#the great glee rewatch

[spaceorphan18]

Glee Musical Retrospective: 4 Minutes (The Power of Madonna)

Sung by: Kurt Hummel and Mercedes Jones Original Artist(s): Madonna feat. Justin Timberlake and Timbaland

Baby penguin my ass.

I sometimes go back and read 'of the day' reviews, and one of them stated that this episode featured too much music. And I got to thinking, while I clearly don't agree, this is the one that would probably end up on the chopping block. I'm very glad it didn't though, because I think it has more to say than you may think.

And it's only one of two duets we get between Kurt and Mercedes.

Story Anaylsis

It's really nice to be talking about Kurt again... when is the last time???

So, here's the fascinating thing about this one. Kurt and Mercedes both often feel like they're playing second fiddle - especially to Rachel Berry. And here they get to showcase their amazing talents together. But the thing is - they got this huge performance as a thank you from Sue for making her over in Vogue. (Also - Sue is doing this as an FU to Will, but Sue is savvy enough to know talent when she sees it - and Kurt will remain one of her favorites for the rest of the series.)

The song itself is a little random story wise -- and most likely chosen because it was a highly energetic, more modern hit. It's a song about going out and saving the world in 4 minutes? Honestly - the lyrics are supposed to be about saving the planet, and having the urgency to do so. But I can finagle a few things...

I think one of the things both Kurt and Mercedes are doing here are latching onto the urgency in their own lives. Sue's giving them a chance to shine and they're both going to take it. Neither of them is willing to wait around for Will to give them a chance. So, they'll make their own chances. Which speaks to both their characters, really.

But if I die tonight At least I can say I did what I wanted to do Tell me, how bout you?

I think the lyrics are mostly not the point in this one. But I like this little stanza. It speaks to the two of them briming with their own confidence and jumping at the chance to show, at least the school, what they can do.

I'm going to quote myself from my Kurt meta:

One of the things I really love is how confident both Kurt and Mercedes are in this dance number–with the whole school watching.  Before, both of them were looked down upon, and thrown in dumpsters, and slushied, but now that they’re with the Cheerios and singing Madonna, they really latch on to a growing self-confidence.  Sure, they aren’t there yet, and they have many more obstacles to go over, but just the fact that they’re up there performing, uncaring really what anyone else thinks, is a step in the right direction.

I will say - one of the things that I've often had a hard time buying on this show is that people continually think that these kids are losers. I'd have been so amazed if I saw a performance like this in high school. There's no reason any of these kids get the hate they get except for the fact that the plot needs them to be.

Technical Thoughts

First of all - I love that they arranged this as a marching band song. Not only is it a great interpretation to the heavy sound of the original song, but it's nice to see a marching band used well on screen.

Secondly, they sound pretty good! I love Kurt in his lower register. And Mercedes just owns this song. It's not surprising that they had them switch parts because Amber is much more comfortable with kind of song than Chris and it does show a little bit in the vocal track.

The on screen charisma, though, they both have it. The fact that both Mercedes and Kurt feel so comfortable in their bodies is fantastic. Neither of them are what mainstream society would label as sexy or hot but I love, love, love that this speaks to that -- that these two are both sexy and hot in this number as they play off each other. The choreography on this is the best, and I love that they allow these characters to be in control and confident in their bodies.

Also - sometimes I don't think Chris gets enough credit. Yes, he can be clumsy and fall of a piano (oh we will get there) but sometimes he just owns his physicality in a way that is never commented on is just remarkable.

This performance also has some great reaction shots. I love that Will looks annoyed and almost disappointed. Rachel's 'no comment' was perfect. And I love that Quinn genuinely seems to be enjoying herself. (I love when Quinn gets to be a human.)

Also - super technical thing - but notice all the quick cuts and camera whips? I'm sure that was done purposely to enhance the urgency the song is trying to create.

Fun fact: Apparently, this is the last time Kurt does a duet with anyone else besides Blaine and Rachel until Adam Lambert shows up. Crazy right? Shame that the show doesn't try out varying combinations more often.

vs. The Studio Version: It's the full song! Or more so it feels like they just repeat the chorus a few more times. I do like the second half, though, because they both get into the song just a bit more and it feels even more powerful than the show version.

vs. The Original Song: I love that this song is actually 4 minutes long. It is slightly slower than Glee's version - which makes sense, because that's Glee's trend - to make everything just a little bit faster (I assume to fit into time limit of being on a tv show). As I said earlier, I think Glee's marching band interpretation is really cool - because it's a great in world adaptation of the instrumentation the original song uses. That all said, what is going on in this video? I don't get how this reflects saving the world. *shrugs*

[chcmpagnes]

no one understands the depth of my love for QUINN FABRAY

[angelhummel]

im also really liking quinn on this rewatch but i mean we're only 12 episodes in we'll see how it goes

i just love her moments in acafellas and mattress where she tells sue off and chooses glee bc its what she really likes. and blackmails sue into getting the glee club a full page in the yearbook. queenie <3 <3

[cescalr]

Oooh, definitely glee for the fandom asks! <3

Always with the hornets' nests with these ones, I see! Though i don't think there's a fandom out there that isn't in some way a hornets' nest once it gets large enough... hm. Alright. I'm just gonna be as honest as i can be about this, and tag accordingly.

Glee:

my favourite female character: augh. argh. ouph. so difficult. so hard. Since I'm working off of half-remembered show and half recently-rewatched show... its a tossup. Mercedes, Santana, Quinn. Probably Mercedes. She did nothing wrong ever in her entire life <3 well okay maybe except that one time she smashed kurt's car windows (but it was a banger song, though). Can't say Santana because of the Biphobia TM and other things like excessive use of bigotry-based insults, and Quinn. Oh god girl. Cheating is not cool! Funnily enough! So I find them really interesting but 'favourite' is hard to say. Mercedes. Mercedes for sure <3

my favourite male character: Blaine sam blaine sam blaine sam yes. I am imitating ripping petals off of flowers and coming to a conclusion based on which is the last name i said. So I guess that means Sam! But really this is a tie.

my favourite book/season/etc: Mannnnn idk. I don't like shows for seasons as-a-whole. Also i could not tell you what happened in any given season if you held a gun to my head. I'm not good at that. The only shows i know 'seasons' of are Buffy and Teen Wolf because i've watched them like 100000000000 times (exaggeration) for various reasons (mostly fanfiction research).

my favourite episode (if its a tv show): I can tell you my LEAST favourite episode (blame it on the alcohol, thank you Kurt king of biphobia! this is a persona foible it's not the worst episode in the show. by far. by far. it's kind of an average one. I'm just angry at it.) BUT er. Favourite? Idk. Genuinely some of the earlier Kurt-centric stuff was really well done (his convo with Burt... <3) and the Quinn giving birth accompanied by bohemian rhapsody was obviously iconic, but if I'll be honest I couldn't name any episodes of this show (other than That One previously stated, anyway). And yeah most of the time they were named after song titles and No i don't remember those song titles either. I'm just so bad at this. My memory is that of a goldfish's being haphazardly bounced around on a sieve.

