i-overanalyze-musicals

[i-overanalyze-musicals]

there’s absolutely nothing better than reading a 100k word fanfic, that is until you remember you have a body that is starving, thirsty and incredibly sleep deprived and hasn’t used the bathroom since the sun set 8 hours ago

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[i-overanalyze-musicals]

“we could’ve been us” is such a raw fucking line neil gaiman how dare you put this in my silly little fantasy rom-com

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David Tennant in interviews is just a Nice Scottish Man and then every director he works with goes you are a SLUT!!! And you are SO SO SAD!!

[i-overanalyze-musicals]

#the writers might not have known they were dropping ot3 endgame hints but i sure picked up on them anyways #death of the author babeyyy

[i-overanalyze-musicals]

good omens 2 is like being given a box of six powdered sugar donuts but the last one isn’t powdered sugar, surprise it’s cocaine

[i-overanalyze-musicals]

You write the best barduil fics goddammit 😭

Chapters: 16/? Fandom: The Hobbit - All Media Types Rating: Mature Warnings: No Archive Warnings Apply Relationships: Bard the Bowman/Thranduil Characters: Thranduil (Tolkien), Bard the Bowman, Thranduil’s Wife, Bard the Bowman’s Children, Legolas Greenleaf, Tauriel, Sigrid (Hobbit Movies), Bain of Dale, Tilda (Hobbit Movies), Elrond Peredhel, Celebrían (Tolkien), Arwen Undómiel Additional Tags: Alternate Universe - Modern Setting, set in 1977, Historical References, Slow Burn, I’m not joking about the slowness of this slow burn, emergency room physician Thranduil, Post-Traumatic Stress Disorder - PTSD, caretaker Bard (in several senses of the term), ELF (extremely long fic), this house may or may not be haunted, this is a ‘no archive warnings apply’ situation for now Summary:

In the year 1977, following a tragedy that upends his life, former emergency-room physician Thranduil Oropherion purchases a sprawling, centuries-old estate in northern New Hampshire, planning to ship his children off to boarding school and waste away without ever being seen again. His plans go awry immediately thanks to Bard Bowman, the caretaker of the estate, and as an unlikely friendship blooms between them, Thranduil finds himself slowly coming back to life.

His house does the same.

Chapter 16 is up! Here’s an excerpt:

“Now, I believe we have an hour before the useless display of patriotism?”

“Yes.” Bard is laughing again. “What do you want to do between then and now?”

“I do not know,” Thranduil says. “What would you suggest?”

Bard doesn’t have suggestions, as such, just options. “I don’t usually come to this thing,” he says. “Usually I drop the kids off and go hang out somewhere else until it’s over. It’s not much fun to knock around in here by myself.”

“You are not by yourself at the moment,” Thranduil says, and Bard glances sideways at him, half-smiling. “It sounds to me as if there are things you want to do. Take me along for the ride.”

#why cant i leave kudos 16 times #tell me ao3 #tell me

[i-overanalyze-musicals]

Thanks to the person that reblogged this recently because it made me remember it

(These are going to be directly from the lyrics of the cast album, with some additional plot context from Wikipedia)

Starlight Express: Overture This one is really quick, it basically just establishes that 'Control' is a kid playing with his toy trains. He falls asleep and dreams of the trains coming to life, which is the musical. It also implies that all of the characters are influenced by the child's mind, which will be one of the main perspectives I'll interpret the show from. The individual lyrics won't really be interpreted from the perspective of a child, but larger aspects will be- the plot, the simple characterizations, etc. Disclaimer- this doesn't mean that every issue of this musical can be explained by "it's just a kid." Andrew Lloyd Webber has some....interesting... things in his musicals. He's also well known for his musicals focusing more on spectacle than plot.

Rolling Stock In this song, some of the trains, specifically Greaseball and his crew, are singing about their speed. While simply establishing the importance of speed and strength, there was one line that stuck out. "You got no lovers if you got no wheels." This clearly outlines the appeal of functionality- social connection is HEAVILY influenced by how well a train can race. The better of a racer, the more appeal.

Call Me Rusty This song introduces the conflict: Rusty is an older version of train, so he's viewed as less important. The diesel engines, the newer models, are more functional than Rusty, so they're higher up on the social ladder. Social conflict is an important theme in this musical. Another theme introduced here is Individual v.s. Society. Despite social stigma, Rusty is proud of his model- He starts the song with "Nobody can do it like a steam train." Here are some other notable parts of the song in my opinion: "This is not the dream I dreamed when they first lit my fire/.../Switching and hitching at everyone's call/Never occurred in my vision at all" This seems to imply that the steam engine was on its way out when Rusty was already created- he was viewed as a lesser model the moment he was created. "You mustn't go racing you're not tough enough/You'll either be a hundred miles away at the back/Or worse they'll find you scattered in a million rusty pieces 'round the track." I find it interesting that the coaches' warnings focus on his physical stature. While his rust was mentioned previously, most of the remarks where simple mocking statements. This feels like it creates a distinction between Greaseball's character and the characters of the coaches. Greaseball's lines are about his superiority, while the coaches sing about their concern about Rusty's health. However, both have harmful effects on Rusty.

This is part one btw

Next part will have at least "A Lotta Locomotion" and "Pumping Iron." It depends on how much analysis I do, and both of those songs have a LOT to sink my teeth into.

I'm gonna do a lyrical and theme analysis for starlight express

#starlight express #StEx #greaseball #rusty stex

[i-overanalyze-musicals]

Tonight’s adventuring party was 99% chaos but there was a bit where Emily was talking about Ylfa’s transformation and the horror of it being akin to puberty and how you suddenly have so few paths left to take after being told you could go anywhere, and Siobhan and ally just being like yeah that’s the afab puberty experience. And just. I’m just thinking about it.

#that moment hit me HARD #neverafter #ylfa snorgelsson #emily axford #adventuring party #dimension 20 neverafter #dimension 20

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*through gritted teeth* it doesn’t have to be perfect, it just has to be done. it doesn’t have to be perfect, it just has to be done. it doesn’t have to be-

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I will never allow anything to convince me to hate my body. My body is me. I spent years hating myself and I'm not giving it an inch anymore.

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reblog to give the person you rb’d this from a hot chocolate with whipped cream and marshmallows

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THEY DOOOO

listening to talia moodboard

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*sobbing, rocking back and forth*

Кохаю

Я тебе кохаю

TALIA OH MY TALIA

MY TALIA

*starts crying*

TALIAAAAA

TALIAAAAAAAAAA

[i-overanalyze-musicals]

i wish everyone who made kit connor feel he had to come out a very merry FUCK YOU. you forced an eighteen year old into coming out publicly, before he was ready, when he stated many many times he wanted to keep it private. how many more times does this shit have to fucking happen before some of you fucking clock that YOU CANNOT QUEERBAIT IN REAL LIFE. this is the natural end to the discourse of ‘if somebody is in the public eye playing a queer person they owe us their sexuality’, and it’s DEEPLY FUCKED UP, they do NOT owe you an answer, and this mindset JUST FORCED AN EIGHTEEN YEAR OLD TO OUT HIMSELF BEFORE HE WAS READY TO

[i-overanalyze-musicals]

don't touch me i'm sterile

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mutuals, I am dropping full sized candy bars in your pumpkin shaped pail.