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We all need to realize Dwayne is just as a menace as Paul is
Buddy isnāt just a quiet guy whoās āmatureā. Just cause he looks after laddie doesnāt make him responsible and sane. Paul also looks after laddie if you see.
HE SWINGS FROM A CHANDELIER AND IS JUST AS CHAOTIC
He calls people "sucker" unironically, eats noodles with his bare hands, lets Marko literally dangle off of him while they're walking in the bridge scene, and is just as giggly as the other boys in both the bridge scene and the beach scene. There is NO way you can call this man serious, I won't accept it
You can be shy and reserved around others and still be fun and wild around friends you're comfortable with. He's just as much of a goof as the others š
Reblogging this because Sean Grandillo deserves credit for really tapping into Dwayne's chaotic side for the musical. Saying stuff like "Dwayne wanted to be in a band so bad, even if it meant becoming a vampire". Now THAT is chaotic.
Poster for the cut of The Lost Boys I made for fun!
The name is a play on my surname donāt worry about it. This version of the film is the exact same except Iāve added in the 8 deleted scenes that were released!
The qualityās not ideal but I figured Iād share it on here in case anyoneās interested
TLB Mortal cut.mov
Idk how tumblr is with links, if this doesnāt work let me know š
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Alan bursting into Samās room and scaring the shit out of him and ruffling his hair with a big ol grin just cements to me that the Frogs and the boys wouldāve gotten along fine if they werenāt, you know, trying to kill each other. theyāre the same type of gremlins
a little marko and paul lore for you guys, courtesy of brian flore and dean maupin. sean didn't stagedoor or you know i would have gotten the scoop on dwayne too.
brian has also written a bunch of stuff on marko's backstory. he said that marko's home life was similar to michael's. he came from a very toxic/abusive home. he ran away from southern california to santa carla. david saved him from almost dying on the boardwalk. he wants to make sure everyone knows that marko was turned first lol.
paul's father introduced him to music. he played guitar for a blues group. their relationship soured because paul's dad didn't like that paul was playing rock music.
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Beginning to get the feeling some of you donāt think this Michael/Star shipping thing is serious with me. Thats a lie no one is wondering this. Does it look like I see them as an extension of the plot and so I want to see them kiss because itās mandatory reading? Like I think theyāre a vibe because theyāre canon??? Letās be for real. Iām here to set the record straight, by which I do not mean heteronormative. Theyāre a vibe to me for the exact same reasons theyāre a vibe to David, which is why I donāt see them as an extension to the plot but as an extension to the throuple.
Like, okay so, Star and Michaelā¦. Star-chaelā¦. Starkleā¦. Sparkle? Mikestar, seems to be misunderstood at large. Based off of the few fics that feature the ship and some comments out there in the wild⦠I get the feeling that the 3 ballads and a kiss are being passed over a little because it feels like a typical 80s shoehorned romance, but the story here isnāt actually cliche, nor is it shoehorned. I know it seems that way because he tries to pull a love at first sight, but the play is pretty good at expanding on this interest beyond the fact that she is the most beautiful woman in the world. Not to mention Michael isnāt, like, attracted to Star so he can marry her and have kids with a nice house, nor is she interested in him because she wants to settle down and live in peace. In fact, living is like⦠the last thing in either of their minds. Letās go down the list of those three (really itās 2.5) ballads and the kiss, shall we? Because have yāall heard those lyrics?
(All links to the lyrics taken from @itmighthurtalittleās Google doc collection of preview lyrics!)
Hurt a Little
A bit of a straight forward song (pun not intended). Star isnāt dropping hints so much as sheās pitching them at Michael like sheās in the Yankees. And heās not dodging them insomuch as heās catching them so he can eat them like candy. She says: I Am Going To Kill You and he says: Pretty Please?
