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angelbowerz · 5 months

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Being the only girl at Welton Academy/your first day

Movie- Dead poets society

Summary- it's your first day at Welton academy and you get taken in by the dead poets♡

-you started a few days into the semester and you basically spent your first day getting introduced to the school (no classes)

-you'll get a teachers room as your own dorm (with an en suite) because you obviously can't be sharing a bedroom and the showers with boys😭

-when the boys saw you walking to your dorm..their jaws DROPPED

-Cameron was the only one who disagreed with the idea

"This is called an all boys school for a reason🙄"

-when their classes ended for lunch, they were all hovering over your door until someone had the courage to knock on the door (cough cough Mr Charlie Dalton cough cough)

-when you open the door he gives *that smirk* and says "hello there pretty lady, need any help with anything?😏"

-all the others was just gawping, too scared to say anything

-After you finish packing, you go to Mr Nolan's office to find out what extra circular activities you get

-he gives VERY strict rules of no dating..blah blah blah

-then he says you're getting a tour from his 'best student'..more like favourite student

-and who walks through the door? Do I really need to answer that?

-OF COURSE IT'S RICHARD CAMERON

-the most awkward tour...mainly because

A. He doesn't want you at the school

And

B. He spends the whole time actually talking about the school (no small talk)

-At the end if the tour, Charlie finds you and says

"Ohhh it's the pretty lady...well hey, why don't you come meet my friends? ;)"

-the whole time you're sitting with the dead poets at dinner

Charlie just flirts with you

Todd is too shy to say more than 3 words

Cameron either talks about lessons and shades you until Charlie shuts him up

Meeks just watches you in awe and giggles the whole time

Pitts just blurts out random nonsense then just awkwardly laughs afterwards

Knox just talks about Chris

Neil is the sweetest one who generally keeps a conversation without flirting the whole time (cough cough charlie once again)

-Charlie invites you along to a dead poet meeting and Cameron just says

"Guys, do we really need MORE members"

-Charlie just puts him in his place (as per usual)

-anyway...later that night ya'll sneak out to the cave

-you sit (forced) next to Charlie

"I'll protect you pretty lady ;)"

-Meeks+Pitts still watches you in awe the whole time

"Your hair just looks so...amazing"

"Yeahhh...amazing"

*giggles*

-Neil and Cameron are the only ones who actually reads from the book

-Charlie does some overdramatic performance just to impress you

-Todd rarely speaks but sometimes smiles at you (cutiepie)

-what does knox do? Oh I wonder...TALKS ABOUT CHRIS THE WHOLE TIME!!!

-After they notice you getting sleepy ya'll sneak back into the school

-then you all go back to your dorms and fall asleep

#dead poets society #dead poets #dead poets headcanons #neil perry #todd anderson #gerard pitts #steven meeks #stephen meeks #charlie dalton #richard cameron #todd x neil #neil perry x reader #todd anderson x reader #gerard pitts x reader #steven meeks x reader #charlie dalton x reader #knox overstreet

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puckspoetry · 4 months

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DPS: Charlie’s Moment

Charlie takes the phrase “carpe diem” to heart throughout the entirety of the film. This is seen most evidently through his “phone call from God” moment. Charlie sneaks in an article demanding that girls are allowed to enrol in Welton Academy. As Keating has taught the Poets that in order to live a life that is truly theirs, they must commit to what they are passionate about and take advantage of opportunities. Charlie’s phone call from God is often seen as his Carpe Diem Moment and is regarded as such for the remainder of the film.

Throughout the film, Charlie looks up to Mr. Keating as he is someone who ignores societal rules and standards; something Charlie strives to do in his every day life. Keating’s attitude towards life inspires Charlie, however his journey is not as central as Neil or Todd’s. Charlie admired Keating as he encourages free thinking and passion for a group of young boys who find themselves constricted by the pressures of conformity and success. Charlie takes great pride in himself and wants to put Keating’s motto to good use which is seen in various points throughout the film.

However, it is in my unprofessional opinion that I disagree with Charlie’s Carpe Diem Moment being the phone call from God. After Neil’s suicide, Charlie’s child-like mannerisms take an enormous blow leading him to becoming protective of his friends yet drawn back in nature. Neil’s suicide takes a massive toll on the entire group and results in Cameron ratting the Dead Poets Society out and blaming Neil’s death on Mr. Keating. Throughout the film, Charlie refrains from lashing out against Cameron (someone he has never liked or wanted to agree with) but this all changes after he finds out what Cameron does.

