#so max gets to sing it

[mediasploshion]

ma boy rocking out

[spaceratprodigy]

Feeling GREAT today babes 👍

[pinkrangersarah]

with friends like these // part one. part two. part three.

[thelesbiandeli]

If people are aware of the singing in TGWDLM (even if it is abnormal), does that imply that in Black Friday and NPMD Hatchetfield, people breaking out into song randomly is perfectly average?

[herearedragons]

…so I watched this musical called nerdy prudes must die and apprarently I have thoughts about it, so I’m just going to compile these thoughts into one post. (there are spoilers)

people have pointed out how cruel it is that Ruth is mocked for her really sincere performance on stage before dying, and it’s even sadder if you remember that in the one(1) positive interaction she had with Max before his death, he acknowledged and complimented her performance as the skele’un? and that it might have been the first time in years that someone appreciated her as a performer in any way?

but also, Ruth is the only victim of Max’s who dies on stage(for Richie, the lights go out before we can actually see him die, but not for her), so in this very twisted meta way she’s once again honored as a performer when she dies? in-universe she dies alone, but the audience is with her, and she remains the center of our attention until the end.

the last Ruth thing I have is that she says she used to tap dance (I think she’s not acting anymore for the last few lines of Just For Once?) and so does Pete, so… were they in tap class together? if so, that’s cute

also, speaking of meta things, the fourth wall breaks in the actual songs? like the townspeople in Hatchet Town acknowledging that by singing they’re giving the killer more time to kill again, but they can’t stop, or Max calling out the audience in Literal Monster and pointing out that it doesn’t matter if you’re judging him because you’ll still keep watching his show. this isn’t a groundbreaking take or anything, but I like these

the “bean school? :O …excellent! :D” line from Bully The Bully gets me every time, it’s just the “we did it, gang! we got to something that sounds like half a coherent thought!” energy. truly THE teen experience

Max references religion and specifically Christianity a lot, but in Literal Monster he does the wrong gesture for “cross your heart”, so… he’s probably not a practicing Christian, or he would know the correct way to cross himself? which makes the constant use of religious imagery in his lines even more interesting, since I’m pretty sure he’s the only one who makes these references other than Grace (alternatively, his “cross your heart” might not be in the “prayer” sense, but in the literal “crossing someone out” sense? but it’s still a cool detail)

[nico-di-genova]

I would also like to thank Vegas for giving us Max singing again. He is like your out of tune dad singing to oldies on a road trip. I adore him.

[sysig]

Nice healthy obsession you got there (Patreon)

[fakezircon]

sent here by max. head shoulders knees and toes???

Shit my damn ublock filters got rid of my inbox button again

"Head, Shoulders, Knees and Toes" is a nursery rhyme that in Canada (and other places but I am only so worldly) is often sung to the tune of "London Bridge is Falling Down" However! There is another tune it is sung to by the name of "There's a Tavern in the Town" which is the version I know it by.

I have yet to find anyone else who sings it exactly the same way I do. Essentially this concerns the second to last line of the song which everyone else has told me goes: "eyes and ears and mouth and nose" (or "eyes, ears, mouth and nose" in the LBFD version). This is at odds with the way I have always remembered it: "eyes, ears, nose, mouth, ankles and elbows"

At this point I have been at a loss for corroborating evidence for my version for so long that I am tempted to say I just made it up myself as a kid? (the "eyes and ears and mouth and nose" line does not fit the structure of the song as well as "my" version, something that would've deeply incensed me as a child) The reason I hesitate to just say that and be done with this whole mystery is that I can vividly remember getting annoyed with the motions to the song, specifically around that line, because it involved a lot of movement to reach from your mouth to your ankles then back up again.

There's no conclusion to this, maybe somewhere out there a music teacher was teaching this to my kindergarten class only or maybe I just got mad at the song structure and sought to better it myself.

[unholy-fabray]

today's emotional support glee cover: Anything Goes/Anything You Can Do

[unproduciblesmackdown]

pics from the first readthrough of summer stock

[knightzp]

mayonaka no nocturne played on my playlist and now im thinking abt how we're eventually gonna get new knights solos and how its impossible that happyele makes a better solo for ritsu

[cyberfunsupporter]

having a normal day and then i remember some people just hate dosie for no reason idk and i get Mad

[curator-simp]

God, could you imagine a Quarry musical??  I’m mostly just stuck on one idea in particular. It starts out with Laura and Max driving and they hear a sad woman’s voice singing, lamenting, crying for her son Silas. And it’s all like “I am here for you, I cry for you, I will kill for you, I will die for you” 

And that song comes back in the background during many of the werewolf scenes. 