my favourite cast member: it would be really funny if I said Demi Lovato [she counts!] but the truth is N/A: i don't know these people !!! They are strangers!! (i don't. follow celebrities. at all. I couldn't even name most of them. They're just people doing a job and their lives are irrelevant to me beyond their ability to perform that job well. I do not need to know where they live and what coffee they drink. Stalker shit tbh. I'm kind of a very private person myself, so rpf-adjacent stuff just... creeps me out. I've never watched a single cast interview in my lifetime and I'm not about to start!)

my favourite ship: Difficult to say! Grave and obvious lie. Blam. It's blam. Quintana is a close runner up though Santana really needs to stop dating people who cheat on the regular (I'll accept Quinn has grown enough not to do this by the time a Quintana coupling would be viable - and satisfying in terms of character arcs - narratively speaking).

a character I’d die defending: Blaine Anderson did something wrong for sure but like Kurt did it first so shrugs. Cancels out. Bad for each other! Case closed!

a character I just can’t sympathize with: genuinely don't remember if I had one of those the first time around because I was like 10 and just didn't pay attention if I didn't care, but Terri and her racist self take that 'prize' this time, alongside the obvious predator in the room [original choir teacher. Sandy? I forget his name immediately after hearing it. He doesn't deserve to be remembered]. Also JBI is just.... a yikes character all around. I mean, he's a blatant stereotype for one, in a the people who wrote this person don't like jews kind of way. Unfortunately common stereotype too, for the era, so not only is he that, he's also lazy. Just a one-note pervert who's the butt of various antisemitic 'jokes' you've heard from era-peer shows a million times over, tired and awful and a sour reminder of bigotry that continues to this day. Really regrettable character who's lack of redeeming qualities was probably purposeful. (I know Rachel and tina are also jewish, but this comes up very rarely and mostly only when santana needs to say something kind of fucked up, as is her modus operandi, for 'comic relief'. Tina's jewish-ness wasn't even canon for several seasons, because she didn't have a surname or a family or anything resembling complex character depth for several seasons. The one time I really remember Rachel's religion being important was when she was pressuring Kurt into believing in some kind of god, which??? don't do that. Bad example. Trying to guilt trip a friend into faith sucks. I take back what i said earlier Mercedes did that too. Boo. Girls try again that was a bad showing all around. Though i have no idea why Kurt went the acupuncture route as his 'secular' option but i think that has to do a lot with the writers doing literally no research ever once in their lives (you can tell they don't by the way they write the football segments of the show, which make no sense according to football fans who watch Glee, of which there are numerous because real life isn't like fiction where you can only like music or sports. Most of the kids in my school year were doing the most of everything ever if they were the 'popular' ones - we do that differently; popularity isn't really based on who know know; for some bizzare reason literally everyone knew who I was? Even people I'd never spoken to?? - but more about like... how much you can do, I guess. Overachievers, but I'm not saying that negatively; these people were generally - generally - very nice, and surprisingly chill for people who had no spare time whatsoever. I'm not entirely sure when they slept; A* across the board, at least one sport, at least one instrument, several extracurriculars, parties every weekend, dozens of friends and an s.o. . Eh? Way too much going on. Scary lifestyle! Impressive burnout rate, probably. Er. Tangent! Back to the scheduled programming).) There's uhhhh there's a lot of bad characters on the show, but i'd say Sandy and Terri and her equally but more loudly racist sister are truly completely irredeemable ones. Like they're not interesting or anything, they're just there to be narrative annoyances (which, in the case of Sandy specifically, is insane. Arrest that man!!! He has actively sexually assaulted minors!!!).

a character I grew to love: difficult to say because I tend to just make an opinion and stick to it. Also i don't remember who i liked at first and who i didn't, this show came out when i was eight. I didn't watch it until I was a little older than that, of course, but I frankly have spotty memory until my late teens, so! I'm not sure!! Quinn, probably. Pink-hair-era Quinn helped me understand her more, and seeing the moments of kindness hidden behind practical cruelty, when you understand her family and situation, makes things make a lot more sense. It takes a lot to get me to sympathise with a cheater, but I can see where Quinn was getting all turned around in her head about life because of her upbringing and socialisation, not to mention the profoundly negative impact cheerios had on her mentally and that the school's culture in general was not exactly a breeding ground for empathy and optimism.

my anti otp: can you tell (klaine). I don't dislike Kurt!!! Please let him have a fun chillaxed boyfriend in new york with his vogue friends. But also please stop attempting to control other people's diets thank you!! Thank you!! I'm of mixed feelings. Blaine and Kurt both did at least one bad, relationship-ending thing, and proved over and over again that they just weren't on the same wavelength in regards to life goals and ways of living it. They can't even share the same living space, which is kind of required for a functional marriage. I don't know, it just seems like they settled for their first proper, serious boyfriend even if that's not really the best match, and I... wish they'd just got to see more of life first, you know? They got married at like 20! Or something! I'm 23, I cannot imagine getting married at 20. That's a baby. Let them live first!

(same for Santana and Brittney, imo. I also don't really like them together because Santana and Brittney have very different ideas regarding monogamy, which is just never going to go down well in the long run. If your girl cheats on you like twenty times and tells you to your face its not cheating in her view of things, but you think it is, break up with her because you'll just make each other miserable. Brittney sort of seems incapable of feeling guilt but if she were, this kind of moral pressure would be Not Good, and obviously Santana isn't comfortable with the idea and doesn't have to be!! Just move on!!! Find other people!!!! Don't marry your first girlfriend if you've broken up like ten times this is simple!!!! Please!!!! But Klaine wins out over Brittana because - in my opinion, glee fandom please do not persecute me, I am known for this specific thing - I see... interactions that verge on abusive between Klaine that I don't see in Brittana. So. Oof? Ex; use of public perception to disguise attack; deliberately hurting Blaine in a stage-combat fencing match (you are not meant to make actual contact in these) and thus using Blaine's own dislike of making his difficulties common knowledge against him in order to 'punish' him. This is no good! Don't do this!!.[Also just to err vaguepost about a comment.... that is. not. what i would call passive aggressive. Physically attacking someone with a sword - no matter the type of sword, fencing foils hurt just as much, they're just not stab-you sharp... er, these days - is just straight-up aggressive.]).

Note that negative things stick in the mind better than positive ones; on a rewatch I may well alter my opinion!

But also I'm really, really stubborn. So it's not likely. Klaine.

[iwadori]

Sounds like you still had fun, though. The beach is nice!!! Happy writing. Hope you can sleep in. - genius anon

yes like the weather in England today was for once NOT RAINING CATS AND DOGS so it was actually super sunny. nearly died in the car journey tho since my dad drives like a MADMAN. but other than that I had a slay of a day.