The thing about Michael is⦠heās not actually suicidal, but he could fool anybody with how much heās looking for that adrenaline rush. Heās like mountain climbers and cave explorers. Completely voluntary hobbies. Movie Michael is kind of just a really funny and easily influenced guy, but Musical Michael gets labeled as a himbo unfairly in my opinion, probably because of movie Michael. Heās actually quite observant! He notices that she means to isolate him suspiciously before they even begin singing anything, and heās also glocking her avoidant tendencies before he barely even meets her. But he doesnāt care, is the thing, because he wants a choice in his own destruction. He wants to get in trouble and survive it on his own terms because heās traumatized and depressed. Also, sheās sexy but relatively harmless, as even Sam (the superior judge of character among the Emersons) correctly dismisses her as a threat. It isnāt disrespect, itās probably just their observation skills (which may or may not have been gained from watching out for their fatherās moods.)
Granted, part of the huge appeal of this number is also that theyāre very cute while singing it. Michael doing his cute lil dance and getting all the tools for the piercing while sheās begrudgingly endeared⦠itās very meet cute! Very sweet! But catch how this piece doesnāt end in them laughing about his earring. It ends in Star running awayāmistakenly thinking sheās the most dangerous thing to Michael at the moment and removes herself from the situation. Or perhaps she was only thinking about herself and how she doesnāt want to personally hurt anyone, and definitely not Michael who has been so endearing to her! Either way, she did Michael no favor, because the moment she is gone You Know Who pops in and inserts himself to fill her place.
Davidās timing is deliberate, of course. Whichever way it ended he knew that he was going to winābecause either she ate, or she didnāt. Star was never going to make out with you Michael, sorry. (David wasnāt gonna make out with you either fyi. Sorry.) Iāve seen many interpretations of this scene as David trying to teach Star a lesson, and I think that checks out. Heās definitely already noticed Michael by this point, and in all instances itās in relation to Star. He doesnāt really see Michael as one of the precious little trinkets he can collect until a little later, though of course he notices that he smells really damn delicious. (Heās so weird ā¤ļø)
Itās kind of an interesting oversight on Starās part given how awfully attentive David has been up to this point. She must have known he was watching. But it also makes sense that sheās just accepted that sheās not capable of stopping anything that David has set his mind out to do, so itās very possible that when she ran away she was just hoping Michael actually went home before she did something sheād regret and left the rest to chance. We all know he didnāt go home, but part of that wasnāt on him for not listening to her and more on David not giving him the chance to. I donāt even think he gets 5 seconds to walk to the stairs.
Thereās also the context of the scene to consider. Star has just pierced Michaelās ear, and David finishes the job for her by giving Michael his earring to fill in the hole. The metaphor isnāt hard to decipherāStar has unfortunately set Michael up in a trap, bleeding and all, ripe for Davidās picking. But thankfully for everybody Michael has a family that does seek him out, so David didnāt accidentally eat a future boytoy brother. Yay!
Now, Forever
Now weāre talking. This is when it starts getting personal, and the connection they feel for one another goes beyond Michael and Star finding each other cute and hot. First off, right before they start singing anything Michael points out that Star is watching the stars in the sky (donāt be hard on yourself, Michael, it was funny). Star then lets him know that the stars are so far away, that many of them are already dead by the time their light reaches them. Did anybody order some subtlety? cuz it didnāt arrive. But thatās alright WHO NEEDS IT
Michael isnāt suicidal, but Star very likely is. And if sheās not, itās because she feels like sheās already dead. This girl just wants to waste away in peace, she seemingly has no future to long for. If Michael and David are running from their past, longing for a future where theyāre free, Star is stuck constantly in the present moment. Sheās tired of the pain, but is afraid of change. When she sings Now, Forever, itās in the context of wishing for that connection that sheās feeling with Michael to remain static.