Neil and Charlie were best friends prior to the film’s setting and they continue their brotherly bond for the entirety of the movie. Charlie confronts Cameron and accuses him of ratting out the group and blaming the situation on Keating. Charlie has changed from someone who refrains from lashing out too harshly to someone who refuses to let injustice pass by. He punches Cameron in the face, and makes this his real Carpe Diem Moment.

Charlie’s punch wasn’t a simple act of defiance, it was him avenging Neil’s death and refusing to stand by as his world goes to hell. This punch is years of pent up anger towards Cameron, however it also includes the memory of both Neil and Keating. Charlie was willing to put his future at Welton on the line in order for him to set the record straight. This proves Charlie’s nature as the caretaker of the group even though this is not blatantly seen. Charlie’s real Carpe Diem Moment was promising Neil that his death would not be meaningless; that his death was not a simple mistake, but a claiming of independence.

I’m so trademarking “Carpe Diem Moment”

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heliads · 2 months

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If requests are still open :) Something for dead poets society, just sth with the gang having a good time, maybe trying to stage a play in the woods? Tbh just a everyone lives and is happy AU with fluff and winter and hot tea! (while I love this book I havent read it in a very long time...)

ok consider an everyone lives au but they are not 100% happy. (i am incapable of not writing angst my apologies) also this is movie dead poets society not book because i have not yet read the books whoops. hope you enjoy xoxo

'and it's not tonight' - dead poets society

masterlist

Todd Anderson is looking out the window at a gray, blustery morning, when they ask him if he’s going to be alright. It wasn’t quite certain before then. It’s not quite certain now, either, even after he answers.

“Of course,” he says somewhat unconvincingly, “Why do you ask?”

Behind him, Charlie Dalton raises a dubious brow. For once in his life, he’s holding himself back, but the situation requires discretion, and who is he to mess up at a time like this? He’s already been warned about treating Todd like a glass doll rather than a paper mache target, but even Charlie can tell that now is the time to pull a few punches. The hollows under his friend’s eyes are far darker than they were a couple of months ago. He wears unease like a well-traveled coat, thin at the elbows and rubbed raw at the seams.

“Look at yourself,” Charlie answers at last, “You’re exhaustion walking. And don’t tell me otherwise, I’ve got eyes.”

“I should hope so,” Todd remarks, and permits himself a small curl of his lips up into a half-smile. Half-smiles are good, though. Almost there to the real thing. So he’ll tell himself, at least.

Even a half-smile can let Charlie know that he’s alright. The other boy breaks into a well-intentioned snorting laugh. “Hey, ask any girl in town and they’ll tell you I’ve got beautiful ones. ‘Sides, Anderson, you know everything’s alright. The stuff with Neil was cleared over, right? He came back.”

“He came back,” Todd repeats somewhat weakly.

“Yeah, yeah, he came back,” Charlie confirms, walking over to clap his friend on the shoulder, shaking him a little bit just to mess with him but mainly to get his affections across. “He’s a little more tired than he used to be, and we’re all plenty scared from what could have happened, but overall we’re glad to see him again. His parents realized they messed up in the nick of time, and even if they wanted him under watch for a little bit, he’s back and we’re back and everything’s alright. Capiche?” He asks dramatically, wiggling his eyebrows for a bit of flair.

“Since when are you Italian?” Todd asks doubtfully.

“Since the situation requires it,” Charlie answers him, and slings an arm around the boy’s bony frame. “Come on now. The snow’s cleared up, and even if all that does is remind us how little grass grows on our campus, it means we can go into the woods again. I’ve been talking to the boys and we all agree that it’s time to dust off our finesse with literature. What do you say, Todd? You up for another rousing poetic exchange tonight?”

Todd jerks his head up and down in a hasty agreement. “Yeah. Neill’ be there?”

“Yeah, and me, and Knoxie, and everyone else you forgot to mention,” Charlie says in a tone of mock outrage. “God, you live with the guy, don’t you? Can’t you spare some excitement for the rest of us, too?”

Todd rolls his eyes, and finds the grace to elbow Charlie in the ribs. “Spare me the self-indulgence, Dalton. I’m glad to see all of you.”

“Don’t I know it,” Charlie affirms. “It’s been a while since we were all together, yeah?”

Todd blows out a low breath as they walk back towards the halls. It has been a long time, or it felt that way, at least. After the– after the incident after the play, in which Neil was found in his father’s study with a gun in his hands about to blow the trigger, it was decided that all of the pupils of Welton Academy would go home for a short period of time to clear their heads and come back ready to face the end of term.