[hispersions]

damn both glee and shadowhunters have episode-by-episode retrospective podcasts hosted by the former stars going on right now what a time to be alive

[apathyfairy]

the oc seasons 1 & 2 are just absolutely peak tv like it has everything you could ever want from an early 2000s show. it’s funny, there’s drama, the plot is great, the characters are dynamic, peter gallagher is there, “welcome to the oc bitch”. it’s just perfect. and then seasons 3 & 4.......well.........................

[lesbianmarrow]

augh. rewatched btvs 5x22 scene where spike & buffy go to buffy's house to get weapons before the big showdown. them having to retrieve weapons is such an amusingly flimsy excuse to have them go to her house so we can have the scene where she invites him in + he promises to protect dawn + "i know you'll never love me" speech. i love a paper-thin excuse to put 2 characters in a room together. especially when those characters are buffy and spike!!!!!!!!!!!!

it really is so striking the way spike refrains from asking buffy to let him in even though he would be perfectly justified in doing so as it's obvious that buffy has forgotten he's not allowed in. i think part of it is that he wants to make it clear that he will respect the boundaries she has set with him. but i also think part of it is that he doesn't wanna feel the pain of being rejected again, because that fucking hurt. if he doesn't ask then he doesn't have to hear her say no again. it shows how head over heels he is for her and how much he has changed since the beginning of the season, when he was challenging her boundaries so much.

spike's expression when he's walking thru the doorway......it's so endearing and some really great acting from james marsters. first surprise and disbelief, then glee which spike is trying very hard to restrain because these are grave times. and yet he can't help feeling so joyous that buffy trusts him. he glances as the doorway like he's thinking "ah yes what a nice house" which makes me laugh because it's so stupid but also sweet. i think it's him trying to play it cool and doing a not so good job of it. there's such a lightness to him - it reminds me of the feeling when you think you did something to upset your friend a few days ago and you're anxious that they've been angry with you all this time and you finally gain the courage to ask them about you and it turns out they were never angry or upset at all. the giddy relief you feel.

and then there's that little moment of tension where they're standing so close together and you think something might happen but then spike breaks off and goes to the weapons chest and starts rambling about what they should take. it's so notable that it's him who gets nervous and moves away. so different from the way he behaved with her in fool for love, getting up in her space and trying to make her admit she had feelings for him. he's accepted that she'll never love him back, and moments like this where it feels like maybe there could be something between them are too painful, so he disrupts the moment. moves away.

jumping to the end of the scene - i love that buffy is on the stairs when spike does his little speech. she's physically above him. "you're beneath me." not only that, she's ascending, just as she ascends at the end of the episode, accessing a level of heroism that spike will never be able to meet. rewatching this part, spike's expression really surprised me. when he says "i know you'll never love me," he doesn't look at all bitter or resentful. his face is open, understanding, compassionate, and thankful. because that's what this speech is - he's thanking her for treating him better than he deserves. he's so grateful for the respect and trust she has given him. it has been truly transformative, as we've seen. only he doesn't get to the actual thanking part, because he cuts himself off, saying he'll wait for her down here. i think he cuts himself off because he realizes that this isn't what buffy needs to hear right now. she's got an enormous battle to prepare for, and a sister to save, and spike's feelings simply aren't important. so he stops mid-sentence for her sake. i think we're meant to understand that the only reason he started to say this at all is that he really thinks he might die tonight and it could be his last chance to let her know what it has meant to him to be treated like a person capable of doing good.

i've focused on what's going thru spike's head in this post bc i think buffy is a lot harder to read here. which is interesting bc sarah michelle gellar as buffy is so expressive that usually you can always tell exactly what buffy is thinking. but when she's with spike in these episodes toward the end of season 5 it's difficult to tell how she regards him. i think a lot of the time even she doesn't really understand how she feels about him. their relationship is so paradoxical. she relies on him but she reviles him. she wants him around but she finds him intolerable. i might rewatch the scene again and make another post about what might be going thru buffy's head, but for now i'll leave it at saying that i kind of love how spike's feelings for buffy are crystal clear to us and buffy's feelings for spike are much murkier. spike started out as this cool mysterious antagonist, whereas buffy has always been the protagonist and we're constantly seeing things from her point of view and being made to understand how she feels. so it's kind of fun to see that flipped a little bit. and it also rings really true for me how buffy in this moment is like, i have 5 billion things to be worrying about right now, i cannot even begin to process whatever feelings i may or may not have regarding spike. and with all of that said........there really is a softness to the way she treats him in this scene. and it's nice.

anyway. these two ✌️ gonna go jump off a tall tall tower

[natigail]

DnP playing a drinking board game with liquorice and soups should not be that hilarious. Just!! I had to pause the video approximately twice a minute just to take in the next hilarious thing that they said. SO many innuendos. Phil doing it on purpose for sure, glint in his eye as he was watching with glee as Dan struggled to consume liquorice, not even stopping when Dan tried to wave him off. Dan the cougar with the animal print and Phil with the blond hair, blue eyes combo. Getting use out of their left-over New Years cups. Repeat of Phil really struggling with soups (they are evil when lumpy and cold, Phil, I feel for you). Dan's hatred for liquorice (though that drink must have been toxic levels, so fair for that but not the salted liquorice because that's also a loved sweet here in Denmark as well as Sweden). Phil handing Dan the black piece instantly and choosing blue for himself. The mug with the whiskers (deep nostalgia). All of the little mini games where they're fighting so intensely, stumbling over their words and almost spilling drinks. The banana video censored and Dan hiding behind the board game packaging. Dan joking if Phil slept with the bearded ginger and Phil's lil shut up huffed out through laughter. Dan comparing himself to a hippo needing a bird to pick out stuff between his teeth, TILTING his head jokingly towards Phil as if he should be the bird and just go to town (no words for this, they are insane!). The secret draft thing (birthday related?)! The Phil can't have chocolate, so don't make that type of cake pls, mum. The sheer drama of their dice rolling and Phil threatening to leave or stick some authority on Dan about seven times. Phil being so brave and actually drinking that horrible concoction (though Dan protecting the sealz <3). The little iPhone videos put in, clearly of them just fumbling around. The sheer laughter and smiling and joy that was all throughout the video, even as they were suffering with their drinks/foods. They are just so gay and I don't even dare tally up all of the innuendos. I feel like I need an immediate rewatch. They are just so entertaining and funny and feeling themselves and it's contagious and I love them and they've come so far and this is the longest sentence ever but that's okay because none of this is meant to be pretty or nice, it's meant to just express my love for these two insane dorks that have made videos for us for like 15 years at this point. Anyway, I'm clearly completely chill. Great video, guys.

[where-does-the-heart-lie]

East Blue Crew modern au!

Ive been working on this on and off for a while now.

There’s a lot here so [rings dinner bell] come get y’all’s meal

ASL Modern Au Post

Grand Line Crew Modern Au

Friends We Made Along The way post

Friends We Made Along The Way Part 2 post

Additional Headcanons:

Nami needs her own episode on extreme couponers. Sis has an entire binder dedicated to it.

