i keep gaining followers on this sideblog so i want to say that iâm not active on here anymore, my main is @dannyburke but i would rather not have anyone under 16 following me!
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@ernnst
i keep gaining followers on this sideblog so i want to say that iâm not active on here anymore, my main is @dannyburke but i would rather not have anyone under 16 following me!

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i try and just kick it but then what can i do?
homophobic musical characters
evan hansen
anatole kuragin
pumbaa and timon but only in the 2019 lion king
bobby maler because he wears khakis (the uniform of homophobia)
the cow psychiatrist from groundhog day
act 2
mark cohenâs scarf
everyone in cats
the american theatre wing
riverdale spring awakening episode WHEN
moritz: i dropped out in the 8th grade. to disappoint my parents
hanschen: that means you havenât known the triumphs and defeats, the epic highs and lows of high school hoop trundling

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in addition, i dont think marketing spring awakening to a new, movie-going audience would really have the impact in 2020 that the stage musical had in 2006. an unexpected genre of music for theatre wonât really strike an audience whose touchstone for musical theatre is most likely hamilton, and a movie dealing with teenage sexuality and mental health wonât really shock a 2020+Â audience when like every popular tv show is about high schoolers played by 25 year olds having sex and doing drugs
spring awakening movie thoughts
The âsong universeâ aspect of the musical will NOT translate well no matter how they go about it. If they just have them singing it ruins the impact of the symbolism⌠Like Mirror-Blue Night for example; any way they choose to convey that scene (and many others) wonât translate well. If Melchior is explicitly singing that song while he⌠dances? masturbates? it wonât work. At the very least theyâll somehow change it to where it DOES work, but then that⌠ruins the meaningfulness of it. Like the girls singing Mama Who Bore Me together⌠they arenât physically together, what are they gonna do, have a 4-screen montage of all the girls?? Itâll be ugly. The songs âstagingâ for a film would have to be changed thoroughly which would⌠fuck it up. Only a handful of the songs could work playing them as they are.
I could make examples and explain why none of the songs would work but hereâs just one more example so you get the gist: The Dark I Know Well. Itâs implied that sheâs technically telling the girls what happened, but also thinking about it in her own mind; the scene canât just end abruptly with Martha singing a song, and Ilse couldnât just appear out of thin air⌠because they arenât ACTUALLY singing together. It canât be a flashback because thatâs too heavy-handed. So much of the show relies on emotions and abstract references/portrayals they just wouldnât be able to convey it properly.
The cast would all have to be over 18 because of the content involved, and they would likely try to age up the characters. That would automatically destroy the core principle of the show and the play. They are 14-16. Thatâs the whole point.
Melchior/Wendla would become romantic. Thereâs no denying this; no way would they make Melchior, the leading male, into the one-time rapist that he is in the play/musical; they would make it a cutesy innocent romance.Â
Related to above: they would make Moritz and Ilse shippy. I know some people ship them, but I hate it and think it goes against their entire relationship and the actual meaning of the Donât Do Sadness/Blue Wind scene⌠if they get romantic subtext it throws the whole vibe off and changes their intentions.Â
They would probably add or remove songs like many movie musicals do and of course that would be fucking stupid and ruin it instantly. I canât think of any song that would be okay with it being removed, and any song they added would probably be wack as hell (regardless of if Sater wrote it) and inconsistent.Â
Moritzâs suicide would probably become a dramatic money shot with a gunshot sound effect and typical Hollywood bullshit which again ruins the impact of the scene⌠sigh
They would also probably go hamfisted with the abortion too. Itâs supposed to be oblique. Sigh x2
They couldnât get away with having the entire adult cast be the same man and woman :/ Thatâs not completely necessary, but itâs an important aspect of the stage musical⌠which again brings us back to the importance of the characterâs ages. Sigh x3
No matter what they mf did, the ghosts of Wendla and Moritz returning to Melchior at the end would be BUSTED in a movie format. It would be so corny and cheesy unless they cut them returning out, which would⌠again⌠ruin it.
