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justanotherwriter140 · 1 month

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Kung Fu Panda 4 - The Movie

The last really, really long discussion post (for now).

Major spoilers ahead!

This review is full of spoilers, so please refrain from reading through it until you've watched KFP4. I would highly suggest doing so, as I want everyone to form their own opinions without my influence. The movie has its flaws (some of which admittedly being a bit distracting), but it's a fun film that has things to offer.

Kung Fu Panda 4 is a fun movie (take that as you will) that takes its audience on an action-packed, surprisingly funny, yet relatively contained adventure on which Po doesn't really do much. It's an inconsequential, safe sequel that doesn't really hurt the franchise but adds close to nothing.

I had a good time watching the movie. It was obviously produced with its theater experience in mind and the action scenes especially reflected that priority. The humor was actually funny sometimes and I enjoyed Po and Zhen's dynamic. During the film, I was able to put most (most!) of my grievances aside and take the movie for what it is. I've discovered that the best way to watch KFP4 is with low expectations and an open mind.

I have a lot of things to say about KFP4, both complaints and compliments (though the former might be taking the forefront in this review), and I hope this review can help those of you who have seen the movie organize your thoughts. I've been having a lot of trouble with that specific aspect of things myself. Those who get it get it.

With that said, let's get into my full review of KFP4! I've been waiting for nearly 2 years to write this and I'm so excited to share every single thought.

I'm going to follow the format of my first discussion post and curate a bulleted list of my thoughts, followed by an analysis of each of these points. Keep in mind that everything I say is IMO and this is more of a rant post than anything else.

Here are my main points:

The Furious Five's role is comically minuscule in the context of the film. Their actions are inconsequential and add nothing to the plot (a confirmed last-minute add), and they have 30~ seconds of screen time. Shifu is also largely irrelevant.

Mr. Ping and Li's presence has little to no effect on the movie (though I won't complain too much because they were pretty fun to watch and this movie has bigger problems). In almost any scenario, I am adamantly against having characters present that don't add anything to the narrative; however, Mr. Ping is an exception. I love Mr. Ping. James Hong is a gem.

Zhen's screen time is not utilized well and her character is underdeveloped. She definitely wasn't annoying, but I didn't find her either compelling or funny enough to warrant the screen time she was given, especially considering it wasn't used to establish a backstory/strong motives. This makes me feel bad for the character because the movie kind of screwed her out of any substantial development.

The Chameleon, while complimented greatly by Viola Davis, is an underwhelming villain. Viola Davis is amazing in this film and I would suggest watching it for her performance if for nothing else, but the Chameleon is underwhelming considering the super cool concept behind the character.

The film feels very rushed. Apologies to those who disagree, but I think the pacing is atrocious and the final fight is anticlimactic. The movie felt like a word-vomit with no discernible intermissions that stops abruptly when the film ends.

I felt as though Po didn't change/grow as a person and the audience never had a chance to either bond with or relate to his character. His internal struggle is kept to a minimum and we don't spend a moment alone with him as an audience, which is disorienting and distracting. Watching the film felt like running into an old friend at the store who's too in a rush to have a real conversation.

The action scenes were strong with few exceptions. Creative art direction was utilized and I thought the martial arts choreography was entertaining and dynamic. I love the color palette of the film and many scenes were very impressive visually.

With my main points established, I do believe it's ranting time. Strap in, folks.

Let's start strong with the Furious Five: I'm gutted. Chagrined, despondent, crestfallen, etc.

The lack of the Furious Five negatively affects KFP4 so much, because not only does their absence hurt the atmospheric integrity of KFP as a franchise, it also forces KFP4 to bring in a slew of different characters—all while still noncommittally including the FF at the very end because I believe the marketing team required it—that clog up the cast a bit. It all goes to show how important strong, established side characters are.

The Furious Five are side characters, but the role of "side character" does not equate to being irrelevant, expendable, or exchangeable. I recognize that the Furious Five aren't super developed as characters beyond a handful of lines that allude to traits sprinkled sparingly among the members; however, I believe that the tiny bits of development we have been given have proved impactful in the past. Tigress's development in KFP2 is a prime example of how much narratively conscious changes (however small they may be) can positively affect these movies.

Because of limited runtimes, the Furious Five often operate as more of a singular unit than five individuals. Even so, I don't think discarding them is valid. They're so important to the KFP universe (to Po's universe!) and not having them with him feels so wrong. The Furious Five are fully integral to the heart of Kung Fu Panda, which is why I believe a lot of those who have seen the new movie have expressed something feeling "off" or something being missing.

I agree with this sentiment. To me, KFP4 didn't feel like a KFP movie. I don't need a Furious Five spin-off movie and I can be fully content with a KFP5 centered around Po's journey as an individual as was intended from the beginning, but he can't carry an entire movie on his back. As strong as he is in every sense of the word, he is only one character. He's the centerpiece of the franchise, but a centerpiece can only go so far without the rest of the design, so to speak.

For me, the Furious Five's absence is one of this film's biggest faults. It's huge and glaring. I know I'm not the only one who feels this way, either, because the friends with whom I saw the film refused to talk about any other aspect of the movie after seeing it. Seeing them at the end was better than nothing, of course, but it was a disappointing culmination after eight years of waiting.

That all is to say I feel robbed. Despite all of this, though, I understand that there were reasons why the Furious Five weren't included in the movie. I don't believe the production team would exclude the Furious Five unless they weren't given a choice.

Shifu and Po's dynamic continues to be thoroughly delightful but their interactions are short and simplified. I would have loved to see more of them in this film, especially considering the extreme relevance of teacher-student relationships in KFP4. I (somewhat) digress, though, because the idea of Shifu having to live at the Jade Palace with only Po for an extended period of time is hilarious enough on its own. Maybe that's what the short film is about!

The comedy is odd but has some jokes that stand out. Po maintains a healthy relationship with his inner sass, which I think makes him more fun to watch and kind of eradicates the man-child verdict. Some jokes don't land, of course, but I genuinely thought KFP4 had some funny moments. Mr. Ping was consistently awesome and Po had some good lines sprinkled throughout the film.

As for Mr. Ping, he and Li Shan are the subjects of the film's B-plot as they follow Po to Juniper City out of shared concern for their son's safety. In my mind, they don't add anything to the story that couldn't have been brought about by other characters, but they had their moments of being entertaining. I enjoyed their silliness and thought they had a cute dynamic if nothing else.

Speaking of other characters, I want to discuss KFP4's deuteragonist and why I genuinely feel bad about the way her character was treated.

I want to let it be known that I'm still not on board with Po passing the Dragon Warrior torch to another character. While I agree that his arc is now calling for him to have a student, I disagree with the notion of him retiring from his DW role.

As I stated in my first discussion post:

Didn’t the initial significance and nuance of the title come from the fact that there is only one person who can be the Dragon Warrior, because the concept of the “Dragon Warrior” isn’t so much a title as it is Po himself? The universe (Oogway) must choose the Dragon Warrior because they are a singular being of legend. It is one person, and that person is Po. Wasn’t the point of the first film that the title ultimately doesn’t really matter because there is no “secret ingredient,” so to speak? The title doesn’t actually give Po anything. “It’s just you,” Po says, and that was the resolution.

When it comes to Zhen as a character, contrary to what I predicted I would think of her, I thought she was okay. While I was still a bit distracted by how out-of-place her design looks, I wasn't truly annoyed by her at any point and she and Po had some cute moments. Even so, I think their relationship could have been a bit more refined and developed.

While it's evident that Po and Zhen are meant to have a teacher-student/mentor-apprentice dynamic, I think their relationship feels half-baked. There were parallels that contradicted one another and ended up being confusing come the film's conclusion, and the nature of their relationship seems to vacillate depending on the scene. Additionally, the strength of their bond goes from zero to one hundred within thirty-ish minutes and left me with a bit of whiplash.