Mainly, Todd thinks it was so rumors couldn’t spread about just what happened with Neil Perry to take him out of school, and he’s glad for it. Neil doesn’t deserve to have everyone whispering about what happened to make him decide that the best thing for his life was to end it. Neil deserves the world, and none of them could give it to him.

That was the worst part of it all, Todd decides. The guilt, how it wrapped around him in wires as strong as the heaviest chains of iron. He couldn’t escape it. If he was really Neil’s friend, he would have known. If he was really Neil’s friend, Todd could have stopped him. If he was really Neil’s friend, Todd wouldn’t have found out about the attempt the next morning, quietly awoken from drowsy sleep by a Charlie Dalton with eyes like a stricken soldier as he lurchingly informed Todd that Neill Perry had tried to kill himself the night before. And none of them had known. And when his father had taken the gun away, Neil fought and screamed for it, worse than he did when he tried to convince his parents that he wanted to act, louder than he protested that he would be sent away to military school.

And then they were alone. At home. The worst place for boys to be. Should you grieve the friend who is not dead? Do you call each other on the phone, and ask if you have been playing any sporting games with other boys your age, or if you have given any thought to the fact that your friend might not have wanted to die if you had praised him more in class, or clapped louder when he performed, or said something– anything– to this beautiful, brittle boy?

They don’t say any of that. They think it quite loudly, but unspoken thoughts do not travel well over the telephone. The flittering ghosts of would-be words tend to get lodged in the coils of wire from receiver to housing, across the street and over the miles of terrain until they reach the abode of the boy on the end, who also has a lot to say but won’t. And then they both stay silent. And they both know exactly what the other wanted to say anyway. That is how friendship works.

They came back, though. Welton sent out a series of letters to usher back the pupils, even had its secretaries working overtime to call the people who never seem to answer their mail. There was another rush of cars and luggage to the dorms, and then they were settled in again. Todd had wondered if he might be assigned another roommate– anyone other than Cameron, God, but preferably Neil still– and then the door had opened quietly and Neil was there again, trying for a brave smile, and saying, “Todd?” in a voice that had once rung pure and true through a theater that loved him.

Todd loves him for it. He’d embraced Neill with open arms, felt the air punch out of his lungs in one strike, but it came back. He came back. They were alright again, sort of. They might be alright in time, but time is what they have.

Now they’ve all been waiting for the snow to melt, and treading on thin ice around topics they don’t dare broach. Neil has been a good sport, never making them feel awkward for wanting to treat him like a china doll. He was good before, too, though, and– It gets hard to tell sometimes, that’s all. Hard to tell when he genuinely is unbothered and when he’s superbly good at pretending otherwise. They stick to safer subjects anyway.

At last, though, the ground is firm, the weather not terrible, and Charlie’s gone and rallied the troops for a night out there. At first, Todd’s first instinct is to panic. They aren’t supposed to be having any more meetings of the Dead Poets Society, not since Keating was the scapegoat for all the trouble and everyone cracked down on what makes a good boy want to escape, but over time he realizes that it’ll be alright. Some things are worth the risk. Making Neil smile again is one of them.

They meet at midnight. Todd sits awake with bated breath, even though the act by itself isn’t even all that unusual. They’re teenage boys. Staying up until the moon hangs high and lofty in the sky is expected, not uncommon. Still, a delicious shiver of inherent wrongdoing whispers down his spine when Neil walks slowly into the center of their shared dorm room and says quietly, reverently, “It’s time.”

As if the others had been waiting upon that very proclamation, the remaining boys peer out into the hall immediately after Neil and Todd silently close their door behind them. Their eyes meet with shared secrecy, shared triumph, and they make their way down the wooden stairs and out into the bristling chill of night. The stars are out tonight. We are all out tonight.

They all start heading out into the woods. Charlie takes off like a flash at the end of a matchstick, hurtling at a runner’s sprint across the hills, and the others follow him at varying speeds. Todd begins walking at a normal clip until it occurs to him that he doesn’t see enough heads bobbing around him and he turns to see Neil hesitating by the door.

They lock eyes, and Todd sees a whole host of things swimming in brown irises, fear and apprehension and a sick sort of guilt that makes Todd’s stomach squirm in sympathy. He gives Neil one last moment over the threshold, then jerks his head towards the others, putting a little faux arrogance into the gesture in the hopes that an actor might appreciate an act in someone else and remember what it is like to trust oneself again.