Comparatively, the lyrics of Hurt a Little are textually the opposite of Now, Forever. Hurt a Little is spoken entirely through the use of what ifs and has beens. āYou better take it slow,ā āwhere it will lead,ā āmight find the wrong kind of funā āsomething that canāt be undoneā. She references the past whenever she says āif I know anything at allā. Hurt a Little says āletās not do this, my experience assures me it wonāt end well.ā
But Now, Forever is focusing a lot on how theyāre feeling right at that very moment and not wishing for a future at all. Whereas Hurt a Little was very hypothetical, very ābut what if it ends badly? (So what if it does?)ā which is very funny because it did end badly and Michael barely survived, but anywayāNow, Forever is about that specific moment they are feeling and how they wish that nothing else could happen. They wanna make the world stop spinning, and capture the moment, and make it last ā'Cuz the good goes fastā.
Itās just⦠very interesting! Sadly interesting! Time! How it holds them back! Thinking of the past hurts, and the future is scary. They wanna be static and stuck in time. Itās very Star-core, and you can see how it helps Michael. Being in the moment helps him evaluate himself, take a moment to think about his circumstances, but mostly heās just really in need of companionship, and heās getting that so wholeheartedly with Star. Theyāre making friends! The world feels brighter! Itās such a beautiful moment, about connection and understanding. I know theyāre talking about watching stars from the very beginning but the lighting in this scene also signifies that they start at sunset and the song ends once there are no more orange rays and itās all in blueāthe sun has gone down. Itās very unfortunate that time did not stop, huh?
Because Gee, I wonder if thereās a character in this play with the ability to stop time, who ensures he uses it like 80% of the time he speaks to Star, and once again inserts himself immediately after these two stop singing? Yeah. Surprise? The song was a call for David all along! Or, if it wasnāt, heās certainly making it so. Two doesnāt make a pattern but David popping in immediately after Star and Michael have a moment⦠Iām noticing SOMETHING. Thereās also a weird thing happening here near the end of the song where Star and Michael are telling each other that they can hear each other breathing. Very interesting line given that David tells Michael to ānever stop breathingā back in Time to Kill. What does it MEAN???
I can tell you what my best guess is, and thatās that Michael and Star are kind of⦠I guess making each other like. Ultra weak. picking at their scabs without getting specific. Theyāre both hurting, and they recognize this, so theyāre technically going through the Right Steps to reach a proper understanding of one another. If they were alone it would probably be fine, but they Are Not, they are under the influence of a very particular guy and heās very pushy. Star in particular puts on that black jacket that kind of gobbles her up immediately after this song, and then runs to Davidās call. And of course, Michael will follow, so would ya look at that⦠sheās done it again! Accidentally set Michael up for a trap!
Star doesnāt seem to notice that Michael is projecting unto her (itās like rock paper scissors but projecting unto one another with these three) and that her actually being so visibly close with David undoes any chance she has at convincing Michael to stay away from him. Because if Star is doing so well with him, how can Michael not? When the two of them are so similar? (I have a Hot Take, and itās that David isnāt even that bad for Star, because without him sheād be dead already and the reason she hasnāt done so even now is because heās too annoying to let her, on purpose. Itās probably part of why sheās given up on leaving him even though she knows heās dangerous and not the answer to any of her problems. This isnāt quite the case for Michael, but heās not seeing it that way, so.)
A pattern seems to be set up: David->MikeStar song->David. Right before Hurt a Little starts, the audience sees David pressure Star, and like a minute later they start singing, once itās over itās his scene to sing. To Michael, the last he had seen of Star was her having the time of her life on stage with the band, being more than a little close with the lead singer. And itās Like⦠sheās surrounded by David. If David is associating Michael with Star, Michaelās associating David with Star. (Directionally, the audience is enticed to too, as sheās wearing the black jacket when we first meet her. If youāve read my not so little Star costuming essay, I believe that black jacket symbolizes Davidās influence darkening Starās light.)
It happens again before Now, Forever, where their conversation brings up David pretty much immediately, and he is both validated and rejected by Star. And then the moment Now, Forever ends⦠well of course heās gonna answer their summons. So David keeps surrounding their every interaction before Michael even really has a normal conversation with him. Iāve also noticed how the title of Now, Forever grammatically parallels Davidās response right after: Lost, Boy.
