YALLLLLL
I went to a The Rose concert last night and omg
It was amazing 馃槶馃槶
Even their little inconveniences were somehow entertaining. Like the battery pack of one of their guitars just stopped working and they handed it so well.
Me and a good friend of mine went and it was really sweet and cute, the whole thing. We got the tour shirts, a tote bag, and a bucket hat at the end right before they sold out 馃挄馃挄 I got the hat and she got the bag
We ended up being in the first three rows so the views were pretty good. Kinda hard to come by with my vertically challenged ass 馃拃 I got a really good view of Dojoon and Woosung tho. I could barely see Hajoon in the back of the stage tho, ahhjdjdjdjdj 馃ぁ Idk if anyone even had a clear view of him until the end when they came back on stage after the main part of the concert ended.
I鈥檒l post more about it when I can!
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No but it's not just that Mariah and Joey do a perfect job at selling this scene
It's that literally everything is lining up to make us the audience think there's a very real chance Peter might die.
It's that a Hatchetfield musical has literally never let their happy couple survive the end of the show. Why should these two be any different?
It's that the Lords in Black are deadly. Linda was killed in two different timelines after becoming one's ambassador. They absolutely have the power to make this happen. This wouldn't event be the first time they got someone shot in the head.
It's that the "I'm not a loser" leitmotif has been played directly before Richie dies (sung) and Ruth dies (in the accompaniment). And then they sing it right before this scene!!
It's that the "I'm not a loser" motif itself is just an exaggerated Dies Irae, AKA the musical representation of death, and Pete is the one who first introduced the motif.
(and once again, they sing it right before this scene!)
It's that you don't even consider Max saving him as a possibility because why would he want to stop this? He wants Pete dead. In the chaos of the moment, you don't stop to think about how letting Pete die would kill him too.
It's that everything lines up so perfectly and then as a cherry on top Joey and Mariah are delivering these lines like their lives depend on it.
It's just so fucking devastating.
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Workin Boys was literally the only thing that saved Hidgens from being flanderized beyond recognition
(Spoilers for Workin' Boys)
So what I think a lot of people don't give much thought to is how much Professor Hidgens as a character has evolved since tgwdlm, essentially becoming a parody of himself.
Think of Hidgens as a character. What are his defining traits?
Did you think about how he is a doomsday prepper who has been stockpiling supplies for 20 years? Because that's how he's introduced in Guy.
Did you try think about how he has a weird relationship with his Alexa? Or did we forget about that?
In fact, for the majority of TGWDLM, Hidgens' main character trait is that he says weird shit with a Doc Brown voice.
The whole concept of Workin Boys isn't even introduced until the last half hour of the show. That's where he reveals his real motivation: to live out the musical he wrote as a young man.
Actually, no, that's not right. Because his motivation was world peace, and Workin Boy's was just a convenient means to that end.
I won't disregard the fact that Hidgens clearly has an emotional connection to the show, but in Guy, it serves as a punchline rather than a driving force.
So now we have this lovely, morally-grey, multi-layered character that we can work with.
By the time we get to Time Bastard, the fandom is expecting a show stopping number reference, so of course we get that.
But at this point, Hidge is still that multi-layered character. Sure, showstopping number gets a callback, but we also get a callback to his strange relationship with robots. They make up an equal part of him as a character.
By the time we get to Honey Queen, we have lost several aspects of Hidgens altogether. He is no longer a doomsday-believing recluse. He is now active in the community and his only motivation is to get his show funded. He brings it up at every chance he gets, and his loyalties lie with whoever is more likely to make Workin Boys happen.
So how the hell do we come back from this?
Well, at first it seems like we're not going to. Workin' Boys (the short film) comes out, and it looks like we're leaning even harder into this aspect of his personality than before. But then we get hit with something we're not expecting: Hidge gets the Ted Spankoffski treatment.
I'm referring to Ted's backstory in Time Bastard, where we learn that all of his actions actually stem from a single, traumatic moment, which in his eyes forced him to alter his behaviour, so as to not go through the same trauma again.
Can you see where I'm going with this?
The backstory we get from Hidgens certainly puts things in perspective. No, it's not enough to explain why his behaviour has been so laser-focused on this one show, but it's a start.
Then comes the part that changes everything.
It's left up to interpretation whether these ghosts Hidge is seeing are actually there, or just hallucinations, but that doesn't really matter.
Hidgens had been through a horrible experience, so traumatizing that he is still literally being haunted by it decades later. For one reason or another, he believes that the only way he can relieve himself of these ghosts is by bringing honor to the loved ones he's lost and telling their stories.
This reveal recontextualizes everything we know about Hidgens as a character. Suddenly, this isn't a story about some guy who just really wants to put on his musical, this is a story about guilt. Of course it would be the driving factor in his life. Look at him apologizing to his boys. He feels like he is slandering their memories with everything that goes wrong for the show.
This is supported even more with the ending.
Henry Hidgens dies with a smile on his face, believing he's finally achieved his goal: to tell the real story of what happened that night.
It finally makes sense as to why we've lost those parts of him--we've retconned the character by revealing that all that simplification of his goals and traits wasn't flanderization at all, but a steady downward spiral of grief over his loved ones. It wasn't Hidgens getting a little too into being a playwrite, it was him descending into madness caused by the inability to please the part of himself (or the literal ghosts, if that's how you interpret it) that believes he's not doing enough.
And if not for Workin' Boys, he would have remained that one-dimensional character.
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