We're shown that Po and Zhen care about one another, but we're never shown why. They have a brief conversation during which they bond over being orphans, and Zhen says at one point, "You're actually a good guy," but that's it. This obvious lack of development is a bit disorienting because we're later led to believe that Zhen and Po care very deeply for one another when there's almost nothing to back it up.

A scene that sticks out to me when discussing this is when Zhen attack-hugs Po in a way that explicitly mirrors Tigress's hug from KFP2. This happens around the beginning of the third act, and while it had the potential to be an endearing moment, I think it fell flat.

The impact of Tigress's hug was brought on by her character's hardcore nature and reputation of being heartless, further strengthened with the knowledge that she was hugging Po (which was obviously way outside her comfort zone) as a show of companionship and fundamental understanding. Tigress hugged Po because he needed someone to recognize his strive for closure.

Zhen's hug had little to no impact because she had no reason to do it and it didn't indicate growth. She hugs Po because she's sorry for betraying him and doesn't want him to be killed by the Chameleon, but neither of these things are newly-established via this hug; we have already gathered by now that Zhen regrets betraying Po and doesn't want him to get hurt.

The hug is far from the movie's weakest point, but I think it's unnecessary given the context. I'm big on hugs in movies (an underutilized form of platonic affection, in my opinion), but it didn't fit here. I don't hate it, and I see it as an honest effort to bring emotionality to Po and Zhen's relationship, but it seems arbitrary.

Zhen and Po's relationship has a lot of potential and I'd be open to seeing more of them in the future, but I think some more thoughtful development needs to occur before I can humor it further. Even so, I can see myself featuring Zhen in some future post-KFP4 one-shots—sparingly, of course, because we have a lot of Furious Five content to compensate for.

Overall, they had a cute dynamic and some sweet moments but I'm not attached. I'm on board with Po having a student but I think their relationship needs a lot more development, something that this film unfortunately didn't give them time to either accomplish or earn.

Now, onto the Chameleon!

The concept of the Chameleon's character is admittedly super interesting. She's the deuteragonist's fastidious mother figure who feels that Zhen owes her a debt and as a result holds her to an impossible standard. That dynamic had the potential to be so interesting but I didn't think it was explored at all. There is no indication of Zhen having any internal conflict about fighting the Chameleon, no emotional complexity between them at all; it's disappointing because I think it would've added a bit of earnestness to the film.

Additionally, the idea of a shape-shifting villain is versatile. A shape-shifting villain gives those telling the story a lot of room to experiment with the protagonist and different ways in which the main character can be challenged and tested. It's yet another good idea utilized poorly. Just one idea: the Chameleon could have disguised herself as one (or several) of Po's family, friends, etc. and brought to fruition a new arc with his character (seeing as he arguably doesn't have one in this film), but she only disguises herself as Zhen very briefly in the movie.

Furthermore, the Chameleon completely relies on the powers of previous villains to pose any sort of threat to the main characters. She summons Po's former nemeses from the Spirit Realm (despite there being little logic in doing so considering Kai's literal evisceration) and takes their kung fu abilities for herself.

An excerpt from my first KFP4 discussion post that I think is relevant to the point I'm trying to make:

I don’t think it would be in the best interest of anyone if the past villains were to come back in any way that’s not a flashback (even then, I’m not sure I’d see the point). In all honesty, I thought that the whole point of the villains was that they died and stayed dead. They were defeated by Po once and for all as a testament to the idea of establishing Po's character growth and journey as a person through the bad things he’s able to overcome. It’d be highly contradictory to the messages of the other films if these villains were to suddenly come back.

While there was an honest effort made to portray the Chameleon as intimidating, I never felt as though any of the characters were endangered by either her or her army of lizard henchman. She's a visually appealing character (aside from her eyes, which I thought more resembled those of a gecko than a chameleon) and I greatly enjoyed Davis's performance, but overall I don't see the Chameleon as a notable villain.

The return of Tai Lung (had he been on his own) had the makings to be an excellent story, especially considering the importance of teacher-student dynamics in KFP4. To see him interacting with Shifu would have been incredible and could have led to further closure on Tai Lung's end (because I think that's kind of what the team was going for anyway), but it didn't happen.

It was nice to see Ian McShane reprise his role, but I wish Tai Lung's characterization had been more reminiscent of the way he was in the first film and more complimentary of his overall character arc. Tai Lung isn't a one-dimensional villain with a singular goal and motivation, and I couldn't help but feel as though the complexity of his character was simplified for the sake of KFP4's narrative.

Tai Lung's presence in KFP4 may be odd, but Shen and Kai's appearances are even more so. Kai, if I remember correctly, was fully obliterated by Po, reduced to literal particles on screen (which is kind of wild now that I think about it). Shen being in the Spirit Realm makes sense all things considered; however, Po and Li had no visible reaction to his presence, which seemed a bit unlikely considering Shen's deeds. This plot hole can likely be attributed to the fact that Shen and Kai's cameos (to my knowledge) were last-minute additions to the movie.

I have to talk about the pacing. I have to. I'm sorry, bear with me.

To me, the film's pacing is erratic and disconcerting. While I can appreciate a quick-moving narrative that doesn't dawdle on storylines that aren't interesting/important, KFP4 kind of flings itself too far in the opposite direction and ends up being frighteningly fast-paced. Once the credits began, I felt like I had been holding my breath for the entire movie.

KFP4 is confusing because while the runtime is standard for a KFP movie, it feels incredibly short. At the same time, the film's story moves at a breakneck speed and leaves little time for heart and development. These things culminate into a barreling boulder of a movie that simply doesn't have time to let its characters, story, or audience take a breath.

A fast pace is not inherently negative, but I don't think it worked in the favor of KFP4. The KFP franchise has always been very emotionally grounded (and just very grounded in general), so to see a film in which emotion/heart takes an aggressive backseat in comparison to action and comedy is jarring. While I think it's unreasonable for fans to expect the same emotional integrity as the original films to be present in the current and upcoming ones, I still think there's room for Po to grow and I felt as though the notion of him developing further was brushed aside in this film.

As for Po's growth, I felt it was nearly nonexistent. The previous trilogy wrapped up his character's journey beautifully and I know that KFP4 was bound to struggle with this particular aspect of making another KFP film; however, just because the strongest pillars of Po's character are established doesn't serve as a valid excuse to reverse his development and repeat what he learned in KFP3.

In KFP3, Po learned firsthand that he is capable of spreading wisdom and teaching kung fu. He also learns that he is constantly growing and that change is inevitable; there is always something more to learn.

"If you only do what you can do, you will never be more than you are now."

"I don't want to be anything more, I like who I am!"

In KFP4, Po pushes against this narrative despite fully accepting it in KFP3, actively reversing crucial parts of his character development achieved in the latter. KFP3 was non-ambiguously about learning to cope with change and responsibility, and I can't help but feel like KFP4 is simply copying this message while not adding anything to it.

Additionally, I felt that KFP4's Po generally felt less personal than he has in the past. In every KFP movie up to the franchise's most recent addition, I felt very connected to Po as an audience member. I felt like I was truly seeing the world of KFP through his eyes. I consider this to be one of the franchise's most impressive feats; it's incredibly difficult to build a universe around a character without making the audience feel limited to one perspective and one part of the world.

With KFP4, I felt both limited and disconnected. The world didn't feel as vast and all-encompassing as it has in the past and Po didn't seem fully like himself. This could be me nitpicking (as I'm prone to do), but I can't recall a single moment in the movie in which Po was alone on screen. Scenes like these are crucial for me because I see them as a meet-cute between the character and the audience, a moment for us to cross the bridge into their world in a way that's silent and intuitive. These little bonding moments are absolutely integral to feeling connected to a character.

Po's dream sequence in the first KFP movie is one of the best examples of this. It presents his aspirations, alludes to his way of life up to the point of the movie, and showcases his personality. During Po's dream sequence, the audience is quite literally inside Po's mind; we're there with him, seeing what he sees, subsequently feeling what he feels. Po is a dreamer at heart and makes the audience feel like dreamers, too.