And frankly⦠how is David supposed to pass this up? They make each other so vulnerable and raw and open. Did you guys notice how in Lost, Boy, Michael admits to feeling alive for the very first time? But wasnāt he noticing some kind of feeling that he wanted to feel for a longer time when he was connecting with Star? Does that mean it wasnāt life? So what is it?
I think the remaining half a ballad may give us a proper clue of what is it that Michael and Star are looking for in each other. Letās look at that second half of Lose Yourself (reprise)
First off: Michaelās goals are to āmake things right [and] Find whatās real and hold on tight before I lose myselfā. Heās feeling pretty betrayed by David at this point because of the Surfer buffet. Donāt worry Iām sure heāll get over it. So it stands to reason that he wants to know if Star is a traitor too. She isnātāthat girl was gonna lose vocal cords begging Michael to Not Go In That Cave, and even continued to speak on his behalf once he had reached the point of no returnābut something I find fascinating is how she blames herself for this situation in the first place anyway. Objectively, we know that their troubles are all on David and he is the one that should be held to account, but subjectively⦠well, Iāve already talked about how she keeps leading him into traps. And Michael keeps chasing her into them!
To go back to this reprise, the theming of their biggest enemy, time, of course comes back. Itās very subtle this round! The typical synonyms and phrases for time arenāt used, weāre relying on context clues. Michael tries to use his past experience as justification for why he allowed himself to be surrounded by the worldās most obvious serial killersāāI couldāve gotten away [ā¦] Iāve taken hits // Way worse than this.ā But obviously we know heās being a little absurd, and Star isnāt pulling her punches. His traumatic experiences made him more vulnerable to Davidās influence, not stronger. Michaelās spiraling into āwow Iām a fucking idiotā territory, but Star spirals into āI wish we had never metā, trying to manifest time travel, because she can see her role in this and it hurts her.
So Michael canāt let her continue that route, because she does help, bloody traps and all. Michaelās been depressed the whole story, looking for thrilling experiences to bypass the numbness. Which is why he sees her as a ābolt of lightning // [that he] had to knowā. He needs companions SO BAD, and now that he feels the rift in his and Davidās, uh, letās call it ideologies, the only one he can turn to is Star.
When itās not her, Michael is forced to face his brother and his mother, the two people he loves most in the world and whom he feels such deep bitterness and resentment for. How worth it is it even to hold on to them and fight for them in his life? And itās obvious that he doesnāt know the answer. He doesnāt want to let go of them, but a part of him wishes theyād set him loose. You can see why he looks to Star so much, who has disconnected herself from her family, and is just drifting away, only barely tethered to the world (never mind that this is because a Really Annoying Guy ā¤ļø wonāt let her die in peace, but I digress).
And uhhhhhh thatās kind of what this song is getting at. Like, sure, theyāre acknowledging their vested interest in keeping each other alive (they even say āyou make me feel aliveā which is quite the progress given that back in Now, Forever, Michael didnāt really think so), and also in the uncertain ways they affect one another (such as āYou made me feel, and it was frightening,ā āMy god, you burn so brightā), but have we noticed yet how there is no actual future mentioned in this song? Even though itās their last dual ballad?
In the same stanza where they end with āAliveā, they mention that their only recourse from this point is just survival. They say āsurviveā three times, while āaliveā only once in the whole song. Meanwhile, to go along with the theme of survival, Michaelās original goal of āFinding whatās real and holding on tight before he loses himselfā is utterly discarded. Heās back to his original goal in the first iteration of āLose Yourselfā, where he wanted to dissociate and escape. Heās back to wanting to dissociate and escape BUTā¦. With Star this time!! Isnāt that romantic!!! Also his first line in this version of the song is āI donāt wanna disappear,ā but near the end he goes on to say āmaybe we can disappearā like the regression is so real you guys. These two are so Over It.
