greetings fellow carbon-based life form

During “Ready Set, Not Yet,” when the Maitlands begin to make their sandwiches, the bread they’re supposed to be putting mayonnaise on is green and no explanation is given

When Beetlejuice first tries to spell his name and says, “Jesus, I can’t spell,” Alex added a frustrated “shit!”

In “Fright of Their Lives,” when Beetlejuice sings, “Or scare a seagull off of a fry,” Alex added, “Move!” before the next lyric and gestured like he was trying to elbow an imaginary seagull

When Adam points out that they can hear Beej’s soliloquy, Alex just takes a really long moment to look between his mic and Adam like he’s realizing he was singing it all into his microphone, so telling Adam that they’re being rude for listening to his soliloquy comes across even more like a cover than an attack

Beej’s jacket is like the Mary Poppins purse

It can hold a femur prop and his handheld microphone without looking like there’s anything in it as well as all his little smoke and fire cap things

In “Girl Scout,” when Lydia first answers the door, Dana pulls her pigtails around her chin and up onto her cheeks like she doesn’t know how to act or what to do

When Lydia tells Sky that she’s going to get money for the cookies, she leans in super close and almost touches their noses together (or she might, honestly) and touches her cheeks and maybe it’s supposed to come across as intimidating or like Lydia is trying to freak Sky out or make fun of her but it just felt like another reason for those of you who ship Sky and Lydia

I didn’t remember to look to see if Lydia actually pays Sky or not, but right before Sky leaves, even though she’s terrified, she turns back to Lydia and sort of smiles and gives her this super polite and friendly finger wiggly wave and Lydia returns it

During “That Beautiful Sound (Reprise),” when Beej sings “super evil plan going down” we hear an elevator ding and Beej and all of his clones start to crouch like they’re going down in an elevator and it’s super cheesy and adorable

I looked to see if the seat thing they use for Lydia’s lift at the end was present for Barbara’s exorcism lift and guys I could not see a seat at all

Maybe it’s somehow covered but like

I don’t know how they do it but they do it and it’s awesome

Delia 100% grinds with a skeleton during “Creepy Old Guy”

When Lydia comes back on in her black dress after the wedding and killing Beej and all of that, it’s a little different than her normal black dress

It was a good deal longer and it looked like there was white underneath when that hadn’t appeared in the normal black dress

So I’m guessing that specific dress is meant for the end because of the lift

He can help


bonus:

Beetlejuice | October 16, 2019e | Will Blum (u/s Beetlejuice)

duh!

like in BuzzFeed’s Women Wear Hoop Skirts For A Day While Being Exaggeratedly Bad At Doing Everything In Them video, one woman comments that she’s being “oppressed by the patriarchy.” if you’ve read anything Victorian man ever said about hoop skirts, you know that’s pretty much the exact opposite of the truth

thing is, hoop skirts evolved as liberating garment for women. before them, to achieve roughly conical skirt fullness, they had to wear many layers of petticoats (some stiffened with horsehair braid or other kinds of cord). the cage crinoline made their outfits instantly lighter and easier to move in

it also enabled skirts to get waaaaay bigger. and, as you see in the late 1860s, 1870s, and mid-late 1880s, to take on even less natural shapes. we jokingly call bustles fake butts, but trust me- nobody saw them that way. it was just skirts doing weird, exciting Skirt Things that women had tons of fun with

men, obviously, loathed the whole affair

(1864)

(1850s. gods, if only crinolines were huge enough to keep men from getting too close)

(no date given, but also, this is 100% impossible)

(also undated, but the ruffles make me think 1850s)

it was also something that women of all social classes- maids and society ladies, enslaved women and free women of color -all wore at one point or another. interesting bit of unexpected equalization there

and when bustles came in, guess what? men hated those, too

(1880s)

(probably also 1880s? the ladies are being compared to beetles and snails. in case that was unclear)

(1870s, I think? the bustle itself looks early 1870s but the tight fit of the actual gown looks later)

The reason you suck at doing things in a hoop skirt is because you’re not used to doing things in a hoop skirt.

The first time I got in a Colonial-aristocracy dress I felt like I couldn’t breathe. The construction didn’t actually allow me to raise my arms all the way over my head (yes, that’s period-accurate). We had one dresser to every two women, because the only things we could put on ourselves were our tights, shifts, and first crinoline. Someone else had to lace our corsets, slip on our extra crinolines, hold our arms to balance us while a second person actually put the dresses on us like we were dolls, and do up our shoes–which we could not put on ourselves because we needed to be able to balance when the dress went on. My entire costume was almost 40 pounds (I should mention here that many of the dresses were made entirely of upholstery fabric), and I actually did not have the biggest dress in the show.

We wore our costumes for two weeks of rehearsal, which is quite a lot in university theatre. The first night we were all in dress, most of the ladies went propless because we were holding up our skirts to try and get a feel for both balance and where our feet were in comparison to where it looked like they should be. I actually fell off the stage.

By opening night? We were square-dancing in the damn things. We had one scene where our leading man needed to whistle, but he didn’t know how and I was the only one in the cast loud enough to be heard whistling from under the stage, so I was also commando-crawling underneath him at full speed trying to match his stage position–while still in the dress. And petticoats. And corset. Someone took my shoes off for that scene so I could use my toes to propel myself and I laid on a sheet so I wouldn’t get the dress dirty, but that was it–I was going full Solid Snake in a space about 18″ high, wearing a dress that covered me from collarbones to floor and weighed as much as a five-year-old child. And it worked beautifully.

I can ride public transportation while wearing them. I can take a taxi while wearing them. I can go on rides at Disneyland while wearing them. Because I’ve practiced wearing them and twisting the rigid-but-flexible skirt bones so I can sit on them and not buffet other people with my skirts. 

They’re also – and I can’t emphasize enough how important this is – really easy to pee in.  If you’re in split-crotch drawers (which, until at least the 1890s, you were), you can take an easy promenade a few feet away from the gents and then squat down and pee in pretty much total privacy.  It gives so much freedom in travel when it’s not a problem to pee most anywhere.

People also don’t realize that corsets themselves were a HUGE HUGE IMPROVEMENT over previous support-garment styles – and if you have large breasts that don’t naturally float freely above your ribcage (which some people’s do! but it’s not that common), corsets are often an improvement over modern bras.

They hold up the breasts from underneath, taking the weight of them off your back.  Most historical corset styles don’t have shoulder straps, so you’re not bearing the weight of your breast there, either, and you can raise your arms as far as your dress’s shoulder line allows (which is the actually restrictive bit – in my 1830s dress, literally all I can do is work in my lap, but in my 1890s dress I can paddle a kayak or draw a longbow with no trouble.  Both in a full corset).  They support your back and reduce the physical effort it takes to not slouch, helping avoid back pain.  They’re rigid enough that you don’t usually have to adjust your clothing to keep it where it belongs.  They’re flexible – if you’re having a bloaty PMS day you just … don’t lace it as tightly, and if your back muscles are sore you can lace it a little tighter.  And you can undo a cup (or, y’know, not have breast cups) to nurse a baby without losing any of the structural integrity of the garment.

I do educational/historical dressing and people are really insistent, like, “The corset was invented by a man, wasn’t it?”  “Actually, women were at the forefront of changing undergarment styles throughout the 19th century!” “But it’s true that it was invented by a man.”