In KFP4, I felt like I little to no point of reference when it comes to how Po was feeling. I didn't feel immersed in him and his world.

I know I've been very "doom and gloom" throughout this post, which is an exhausting mindset for everyone involved. I want to end my critique with something positive because I think some praise is deserved. Let's just say the movie could have been a lot worse, the details of which I'm sure you're all well aware.

The color palette of the movie is beautiful and somewhat reminiscent of the first film. While the animation style of KFP4 is far more simplistic than its predecessors, I was very impressed with its use of shadow and light. Po's many faces were also hysterical, props to those who helped make him as expressive as he is.

Additionally, the movie's action sequences were clearly thought out and discussed in great detail. The experimentation with camera angles was really fun to watch and I enjoyed the majority of the film's fight scenes. They were fun, bouncy, and entertaining, and quite likely reinstated audiences's love of watching a cuddly panda kick butt.

Congratulations, you've reached the end! Thank you so much to all of you who took the time to read this unnecessarily long and detailed review. As long as I help someone translate their conflicted feelings into coherent thoughts, I'll call it a win.

I want to reiterate that I don't hate Kung Fu Panda 4 and I had fun while watching the film. It has its flaws and there are a lot of aspects that I dislike, but the effort of the crew is obvious and I greatly admire and respect the hard work put into the film by those who worked on it. This does not at all excuse my issues with the movie, but it's worth saying.

As for the future of the series, I only hope that the next installment is more considerate of the franchise's origins and why Po's story is being told in the first place. I fully believe that another sequel could be good given a strong, passionate crew with a great understanding of the characters and world (and I wouldn't be averse to some previous directors returning, just to put it out there).

Thanks again to those who took the time to read this crazy excuse for a movie review. Feel free to either disagree with me or add things in the replies/reblogs, I'm always looking for more thoughts to think.

Until next time!

#kung fu panda 4 #kung fu panda #dreamworks animation #kfp #kfp 4 #movie review #i'll add the actual picture of the furious five's cameo when i can get ahold of one of decent quality #my time has come #it wasn't THAT bad #i didn't love it #but it is what it is #it's a tentative 6/10 all things considered #free the five #perhaps i treated kfp3 too harshly #don't get me wrong the movie had good qualities and i can tell a lot of work went into it #a lot of missed potential imo #a lot of characters done dirty #i didn't even mention the score but i thought it was just okay #i wasn't wowed #i know close to nothing about composing though so i should probably just not even go there #credits were the best part both cinematically and musically #i feel mean but i'm not going to be dishonest #bc obviously you all simply must know how i feel about the silly panda movie #a more detailed version of the grievances i have w the dragon warrior plot can be found in my og discussion post if anyone's interested #as well as my thoughts on bringing back old villains #might make some edits to this in the future but this is all i have to say for now

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thaliagrayce · 1 year

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y'know what we don't talk about enough? Hazel died. We talk about how she grew up in the 30's and 40's and we talk about how out of place she feels in the modern world, but! She died! She was dead! She has spent more time dead than alive, and not by a close margin!

How does that effect a person??? We got some of it in the flashbacks, but once those caught up with her present timeline and she shared them, they just kind of... disappeared. And she was a regular girl with some weird past experiences. That's one way of doing it, sure!

I think it would have been a lot cooler if she was just a touch creepier. If she felt a little bit Wrong. Yeah, in general she's more approachable than her brother, she's more sociable and less closed off, but. If you actually spend any time with her, it can be difficult to tell which child of the underworld is actually more unsettling.

Hazel is bright of personality and has a dazzling smile, but sometimes she'll just... shut down. She'll go completely blank for like half an hour and nobody knows what to do with it. Sometimes she forgets she's alive. Sometimes she'll spout the grimmest shit you've ever heard like it's nothing, she won't even notice it's weird until the room goes quiet. She spent decades in Asphodel, which is designed to make people forget about themselves and wander around for eternity, only she didn't have the luxury of forgetting! Wild! After she comes back to life, sometimes she forgets that she's allowed to Do Stuff now. She can spend so long sitting and staring at nothing. Sometimes she'll start crying on cloudless days because it hits her again that she can actually feel the warmth of the sun on her skin and she can hear birdsong. Every little mundane experience is a blessing and she will make you remember that in the most foreboding way possible.

#hazel levesque #hoo #mj talks #like. i am fascinated with characters who die and come back different and it JUST hit me that there was so much potential for hazel there #the idea of how death lingers was not explored At All in heroes of olympus #of course there's the obvious part in that there were what. 3 named character deaths total? 4 if you count leo #which i very much don't because it didn't stick! there were no consequences to this gigantic war!#the first series did well with that because we had plenty of named characters who died #even though some of them were introduced only to die like six chapters later. we still knew them on some level #and more importantly percy knew them. he felt their loss in a way that made consequences seem real #heroes of olympus didn't have any of that. hazel could have been a great way to talk about it a little more!#also i just love characters who have obviously gone through death. that has to change a person! tell me how it changed you!#anyway. i think i'll make hazel creepier from now on in my writing #she deserves it <3 #nico is creepy in an obvious way. he's got power over death and that clings to him like a second skin. he can't hide it #and he's learned that he doesn't have to. there is power in being othered #hazel seems lovely when you first meet her! none of the death power all of the glitter and gold and riches #and then she'll look you dead in the eye and say 'you really don't know how lucky you are to be able to breathe until you can't anymore'#and move on like it's nothing! what!#underworld siblings

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moe-broey · 11 months

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I'm SO obsessed with them.

After this I believe they are both equally as unhinged as the other, just opposite ends of a spectrum about it HAHAHAHAHA

Also...

More micro organisms.............. (FAVE PANEL TBH LOOK AT THEM)

#fire emblem #feh #I LOVE THEM BOTH. SO MUCH. SO DEARLY #i'm SO obsessed w how alfonse just. really did go 'i'm not doing that.' and made sharena deal w it HAHAHAHA #little exchanges like these really makes them shine as siblings i think! they're both so funny LMFAO 🥺#AND SHARENA. HER UNMATCHED WLW SWAG. SHE'S TOO POWERFUL #also if you haven't played the recent chapter don't let my comic deceive you.#it does sort of look like al is telling sharena what to do in that panel where they're whispering to each other #but no. al was just reminding her of some advice. essentially a riddle. sharena did that all on her own.#THE POTENTIAL THOUGH.... of goofy sibling antics..... deploy the more outgoing and conventionally cutesy one to achieve A Goal #i really do love how it feels like sharena has been playing bigger roles/has more agency lately 🥺🥺#it absolutely feels more like she and alfonse are a team now. instead of just tagging along.#not to mention it feels shari really has been growing into her own!#carefully considering her position and what she wants for herself... seeming more focused and resolved....#ough. finally. intsys is being nice to her 🫡🥲#sharena #fe alfonse #fe nerthuz #my art

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damianosismyking · 6 months

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So you have an au about damen being abusive with laurent ?????

Please let me know more?? Any hcs or thoughts or anything pls

The capri fandom needs some dark aus fr

~🦌🌺

hello my darling!

I've been gone so long that I have no idea when you sent this and I'm deeply sorry for that!

I came up with the idea for an AU in which Damen's abusive way back in 2019/2020 (2021?) and to say I was a different person altogether back then is an understatement. I also haven't re-read the books in a long while so I can't say I recall everything I had imagined for this fic to begin with BUT!, I've got some fuzzy thoughts stored in the back of my mind that may satisfy some of the crave for Dark Damianos (a concept deeply slept on in my honest opinion but with how much people like to hate on him for free, it's best if we keep it sleeping lol).