Not a true criticism but I know the movie will have some awful stunt casting with actors who canât sing and it will make locals get into it and I canât handle that :/
Iâm all for giving side characters extra content in like⌠fanfiction but you know theyâd add weird ass sideplots and other romances for the ensemble that would make the vibe wack
Anyways my final verdict is the movie wonât work at ALL for people who are already genuinely into Spring Awakening (and if youâre excited then well. idk what to tell you thatâs your life) and honestly I canât even see it working as a standalone lol
IF ANYTHING it would be . interesting to have the play become a movie. The musical doesnât need to be sigh⌠but in the end none of this is up to me and Iâm just sharing my opinion ¯\_(ă)_/ÂŻ
Iâm curious as to how theyâre gonna handle the rating situation? If they didnât make any changes to the content it would be rated R, which means it wonât make as much money. So ideally, theyâd do what they can to make it PG-13. Except thatâs a stupid marketing decision because who wants a musical to be PG-13? A musical thatâs not a disney adaptation or a biopic is already a hard enough sell for general audiences (unless you have someone from Hamilton attached to itâŚ) and having it be PG-13 would make it even worse. General audiences arenât like the theatre kids on here. Most teenagers would never even think about going to see a movie musical. So, it has to target families. But you canât target a PG-13 movie to families (unless your marvel but theyâve been cheating the rating system forever). So, the best money making decision would be to get it down to PG. Which means : sex is only implied, abortion is cut out completely, suicide is not shown or specifically discussed on screen and almost all of the songs are cut and replaced. It just doesnât make sense. Not from a creative standpoint or a business standpoint. (Iâm talking about US ratings because they seem to have the strictest) i think this is going to once again be quietly cancelled.
(Chicago is the exception to the PG-13 musicals arenât successful thing. Most general audiences were already aware of Chicago before the film and it had major star power)
(Wow sorry for hijacking. I wrote a big paper on the film rating system so I have a lot of useless knowledge about it and felt i must share this)
spring awakening movie thoughts
The âsong universeâ aspect of the musical will NOT translate well no matter how they go about it. If they just have them singing it ruins the impact of the symbolism⌠Like Mirror-Blue Night for example; any way they choose to convey that scene (and many others) wonât translate well. If Melchior is explicitly singing that song while he⌠dances? masturbates? it wonât work. At the very least theyâll somehow change it to where it DOES work, but then that⌠ruins the meaningfulness of it. Like the girls singing Mama Who Bore Me together⌠they arenât physically together, what are they gonna do, have a 4-screen montage of all the girls?? Itâll be ugly. The songs âstagingâ for a film would have to be changed thoroughly which would⌠fuck it up. Only a handful of the songs could work playing them as they are.
I could make examples and explain why none of the songs would work but hereâs just one more example so you get the gist: The Dark I Know Well. Itâs implied that sheâs technically telling the girls what happened, but also thinking about it in her own mind; the scene canât just end abruptly with Martha singing a song, and Ilse couldnât just appear out of thin air⌠because they arenât ACTUALLY singing together. It canât be a flashback because thatâs too heavy-handed. So much of the show relies on emotions and abstract references/portrayals they just wouldnât be able to convey it properly.
The cast would all have to be over 18 because of the content involved, and they would likely try to age up the characters. That would automatically destroy the core principle of the show and the play. They are 14-16. Thatâs the whole point.
Melchior/Wendla would become romantic. Thereâs no denying this; no way would they make Melchior, the leading male, into the one-time rapist that he is in the play/musical; they would make it a cutesy innocent romance.Â
Related to above: they would make Moritz and Ilse shippy. I know some people ship them, but I hate it and think it goes against their entire relationship and the actual meaning of the Donât Do Sadness/Blue Wind scene⌠if they get romantic subtext it throws the whole vibe off and changes their intentions.Â
They would probably add or remove songs like many movie musicals do and of course that would be fucking stupid and ruin it instantly. I canât think of any song that would be okay with it being removed, and any song they added would probably be wack as hell (regardless of if Sater wrote it) and inconsistent.Â
Moritzâs suicide would probably become a dramatic money shot with a gunshot sound effect and typical Hollywood bullshit which again ruins the impact of the scene⌠sigh
They would also probably go hamfisted with the abortion too. Itâs supposed to be oblique. Sigh x2
They couldnât get away with having the entire adult cast be the same man and woman :/ Thatâs not completely necessary, but itâs an important aspect of the stage musical⌠which again brings us back to the importance of the characterâs ages. Sigh x3
No matter what they mf did, the ghosts of Wendla and Moritz returning to Melchior at the end would be BUSTED in a movie format. It would be so corny and cheesy unless they cut them returning out, which would⌠again⌠ruin it.