They put themselves in the perfect emotional position to be frozen in time forever. Everyone keeps writing fanfics where Michael gives in during the massacre dinner or when David does a different method but I actually think Michael is at his lowest possible point right here, where heās tired and downtrodden and the only other source of strength he could draw to canāt provide him any methods of escape. Looking to Star was never going to save him, she Is Not some metaphorical answer to his problems the way Max and David present themselves as, she can only give him her presence and comfort, and with it some relief. Is there a drug analogy hereānooo no no Iām not going there.
And again, this would be Fine⢠if this was It. Star doesnāt HAVE to fix Michael, and he doesnāt have to fix her. They just have to be there for each other, and with time theyād heal and find a future to look to. But oh, man. David has a whole song about killing time š¬ If Sam hadnāt come in to the rescue and force the issue, Iām sure David would have had A Very Good Week. Remember that pattern earlier about how it felt like David kept creeping himself into their moments? Letās look at the David name drops!
Star is the first character to name him in the play, like two minutes before they start playing piano in Hurt a Little (thereās time for Michael to win the teddy bear and Sam popping in to interrupt the first murder attempt). In Now, Forever, Michael name drops David like a minute and a few seconds before they start playing the piano. Itās how they start the conversation at all (but I do wanna give a shoutout to her mentioning how the earring isnāt half badāOh Iām sure. That one is like 30 seconds before the piano keys). In the Lose Yourself Reprise? David is name dropped smack dab in the middle of their part of the song: āIāll run.ā āDavid will find you, his blood is in your veins!ā
Iām almost certainly overthinking this, I know. David is always there because heās like. The most important character in the play. But my god. If I may continue this train of thought⦠it feels like the conclusion of how he integrated himself into more than just their relationship. In the first instance, he had to physically be there to talk to Star, in the second instance Michael feels prompted to mention him because of the results of his botched murder attempt (a nice earring), in the third David has successfully placed himself into their very beings. Heās not even outside of their songs now! Literally by just being Michael and Star, David is There, through their blood. Nobody can tell this man NOTHING.
He doesnāt NEED to pop up after theyāre done singing this time, his goal has been achieved, which is to tie Star and Michael to himself and have them feel the same. Michael and Star are good for each other, just enough to address the emotional issues that were popping up (Iām not sure how effective vampire blood is at curing depression), but theyāre not mentally equipped to cut David off like the fungus he is. Individually, heās also just kinda playing, like, idk. RPG romance simulator. Fire Emblem? LMAO. You know those games where you ship characters together for their benefits? Yeah. Heād be great at the later Fire Emblems. Heās having trouble turning Star fully and as weāve mentioned, sheās depressed and longing for disengagement with the world (to put it mildly). The singing helps (agreeing with Vraikās headcanon here), but again. Thatās not therapy. So it stands to reason that heād use the very first cute person that can make her look away from the sky down to the earth. Thatās ALSO not therapy but David is sure that something will stick if he just keeps throwing stuff. On Michaelās end... well⦠sheās the perfect bait⦠but also Michael is depressed too and also in need of someone that he doesnāt wanna throw out of a window after David accidentally misjudged his willingness to murder random strangers and made him angry at him and his boys and also isolated him from his own blood family. Woops. And what does David get out of it? Like, aside from two wives and eye candy in each arm? Uhhhh two new siblings :)
(The real answer is probably its own essay.)