Neil accepts the move and grins, his teeth flashing in the moonlight. “I’ll race you to the caves,” he calls, and begins to run, his footsteps sure and strong.

Todd stares after him, an astronomer watching his first comet, then takes off after him. The grass is dry and quick under his feet, spread out under each footstep like the wake of a speedboat. The wind, already coarse, pulls at Todd’s skin, his hair, his clothes, but not even the strongest gusts could keep him down. Somehow, he’s already to the edge of the forest, and he lets out a loud, delighted whoop. A barbaric yawp, if you will. Somewhere in the back of Todd’s mind, a dark-haired man in a comfortable brown sweater smiles indulgently, and chalks up another small victory to the wonders of poetry.

The second his war cry leaves Todd’s throat, the other boys swarm him like moths to a flame. Someone claps a hand over his mouth, and around him, laughs echo into the crunching of leaves underfoot.

“Don’t be so loud, you’ll get the professors on us in no time,” someone admonishes, but then a different boy cuts in, “Don’t be stupid, we’re far enough out that we can all be shouting,” and Todd’s punishment is lifted and he can yell once more. His defender– Neil, it must be, no one else can make their voice ring with glory like that in just a few words– joins in in the triumphant calls, and then they’re all shrieking up to the stars above, here we are, not boys and not men, bold enough to scream and young enough to never listen.

Todd thinks, as they run through the forest, that it’s been a while since he let himself go free. He hasn’t listened to his mind in a long time, hasn’t let the words roll around in his brain, loose marbles of similes and paraphrased poems. His musings are dusty, dark things most of the time, but sometimes the light catches them just right and they glow like sapphires. He could write a thousand stanzas if he wanted to, right now, and everyone would listen.

The Dead Poets Society reaches the caves and a hush falls among the crowd. Slowly, they edge inside, eyes wide. The rock faces and crumbling caverns should be different, Todd thinks, something should mark the passage of time and all the awful things that have twisted their fates since the last time they sat together and thought of prose, but the stones still look as they did the last time they were here. The moss grows in familiar patterns, albeit a little thicker in certain patches now that it hasn’t been scuffed by boots in a month or so, but one of Charlie’s magazines that he forgot to take back with him turns up under some spiderwebs, and Todd’s favorite place to sit is still just as inviting. Maybe, then, the only thing that changed was them. Maybe that’s all that needs to happen.

“So?” Meeks asks, settling into a seat, “What are we doing tonight?”

“Poetry, duh,” Charlie answers him, rolling his eyes fondly. “We’re the Dead Poets Society. What else would we do, peruse our textbooks?”

This earns him a vengeful swat on the shoulder from Meeks, but even Charlie can admit that the question was fair. They’ve read plenty of poems, they’ve written a few, they’ve even gone off and run some improv limerick challenges, although Todd notes that they haven’t brought nearly enough alcohol for that tonight.

After a few moments’ thought, someone suggests a play. It might be Todd. Instantly, the idea is accepted, and roles are divided out. They’ll be doing Hamlet, since there are plenty of long sticks outside and everyone is quite fond of the idea of pretending to run each other through. Pitts is already practicing his death rattles, except he’s not very good at it, and it sounds more like he’s hacking up a lung or two.

Neil, though, is glowing at the idea, and even though they haven’t got any scripts so everyone is mostly just planning on paraphrasing the hell out of one of William Shakespeare’s finer works, Todd gets the idea that Neil has a few memorized soliloquies rattling around in his head already.

Good, then. They’ll enjoy tonight, and the next night they’re out here, and the one after that, too. It has been a very long winter, but Todd has caught his first glimpse of new spring, and he gets the feeling that warmer, sunnier days aren’t the impossibility they seemed a few weeks ago. The days are healing, and they will too. And so the Dead Poets come back to life.

requested by @reinekes-fox, i hope you enjoy!

dead poets society tag list: @faerieroyal

all tags list: @wordsarelife

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lovings4turn · 9 months

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could you write some fluff for charlie dalton? like watching scary movies together <3 i love him sm ugh

as a horror movie lover, i love this idea!

“oh fuck!” charlie exclaims, a laugh escaping his lips seconds later as the initial adrenaline of the jumpscare washes over him.

there's popcorn littering the floors thanks to both of your previous jumps and frights. it's inevitable — no matter how good you are with scary movies, the jumpscares will always get you.

"you okay there?" he teases, moving to wrap an arm around your shoulder and pull you closer to him.

it's a cliche move, but because it's charlie it's hopelessly endearing, and you take the chance to lean into his warm body. his worn welton academy jumper is soft against your cheek, and you accept the opportunity to nuzzle further into his chest.