Not a true criticism but I know the movie will have some awful stunt casting with actors who canât sing and it will make locals get into it and I canât handle that :/
Iâm all for giving side characters extra content in like⌠fanfiction but you know theyâd add weird ass sideplots and other romances for the ensemble that would make the vibe wack
Anyways my final verdict is the movie wonât work at ALL for people who are already genuinely into Spring Awakening (and if youâre excited then well. idk what to tell you thatâs your life) and honestly I canât even see it working as a standalone lol
IF ANYTHING it would be . interesting to have the play become a movie. The musical doesnât need to be sigh⌠but in the end none of this is up to me and Iâm just sharing my opinion ¯\_(ă)_/ÂŻ
i canât physically or mentally make myself write more long posts about spring awakening or iâll die but i do have thots on the topic of movie musicals, at the risk of sounding like a pretentious theatre person
i really canât stand this idea that really popular and successful broadway musicals need movie adaptations. i think some can be done really well, but i think that itâs annoying that film is treated as a superior medium to live theatre, or that stage is a primitive version of film and that stage shows can always be improved by carrying them over into a movie, rather than being allowed to exist as its own medium with its own unique methods of storytelling.
some musicals really lean into the fact that they exist in a live space, that they can be presented in more abstract ways than film because there are not as many degrees of separation from the action and the audience is aware that theyâre watching a performance, vs the expectation of being perfectly transported into a world in ways that their suspension of disbelief would be broken if, for example, a character had a scene mid-show with a kate bush-esque dance break while they sang about their inner struggles with the transition from childhood to adulthood.Â
and, like, yeah you can make those conceptual sequences into more literal scenes for the sake of a film but like⌠then youâre taking away from what was originally accomplished onstage and losing a little bit of the charm and storytelling that a live medium allows for. and a lot of spring awakeningâs staging relies on that visual, abstract storytelling to convey its message, and i think it would be very easy for it to become tasteless if you had to inject more realism and literal scene setting to avoid what would honestly come across as incredibly corny in movie form.
anyways. release more filmed proshots.
that one livestream from like 2013 where the original broadway cast talked about who they wanted to play themselves in a movie adaptation and gideon glick said justin bieber as a joke except it would be real because you know theyâd stunt cast it and have like. shawn mendes as moritz and ariana grande as wendla. ed sheeran as melchior. someone from riverdale up in the mix
i canât physically or mentally make myself write more long posts about spring awakening or iâll die but i do have thots on the topic of movie musicals, at the risk of sounding like a pretentious theatre person
i really canât stand this idea that really popular and successful broadway musicals need movie adaptations. i think some can be done really well, but i think that itâs annoying that film is treated as a superior medium to live theatre, or that stage is a primitive version of film and that stage shows can always be improved by carrying them over into a movie, rather than being allowed to exist as its own medium with its own unique methods of storytelling.
some musicals really lean into the fact that they exist in a live space, that they can be presented in more abstract ways than film because there are not as many degrees of separation from the action and the audience is aware that theyâre watching a performance, vs the expectation of being perfectly transported into a world in ways that their suspension of disbelief would be broken if, for example, a character had a scene mid-show with a kate bush-esque dance break while they sang about their inner struggles with the transition from childhood to adulthood.Â
and, like, yeah you can make those conceptual sequences into more literal scenes for the sake of a film but like... then youâre taking away from what was originally accomplished onstage and losing a little bit of the charm and storytelling that a live medium allows for. and a lot of spring awakeningâs staging relies on that visual, abstract storytelling to convey its message, and i think it would be very easy for it to become tasteless if you had to inject more realism and literal scene setting to avoid what would honestly come across as incredibly corny in movie form.
anyways. release more filmed proshots.

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but mean girls.... mean girls is already.... it's already a....
sheâs discovered an infinite money hack
MARTHA. It will be beautiful!ââbeautiful!
@LeaMichele Spring Awakening reunion last night at NYSAF gala! â¤ď¸
that good dad
Eva Noblezada on Instagram (11/21/19)
đžâ¨ no.2 she decides to live and love unabashedly.
đ¸: @amandadelgadillo_

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Iâm facilitating show selection and someone suggested Spring Awakening again. Weâre a polytechnic club company entirely student run. Thoughts?
No one should do âSpring Awakeningâ because itâs just likeâŚhorrible.
Like. The hero of the show rapes Wendla. She has no idea what sex is or what it means and Melchior manipulates her into having sex with him (also, that scene where he whips her with the switch is very fucked up).Â
And then he basically ruins Moritzâs life and leaves him out to dry even though heâs the one that made him get into trouble in the first place.Â
AND THEN, we are narratively expected to feel bad for him? When he faces no lasting consequences for these actions aside from the guilt of essentially killing his best friend and the girl he decided to rape? Like. Good. You should feel bad, Melchior. Die alone.Â
And like the musical wants to be about like taking ownership of your own body and not being ashamed of who or how you love. ButâŚitâs not. Itâs super exploitative of young peopleâs bodies and sexualities, and doesnât really say anything deeper than âHey, teenagers are horny and thatâs normal.â Which is so simple but still completely undercut by the fact that the girl who knew nothing about her body dies, the boy who knows everything about sex and its consequences fucks his own life and everyone elseâs up with that knowledge, and the boy who starts to learn about sex canât handle it even a little bit and ends up in a downward spiral he cannot escape from. Like. Your moral seems to be that no level of sexual freedom and knowledge is safe or healthyâŚwhich means the parents were right to try to shield their kids from it? Which is obviously not a good read on the situation? What are you trying to get across??