DISCLAIMER: in my very private opinion, Damen has a natural darkness to his character that I find appealing (or would be appealing if I wasn't a coward) to explore. Those are the lenses through which I approach the abusive patterns he could come to develop in a relationship with an already emotionally/psychologically vulnerable Laurent. And also in my very private opinion, Laurent is a vulnerable character (for all reasons we as a fandom dwelled on to the point of exhaustion, but, most of all, in relation to how he sees and thinks of Damen — in terms not only of admiration but almost adoration, just as he did with his brother).

We all rememeber the scene at the end (?) of PG when Laurent is stepping on Damen's toes by saying bad things regarding his family and how Damen loses his temper and hits Laurent hard enough to draw blood. The guards step in to arrest Damen for hurting the prince and Damen takes full blame for doing it without showing a single bit of remorse whatsoever. Laurent is the one to talk his guards down from arresting Damen by pinning the blame of being assaulted on himself and that is it.

This idea (of an AU that never came to be) was forged mostly on the side of Damen's character that has a tendency to jump believe he is always right in the assessments he makes and proceed to never question the truth behind his own reasoning. And on the side of Laurent's character that always blames himself for every bad thing that has ever happened to him despite his own helplessness, and nurtures an unhealthy need for a role model to hold on to — once his brother, now his lover.

I'm going to leave all my thoughts for this AU bellow the cut, in case some people may find the matter too upsetting to read about. Trigger warnings for domestic, physical and psychological abuse, obviously! Proceed at your own accord and don't come whinning later🫰

so putting two and two together:

Damen is prone to angry outbursts or just violence in general. We see in more than one occasion that it doesn't take much for his 'bad side' to come out, which is a characteristic a lot of aggressors in this very patriarcal society we live in also showcase. And as their universe is ALSO incredibly patriarcal, this would check out.

As aforementioned, one of the most significative intances of Damen's violence is the day (after he had already slept with Laurent, after he admitted to himself he was in love with Laurent) where he he baits into Laurent's provocations and hits him.

Laurent's edge, I personally believe, though attenuated as it may be by the end of the cicle of abuse he endured all the way from his late childhood throughout his adolescence, will continue to be in place. It was wired into him as a survival mechanisms and old habits die hard. Whenever he is overwhelmed or any of his emotions slip from his iron-cast grip, he will likely spit fire and try and hurt whoever is within his reach.

Honeymoon phase being over, let's say the kingdoms were in fact merged (not going to get into any of that). Let's say Damen is the king of Vere as much as Laurent is the king of Akielos. Let's say their troups, their guards, palace servants — they are all unbiased and answer to both Laurent and Damen as their true kings equally.

Let's say Damen and Laurent continue to get at each other's throats. Lets's say they still got plenty to disagree upon and that their personalities continue to make them butt heads. Let's say their grudges, though they have agreed to leave the past be in the past, hold and come up again. An underlying resentment inate to their love. There's a lot of tension that I can see surrounding L/D's relationship. If you don't believe that it's fine, if you don't see it, that's more than okay. But I'm asking you to bear with me here.

They are having a heated argument in their palace about something that wasn't (shouldn't be) personal, but all of a sudden is. Damen says something that offsets a chain reaction in Laurent and he becomes a boy in selfdefense mode resorting to the good old habit of pushing Damen's weak spots just for the pleasure of making him angry and miserable. Damen has had a long day, he is weary, he is fed-up with all the kyroi, all the councelors making demands and telling him how to do his job. Laurent says the wrong thing at the wrong time and a moment later he is on the floor, with his hand on his cheek touching the burning spot where Damen slapped him. He bit his tongue in the impact and he can feel the blood in his mouth which he swallows.

There are no guards that come in this time, because they know better than to step into their king's quarrels. Damen tells himself it was Laurent who pushed him too far, he didn't mean to do it. Laurent agrees — Damen would never have done that if Laurent himself hadn't asked for it. Damen was good. He's only ever been good. He doesn't do anything without a good reason. Laurent is the one who fucks things up and pushes people too far. They make up.

Next time isn't that different. Nerves were high for a thousand different reasons. Laurent maybe got up from the wrong side of the bed. They argue. Damen pisses him off so he goes on to piss him off in return — just to give him a taste of what that feels like. In the back of his mind he remembers what happened last time they argued but he brushes it off as a mistake. Damen wouldn't dare to make the same mistake twice.

Then Damen does. And just like the other time Laurent loses his footing from the strength of the blow. His eyes tear from the pain but they don't fall. Damen is fumming over him, telling him how Laurent pushes him over the edge. Damen, who is such a just, charming, fair king. A much better king than Laurent is, with his head in place at all times in a way Laurent's own never is. If he lost his temper, it was because he was forced into it.

Laurent is the one who went too far again; Damen simply reacted to it. He stands and tells Damen he was wrong for saying the things he said. He shouldn't have. Damen agrees; Laurent shouldn't have. They make up.

Every time Damen is forced to loose his temper with Laurent he get angrier with Laurent and becomes a little wilder. Laurent should not make him keep doing it! He doesn't mean to do it! When the anger subdues, after they make love, in the morning after, Damen shows Laurent the tokens of the love he still has for him — a new mare of an excellent breed for Laurent's private stables, a new imported book he would like for his personal library, a new delicacy their cooks learns to make as sweet as a human can handle just the way Laurent likes it.

Damen is a good lover. Most of the time. If only Laurent stopped bringing out his bad side.

Laurent understands how every time Damen hits him it's his own fault. He tries to stop himself from causing their arguments but he can't. He always ends up saying the wrong thing, he always disappoints Damen somehow and though he can keep his stance straight and his face void, deep down he's terrified he will eventually drive Damen away.

After the loss of his entire family, after the death of Auguste, of living so many years under the sadistic regime of his uncle, Damen is everything Laurent has. And Laurent, warped as he is by nature, tainted and wrong and bad at his very core, doesn't deserve him. He knows he doesn't deserve Damen, who is so honorable, so good a leader, so righteous and mighty. But he wants Damen and he wants him to stay. He wants to be good for him and for Damen to think he is good.

So when the slapping evolves into punching, Laurent searches his own words, his own actions for where the fault lies. And always he finds it. The exact word he said in a meeting with their kiroi and councelors that undermined Damen's authority. The exact moment he stopped to speak with an ill-intentioned courtier who flirted with him and he must have unintentionally flirted back. The provokation implied in a comment he thought was innocuous. And the fact Damen only found more and more of reasons to be dissatisfied with Laurent, despite him becoming evermore self-aware and trying so hard, so much of the time, to please Damen, meant nothing more than the fact that Laurent was a man full of flaws. It wasn't on Damen.

They both agree Damen's assessment and his morals could never be wrong. He is too good and honest a man for that. Laurent is causing all of it.

The oldest members of their guards notice the slow, steady shift. Those that used to compose the old Veretian prince's guard are worried. They whisper among themselves when they see a new bruise blooming in their king's fair skin or hear the shouts coming from inside the royal chambers. But no one dares to raise a voice against king Damianos. Jord or Lazar (or whichever of the prince's guards you like best) goes to Laurent to raise their concerns and ask if everything is all right between him and Exalted. If there is anything Laurent needs. Anything at all. They will stand by him come what will. But Laurent berates them and tells them to keep their noses out of royal business.

Damen is approached by Nikandros and inquired about it when one day Damen unintentionally leaves Laurent with a black eye. Damen finds that is the perfect opportunity to lament about all the ways Laurent has been driving him insane and making him miserable. That he is getting worse with time where Damen had hoped he would have settled and his temperament improved. That years after the events they lived through, he keeps holding Damen accountable for things that should be left in the past. That Damen doesn't blame Laurent for killing Kastor, or torturing him in Vere anymore, so why should Laurent still resent him for Auguste.

Nikandros understands. He feels sorry for Damen, that Laurent makes his life so difficult. He has witnessed their quarrels before, had seen the way Laurent evokes Auguste's name as a dagger to dig into Damen's heart.