"don't worry, babe," he teases, lips pressing to the crown of your head. "i'll protect you."

his facade lasts all of two minutes before he's screeching again, arm leaving your side to grasp tightly onto the pillow to his right.

#.° ༘🗝️⋆₊ becca’s drabbles #charlie dalton #dead poets society #charlie dalton x reader #charlie dalton drabble

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dpsthinker · 10 months

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what are y’alls thoughts on a dead poets society prequel/sequel?

I’ve always wondered WHAT’s their story. even mr keating was in dead poets society. what happened to that?

or what is welton academy like AFTER the dead poets’ situation. like is there still a dead poets society…. but with new members? how’s charlie doing? how are my dead poets doing?

i really love the endless possibilities of interpretations and canons (literally the sole reason of its longevity), although i really wished we had an explanation???? or more like a follow-up. but sequels in this day and age DO NOT do justice to the original movie. so… 🤔

#dead poets society #dead poets #stephen meeks #neil perry #dps #todd anderson #gerard pitts #steven meeks #anderperry #charlie dalton #knox overstreet #mr keating #dos headcanons #richard cameron

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alonee-together · 11 months

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For the DPS girlies, I present my 10th grade English literary analysis of Dead Poets Society.

no I do not know where the works cited is. yes I have always been a Knox apologist.

Transcendentalism in Literature and Dead Poets Society

“Nothing is at last sacred but the integrity of your own mind,” (Emerson 1) states author Ralph Waldo Emerson when discussing nonconformity. During the beginning of the nineteenth century and in a society of monotony and repression of individualism, thinkers such as Emerson and Thoreau began to question these social morals, creating a genre of literature called transcendentalism. The ideals of this movement involved themes such as living life to its fullest potential and defying conformity in society. Similarly, Peter Weir’s film Dead Poets Society touches upon the conformity of American society in the 1950s, in which several issues such as fear of communism drove citizens to submission. The film Dead Poets Society is a transcendental piece through the themes of living life to the fullest and nonconformity as seen in several works of transcendental literature.

In the essay self-reliance, Emerson tells the reader, “speak what you think today in hard words and tomorrow speak what tomorrow thinks and hard words again though it contradicts everything you said today” (Emerson) Like many of the greatest transcendental thinkers, Emerson acts on the principle of speaking one's mind and never holding back.Another piece of this is to not worry what others think of the ideas and the contradiction Express because “a foolish consistency is the hobgoblin of little Minds”( Emerson). Mr. Keating also expresses this idea when quoting Thoreau, “most men lead quiet lives of desperation. Don't be resigned to that break out.”Mr. Keatings sole purpose throughout the movie is to let the boys have the chance speak out and be themselves and a society of Conformity and similar thinking. To promote the idea of seeing what One Believes rather than every person and what Society wants to hear. similarly Thoreau also believes this.

The idea of living life to its fullest is pervasive in the film Dead Poets Society. A man in love, Knox Overstreet stops at nothing to get the girl he adores so dearly. A popular theme of the transcendentalists is the power of romance and passion. Knox decides to call up Kris, stating: “I’ve been calm all my life, I’m gonna do something about it,” (DPS) and in true nature of these authors, takes a chance and decides how his life will play out. Their new english teacher Mr. Keating, an almost replica of Ralph aldo Emerson, teaches the boys to see for themselves and dictate their own paths. He remembers his days at Welton Academy where they: “let [poetry] drip from our lips like honey,” (DPS) as they took control of their lives and defied strict doctrine of the school by forming the original Dead Poets Society. As if these young souls were: “nature without check with original energy,” (Whitman 1) their formation of the society is much like the nonconformity and nonviolent rebellion justified by transcendental authors such as Emerson and Thoreau.

In order to live one’s life to the fullest, one cannot submit themselves to the monotony of society. Ralph Waldo Emerson discusses in his essay “Self-Reliance” that a man: “must be a nonconformist” and if one is able to: “absolve you to yourself”, then they can achieve: “suffrage of the world,” (Emerson 1) reminding readers to think for themselves and disassociate oneself with conformity. Of course no transcendentalist would endorse violence, however peaceable revolution in the means of civil disobedience is called for by several thinkers. Why should citizens be forced to fund a nation built upon corruption and negligence? In Thoreau’s essay “Civil Disobedience,” one should be oppressed no longer, yet: “break the law. Let your life be the counter-friction to stop the machine” (Thoreau “Civil Disobedience” 4). The “machine” is a representation of the never-ending cycle of conformity and individualistic repression in society. Thinkers like Thoreau proposed that people should strive towards governments which: “governs not at all” (Thoreau “Civil Disobedience” 1), and that: “we should be men first, and subjects afterwards” (Thoreau “Civil Disobedience” 3).

