They’ve made a lesbian adaptation of “Grease” where the greasers are butches and the pink ladies are femmes.

some more fem crowley

you can get a print here: inprnt!   

So we've all heard of the "I Want Song" genre in musicals.

But what about the "Let's talk about the bitch behind their back like they're not in the room" song, or "singing s*** behing a bitche's back". There's a surprising amount of them.

"Belle" from Beauty and the Beast

"Scrooge" from Muppet Christmas Carol

"Maria" from The Sound of Music

"Look at Me I'm Sandra Dee" from Grease

"You're a Mean One, Mr. Grinch" from How The Grinch Stole Christmas

"Jackass In a Can" from Galavant

"Phony King of England" from Robin Hood

"Stepsister's Lament" from Rodgers and Hammerstein's Cinderella

"Non-Stop" from Hamilton

And, of course, the man, the myth, the legend...

"We Don't Talk About Bruno" from Encanto

You can learn a lot about a character and story from what they sing versus what other people sing about them.

Grease (1978) directed by Randal Kleiser

Singin' in the Rain (1952) dir. Stanley Donen, Gene Kelly / Barbie (2023) dir. Greta Gerwig / Grease (1978) dir. Randal Kleiser

Playbills: A Broadway Poster Show

Grease (1978) dir. Randal Kleiser

John Travolta in Grease (1978)

"You're cruisin' for a bruisin'."

GREASE [1978] dir. Randal Kleiser

Grease: Rise of the pink ladies + Text Posts

possibly my favourite thing about the rotpl finale is getting confirmation that lydia already knew she was gay. cynthia was going through such a time, and we finally know that lydia was actively protecting herself and in control of the whole situation. the rehearsal kisses? she instigated that with the knowledge that it wasn’t two straight girls, because she clocked cynthia from the get-go and still offered to kiss her for the play, because it was no commitment. she couldn’t be abandoned because the play already had a strict deadline. when cynthia ran away after the pre-play kiss, and avoided her at the dance, she knew she’d gone too far, and that she’d have to pull away and not talk to cynthia so that she could maintain the boundaries that would protect her from heartbreak again. the whole situation gains a whole extra layer because while cynthia might not have had the words to express who she was, lydia did, and the words were deviant and invert and sick, so of course the poor girl, this seventeen (maybe sixteen?) year old girl knew that the world wasn’t safe for her. despite all this, cynthia pulled it back. everywhere lydia hid behind behind femininity and long hair and theatricality, cynthia stuck out like a sore thumb, short haired and feisty and so butch without even knowing what it was, that overtness represented that hope, that the bit of lydia that was hiding could be a little freer. the glances that we see when the teacher suggests more rehearsals can turn into the active looking for each other that we see in the finale because that’s where the balance is, and it shows lydia that cynthia will never deny her. she will see her in public, around her friends, and will say she loves her to nancy, and that is what lydia needs. she spends so much time acting as these characters that she is virtually never herself, and in the hall of mirrors, surrounded by her own reflection, she gets to see that being who she is, a young lesbian in love, might be worth it. that the girl in the mirror, kissing cynthia, can exist and be happy.

"The Pink Ladies pledge: to act cool. To look cool and to be cool. 'Til death do us part, Think Pink!" - Grease 2

NOW THAT IS A JACKET #1 (aka the Jackets series)

Grease // Grease 2 // Grease: Rise of the Pink Ladies The Pink Ladies

Tell me about it, stud.

Olivia Newton-John as Sandy Olsson — GREASE (1978) dir. Randal Kleiser