Zoro cannot for the life of him beat Luffy in an arm wrestling match. No matter how much he lifts or trains, he always loses.

Zoro is actually pretty good at grilling. Sanji was pleasantly surprised when the burger that was presented to him wasnt a pile of ash/ so raw its still walking around. One day the two will have a grill off.

Usopp and Luffy love playing yugioh with eachother. Neither of them actually know the rules of the game, they just make it up as they go.

Nami used to collect american girl dolls and she keeps them in a closet in her apartment. One day when usopp luffy and chopper were snooping around, they found the accursed closet and were scared shitless.

Usopp has an ant farm and luffy thinks its the coolest shit.

In this modern au, sanji takes the place of that one guy on tiktok who makes duets with cooking videos, and films until they put the entire block of cream cheese in the crock pot.

Sanji is also this guy

Even though nami has scary dog privilege when walking with zoro, its not just beneficial to her. In fact nami has outlawed zoro from going on walks in general alone, as he would get lost and need nami to walk to him to direct him home. Nami has scary dog privilege and zoro has sense of direction privilege when they walk together

Sanji and Nami rewatch Pretty Little Liars/ Gossip Girl/ Glee/ and other CW drama shows together.

Nami and Usopp always be shit talking someone/something. They are hateful bitches.

How luffy meets each of them:

Zoro- they met each other because the 24 hr gym Zoro works in is right down the street from Luffy’s apartment and one day Luffy was walking by at around 3 am and noticed Zoro in there. Luffy asks him if he wants to join him fucking around at 3 am on the streets of this city area they live in and Zoro accepts after a little convincing from Luffy. When they get outside Zoro’s like

“where’s the rest?”

“Of what?”

“Of your friends”

“Its just you rn”

“… :| i mean, i had assumed you werent alone”

“Nope!”

“HA OkAy”

Nami- they took the same economics course together. They were paired up in a project and hit it off after that and often had study sessions together. Their defining friendship maker though, was they teamed up to steal the answer key to the test they were both definitely going to fail because the class was bullshit.

Usopp- they had taken a graphic design course together. Luffy had no idea what he was doing the entire time and Usopp was very happy that he could impart his wisdom uponst this newcomer to the arts. Although luffy did already have some… incredible(?) art skills of his own already. It was instant chemistry for them honestly, their synergy just clicked and before they knew it, they were besties.

Sanji- works in the restaurant thats underneath the ASL brothers’ apartment complex. Their fist encounter with the restaurant was not of them going in to eat there, though. The trio were throwing around the ol’ pig skin in the street in front of their complex when luffy failed to catch the ball, and accidentally ricocheted it into the front window of the Baratie, through the eating area, over the counter, and into Mr. Zeff’s face. Zeff stormed out of the eatery and asked which of them destroyed his glass and hit him in the head

And luffy looks over and notices his brothers selling him out and is like “HEY!!! D:” So luffy was stationed as the place’s chore boy and met sanji while working there. 2 years later the debt was repayed, sanji and luffy are friends, and the Baratie is ASL’s fav eating place due to the great food, delightfully violent vibes, and great company.

thats all for now, hope you enjoyed!

[spaceorphan18]

Glee Musical Retrospective : Hello (Hell-O)

Sung by: Rachel Berry and Jesse St. James Original Artist(s): Lionel Richie

I have to ask - what libraries have a piano in them? Doesn't that kind of defeat the purpose of people trying to study? Anyway...

I have a confession to make. My first watch through of the show, I really did not like Jesse St. James. Like, at all. And somehow over the past few years, I've really just fallen in love with Jonathan Groff. And I've come back to Jesse St. James with a greater appreciation.

So, let's dig in!

Story Analysis

You had me at hello....

A couple of things right off the bat - continuing with our 'hello' theme - we have a new character! So, of course, we are saying /hello/ to Jesse St. James. Is it blunt? Well, yes, but it's also Glee.

So, here's the thing -- right after Rachel gets her heart smashed by Finn, this random guy shows up who hits every once of Rachel's fantasy kinks, then sits down to do an impromptu piano ballad duet with her so... it's no surprise that Rachel just melts like a puddle.

Jesse clearly knows what he's doing. Did he do his research? Or does he just understand Rachel on a more fundamental level because they are both cut from the same cloth? Hard to say -- but this song really works for an initial introduction.

I've been alone with you inside my mind And in my dreams I've kissed your lips a thousand times I sometimes see you pass outside my door Hello, is it me you're looking for?

This song is just kind of perfect for this dynamic. Jesse is singing to her soul. How often has Rachel just sat and daydreamed -- about Finn, about any guy really just wandering to her and being the perfect match. And here Jesse is singing what she's feeling. It's instantly mesmerizing.

I can see it in your eyes I can see it in your smile You're all I've ever wanted And my arms are open wide Cause you know just what to say And you know just what to do And I want to tell you so much I love you

Again - he is playing to her wants and needs and fantasies. Not only is he everything that /she's/ always wanted -- but he's singing back to her that she's all that he wants. It's a fever dream -- where some guy is telling her all the romantic things that she never had told to her -- that she never thought would be told to her.

And it's especially impactful that this comes after Finn dumping her. Because even before this -- Finn was such hard work to get to admit his feelings for her. And here's someone who now speaks her language, and bam! instant connection and Rachel can hardly contain herself.

Rachel comes into the duet here, too -- which amplifies the effect that she's buying into her fantasy coming true. She's hesitant just a little at first, but then pushes in rather quickly. Rachel's a pretty dramatic girl, leaning into self indulgence, but Jesse's willing to play into that. Sure, we don't know at the moment that he's purposely playing her, but he's just as dramatic and there is a pull there between them.

Sometimes I feel my heart will overflow Hello, I've just got to let you know

This is such a Rachel line -- her heart just bursts with emotion so much. It's a great line for her.

Tell me how to win your heart For I haven't got a clue But let me start by saying I love you

I love these lines for Jesse. Because it's the way he plays the moment. It's like touting innocence -- playing on that instant connection. But he's calculating his every move in this performance. He knows exactly how to make her fall in love with him, and using it to his advantage. Such a fantastic, sneaky little line here.

Technical Thoughts

I may not be huge on this song but I LOVE this performance. There's so much going on. Lea Michele and Jonathan Groff are on fire -- and each doing exactly what's needed to portray their characters perfectly. This scene is so well shot.

First of all, musically. Look - if you are one of the five people who don't know, don't be alarmed, I didn't -- Lea Michele and Jonathan Groff are bffs, and had quite the bonding back when they did the Broadway musical Spring Awakening together. So there's a lot of chemistry and a lot of natural comfort here. And I'm not being hyperbolic when saying that Jonathan Groff is easily the best male voice they've featured at this point. (Sorry Matthew Morrison)

It does help that both actors are well trained vocalists that can keep up with each other. It helps sell the idea that these two have an instant connection. And they do! Even if Jesse is suspect. The fact that they sound good together is a huge thing.