Then it becomes common knowledge all around their court: Laurent is as unbearable and hard to reconcile with as he'd ever been, prideful and resentful and cruel. And Damen is the poor man who has to handle him atop a whole kingdom he has to rule. There is no soul in their kingdom that doesn't feel bad for Damen's situation.

What no one seems to notice is that Laurent has taken to flinch whenever Damen lifts his hand. That he tenses when he raises his voice. That he is much more succint and careful with his words whenever Damen is around, because he doesn't want to upset him.

All they notice is Laurent's worsening moods. His renewed bouts of broodiness and anger. That he takes anything and everything out on everyone — the servants, the guards, officials, nobles of the court, the walls and the furniture. Nothing seems to please him anymore. Everything sets off his rage. Which is something else Damen has taken to punish him for, in the privacy of their chambers.

Laurent never cries. Not when Damen tell him how difficult he is, how impossible he makes to love him. Not when he sees the several shades of new and healing bruises all over his body, not when he gulps mouthfuls of his own blood. Laurent hasn't cried since he was thirteen. But he gets more and more hopeless each day that passes and he is proven again no good man could ever truly love him because nothing good and pure remains so in his presence.

Laurent always brings out the worse in people, no matter how he tries to get things right.

But he keeps on trying. Because maybe one day he can. And maybe Damen will see there is good left in him to love even though he makes his life hard and harder every day. And maybe one day Damen will love him easily.

Because all he really wants is to be worth it of Damen's love.

And that's all Damen wants too. He already loves Laurent so much. He would never, ever hurt him again if only Laurent would stop provoking him into it.

#to be COMPLETELY CLEAR #the author doesn't believe a single word the author herself has said in this thing #the author is an avid defender of Lovey-Dovey Lamen #of: Damen treats Laurent like fine porcelain and Laurent basks in it #of: Laurent learns what it means to be truly loved in Damen after so many years of pain #but you ask and you shall receive my loves my children my darlings #Pandemic version of me was in a dark place #captive prince #i'm not going to get into any potential grapey themes regarding L/D in this post sorry not sorry #because though canon would back me up good just writing what i wrote already cost me many more years of life than i'm willing to sacrifice #alright now #dark ficlet-ish #damianos of akielos #dark damen #laurent of vere #and all the other tags idk i don't remember how tumblr goes #i'm begging you to never ask me to write this fic #but if you're brave enough please go ahead take the prompt and run with it #just credit me and etc i think it's more than enough #i ain't gon read it but i'd like to know it was written in case one day dark gabe returns and SHE wants to read it #kinda meta but not really #kinda fic but not really #kinda character study but not really #what is this really? the frankenstein monster probably #any typos are the beauty marks of the text i refuse to read it again to extinguish them

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hopeinthebox · 7 months

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i was tagged by the biblically accurate angels @cordiallyfuturedwight and @aprylynn for the september round up <33

i'm sure there's a perfectly reasonable explanation for this combination of tracks but i'm simply not privy to it. tagging favs if you fancy it: @thvinyl @btscontentenjoyer @spicyclematis @hoseeok @kimchokejin @jihopesjoint @eoieopda MWAH and always @monismochi !!!!!!!

#thoughts and/or feelings (delete as appropriate) as follows:#say you'll be there - and what can i say? it's a spice world and we're just living in it #de selby pt.2 - still has me by the throat. must be the domnhall gleeson of it all #pusherman - love love love but genuinely not a single idea as to where this one came from #talk tonight - potentially one of the dreariest oasis tracks and that's saying something #(i'm a manc so i can say this without risk of being clotheslined by a gallagher in town)#growing sideways - lord forgive me but i do believe it is the season of the sticks. i'm terrified that i might never have met me???#500 psychic damage #teardrop - cover of the century. exceptional. no notes #don't let me get me - because missundaztood is an album and a half #linger - and i will be letting it!!!!! fuck #for us - she's the stand out for me. though don't worry i have already developed an unhealthy obsession with the entire album #american teenager - please for the love of god give ethel cain a chance if you haven't already. no one else is doing it like this #as for the artists. paolo nutini making a strong bid this month. i will always have feelings for you #also something something about every fleetwood mac girlie also being an abba girlie. can't fault that logic.#unrelated i need that stevie nicks barbie so bad i don't know what i'll do #tag #receiptify #mwah mwah mwah #thanks for coming <33

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trashcanwithsprinkles · 2 months

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Ooooo if we’re talking Ashikai- what did you think of her Childe inspiration analysis? I’m not asking about how it may or may not apply to ur fic (though that sounds fun if your up for it!! I just love ur star foxes. Then again… not mutually exclusive ig) but what u thought of it!! I hardly get to talk to anyone about them and ooooough theyre such good videos and leave me reeling everytime.

her childe video was so fucking good holy shit. also i absolutely agree, her videos always leave me sitting there like 'holy fuck', even if sometimes i knew half the stuff she was bringing up, but the way she mixes it with the real-life research and stuff has me,,,,,,,, it's so good,,,

i think the only video that never like- surprised me? or told me something i didn't know or hadn't already like- figured out myself? was the latest one, the one about adepti and their visions. but that's bc i've uh. read xianxia before. so like. you read one xianxia, you know how it's going to go. when she said genshin was a xianxia i was like thank you, that's what i've been saying hahah,,, it was still such a good video, i really liked it;;

#almost choked when she pulled up jc's life falling apart just to use the golden core imagery tho #like ow #you could've just used wwx holding wzl's core :( no need to stab me #anyway #i love all her theories and when i agree with some wholeheartedly i will like- add the headcanon to a fic?#not to say i disagree with most of her theories. p sure i agree with most #but like-#some rely far more in things we don't yet know about the game and adding them to a fic would only really overcomplicate things #hence why i just normally stick to basic headcanons and our current understanding #like logically i've always known we have no confirmation that zhongli is actually a dragon at all #but it's just so much easier to go with the headcanon that he is (even though it's likely incorrect)#than to like- overcomplicate by trying to come up with a brand new explanation #and missing out on the potential characterization from just taking it at face value and going ok. assuming he's a dragon #same with childe #so uh #yeah lmao thank you!

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rmbunnie · 1 year

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While I’m on here i have to say its a goddamn tragedy that the jjba fandom went the basic portmanteau/mashup ship name route because its already full of music references so it would be really fun to get creative with it. In a just world fugonara would be called Strawberry Switchblade instead. A single tear is rolling down my face as i type.

#there is literally so much missed potential!#i love fun ship names #fugonara #narancia #fugo #this is a draft i typed alongside my last post #hence the while im on here part #well not anymore it's not #i don't want to tag fugo because i dont really like him #but i will for clarity's sake and for filtering purposes #to be clear it's not because i think he's a traitor i would actually like him a lot more if he was a traitor #i just think hes one-note and overhyped #a little boring to me #i actually do kinda like fugonara though their dynamic is cute #the best fugo-related thing to me is narancia #which kinda just says it all: he's not bad but the most interesting thing to me is the part where he's friends with someone else #he has his moments though #and if you like fugo great for you! i absolutely do not want to hear about it. but thats great #i might draw him in group things because his design is nice #but like. eh.#that's not the point of this though #jjba #jojo

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lyxchen · 11 months

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Okay look I love Kitty and Yuri together but I don't actually think they should end up together. Because I think Yuri is genuinely in love with Julianna and she won't just give that up. So far from what I've seen they are very much in a good relationship with each other and plan to stay that way. They are cute, they are happy, they have plans for the future and they fought so hard to be together so it would be really unfair and also out of character to just take that away from them especially since they are finally back together now. And I do think Kitty deserves do find a cute girlfriend but it doesn't have to be Yuri. There are for sure so many other cute girl Kitty hasn't met yet that will also be perfect for her. I think Yuri is very important for Kitty because she is part of her self discovery. Kitty found out she was into girls through Yuri and that's great!! But that doesn't immediately mean that they have to be together, especially when Yuri is already in a committed relationship. I do think they are very cute together and would be amazing as friends tho!!