The film Dead Poets Society is a transcendental piece due to its connection to the theme of living life to its fullest and nonconformity seen in transcendentalist works of literature. The main ideal for transcendentalists was to be able to think for themselves and live their lives to their fullest potential in a society of conformity and monotony. This theme is present in the film by the character Knox Overstreet’s actions in the name of love, and the formation of the Dead Poets Society itself. According to transcendental literature, to be able to achieve full potential in life, one must walk to the beat of their own drummer, and defy conformity by means of civil disobedience. This ideal is present in the film by the final scene in which Todd Anderson finally gets a voice in defiance of the “machine.” Over 100 years later, the works of transcendentalist authors, poets, and thinkers, still resonate in the world. Complete global peace has yet to be achieved, so there will always be peaceful rebels inspired to overthrow their oppressors, with justifications from authors such as Emerson and Thoreau.

#dps #dead poets society #knox overstreet #todd anderson #john keating #love me #plz im begging #show me validation #charlie dalton #walt whitman #henry david thoreau #dps fandom #i’m bad at spelling

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merp-blerp · 2 years

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Movies that Might Make Good Musicals in My Opinion & Why

So I made a list of musicals that might make good movie musicals before, so now I'll do vice versa. Just like most list I make, this will be long, detailed, and possibly edited later. Sorry, lol.

Dead Poets Society

So I've heard talk of this already existing or being in development, but I haven't seen anything, so this might just be more of a “what I hope for” thing. The movie was also already a stage show. This should have a John Patrick Shanley’s Prodigal Son type vibe, not just because Robert Sean Leonard is in that show too, but the sense of the script and feel of the show. I can see the music having a Spring Awakening sound to it. I think a musical would be a great way to improve upon the film in some areas, like Knox and Chris’s romance that bordered on creepy (and underdeveloped), and the Nuwanda stuff that was pretty insensitive to Native Americans. Also, maybe change how... white the film was, in terms of cast and extras. Brown v. Board had happened by 1959; there could've been students of color (maybe the casting reflected how rigid Welton Academy was, but that should be acknowledged, which it wasn't, if so). And please keep Neil and Todd’s queer subtext, or better yet, make the queerness explicit. And I don't know if he can sing or anything, but I'd die to see Ethan Hawke, or really any of the og poets play Keating. Ethan now just reminds me the most of Keating for some reason, and I think it’d be touching.

Wild Nights with Emily

Emily Dickinson’s poems are famous for being pretty musical, so a musical about her would be cool. Wild Nights with Emily is one of my favorite piece of media about Dickinson because it doesn't portray her as a boring shut-in who wrote boring poetry, a far cry from who she was. It was also the right amount of silly for me personally (I love Apple TV’s Dickinson, but the modern humor could be a bit much for me sometimes. But that's just a me thing, not an inherent flaw of the show. It's storyline is also a bit too long for a musical, it being a series). Turning Emily’s poems to songs would be easy (?) because of how she wrote them; they already fit songs like "House of the Rising Sun", "The Yellow Rose of Texas", etc. Dickinson’s “Split The Lark” song kills me every time (straight up cast Ella Hunt in this hypothetical show would be a cool idea). And I could see Mabel singing lines from Emily's poems and warping them as a villain song since she seemingly did that in real life.

The Sandlot

I love musicals staring a bunch of kids. I like feeling impressed and like they're more talented than me. The Sandlot would be fun. I could see it being performed in the round. I don't have many detailed thoughts about this one right now honestly. I just like the idea. And I love this movie.

Rocketman

This one feels like it was supposed to be on stage from the get-go. The movie, especially during the title number, felt like the world’s most detailed proshot. Not a flaw to me, but to some.

The Iron Giant

I'm glad this once underrated flick has gotten more attention over the years. Even though it's amazing, I always felt like there could be more to it. Like we could develop Dean and Annie's relationship beyond one or two-ish scenes of bonding and boom! Relationship. Or maybe cut out their romantic connection entirely, as it's not necessary. And include the deleted scene (that was included in the extended cut) of Dean seeing Giant’s dream projected on the his TV so that his views on Giant changing when he almost attacks Hogarth make a bit more sense. I think it wouldn't hurt for the story to be longer. I don't know how the technicalities of the show would work with Giant and how big he is. There's a King Kong musical, so maybe something like that, or of course scaling down Giant in the process but still making him big. It’d be an impressive puppet.