The acting here is just phenomenal as well. The shot is super simple -- the camera closing in on them as the song goes on. It can be visually boring just watching two people sing at a piano. But the camera begins to get intimately close, and both of them are playing such complex characters here.

I love everything that's going on with Rachel. That she's getting sucked into this fantasy -- a fantasy she really only dreamed off. She's a bit demure at the beginning, then just sinks all the way in, and is just smitten by the end of this duet. This girl falls hard with infatuation (which will be her downfall) but ooff is it played so well here.

(A side note -- there are a few brief moments where we see some genuine smiles from Lea Michele, and I get the impression that she's just over the moon excited to be doing a duet with her bff. It's the subtlest of actor bleed, but I feel like the giddy looks are genuine.)

Meanwhile, I love the calculated looks by Jesse. So, Jonathan Groff does something that I'm not sure if it was intentional or not. Most of the time, he's staring her down to sing deeply into her eyes. But every now and then he's carefully looking back at the piano and the music. I don't know if this was because Groff wanted to make sure he was doing/playing/singing something right? But it makes an interesting effect - where, when Rachel has her head turned, it's like he's looking at the script of what he's supposed to be doing and it makes the whole song seem just a little suspect. I realize I'm probably looking too much into it, but it's just a couple of fascinating moments.

Also, I have to point out a moment that generally has me chuckle -- it's the whip around to see that there's a string quartet that's been added, as if that's also normal in a library.

Also, also going to add that this song is mostly sung in minor -- but at the end it lifts into a major chord. It's a nice touch -- that there's this melancholy loneliness about this song until it has a hopeful ending.

Glee Live

This is super cute. It's much more Lea and Jonathan (with Jonathan goofing around a little) than Rachel and Jesse, but still a treat - and probably a fun surprise on whatever tour stop this was at.

vs. The Studio Version : There's not a whole lot different from the tv version. The mixing is a little more balanced between voice and instrument, and of course as usual, it's a cleaner track. But nothing huge.

vs. The Original Version : So... Glee pretty much stripped the 80s right out of this song, but that's not necessarily a bad thing. Making it a straight up piano ballad with out all the synth modernizes the song, and it works better for high school students in the the late 00s, and less like an 80s after school special. No disrespect to Lionel Richie, though -- wow does he have a light and airy elegant touch to his voice.

[wistfulwatcher]

misty quigley is a lesbian; a comphet reading of her deprivation tank "realization"

in rewatching misty's deprivation tank therapy, i'm more convinced than ever that misty is a lesbian suffering from compulsory heterosexuality. the entire scene, from start to finish, is about misty accepting that walter has feelings for her (not the other way around), and learning to push through her discomfort with that fact.

the deprivation tank scene begins by establishing that misty is afraid. we see quick transitions and hear bubbling water and see a terrifying fish coming at the camera with sharp teeth. followed by a slightly softer stream of images of walter, interspersed with memories of crystal, and of caligula. misty is thinking about three key relationships in this moment: walter, who is actively pursuing her; crystal, whom she loved and hurt and misses; and caligula, who is the only creature that both loves her, and she loves back.

love is the concept that ties these three together: walter is who she could love, crystal is who she did love, and caligula is who she does love.

and so the memories fade into her fantasy sequence, led by caligula, and he begins to soothe her. this creature that represents real (platonic, obviously) love to her (in that it is true and reciprocated, more than she feels it is with any human) tells her "shake off your blues/i'll set the mood for ya". caligula is acknowledging her fear and her loss, and telling her that he can fix it. that he has an answer that will make all of her problems go away.

which is when walter appears, looking like the leading man in a classic musical; an idealized romantic interest, one her fantasy has turned from a real man into a fictional character. and what does he do? performs for her. misty (per the directions of the song, to just "sit right down") sits and watches. she does not interact with him, because she (and her attraction) is not a part of this. one element of comphet is the inability to picture yourself in a fantasy with a man; misty does not put herself with walter, she does not join him.

and while he and caligula perform, three items float around the screen: the plane axe, a syringe, and the black box (which fluctuates between intact and exposed). these three items are such a fascinating choice, because they, 1) all relate to the actions she took in her need to be useful and appreciated, but 2) also represent some of the ugliest things she has done (at a time when she has recently been thinking about what kind of person these things make her). she is thinking about these moments (her behavior with ben, murdering jessica, and stranding the team/breaking crystal's trust) that cause her great discomfort, at the same time she is trying to convince herself that walter is what she needs. she is comparing the discomfort she has with walter's interest and the validation she would feel from a relationship, to the way she's felt about all of these other bad things she's felt compelled to do.

while these items float, caligula sings, "now sit right down/let your troubles melt away/and you'll be sitting pretty in the moonlight gaze". continuing to tell her to push through the discomfort; just let it go. and if you do? "moonlight gaze" is such an interesting choice, because the moon is most strongly symbolic of women. if she lets go and has this relationship with walter, the other women will think she's normal. (especially after just a few hours prior to this, natalie had said, "we're all like this, aren't we?" this is her chance to prove nat wrong, for misty's own sake and/or for nat's!) this is not the first time misty has displayed behavior suggesting that it's important to her that natalie (and other people in general) see her as desirable as a romantic/sexual prospect: telling natalie about her dates on the road trip to travis, "i bet he thinks we're hookers!" said with glee in the jail, "i have a secret boyfriend, too," whispered to natalie in '96. if she decides to accept walter's interest (a man who is so into her that he is literally fine with her being a serial killer!), then maybe the other girls will see how worthy misty is of affection and attention.

once the dance number is over, misty immediately goes to speak with caligula; again, in her fantasy about loving walter, she doesn't interact with walter. instead she seeks caligula out, because he is the one she feels a real connection to; he is the one who knows her and can reassure her - the one whose reassurance will mean something. (walter, a man she barely knows, has been nothing but a concept to her in this fantasy, and that doesn't change.) misty's conversation with caligula is emotional; she is clearly bothered by the idea that other people see her as a murderer. but caligula doesn't give her an emotional response or solution; instead, he tells her she's a "closer". he points out that, even when things are rough (i.e., even though she doesn't like how walter makes her feel), she can persevere and accomplish her goals. it is this reminder that causes misty to transition the scene to to the final piece.

and oh boy, is that final scene a goldmine. because it begins with a close-up on misty's childhood phone. the phone that becky called her on back in 1992, to tell her that she was disgusting. that no man would want her, and that she would never find "a victim" to sleep with. that moment was foundational for misty's issues, for her desire to be wanted and needed in '96, and her deep need to receive validation from men in '21. this scene is so crucial to understanding misty's relationship to comphet, because one of the key facets is wanting a man to see you as desirable, because that is a woman's value in a misogynistic society. this hits misty so especially hard because she's not just lacking interest and validation from men in school; she hasn't been getting recognition from anyone. (for her to break the black box after just a few hours of receiving positive attention? she was starving for it.)