#xo kitty #idk i just wanted to say my opinion #to me it just feels like yuri isn't into kitty #but she is still important to kitty #and this show is all about self discovery #and yuri is part of kitty's self discovery #also i don't want this to sound like yuri is just a plot device for kitty's story #because she's not #she has her own life with her own issues and things she meeds to figure out #but i just don't really feel like she could be a potential love interest for kitty ever though kitty does have a crush on her #and that's fine #because as we've already seen: you don't have to be with everyone you crush on #you can be but sometimes it's also just kot right #also i Love julianna #she's so cute just look at her #i am a yuri x julianna shipper<3 #i love them #and i want kitty to find a very cute girlfriend next season because that's what she deserves after all this relationship drama♡#but also #she's bi (or pan idk it hasn't been said specially)#so it would also be totally fine if she ends up with a boy #idk i just want all of them to be happy okay?#anyways i'm done rambling now i hope i made my point clear #i'm gonna go make some yuri julianna and q florian fanart now♡#xo kitty spoilers

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string-cheese-cake · 11 months

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Nobody asked but white supremacy is the reason why white women are obsessed with true crime.

So when chattel slavery was becoming cemented in the United States and other European areas, the idea of biological race and racial hierarchy emerged to justify the generational enslavement of Africans and the genocide of indigenous people. Africans and other non-whites were labeled as less developed, more susceptible to their "primal urges" and committing sex crimes and therefore needed to be controlled by white men. Specifically to protect white women.

White supremacy is typically framed as necessary to 'protect' (read: control) white women, the mothers of the next generation of whites. They must be protected from "sexually voracious black men" (read: miscegenation and mixed race children). So white supremacy operates on the myth that white women are constantly under threat of sexual violence and must be protected by white men.

That myth becomes baked into the public consciousness, many unaware of the origin or even that the idea is there. It even becomes less racially based, but there is still a common belief that white women are inherently vulnerable to violent crime. Especially among white women. To be fair, it's difficult to not internalize an idea that you are not exactly aware of but is still seeped in every interaction and bit of advice. Don't wander off, don't talk to strangers, don't go out alone or late at night, cover your body, hold your keys between your fingers, take self defense, watch your drink, don't be under the influence. Your body is soft and valuable and delicate and you must protect it.

This idea of vulnerability is reinforced in the news media, which chooses to focus on stories which fit this particular narrative of white women's vulnerability. Missing white women syndrome. This subconscious belief has saturated society. White women develop an outsized fear of death by violent crime. So what do they do? They embrace it. They eat up stories of families like theirs and the deaths of women like them.

It's been suggested that experiencing that fear of violence in the controlled environment true crime provides can be cathartic, somewhat like watching a horror film. There is also a sense of justice and closure felt when the perpetrator of that crime is punished.

In conclusion; White women love true crime because it's a coping mechanism for their deeply embedded fear of violence which was established and is upheld by white supremacy.

#statistically white women are the least likely to be victims of violent crime. they can be and all victims need support but white women are #just not as vulnerable as society makes them out to be. and it becomes the standard of behavior and treatment for women of all races #women don't need control and protection they need empowerment and for men to treat them like goddamn human beings.#i kno im using binary language but u tell me how to better word this. the binary is fake tho. all the little stranger danger things got to #me. walk away from the street don't walk too close to unknown men I'm not afraid of my community!!! no one should be!!!!#we should not fear each other. i understand that violence and assault are real things that happen to people all the time but it's much more #likely to happen to men and women of color. they deserve love and support and real effective change. and white women shouldn't have to #be afraid and feel vulnerable. we need legitimate efforts to address and prevent random violence #not fearmongering and the offloading of responsibility onto potential victims. anyway thank you for coming to my ted talk #why am i talking #maybe I'll use this one day #i wrote this at 2am don't @me. i am right tho. i also like me some ethically filmed #true crime content. it needs to be tasteful though. and people need to be normal about it.

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tenitchyfingers · 11 months

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still not over the end of Barry

#did anyone notice perhaps #i don't know what to do with my life #this shit is hitting harder than i thought it would #and i don't even know what to do about it #generally i'd write fanfiction but i don't have ships here #and i have no notes #i don't want the story to go in another direction #and the original is just perfect as it is #no need to add or change anything #but it also breaks my heart genuinely #fundamentally Barry Berkman is a flawed man who had so much potential to be a good person #and in multiple instances he showed he was always capable of actual love for another human being #hell the bit where he gets Sally after she killed that guy #and told her 'you didn't do this i did - say barry berkman did this' even though he didn't #because the reasoning is 'i'm already broken and a goner & i don't want you to become like me'#what is that if not selfless love #barry hbo #and in many ways i really relate to the feeling of being fundamentally broken #i'm not a murderer but i've felt broken and completely alone so often - matter of fact that's how i live my life #so i can't help it - i'll never resist empathizing with a broken soul #when the world's kicked the shit out of you enough you get it

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bee-in-a-box · 1 year

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more marcus headcanons?

Thank you for asking, Anon! Yes I do have headcanons >:)

(prepare for me looking way too deep into things)

I'm a very big fan of the theory/headcanon that Marcus' eyebrow raise is him turning off the safety on his heat vision

I really like how it changes the context of his eyebrow moments from

"haha I'm so smug and evil >:)"

"This situation is escalating, so I'm getting ready to attack you if you become aggressive + haha I'm so smug and evil >:)""

it kind of gives off the idea it might be out of anxiety

because him raising his eyebrows is a survival reflex.

okay next one

I think Marcus' body is made of aluminum

because

Marcus is waterproof in canon and aluminum is resistant to corrosion

Marcus' body uses hydraulics to move and aluminum is used often in hydraulics and robotics because it's lightweight

he has heat vision and fireballs/energy spheres that come from his hands and aluminum can withstand extreme temperatures

NOT ONLY THAT, but Metal detectors need to have certain settings changed to detect aluminum over other metals, so that's why Leo's metal detector didn't detect Marcus

on that note, I like to think he's like a terminator and that he's got "living tissue over a metal endoskeleton" so his outside is flesh and blood, and the inside is all robotic

because I would honestly HATE to think he has plastic skin and artificial hair. That really bothers me fhdjfjk

The living parts of Marcus are Douglas' DNA for sure

Which goes really well with my headcanon that Marcus was designed to look like young Donald

Douglas just, casually reverse engineering his genetic code in order to make his surrogate robot son look like his brother

I also think that Marcus' bionic intelligence is what gives him his sentience. Like, a lot of himself comes from his programming, but I think the bionic intelligence gives him the ability to learn and adapt, and have negative emotions.

There's no way Douglas would design one of his creations to defy him, but he can't really control how Marcus uses his bionics. So that's kind of my reasoning for that plot-fix

I have more headcanons, but these are the ones I was thinking of off the top of my head since it's been a while since I thought about Lab Rats lore. Let me know if y'all want another of these! Or headcanons of other characters!

#he is fun to talk about when I'm not actively watching the show and then I watch a marcus episode and I'm like #'oh right he's the sitcom equivalent of boba fett'#I.E. his potential was amazing and then he died pathetically #gonna quote myself here:#when I actually rewatch Marcus episodes I'm always a little disappointed when I remember that in practice #his character falls flat compared to everyone else.#He's kind of a one dimensional villain that only becomes interesting in the moments leading up to his demise #or in lore bits that we have to infer from throw away lines.#end quote #still stan him though #we love a guy who dies again and again and again #lot of t-boy swag you can fit in that guy #marcus davenport #lab rats #please don't take this too seriously! these are just my scattered fun little thoughts that are subject to change!

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unproduciblesmackdown · 9 months

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more info, via a couple of reviews:

"Is this the best, most exhilarating, most close-to-perpetual dancing ever to grace the Goodspeed Opera House stage?