Secondhand Lions

This film should be a classic! If you haven't seen the it I recommend it. It has a similar-esque story to The Iron Giant, being about a boy making friends with a non human creature (a lion if you didn't guess). The film just deserves more attention. EDIT: So I recently rewatched this film and notice what might be the actor playing young Garth (who's white) with a painted face to look darker during one of Hub’s backstories. It might've just been the lighting on the scene, but it might not be. This would obviously be really bad, so some kind of musical remake could be an opportunity to fix this issue. Just a heads up that it might be there.

Pippi Longstocking

If you can't tell, kids' movies to me would be the easiest to turn into musicals. I grew up with the Swedish version of Pippi (English dubbed) thanks to my dad. I loved it, along with the American film, cartoon, and even the Shirley Temple Show version. It could work as a musical. The films and show already had their own different theme songs.

The Lorax

I know this might sound odd. Of all the films on this list, I want this one the most. The Illumination film, while fun, had a lot of flaws (no shame if you still liked it), such as marketing for the film contradicting its own message, the film being too safe, etc. But that's exactly why I think a stage show would work. It could improve on the film. Like having better characterization and being less gimmicky. I would also want it to be a bit more faithful to the book/TV short film in a few ways. If it's possible on stage, I liked the idea of obscuring The Once-Ler’s face to symbolize that he could be anyone, including the audience if they let themselves. Maybe even make Once-Ler a gender-ambiguous role to reflect that more. And the story ending with the child (Ted in the film, unnamed in the book/TV short) being given the tree seed and walking away from The Once-Ler’s home, reminding the audience that there is hope to save the trees, but it hasn't been done yet, as the trees are still in danger unless people care to help the trees. The film’s very happy ending arguably only serves as inspiration porn rather than actually teaching people to care about the trees. I could see “Let It Grow” staying in some way as a song sung by The Lorax and his animal friends in the beginning when Once-Ler first arrives at the forest, trying to convince him to not harm the trees. Maybe even obscure the child’s identity and gender to symbolize that they could be anyone as well. Make the Once-Ler’s rise to greed longer than just one song. You don't destroy the trees in a day. You don't become a monster in a day. It would hit better. And make Once-Ler’s destruction a conscious choice rather than blame his unawareness of the trees' deaths. Maybe even have him lie initially about his awareness of the trees to Thneedvile till he confesses to the kid that he did know, but didn't care so he could make money. Companies lie like that all the time. Imagine a scene immediately after his full transmission to evil (“How Bad Can I Be?” in the film) where he looks upon the treeless land and actually looks apathetic towards it and only cares when he realizes it will ruin his business since he can't find an alternative to tree fluff/leaves; he doesn't express true care till he talks about it to the child/Ted, as he's only realized his folly over the years. There are some things from the film that could be saved, like the memorial Lorax and the animals have for the UNLESS tree. That was the best addition the film made. And include the cut song “Biggering” rather than “How Bad Can I Be?”! That was a masterpiece and should've never been cut. Or better yet, have bits of “How bad can I be” performed at the beginning of Once-Ler’s poor decision-making, and have “Biggering” be this sort of final crescendo before his complete downfall. Like “How Bad Can I Be?” is a cut-up as a prologue(s). The demo version of “Thneedvile” also added to Ted/the kid more, so I think that would stay too. All the cut songs actually add a lot to the story and have great humor, but the film wanted to be marketable and as inoffensive as possible rather than good (and was made by one of the most money-hungry, Once-Ler-like film companies ever). I would want a slightly more dark approach to the massaging. Show more of the effects of the world losing trees rather than just talk about how bad it is. Show us why we should care. Maybe include an endangered animal in the story and have it go extinct thanks to The Once-Ler’s practices. Just something. The message could even be extended to not just care about the trees, but the natural world as a whole, as global warming and other issues like it are still as big of problems as ever.