Iāve mentioned before that Starās positioning in Secret Comes Out isnāt mutually exclusive from Davidās even though they visually appear to be two opposing forces. You can kind of already tell this is the case because of the lyrics, and the fact that they harmonize constantly, My argument in this absurdly long essay is that he makes it so it canāt be mutually exclusive. Because he (caringly) has Star in his pocket, and he knows it, she knows it, Michael now knows it, time to profit? Itās kind of both hilarious and Next Level, with a spoonful of horrifying. The only saving grace is that David doesnāt know that Star WOULD chose protecting Michael over standing with David, and Michael will always chose Sam over any of you. His miscalculation came in the form of outside forces that he completely set aside as Unimportant. Dumbass. Thatās what you get for not believing in the power of love š
IN CONCLUSION: David ships them because they bring out in each other just the right amount of hope and survivability that it takes to last a decade or two until he can get them to turn but not enough to write petitions against him. These two are not fighting for their freedom or autonomy, theyāre just as likely to go settle in the corner of the factory and chain themselves with handcuffs, but at least they love each other and are equally so attached to him that they canāt even kill him happily. Itās like toxic threesome bingo.
I also think the desire for a normal family with a future that follows the norm is kind of required for those pesky thoughts such as hetnormativity and comp-het and what-have-you. MikeStar is not framed like this at all. In fact, thereās an argument here to be made that they should probably stay away from each other if they really need Michaelās little brother to get himself in danger so they can realize that they gotta kill the guy theyāre in love with. We also already know that they donāt even mean to do it, they werenāt even ready, they are like babies. Sam and his bros are badassing around that house oneshotting hardened killers while Mike and Star are gonna cry because David died. Iām being so mean but this is genuinely so delicious to me. MikeStar isnāt even a duo itās a trio where the missing member is holding the other two like Barbie dolls. Heās gonna haunt them SO bad post-canon.
BONUS Thoughts I didnāt get to:
-Right before Michael wins the teddy bear, he asks her how he can convince her to be his girlfriend. She tells him āI donāt know⦠promise me eternal happiness and a love that never dies?ā What kind of Belong To Someone foreshadowing bullshit is this??? Ey yo Hornsby and Hoch can I have you on call real quick?? Rescues??? ANYONE??? DID SHE PUT THAT IN HIS HEAD???
-okay so you guys know that wild dialogue that David used to say to Star in previews before it got cut to a more chill and sympathetic rendition, right? How heās like āGo, be with [Michael] for a nightā?? (I still can NOT believe they even considered having him say that. Oh my god.) And then she sings War because sheās so Tired and Over It and Frustrated at how David will never look inward and realize heās never gonna win at Happy Family Legos so instead heās dragging her into this eternal state of depression and guilt?
Okay cool so chronologically for her after this she meets up with Michael after all that and then they have their whole argument and then the end of the Lose Yourself Reprise and they kiss. And right after they hold hands and run off to a fade to black? So like weāre aware thatās a nod to how during the movie this is when they have sex? Specially considering that Michael gets home super late afterwards as shown by the framing of Lucy singing Michael? So like, am I the only one thinking about the implications here?? That David orders Star to have sex with Michael and then she DOES IT??? HELLO?? CAN SOMEONE GIVE ME DAVID HORNSBYāS NUMBER I HAVE QUESTIONS!!!
Like I know that this isnāt the case in the current show any more because that dialogue is completely reworked and whatever goes on between Michael and Star in private is their business but this warrants a discussion??? Writers??? What the fuck.
-I hope this panicked paragraph inspires someone other than me to write the AU where Sam and the Frog Brothers are. Idk. Watching Rambo together or something. In Summer camp. And donāt catch on who the vamps are fast enough so David can enjoy the fruits of his labor by crashing into Star and Michaelās night, as heās wont to do. Chop chop fan fic writers.
-Iāve always liked Lose Yourself Reprise mostly because I find the way Shoshana Bean sings out āAll the shit I allowš¶ā. It amuses me very greatly and also she is KILLING it on that song. But I also gotta sayā¦. This is also among Lucyās lowest points, huh? Where sheās most convinced in the Max of it all, seeing as Sam has just utterly embarrassed her with no reasonable excuse. So angry! A huge parallel to Michael, whoās all in his David feelings and does start pretty angry, but the Star exposure chills him to comfortable numbness. Itās like the two of them have switched places from the beginning of the play. Those damn vampires!