and so walter calls her on the phone - their backs to each other, literal and emotional distance between them - and starts to tell her that he loves her. but he doesn't say the words. instead he uses morse code to send "uoyevoli": "i love you", backwards. a fascinating choice, because it could be argued that the morse code is representative of their shared love of puzzles as crime solvers. but why backwards? surely the symbolism of the puzzle connection has been satisfied by the morse code.

it's because misty doesn't want to hear "i love you." she wants the implication of walter's desire, she wants to know she has value, but she doesn't want the actual feelings. she wants him to say i love you in a way she can't feel. she wants him to call her and turn his back so she can do the same. she wants to "get the ball over the goal line" and to do that she needs this level of distance.

so this scene with walter? it isn't about walter; it's about recreating that brutal memory. it's about rewriting her past. in her fantasy, walter calls her to prove that becky was wrong, that he is choosing misty because she is desirable. that he does want her. and this is so key because this whole scene is about how walter feels. that walter wants her. in misty's "realization" that she wants to be with walter, it isn't about her feelings at all. the purple flowing line of love comes from walter, the words "i love you" - twisted as they may be - come from walter. misty's only role in her fantasy is to "sit right down" and accept her role; surrender to the fact that walter is the right choice.

and when she does, when she finally, finally comes to the end of this moment, she still doesn't interact with walter. the natural progression of a love confession is physical contact. a kiss, or a relieved embrace. misty seeks neither! in this fantasy of hers where she can have anything, she makes no effort to acknowledge walter at all. instead, she turns to caligula, representative of her real connections. and she celebrates her victory with him. misty can close this deal, can get through this decision she's made, by clinging to the people she does actually care about.

[shammers86]

Alright here goes. Buddie and BuckTommy.

I’ll start off by saying, I’m very very neutral on BuckTommy. I am happy Buck is bisexual. I just don’t see what fans of BuckTommy sees and that’s ok. But I am gonna tag it anti BuckTommy because my God I don’t want any hate. That being said, I am and always will be a Buddie shipper.

I also just finished my rewatch of season 5 and gasp, I found out that BuckTaylor wasn’t as bad as I thought it was then. EddieAna was *checks notes* just boring. Anyways, let’s get thoughts written down about what I expect the first three episodes will bring Eddie and Buck.

The first time I read this paragraph, I rubbed my hands together in glee because of angst. When was the last time Buck and Eddie were apart where Buck doesn’t see or have time for Eddie?

If you say season 5, I would say no. Even when Eddie left the 118, Buck was still in touch with Eddie. He had dinner with him and yes, Buck also imploded without Eddie there, they were still Buck and Eddie in 5B.

I think season 3 and the lawsuit was the last time where Eddie couldn’t reach out to Buck. And it seems like maybe this could be the case here. It would great to see Eddie and Buck figure out why they are miserable if they can’t see each other.

Onto BuckTommy. It seems like not much time has passed and this means… Buck and Tommy are still getting to know each other.

However, the word comfortable doesn’t sit right with me. Yes they are a couple but getting comfortable is like when you cat finally gets comfortable in a new setting and starts doing cats things.

Buck, by his definition, is a settler. When his life is in upheaval, like Maddie and Chim leaving and Eddie leaving the 118, he doubles down and settles. It’s those pesky abandonment issues rearing up again.

I think the same is true here. This time, his surrogate dad isn’t there and an asshole takes his place and causing Buck’s world view of the 118 to go sideways. Bobby, for the most part, has been the most consistent things throughout the years for Buck. So replacing Bobby with Gerrard is going to make Buck’s issue more prevalent than they were in season 6 and 7.

We also have the emotional upheaval of Chris leaving. I say this because if there has also been one consistent thing in the past 6 years is that Chris is always there. They have their own special relationship outside of Buck and Eddie. Chris leaving also affects Buck, not as much as Eddie but still makes him feel enough to settle.

Getting comfortable means Buck is going to be like well, these other aspects suck and maybe this could go somewhere.

And then there is Eddie. The Eddie of it all. Buck has always lost it when something happens to Eddie. This time, it isn’t Taylor but a man. A man that by all means friends with Eddie first.

It will interesting to see how Buck juggles Tommy and Eddie and if he realizes that he pulled away from Eddie unintentionally. Mirroring the lawsuit maybe. I do think Eddie is going to be a sore point in the BuckTommy relationship and it should be.

Buck’s entire coming out was centered around Eddie. Tommy was Eddie’s friends, Buck felt bad about lying to Eddie and came out intentionally to Eddie. Then they partied together like it was 1995. Then Eddie blew up his own life and Buck was there to see it happen.

The other thing that could come between Buck and Tommy is Gerrard. I don’t know if Tommy is gonna be like keep your head down, don’t make waves, which I think might be the case. This would make Buck very unhappy and act out a little more. And Eddie can’t really be the emotional support he would need because well.. Eddie is suffering too.

Anyways, the question was about BuckTommy and Tim went oh hey here’s how Eddie is gonna be affected! Tim is Eddieblr. He loves him just as much even if he did come up with than damn doppelgänger story line.

And now it’s time to delve into my favorite character, one Mr. Eddie Diaz.

Oh Eddie, my beautiful, guilt ridden mess of a man. How are you going to be dealing with all of this? First and foremost, his son, his good luck charm decided to leave with his parents. Who should have asked if Eddie needed help too instead of absconding with their grandson.

Yes Eddie is gonna be reeling from this. He has lived most of his adult life for his son, not for himself. Season 5 kinda dipped into this and started him on this journey but he never really dealt with… you guessed it the Shannon of it all.

I’m kinda excited to see Eddie figuring who he is without Chris around. We love the Diaz boys but Eddie deserves to be like “Who am I without these people? If I wasn’t a father, what would my life look like?”

I also think it’s important for Eddie to this out without Buck. He leans on Buck a lot especially when he’s in emotional turmoil. And he can’t hide behind his son either.

Buck having less time for him means Eddie is flailing around and it also seems like the mustache is part of this self discovery.

Maybe he follows Chim and Hen’s lead with Gerrard but then realizes Buck needs the backup. I want to see Eddie really pushing the boundaries with Gerrard after a few weeks when he starts going after Buck.

Petty, jealous Eddie is one of my favorite things about him. And I do see this side of him coming out around Buck and Tommy. It will entertaining to watch.

I do hope that eventually we do have Chris ready to start talking things through with Eddie and that his dad isn’t this perfect man but a man who has repressed so many emotions in his life.

That being said, the above quote about figuring out who the hell he is with everything stripped away is very queer coded and I hope we finally see the Eddie we know is there come out and shine.

To summarize, I don’t think BuckTommy will last and I think we may have some hints as to why Eddie could be feeling jealous of Tommy and not any other love interests Buck has had.

One can only hope.

[total-drama-brainrot]

i come humbly requesting the post about chris’ descent you teased in an ask

Of course! I'll start by outlining how Chris' behaviour changed over the course of the series.

