petition to change LGBT to DFTQ (Dykes Faggots Trannies and Queers, naturally)

I had a very interesting discussion about theater and film the other day. My parents and I were talking about Little Shop of Horrors and, specifically, about the ending of the musical versus the ending of the (1986) movie. In the musical, the story ends with the main characters getting eaten by the plant and everybody dying. The movie was originally going to end the same way, but audience reactions were so negative that they were forced to shoot a happy ending where the plant is destroyed and the main characters survive. Frank Oz, who directed the movie, later said something I think is very interesting:

I learned a lesson: in a stage play, you kill the leads and they come out for a bow — in a movie, they don’t come out for a bow, they’re dead. They’re gone and so the audience lost the people they loved, as opposed to the theater audience where they knew the two people who played Audrey and Seymour were still alive. They loved those people, and they hated us for it.

That’s a real gem of a thought in and of itself, a really interesting consequence of the fact that theater is alive in a way that film isn’t. A stage play always ends with a tangible reminder that it’s all just fiction, just a performance, and this serves to gently return the audience to the real world. Movies don’t have that, which really changes the way you’re affected by the story’s conclusion. Neat!

But here’s what’s really cool: I asked my dad (who is a dramaturge) what he had to say about it, and he pointed out that there is actually an equivalent technique in film: the blooper reel. When a movie plays bloopers while the credits are rolling, it’s accomplishing the exact same thing: it reminds you that the characters are actually just played by actors, who are alive and well and probably having a lot of fun, even if the fictional characters suffered. How cool is that!?

Now I’m really fascinated by the possibility of using bloopers to lessen the impact of a tragic ending in a tragicomedy…

I dream of one day being able to craft characters as vividly and efficiently as Billy Joel in “Piano Man.”

Paul “the real-estate novelist”. Three words! That’s all we need to build a complete picture of this man’s personality and history. And then it just rounds out the picture with “never had time for a wife”.

And we don’t even pause a beat before jumping to the equally vivid tragedy of “Davy who’s still in the navy and probably will be for life.”

And these two are talking together! Because of course they are, these kindred souls stuck in their lives of mediocrity.

The whole song’s nothing but lightning-fast character sketches. The old man whose song is “sad and sweet and knew it complete when I wore a younger man’s clothes.”

John at the bar, so firmly established as cheerful and friendly and exuberant before the 180 turn to “Bill, I believe this is killing me.”

The waitress practicing politics.

Even the businessmen “sharing a drink they call loneliness, but it’s better than drinking alone.”

All these tiny little tragicomic figures gathered around a bar’s piano. Sketched in five minutes and thirty-nine seconds–and that’s counting the choruses and harmonica breaks.

I dunno, I just think about it every time I hear the song and think he deserves more credit for it.

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love "et cetera" like... theres soooo much more. beyond your wildest imaginations. Not gonna tell u what tho. Move on

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Hello please reblog this if you're okay with people sending you random asks to get to know you better

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i hate when i send someone a meme in another language and they're like "uhm... translate? 😒" fucker i sent you a meme where 90% of the words have an english cognate and/or you don't need to know what they're saying to find it funny. can you at least TRY

reverse rpf this celebrity couple should divorce

tbh i didnt know you were supposed to be jerking off while you look at porn