Jennifer's Body

I think we need more horror musicals. We have Carrie The Musical, Starkid’s Hatchetfield Universe, The Rocky Horror Picture Show, Jekyll and Hyde, etc. so a horror musical isn't as odd as it might sound at first. I liked the film, but there were some things that if feel could us an update. Like the dialogue being very cheesy and dated (nothing wrong if you like that, I get its appeal; it's just not my thing unless done in a particular way). Or Needy and Jen’s attraction to each other being treated more as sapphic fetishization to get guys to see the movie rather than it being there for representation (especially in the trailers for the film). I think it would be nice to see more pre-succubus Jennifer, and her friendship with Needy pre-succubus, so that it could be a bit more sad when she's changes and so that the change is felt more. It would also make it more sad when Needy has to kill her. I want more pain or hesitance from Needy having to fight and kill Jen. Even though she knows it's not Jennifer anymore it still can't be easy to deal with your best friend/crush dying twice. They were friends from childhood, it has to be a least a little painful. I guess I just want a bit more heart behind it than the film had (not that I thought the film didn't have any).

The Invisible Man

We have Jekyll and Hyde and Frankenstein musicals. Griffin might as well join his mad scientist bros. This would almost definitely have to be a musical movie because I have no idea how you would make Griffin look invisible on stage practically. I really like gothic musicals and I think this could have a similar vibe. Griffin’s more blatantly asshole-y behavior when compared to Jekyll and Frankenstein’s well-meaning but flawed natures could make him and the musical stand out against its other mad scientist processors.

#musicals #broadway #dead poets society #wild nights with emily #the sandlot #rocketman #the iron giant #secondhand lions #pippi longstocking #the lorax #jennifer's body #jennifer’s body #the invisible man #frankinstein #frankinstein musical #jekyll and hyde

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lordofthestrix · 10 months

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Tristora in a dead poets society verse

First of all I'm going to follow in your footsteps with TSH and say that they are twins in this verse. Additionally, I'm going to take another executive decision and change Welton Academy into a co-ed boarding school. Perhaps theirs is the first year that admits girls in the institution? I could play with the local public school like the movie did but that would mean Aurora and Tristan only get to see each other a couple of times per week at maximum and no one should have to deal with either of them under those conditions. Who asks the other on dates: It is one of the unanswered mysteries of the universe the other students sometimes ponder. No one has ever heard them making plans or talking about schedules and yet they never fail to be in the right spot to wait for the other when they don't share a class. They are unusual in that they arrive at the meetings in the cave together and they leave together. Their time alone and what exactly they do is a bit of an inscrutable mystery for the rest of the student body. Who is the bigger cuddler: Aurora. An attentive witness would have realized that Tristan has never once in his life complained. Who initiates holding hands more often: Aurora. And they are preternaturally good at sneaking off the school buildings and into the woods at night for the meetings of the club while holding hands. Who remembers anniversaries: Tristan could probably tell you all the dates when Aurora read a poem she wrote herself. Who is more possessive: Tristan. Although they are both champions of the craft. Who gets more jealous: Aurora. Although they are both champions of the craft. Who is more protective: Read the next point. Who is more likely to cheat: I imagine Aurora is more likely to cheat on an exam. Tristan is more likely to turn ferociously protective of her if she gets caught and invite himself into Gale Nolan's office to passionately play her lawyer (with the prototype version of "the look" included) even when they don't have a leg to stand on. Who initiates sexy times the most: I sincerely can't decide. I suspect it is probably a tie. Who dislikes PDA the most: Various Welton authorities. Who kills the spider: Not a fair question for Aurora. This time the spider was an imposing tarantula of uncertain danger that seemed to specifically target her in the middle of the night. The whole double incident of sneaking in the boys' dorms for Tristan and then sneaking him back into hers was pretty justified. Aurora is the owner of an impressive arachnid-conqueror record in this meme but in this instance she doesn't kill the spider. Tristan takes it out of the dorm without killing it. Who asks the the other to marry them: That wasn't what happened. It is true that there was one evening when Tristan invited her into their own private meeting of the club, if you wish to call it that. And it is equally true that they both seem to have some kind of locket since that night. But the rest are just rumors. Who buys the other flowers or gifts: Remember how Tristan keeps the dates of Aurora's poems? He buys her trinkets and various gifts that reference each work one week after she shared them. Aurora probably has a collection of small and not so small treasures alluding to her writings. Who would bring up possibly having kids: I will concede it to this meme: It is admirably stubborn. Who is more nervous to meet the parents: Aurora on a regular basis. Tristan when it is time to confront his obligatory character arc. Who sleeps on the couch when the other is angry: Different buildings. Who tries to make up first after arguments: They are still figuring it out at this point. Who tells the other they love them more often: I would say they both know that with firm certainty. It arrives to crown special occasions. And there is a myriad of small ways in which the sentiment is expressed every day.

#Ladamedemartel #O Captain! My Captain!

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