Chris starts off the first season of Total Drama as a huge dickhead, but not an outright morally bereft one.

He doesn't have the same familiarity with the gen 1 cast as he does in later seasons, but he's friendly enough with them - as friendly as you'd expect a television host and de facto caregiver to be to a group of twenty two teenagers. Sure, he's a bit of an arse at times, but it's very rare that he puts any of them in direct, life threatening danger. Most of the first season's challenges aren't outright lethal, in fact many of them are just regular camp activities taken to their logical extreme.

The main outliers here are the two torture-based challenges, and even then most of the mini challenges within are bearable if incredibly uncomfortable and painful - none of them are outright fatal. Plus, it can be argued that Chris himself doesn't have a lot of agency or input on the challenges themselves; he's there to host the show, nothing more and nothing less. At least, in the first season, there isn't any indication that Chris himself has control over the challenges (save for when Chef takes over for an episode, but his challenges are a lot simpler in design and execution than anything Chris hosts, so it can be assumed that was a last minute change.)

Now, it's been a while since I've rewatched Island, but I'm fairly sure Chris doesn't ever show the same amount of glee in the contestant's suffering as he does in later seasons. He's sometimes amused, sure, but there's very little in terms of outright vindication. More often than not, he's just trying to host the show.

Take Island's Chris and World Tour's Chris and contrast their attitudes against each other; time, it seems, developed an almost malicious streak within Chris. He even goes so far as to take his competitor's suffering into his own hands, at his own whims, using the excuse of entertainment value. (Dropping them out of the jet repeatedly at his fancy, deciding to choose the most dangerous moments to have them sing, ect ect.)

And then we get to RotI, where Chris is almost consistantly taking a great deal of joy in exposing the new cast to the horrors of nuclear waste and chemical hazards. His blasé attitude towards their mortality in the cave episode speaks for itself, and the fact that he gives a grand total of 0 shits about Dakota's mutation is the icing on top. By the time this season came around, any semblence of care for others within Chris was diminished.

The question therein is why?

The most obvious answer here is that the repeated threat to his contestant's lives became so normalised, so mundane to him that he simply stopped caring. Or seeing it as something wrong, or anything more than a ratings tool. None of them have actually died yet, so why not continually up the ante? Raise the stakes? Add more thrill to the show he's hosting - that's bound to draw in a bigger audience!

Which is how you end up with situations like Alejandro's and Scott's, where a contestant is injured enough to warrent use of machine-assisted healing and trauma chairs. Two situations that Chris himself is directly involved in, and doesn't seem to care about in the slightest.

Because showbusiness as a whole has a tendancy to reduce the people within it into objects of entertainment. There's a lot of dehumanisation in the world of TV - even reality TV, where people oftentimes play up aspects of themselves to become characters instead of people.

Throughout the show, Chris often talks about things like ratings, or the producers, or other business-focused aspects of entertainment. In his eyes, the teens under his dubious care gradually became little more than pawns in the game of Good Televivion. They stopped being kids and started being ratings jewels - puppets for him to manipulate and torture for his own and an international audience's amusement.

Perhaps there was some pressure from the producers themselves to be crueller to the contestants, to draw in a bigger audience or maybe just to add a sense of thrill and urgency to the challenges. After all, there's a reason shows like I'm a Celebrity are so popular, and it's because the people competing in them are having a decidedly bad time.

So, in his mind, making the contestants go through cruel and unusual punishments and challenges is justifyable because the show itself has benefits from it. He doesn't consider (or, perhaps, just doesn't care about) the harm he causes.

Then here it could be argued that his callousness and the detatched, joking attutide he has towards the suffering of these kids is actually just a super unhealthy coping mechanism Chris uses to get through the horrors of his job. That is to say, Chris is just as contractually obligated to host the show as the contestants are to compete in it, and he knows that they're gonna suffer regardless of his input, so being a Good Host and at least making their pain marketable/entertaining will at least garuntee him a bigger paycheck.

Or maybe he was always predisposed to be sadistic, and his relative niceness in the first season was just him testing the waters of how cruel his TV persona could be.

All I can say as a fact is this; Chris' actions and inactions become far more grevious as the series continues. He blows up a volcano on purpose. He sinks a whole island on purpose.

(He, and the series as a whole, drops any pretense of semi-realism to explore cartoonishly whacky and outlandish themes. Because it's a kid's show, at the end of the day. I'm overanalysing how a children's TV show leaned into the freedom of a fictional cartoon world.)

Saying that, he seems to have taken a step back in the theatrical and outlandish nature of his cruelty for the reboot. Maybe the decade away from Total Drama mellowed him out, or maybe the show just does't have the budget to accomodate for his more ambitious stunts. Who knows?

[qpjianghu]

Do u have any thoughts on the writing of Shan Gudao? I think earlier on in the series I was pretty excited that maybe Li Xiangyi really did , through his own hubris and difference in the way of seeing the world drove a wedge between him and his brother. Even after he was revealed to be alive I kinda wished he became ‘evil’ through a complex set of emotions and circumstances. I’m not saying SGD is completely 2D I just wonder if we could have had a more of a ‘Jiang Cheng and Wei Wuxian drifting apart (ie; not pure inferiority complex)’ style tragic slant. Li Xiangyi truly #did nothing wrong, but I kinda wish he was a little #more wrong.

Anyway, I’m sure SGD is still thematically very coherent, but is there anything you’d change/ponder changing about his storyline with LXY, or just your thoughts about this topic.

This is a great callout @lei-llustrations!! The short answer is that I agree, and if I had one criticism of the writing in Mysterious Lotus Casebook it would be this. Jiang Cheng is an excellent example of a protagonist foil with more internal complexity, and Shan Gudao is definitely very one-note. I wonder if part of it is the performance -- Jiang Cheng always projects this sort of buttoned-up rage, whereas Shan Gudao's jealousy presents itself as sadistic glee, which is just not as relatable (and believable) an emotion.

But at the end of the day I still enjoy the character of Shan Gudao as exactly what you said, OP -- a thematically coherent foil even if he's not a realistically coherent person. Because of MLC's overarching exploration of meta-narratives, I think his character works as a performance of villainy -- and maybe it even works better because it's so over-the-top and slightly divorced from reality. In fact, it's interesting to see the shift in the character of Li Lianhua after Shan Gudao's treachery is revealed, and specfically after Shan Gudao outs him as Li Xiangyi in front of all of Tianji Hall in episode 33: Li Lianhua suddenly transforms into the badass hero everyone imagines Li Xiangyi to be. You can actually literally see the change in his eyes from world-weary to steely when it happens:

(Cheng Yi, you are a marvel)

Or, I should say: When he decides to make that shift. Shan Gudao's grandiose display against Tianji Hall, and his specific call to arms against Li Lianhua, necessitates a turning point for LLH: Now that he's been exposed, will he once again take up the mantle of the heroic Sect Leader Li Xiangyi?