It certainly could be.

The new stage adaptation of “Summer Stock” at the East Haddam theater has plenty to recommend it in terms of the canny script and the hummable songs. But it’s the dancing that leaves the biggest impression.

The show is jam-packed with choreography from Donna Feore, who also directs, that is thrillingly executed by the cast.

We’re talking: Gravity-defying kicks. Head-spinning turns. Male dancers lifting and tossing and catching the female ones. It runs the gamut from Cossack-dance athleticism to soft shoe grace, tap precision to Lindy hop energy.

How the cast manages to sing after executing these (literally) breathtaking numbers, I have no idea.

And how do they make it through two performances on some days? Amazing.

Also amazing: the fact that they do all this on Goodspeed’s small stage without making the space feel cramped.

So, yes, the dancing is phenomenal. But there’s more to the show than that.

This stage version of “Summer Stock” — which is enjoying its world premiere at Goodspeed — is inspired by the 1950 MGM movie starring Judy Garland and Gene Kelly. Writer Cheri Steinkellner, though, has reimagined the piece in many ways, making it better, stronger and propelled by a more modern sensibility. (Steinkellner’s writing credits range from “Cheers” to the Broadway adaptation of “Sister Act.”)

The foundational story, though, remains the same: A no-nonsense young woman named Jane is trying to save her family farm. Her actress sister (named Gloria in the version at Goodspeed) brings her compatriots to the farm to rehearse a show. Jane first spars with and then starts falling for Gloria’s beau Joe, the production’s director.

Steinkellner has also changed up the score, to great effect. While some tunes from the movie remain, she has pulled others that are in the public domain (such as “Accentuate the Positive,” “Paper Moon” and “It Had to Be You”), and she has woven them perfectly into various plot points and important emotional moments.

As director, Feore makes sure the whole enterprise has a dynamic spirit. It’s a story and a production that brims with optimism and cheerfulness.

Leading the cast is Corbin Bleu, who became famous with his work in “High School Musical” and has gone on to star in several Broadway shows, as Joe. Bleu is a true, and truly talented, triple-threat. He has a warm, welcoming presence as an actor; he also brings an authority to Joe so you believe he’s someone the actors respect and will follow. Bleu’s singing is strong and lustrous, and his dancing — particularly his tremendous tap ability — is … wow.

Arguably the biggest scene-stealer here is Veanne Cox, as the wealthy, snooty owner of huge property surrounding Jane’s. The way she trills dialogue can turn anything into a punchline. She can wave her arms about as her character repeats “l’amour” and generate audience laughs. When her character falls for the egoistic actor Montgomery Leach (played by J. Anthony Crane with Barrymore flair), Cox burbles with girlish romantic giddiness.

Danielle Wade does her own take on the Judy Garland role. She gives Jane a swagger and a tough façade that reveals a more human self during the course of the story. Wade’s most important feature is her voice, which is potent whether she’s finessing a ballad or powering through a big number. While she can’t compete with Garland’s renowned version of “Get Happy” (who could?), Wade does a good job in the number — choreographed and costumed in an homage to the original — that serves as the culmination of the production.

Arianna Rosario gets to play an interesting arc at Gloria. At first, Gloria seems to be a blithe, self-centered actress, but she later shows that she is quite the problem-solving producer. Rosario makes the transformation believable, as if Gloria is finally letting her real self come through.

The scenic design by Wilson Chin suggests the various elements of a Connecticut River Valley farm in the 1950s while still allowing room for the cast to burst into all of those big dance numbers. And the costume design by Tina McCartney provides a fun and functional take on country clothing of the era.

I will say that the second act could be tightened up (we don’t need to see so many beats of the rehearsal process), but, in total, this “Summer Stock” is sensational." [source]

(hooray for most directly explaining gloria's overall arc)

and the next review:

"A throwback to the golden age of Broadway and movie musicals, "Summer Stock" is a timeless, inspiring song-and-dance tale of good deeds, fairy tale showbiz, classic romance and backstage intrigue played out to such dazzling effect, you want to freeze frame it, take it home with you and watch it over and over again for pure fun and a let's-put-a-smile-on-your-face endorsement. This is Goodspeed Musicals at its best - old-fashioned musical entertainment designed to deliver by the bucket's load, stir the senses, rhythmically intoxicate you and dance up a continual storm of good cheer that's guaranteed to leave you breathless.

Animated. Airborne. Magical. Sweet-natured. Fresh-faced. Dance happy. It's all here, wrapped up in shiny gold ribbons and signature colors that complement and complete the picture with a technicolor flourish, a big bang and an internal logic that flows with appropriate style, stamina, full command and intent.

Adapted to the stage by Cheri Steinkellner, "Summer Stock" replays that popular let's- put-on-a-show conceit where everything rests of the big opening night, the box-office intake, the big kiss between the leading man and the leading lady and how a complete unknown saves the day right before the final fadeout. Here, struggling Connecticut farmer Jane Falbury decides to let her actress sister Abigail and her actor friends from New York use the family barn as a rehearsal space for their brand-new Broadway bound musical in exchange for doing the daily farm chores to raise enough money to keep the business from going completely under. One slight problem. During rehearsals, Jane finds herself falling for the show's handsome director, Joe Ross, who, happens to be engaged to the show's leading lady - her sister Abigail.

Staging "Summer Stock," director Donna Feore ("Chicago," "Billy Elliot," "A Chorus Line"), who doubles as choreographer, creates a loveable, intoxicating show that reels you in, grabs hold of you until the final curtain and lets you fall in love with every little detail, surprise, plot twist, joke, visual gag, one-liner and tilt of her jolly agenda while she articulates every element of this musical story with thrust, warmth, spin and splendid articulation. Directorially, she pulls it off spectacularly. No wrong moves here as "Summer Stock" catches fire with a spark, a gusto, a shine and a 1950s mentality infused with plenty of imagination, originality, style and flair. More importantly, the production never loses sight of its origins, its functional plotting and its love of musicals of yesteryear despite well-intentioned doses of kitsch, takeaway humor, giddy backchat and story arcs right out of the MGM library of backlot moviemaking. Feore, free spirit that she is, fuels the musical with a sharpened wit and sentiment that works especially well as does her decision to let "Summer Stock" remain rooted in the period from whence it came in terms of staging, development, expression and interaction.

Moving from screen to stage," "Summer Stock" retains only four songs from the 1950 MGM musical. The addition of several new songs to the original version of the score turns the two-act musical into more of a showstopping event and adds clarity, luster and vintage spin to its already proven material, its let's launch into another song and dance routine blueprint and its firm grasp on characterization, story evolution and its happily ever after conclusion. At Goodspeed, there are 28 important, recognizable, smartly placed musical numbers. They are: "Get Happy," "Happy Days Are Here Again/I Want to Be Happy," "Accentuate the Positive," "I'm Always Chasing Rainbows," "Always," "Always (reprise)," "It's Only a Paper Moon," "The Best Things in Life Are Free," "Dig for Your Dinner," "Me and My Shadow," "Howdy Neighbor, Happy Harvest," "Red Hot Mama," " 'Til We Meet Again," "You Wonderful You," "June Night," "Some of These Days," "Joe's Dance," "I'm Always Chasing Rainbows (reprise)," "It All Depends on You," "Always (reprise)," "Everybody Step," "Lucky Day," "How Ya Gonna Keep 'Em Down on the Farm," "Hinky-Dinky Parlez Vouz," "It Had to Be You," "Get Happy (reprise)" and "You Wonderful You (Finale)."