Oh, also, the show thinks that because it swears and has ugly costumes/hair design that makes it deep and edgy. Â
I donât even know where to begin with this one because thereâs a lot of issues I have with this, but I think the first major thing to address is that your idea of what the musical âwantsâ to be about is not actually accurate to what the musical (or the play itâs based on) is about.
Itâs not about those things, it was a tragic, surrealist play published in the early 1890s as a criticism of societyâs lack of proper education of children (both regarding the system of education as a whole, and education regarding sex) leading to tragedies such as Wendlaâs rape and forced abortion which ultimately caused her death, and Moritzâs failure in school and lack of compassion by his teachers and parents, and the school system as a whole leading him to believe that, if he failed in school, he would have no future and thus have to take his own life.Â
Saterâs weird beliefs about Melchior aside, heâs also not actually the hero of the musical. Heâs the primary protagonist, but he isnât the hero and the story of Spring Awakening isnât really the kind of story of clear cut heroes and villains anyways, but instead itâs just meant to be a series of vignettes for the audience to take however they want. The play was written to show how society had failed their kids and as a result caused the deaths of Moritz, Wendla, and numerous others who arenât characters in the play/musical.
Also, the scene with the switch is supposed to be fucked up. Melchior, for all his knowledge gained from his uninhibited access to various kinds of books, is still a part of the same repressed society as the other children. That scene is the first one to really show Melchior losing control, that even though he seems to be well put-together up til that point, he has been equally harmed by the combination of the deeply repressive society of the time and his parentsâ lack of involvement in the kind of information he has access to.Â
The whole point of Melchiorâs and Wendlaâs character arcs is the way that they have been equally failed by their parents and society in general, but in completely opposite ways, and that failure leads to what occurs between them. It isnât meant to be a black or white moral issue of these individual children, but a commentary on the larger problems caused by their families, school, and the church that lead to Wendlaâs rape/pregnancy/death.Â
And interpreting Moritzâs death as Melchiorâs fault is just... objectively wrong. In fact, thatâs exactly what the adults try to blame it on in order to shift the responsibility off of themselves. He isnât even the reason Moritz âgot into trouble in the first place,â because no one knew about Melchiorâs letter until after Moritz died, and Moritz had already been failing his classes to begin with. His death wasnât caused by exposure to knowledge of sex. Moritzâs death was caused by societal pressures from his family and teachers that were forcing him to work harder and harder at an impossible goal with no regard for his personal health, and permanently labeling him as a failure for not being able to accomplish it. His arc with Melchiorâs letter is secondary, and again reflects the deeply repressed society that he lives in that he feels like a completely normal part of puberty is ruining his life, and he has no outlet to talk about it to anyone, nor does he even really know what heâs going through at all. If anything, Melchior was trying to help his friend because he thought gaining more knowledge would help him stop feeling so anxious over it.
And how is it Melchiorâs fault that he didnât go running to save Moritz before he died? The only person that Moritz told that he would commit suicide because of his situation was Frau Gabor, but she doesnât take him seriously and we have no reason to assume that she would tell Melchior this. Within the context of the musical, we never even find out if Melchior knew that Moritz failed his exams--the last time they interact is when Moritz is telling everyone that he passed. He has no reason to assume what Moritz is doing just because he wasnât at church with everyone else when he was hiding away at the hayloft.Â
Spring Awakening is not a story about sex positivity and owning your body. Itâs a story about children that were horribly failed by the disinterested and unsympathetic adults that were meant to guide them, but only pushed them further into extreme tragedy. The musical is not trying to be edgy for edgyâs sake, it was written to appeal to teenagers who felt similarly unheard and misunderstood by the adults in their lives, and itâs unfortunate that the things criticized in the 19th century play are still issues to this day, considering how many people interpret Moritzâs suicide as being a result of corruption via sexual knowledge and not the adults who pushed him to extremes and then used a scapegoat for the blame, and focus solely on Melchiorâs bad actions as if theyâre an isolated case in a fictional story and not written intentionally to reflect societyâs contribution to creating people who do the same things that he did.
ââŚwe have a 10-word bio in the program because there are so many people in the show. the 10 words i wrote are, âthis is for all those whose shoulders i stand on.â when i sing âgo the distanceâ i think about all the black men who have been enslaved, incarcerated, assassinated - i think about them. there is a hero inside all of them. itâs the most empowering moment iâve ever had on stage.â - jelani alladin on playing hercules.