In this moment, he does, but by this point in the show we know that it's just a performance. However, at the end of the day, Li Lianhua still has a kind heart, so he reluctantly puts on the mask of the hero Li Xiangyi in order to save the people of Tianji Hall. As Shan Gudao pontificates about the show's MacGuffin, Li Lianhua agrees to stage the hero/villain performance with him. It even looks like he's literally stepping out onto a stage when he separates himself from the crowd to confront Shan Gudao and his army:

The scene is badass and triumphant... but it's also, on rewatch, devastating and tragic -- because it marks the moment where Li Lianhua seemingly becomes fatalistically trapped by the narrative he's been so desperately trying to escape. (And that's why I love love LOVE @redemption-revenge's post about Li Lianhua finally escaping the narrative at the end! Importantly in a "bonus" episode, which is... not a "literal" part of the show itself. ;)) Since Shan Gudao is performing as a paragon of villainy, Li Lianhua / Li Xiangyi must rise to meet him. (Yin and yang, in a sense.) And that's why Li Lianhua becomes so fixated on vanquishing Shan Gudao for the remainder of the show, though it feels quite out of character for him -- it's so like a prototypical hero. Shan Gudao's performance of villainy necessitates Li Lianhua's equal and opposite performance of heroism.

Which is so interesting and juicy!!!! because of Li Lianhua's series-long internal struggle trying to escape the hero narrative so many characters try to fit him into. (As @redemption-revenge also talked about here -- clearly we're brainrotting on the same wavelength lol.) In a weird way, I feel like the overall lack of nuance in Shan Gudao's performance of villainy actually allows for even more shades of grey in Li Lianhua's character. Not only does he have to reckon with in-world conflicts and consequences, but he's sort of engaging with the meta-narrative as well: can he escape the narrative that the other characters around him and also the show itself is trying to thrust upon him?

As a potentially controversial aside, this is why I actually loved the Nanyin royal blood reveal. It's so dumb and cheesy and predictable and part of the traditional hero narrative (maybe I'm looking at this through a very American "rags-to-riches" narrative lens, but bear with me here) -- but that's the point, according to the meta-narrative. Our reaction as viewers is also Li Lianhua's reaction. For Li Lianhua, this is the exact opposite of a gratifying, triumphant, and redemptive moment. I haven't gotten up to this in my rewatch yet, so I don't have have specific visuals in mind, but I do remember even from my first viewing the look of utter devastation and resignation of Li Lianhua's face in this scene. It marks the final nail in the coffin of Li Lianhua trying to escape the narrative. Like in epsiode 33 when his identity is finally revealed, Li Lianhua once again resigns himself to following the script of the traditional narrative, which is how/why he ends up heroically sacrificing himself for Fang Duobing and his family.

But anyway, back to Shan Gudao as an effective foil: In addition to serving a purpose for the meta-narrative, I also think Shan Gudao's one-dimensionality also works well with Li Lianhua's internal conflict regarding his feelings of guilt and self-blame. You're right, OP: I wish there was a bit more actual blame to lay on LXY -- though I think we can still blame him for being arrogant (to borrow the loaded iqiyi subtitle term) since he was clearly blind to his shixiong's real feelings, and blind to the feelings of those around him as well (including Qiao Wanmian). Though even if you take the track of Li Xiangyi truly never did anything wrong in his life ever (*heart emoji*), this makes his arc even more tragic. This is why I love him so freakin' much -- he feels less like a character and more like a real flesh-and-blood person. And the reason he feels so real is because he acts in ways that are often contradictory and self-sabotaging and illogical, because he's decidedly not following the traditional (heteronormative hero narrative) script. Even when there is a Grade-A villain right there in front of him to take all of the blame, Li Lianhua doesn't take the bait. He has a prime opportunity to look at Shan Gudao and come to the logical conclusion that he (LXY/LLH) actually did nothing wrong, that he's not to blame for any of the terrible things that have happened to him and to others in his name... but he doesn't take the out. He still refuses to forgive himself, he still internalizes all of the guilt, he is not suddenly "cured" from his trauma. He is so real for that, and it's gut-wrenching.

[firespirited]

Used to believe that I hated musicals.

True, I don't like many musical films and usually don't like musical episodes or musical shows like Glee because of the cringe-like emotions when a speaking conversation turns into song. Ew.

Truth is, I like a well-made musical:

It has to have a solid plot built around the musical themes (and not vice versa), the outbursts of song and dance have to make emotional sense (speaking is no longer enough to convey the feelings) and it needs a certain musical quality (not half sung).

I'm starting to think that it's getting spoiled on the good stuff early is what made me cringe so bad when watching the not-as-great stuff. Because I used to say "I hate musicals" and somehow forget I've seen The Sound of Music and The Lion King dozens if not hundreds of times.

Oh yeah, Wicked is that good.

Before, I thought Cynthia Erivo was going to be overpowered for the role so to speak. She's got a range and gravitas for far more serious fare but they pulled production up to match. And she's so soft in this. Just so precious as Elphaba. Played with great intelligence.

And, Ariana Grande as Ariana Grande Butera articulates.

Yes folks, she can hit perfect high notes while using consonants!

Her and Erivo rise to eachother's talent without even a hint of rivalry, they only ever overlap harmoniously which is not something musical duets always achieve. She also injects some sympathy into a character that's tough to like and could very easily be abrasive.

The costumes lack the bulk of old fashioned fabric but don't fall into the flat halloween costume type we've seen a lot either thankfully.

I'm sorry to report that most of Galinda's outfits are sleeker than befits a pink bubble witch. Maybe part 2 will turn up the geometric volume the way Elphaba has grown into her silhouette.

As for the music, I'm not an expert. I liked Erivo and Grande's songs and didn't click with the others. Both have the calibre to make live music sound as perfect as a recording studio so filming the music live wasn't a mess like, say Beauty and the Beast live action.

Can't say it worked as well on a musical level for the other actors who have the personality to pull off the acting part without being obviously theatrical. I think that's probably the small price to pay for a film adaptation : they needed the heft of Michelle Yeoh's charisma as an actress even if you don’t get a stunning singer's single on the soundtrack from the performance. ¯\_(ツ)_/¯

All in all: fun, touching. Not cringe. Not flat and half assed. Rewatchable. Catchy songs. Didn’t feel like a theatre piece slapped on screen. Didn’t go in the other direction so far as to lose the whimsy and magic. Did I mention it's highly rewatchable?

Colour grading : not muddy!!! Sound quality : I wasn't constantly fiddling with the volume despite this being a telescreener cobbled from several sources at different sound depths! I kind of want to give this full marks just for not grading to grey and mangling the sound, goodness knows that's rare.

Ah yes, there's plot too. The text is layered: ripe with details and themes and leitmotifs. Lots of fruit for meta analysis whether you want to make personal or political parallels. Lots of food for thought about the concepts and constructs of being good or bad. Rich stuff. A pinch of cruelty and darkness. Exactly what's needed for a solid kids' movie classic.