myheadphonesareneverloudenough]

one of the best things about Hatchetfield is that people can’t get mad at you for your headcanons. so many fandoms have toxic people who claim that “you’re ruining the character!” and “that character would never do that!” but with Hatchetfield, Paul Matthews is canonically a catboy. Tom Houston canonically tried to fuck his car. no new idea you can come up with can ever be weirder than the situations the Langs put their own characters in.

[lettingtimepass]

Favorite Starkid lore drops from the Cinderella's Castle Kickstarter

Matt Lang throwing Pincer into a dumpster in Chicago

Nick Lang being legitimately upset that Darren got cast on Glee because he needed him to write songs for Starship.

Darren Criss surprising everyone at a rehearsal of Starship, but instead of everyone being happy to see him, they were all upset that he hadn't finished writing all the songs yet 😭

"SNIP SNIP, TEAM STARKID"

During the NPMD power outage, when Nick realized not all the lights had turned back on, he knew the scene when Steph shoots Pete and the bullet goes in slow motion wouldn't work in the dark and would instead look like Steph just killed Pete--so he ran backstage and found a flashlight to shine on Max.

In Black Friday, Nick and Matt originally wanted to make Wiggly a giant puppet but they ran out of time and money so they decided to use the lights/set instead (this shook me because I loved the Wiggly effect so much!!)

Similarly, they wanted each of the Lords in Black in Nerdy Prudes to be puppets but ran out of time/money so they had to be "just people" instead 😂

I'll post more when I think of/remember them!!

[averagecygnet-blog]

emma is the villain of tgwdlm

I need to talk about this oh my god

because it's told from the hive's perspective. paul is the protagonist because he is the one who resists them but must ultimately come to accept that they're right. emma is the one who must be beaten through force.

the difference between the hero and the villain is that the hero must change, while the villain cannot. (I'm not speaking in universals here, just generalizations of how the narrative structures work that tgwdlm uses in parody.) the hero and the villain both hold a belief that represents the thematic evil; by the end of the story, the hero must undergo apotheosis, which is to say, ultimate unity with the thematic good. once this is achieved, he can defeat the villain, who represents the thematic evil completely and is incapable of change.

to the hive, "good" is unquestioning conformity to the group's ideals, specifically, singing and dancing in sync with everybody else. "evil" is refusing to sing and dance along when, clearly, you want to.

paul is the perfect protagonist because he resists song and dance, but largely because it makes him uncomfortable. getting out of your comfort zone is necessary for change! it's a good thing to let yourself go through something uncomfortable in order to come out the other side better and stronger for it. (that much is true; however, sometimes discomfort is a legitimate sign that you should stay away from something.) paul has never really tried singing or dancing, and deep down, is afraid that if he tried it, he might like it. exactly the sort of person who can be converted and used as a shining example of the hive's righteousness.

emma must be the villain because her refusal to fall in line is a choice. she can sing, she can dance, she was in brigadoon in high school and she fuckin killed it, she is even taught a whole ass song with choreography by the hive on their first morning in hatchetfield (emma's comment about how they have to sing "all the time, apparently!" and zoey's implied presence at the theater when the meteor hit - because she was with sam, and sam was there - strongly suggests that nora and zoey were zombified all morning and she had no idea). it's stated by hidgens and suggested by nora and zoey that getting a human to sing/dance along with them is supposed to be a sort of mesmerizing tactic that the hive uses to start synchronizing a person to the hive mind, but emma refuses. she sings and she dances, just like they want, but she chooses to actively hate it the whole time, on principle. she can't be convinced; they have to swarm her, surround her on all sides. let it out is meant to win paul to their side; inevitable is just to gloat.

in the bar scene in hidgens' bunker, emma says that she must be the villain to paul's hero because she was in the musical that got him to hate musicals. on the one hand, she had it backwards; she's the villain because according to the hive, the all-encompassing narrative power, he's not supposed to hate musicals. on the other hand, she's kind of right: paul is the protagonist because he is the guy who didn't like musicals, while emma is the villain because she has the capacity to like musicals as well as experience in them, but has chosen to reject them.

who is the hero and who is the villain all depends on who is telling the story. and the hive is telling this story. don't forget that.