Musical director Adam Souza ("42nd Street," "Cabaret," "Next to Normal," "A Grand Night for Singing," "Because of Winn Dixie," "Rags") grabs hold of the "Summer Stock" score and allows it to breathe, gesticulate, excite, envelop and rhapsodize with the golden age sentimentality of MGM movie musicals and the timeless, larger-than-life spirit of old Broadway. Here, every song matters. Every song is important. Every song travels down memory lane. Every song is tuned to the max with sweet, centered, warm-heartedness. Every song fulfills its intended purpose. All of this is complemented by the strong, flavorful sound of Souza's orchestral team, all of whom share his tremendous sense of theatricality, musical interlude, impassioned communication and delight of the actual musical itself. They are: David Uhl (bass), Sal Ranniello (percussion), Liz Baker Smith (reed 1), Andrew Studenski (reed II), Travis Higgins III (trumpet) and Matthew Russo (trombone). As with other Goodspeed musicals, Souza doubles as conductor and keyboardist. As "Summer Stock" zings and pops, pretty music every song unfolds with a contagious orchestral musical glow, matched by the splendid musicality of the entire cast who address the catchy, homespun music and lyrics with perfect harmony, rhythm, phrasing and nostalgic commitment. These elements heighten the on-stage mode of the production, its progression from Act I to Act II, its send offs, its pastiche and its electrifying, barn-raising influence and thwack.

As with any big stage musical, choreography is key to a production's success, its fluidity of form, its artistic expression and its accompanying dance routines. Here, Feore, as choreographer, gives "Summer Stock" a highly personal touch of invigoration and speedy excitement that is tipped and generated with wonderfully elongated inspiration, stamina and determination. This is star quality choreography that peaks, shines and tilts with clever build ups, catchy dance steps and bold, concentrated rhythms, moves and beats that joyfully celebrate 1950's musicals in all their technicolor glory. As storyteller and dance interpreter, she brings great dimension and scope to the piece using techniques, styles, descriptions and an enriched canvas of thoughts and ideas that make their mark most engagingly. Everything that happens on the Goodspeed Musicals stage has been beautifully blocked, rehearsed and staged with such thrust and individuality, no two dance numbers are alike. In fact, once "Summer Stock" catches fire, there's no stopping it. Creating a freshly minted fusion of moods, tableaus, lifts, twirls and swirls, Feore pays homage to the actual vintage look and mindset of the musical, its dance-friendly art form and its free-flowing feel of excitement and exhilaration. Hands pop. Arms move heavenward. Dancers smile and glisten as they passionately ignite into joyful visions of sweetness, passion, frenzy and syncopation. Everyone is lost in the moment illustrating the traditions, the conscience and the power of musical theatre, giving and getting the most out of Feore's phenomenal, ovation-worthy choreography. Trained, drilled and confident, they each get a chance to shine - and shine they do - all making strong impressions that will live long in memory.

Making his Goodspeed Musicals debut, Corbin Bleu, as Joe Ross, a character originated by Gene Kelly in the 1950 film version, creates a "Wow!" song-and-dance-man factor chock full of charm, personality, self-confidence and full-beam, champagne delightness that astounds, cajoles and sparkles with leading man gait and luxury like no other. No matter what he does, he's a proverbial triple-threat (i.e., a player who excels at acting, singing and dancing) who makes everything that happens on stage feel fresh, spontaneous, real, raw and very much in the moment. It's in his eyes. It's in his moves. It's in his expressions. Exhibiting a sweet, contagious rapport that extends far beyond the footlights, it's the performance of the year and one that Bleu exudes with a Gene Kelly/Fred Astaire aura of showbiz savvy, knockabout whimsy, graceful athleticism and sterling encapsulation. "Joe's Dance," a solo dance number in Act II performed by Bleu only furthers that notion.

In the role of Jane Falbury, a role made famous by Judy Garland in the original "Summer Stock" MGM musical, Danielle Wade lights up the Goodspeed Musicals stage with a breezy, intuitive musical comedy performance of real warmth and spirit that is a constant joy to watch. Veanne Cox, cast in the role of the wickedly devious Connecticut farming magnate Margaret Wingate, is jaw-dropping brilliant, using humor, music, dance and melodrama in divinely daft and glorious ways that prompt applause and laughter whenever she's in the limelight. It's a scene-stealing performance so seamlessly entrenched in glee and fiery abandon, Cox, would be the ideal choice to play narcissistic Broadway diva Dee Dee Allen in the 2024 summer presentation of "The Prom" at Playhouse in Park in West Hartford. I'll personally deliver the contract. Other memorable performances are delivered by Arianna Rosario (Gloria Falbury), Stephen Lee Anderson (Henry "Pop" Falbury), Gilbert L. Bailey II (Phil Filmore), Will Roland (Orville Wingate) and J. Anthony Crane (Montgomery Leach). A musical escape brimming with delightful songs, engaging performances and full-beam dance numbers, "Summer Stock" is not only a bubbly tonic for theatergoers of all ages, but one that kicks nostalgia into high gear with uncomplicated bliss, fizz and vintage sparkle. It sings. It dances. It pops. It dazzles. Like "42nd Street" which played Goodspeed Musicals last season, it overflows with Kelly/Astaire lightness, punch and precision, sunny vibes and well-played exactitude. The energy displayed here is fast and furious with first-night exhilaration and thrill paired especially well with Corbin Bleu's charming star turn, Danielle Wade's joyous "Get Happy" abandon and Veanne Cox's well-prepped, icy cool villain. This is musical theatre of the highest order - infectious, irresistible, glorious. Its leave-your-troubles-at-the-door/Let's-put-on-a-show mentality accelerates with sparkle and cherry pie goodness. And boy, do we need it now!" [source]

(the reference to jane's sister abigail uses the film's names: abigail becomes gloria in this production, which is the name of abigail's actor in the film, which also mirrors how the role of herb is now phil, also the name of herb's actor in the film)

(also shoutout to providing A Full, Chronological List Of Songs. noting that according to another interview, intermission would be between "you wonderful you" and "june night")

#summer stock #dearth of peak relevant info for our purposes otherwise lol but hey #pressing f for danielle wade's performance Tending to be juxtaposed w/either corbin bleu's or judy garland's #which in fact doesn't always mean their going ''eh comes up short Relative to that comparison but good enough'' but yknow #also that role just isn't gonna be designed to be the most thrilling lol...let's get those character(tm) parts babeyyy #further photos of that preview performance do suggest there's more like midshow conflict b/w jane & gloria vs Only getting along great....#and intrigued here if it's like yeah gloria can be written to have Flaws kiiinda like the film dunking on her though not as much as it #(though not as much as it might've; parallel to orville; relevant to their compatibility lol though in this show it indeed just might not #go for ''conveniently gloria's also always already liked him & orville's just glad someone's being nice to him'' lmao. & in fact yes the #material already in the film was like hm sure could be the queer readings in these ''so you're doing cishettery wrong'' roles here #and going aw man wrt the comedy boys herb/phil & orville/orville not getting to interact more #herb getting to make One reference to kinda being the outsider/misfit even amongst the troupe like hey more abt that? what's your job also #meanwhile yeah you can do something like ''oh gloria has this idea re: being The Star but isn't actually as interested in that Process''#but that then instead of that Just being her at odds w/jane & her coming up short she can have her own arc still #finding out what behind the scenes work she Does want to do; jane & gloria of course ending up being mutually supportive one imagines #rather than jane Just being freer from Dealing With her lesser sister or what have you; whom can graciously enough accept this #and ofc we don't Need the partner swaps for everyone's guaranteed happiness communicated through ''they're not single''#whilest the lack of [oh this backup relationship was here the whole time kind of] does make your potential love triangle trickier then lol #hence perhaps some more significant conflict if you're like kissing your sister's date or what have you & she can't Just(tm) have yours #but then being The Lead can't be the ultimate of All [doing theatre]; having kissing status w/a guy isn't the ultimate of all Arcs/Life #(though noting tim wasn't Relieved if another ostensibly straight romance; a cliche in the modern musical; wasn't shoehorned in there...)#(also the awkward notes about Male Dancers and The Female Ones like alright? supposed relevance Where?)#long post ///

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