The main crew does fairly well, Dylan still loses his hand, they do shoot both Chris and Caleb. But Travis doesn’t know that even Caleb is gone (like in the game).

And you have this big final number, the main cast celebrates that they survived, Laura and Max sing about how they will stay together forever, how Max found a place to study, all nice and happy. Dylan cracks a joke about how except for his hand it’s all totally fine. 

Everything gets dark. People think the show is over. 

But then. THEN!! 

Travis finds Caleb’s corpse. And he sings the reprise to Eliza’s song. He sings how his family was everything for him, how the kids were everything to him, how he just wanted to protect them, how he is there for them, how he cries for them, how he killed for them and now he dies for them. 

Fade to black. 

And a gunshot rings out into the dark.

[quillheel]

patch . help my muse patch up a wound . - Shinji or Ken!

Shinjiro had always been able to handle pain. To him, it was second nature. Growing up with Akihiko being the rough-and-tumble type he is even before learning how to box, in the Orphanage they both were raised in, meant there was a level of necessity to be able to roll with the punches, rewarded when you could, punished when you couldn't. a skill he'd learn repeatedly, endlessly, the necessity of during his time away from SEES. ━ the second you were on your ass, or you froze up, or your arms were tied, it made you easy. easy to hurt. easy to kill. ━━ Shinjiro never liked making things easy for anyone.

SEES had always been an exception, though : or rather he should say it'd always been to those he considers friends, which might be why for all the way he twitches; arm in Takeba's grasp as the muscles seize & he can't help the way the overzealous pang of nerves make him want to rip it away outright; he does not pull away even as he draws a sharp breath through his teeth, ignores the way the smell of antiseptic makes him feel more than slightly lightheaded, clenches his hands into fists before; in a moment of surprisingly animalistic single-minded worry; thinks that shit, he'd rather not look like he's about to hit her when she's helping him out, and lets his rough hands go limp again.

Still, his fingers twitch as the burns are cleaned, nerves overworked and bitterly loud in this fact. He'll have to jab at Akihiko later to aim his Zionga's better next time they're in Tartarus together, just for the fun of starting a fight, even if he knew damn well it wasn't Aki that kept lighting him up like a Christmas tree this time...

" Damnit... " the curse writhes between his teeth, bruised jaw grinding. his eyes linger, intense, at Yukari's hands as they work & he sits on the first floor of Tartarus; bones aching; staring as though in judgement ( even as he attempts to make himself as pliable to work with as possible. ) " Those annoying Maya did nothing but cast Zionga the whole damn time... "

a piece of Shinjiro recognizes that Yukari might be helping him in the first place because of this fact, but as it is not the one cussing wildly ( and he can't pretend he knows her all that well to begin with ), he elects to ignore it.

a well-worn sigh escapes him, gazing at the burns littering his hands & arms as the roughest parts that had to sustain the damage; melee be scorned, his axe like a lightning rod. it deepens into a light scowl, stare flicking to Yukari's face. it stays there a long few moments, before he speaks again.

" ... I'm lucky it's not bad enough to get Mitsuru in a twist about it, but you don't gotta do this, you know. " Shinjiro studies her, meticulous, which always ends up feeling like he's trying to scare you out of something when it was him doing it. maybe he was. " It's some burns. It'll heal fast. Besides, you were carrying my ass most of the way anyways. "

[sillysongswithtj]

Sometimes at work someone thinks they should be your absolute number one priority at all times. Sometimes they are incorrect when they think this. 

[earlyspringtranscendence]

it's a testament to like. SO many things not least of which rachael soglin's insane & massive amount of talent & passion but its fucking crazy to me that the best character starkid ever wrote is called legally and officially in the canon of the recording 'slippery when wet' i love tto despite the fact that its, mostly, about shit but like. i think it truly is 80% down to her character & rachael's portrayal of her. goddamn what a woman.