Відео

Shoutbout to David Geffen for seeing the show off-Broadway and seeing the greatness.

If you want another dark musical adaptation of the Faust myth, check out DePalma's 1974 Phantom of the Paradise.

You can't drop vines in a cinema. More's the pity.

Meek shall inherit is my favorite sequence in the stage show. It’s the closest Seymour comes to turning back and the emotion always gives me chills. Love the call out.

👏🏻👏🏻👏🏻

11:19 Kate Bush, surely? Especially in the 70s and early 80s. It definitely did get way more tamed later on as she learned to sing "with more balls" as she put it

Just a small correction for this 2 year old video, but "La violencia" isn't about colonization, it's a period that's been used to refer to the displacement of people from rural parts of Colombia because of civil disputes / wars after the liberation of the country. It started waaaaaaaaaaay later after the colonization of native american Colombia It's started in 1920's and it ended in 1960's, the conflict shown in this movie and the source of miss Alma's trauma is the occupation of her home and displacement of her rural town by Cololmbian military factions! La violencia was not a short lived period, but it did have a "marked" ending, the reason as to why so many current day Colombians still make reference to it is because many of their relatives who lived through those times are still alive and are themselves, the matriarchs or patriarchs of their own families The conflict may have ended, but it's repercussions are still felt to this day and that extends to the issue with drug cartels which also target small rural comunities and recreate the whole scenario of vulnerable people being displaced of their homes

Dude, hope you get laid one day. You will never have your Audrey as long as your pumping the leftist ideology. Even if you do marry, you will probably end up raising my kids. I do live the perfect suburban life despite what liberals have done to the economy and I look forward to banging your wife as well as she looks for someone who has enough testosterone to get her where she needs to go. I hope your youtube income is enough to feed my bastards, which deep down in your heart you know aren't yours but you'll accept it anyways being a beta. Please continue making vids that people go halfway through like I did, because my (or other real mans) children need to get fed somehow. (This is all under the assumption than some girl uses you as her cuck, which is very unlikely as I doubt that you spouting liberal talking points makes much money, especially considering your appearance), I truly do feel bad for you, probably dying a virgin, and more so I feel bad for your parents who spent such effort into you, hopefully you have siblings who will carry on their genetics other than you.

Yes the original was faulty but the ending was epic.

Maybe the real American dreams were the friends we made along the way

Loved the video! Truly. I saw Little Shop on the Big screen decades ago. It’s origin story, plot and subtexts and how they changed by adaptation… I had no idea. I literally wasn’t aware enough of the ideas, to notice them; nor how they were referenced. In short, I was blind to the invisible war on culture, or rather, the dueling propaganda campaigns which prevent one from forming a rational thought. You’re right, as far as the director’s responsibility in how that propaganda war develops. Perhaps a lost opportunity. Or maybe, a deeper layer of satire? As you said, the picket fence ending is far more appropriate, given <exhibit a> the previous few dozen minutes of the viewers’ experiences. BTW, that a cappella song was amazing!

Saw movie all right as child.. #DisneyDiva

Love this! UA-cam JUST put this in front of me btw

I want to add that while the changes to the script in Suppertime rob that scene of the thematic elements needed to make Seymour sufficiently culpable, the cinematography and music are still doing the work. The dancers wearing sparkly dresses while always in shadows or silhouettes, the dissonance in their singing hanging for much longer compared to the stage version since the dialogue is paced more slowly, and of course Twoey's slow movements to communicate silently to Seymour What Must Be Done. Bonus points for Twoey looking in the mirror when singing "When he's gone the world will be yours." Up until we cut to Seymour's grossed out reaction, visually the film is telling us that he's about to *choose* to do something gruesome. And then the script ruins it by forcing his hand. Fantastic video btw.

Actually, the pear comes back and Lyle, the kindly Viking

The other issue at hand is, there are a lot of patter songs in the second half, which communicate the whirlwind our characters have been thrown into. Halfway through the "hold please" song, it stops dead in its tracks to reverently whisper "The Rose Bowl." I went to see the show at Beverly Arts Center the other night, and it struck me as wholly absurd that the Rose Bowl should pick this no-account florist's shop in Skid Row for its float, because no way do they have the infrastructure to do that. Then it hit me: _Audrey is magical, not alien. Audrey is subtly twisting the world to further the dream. Bigger plant, bigger antenna to broadcast bigger thoughts._

45:09 I'm pretty sure Goliath is supposed to be a Sylvester Stallone "Rocky" impression.

Are the larryboy songs slaps? Good video, but I missed that

I’m surprised nobody seems to realize that Bob Larry and Frankencelery appearing in the first episode are part of Juniors imagination as he’s asleep from the moment we seen him in bed. Same with the transforming portrait that scares the shit out of him on the steps. He was dozing off and that was a short nightmare that woke him up enough to tell him to get his ass to bed. That’s how everyone magically crashes through the ceiling

Aaron this was a delight!

the fact that this video moved me to literal TEARS--and there are only 6 comments (not counting this one) and 24 thumbs up (including my own) blows my mind. brb, gotta come back and leave a COHERENT comment on here once I can organize my thoughts beyond: something-something butterflies something-something Lapis Lazuli something something Chava...'crying sounds' (b/c once I *can*, I **really** want to dig into the symbolism behind everyone's powers and how they're echoed responses to trauma and how it's passed down; like how Pepa's kids' powers (minus Antonio) are reactionary to *her* powers, not directly to Abuela's trauma, yet Mirabel's siblings' powers aren't reactionary to their mother's gift.)

9:06 use your imagination. Picture a character from fiction that you really, *really* love. It can be ANYTHING, just as long as they're important to you, and you have faith in them. Imagine this character (or copies of them, imagining copies/ clones of them helps) standing guard around your bed, under your bed, in front of your door, in front of your closet; wherever you need them. Guarantee that if you love this character, and you believe that they're all-powerful/ invincible, then you will get a good night's sleep knowing that they're protecting you. It worked for me until I outgrew nightmares. (anxiety dreams though?...yeah, I've got nothin.') Once you've hit adulthood and thinking up imaginary protectors doesn't work anymore, and your imagination still conjures up monsters around every corner of your house? ...Well, you're an adult now; you're allowed to start flipping monsters the bird.

Tampa is the piratiest city. Their team is even the Buccaneers.

Question: What's the difference between a bop and a slap?

I was today years old (actually yesterday) when I learned 1986’s Little Shop of Horrors had an alternative ending. I know, I know! We should have known! Ms McLeod, music teacher, would either put this on or Amadeus whenever she graded papers. Seriously and I’m not even kidding, I happened to see the original ending only yesterday and I’m 45. There’s a lot to unpack.

"HOW DID THIS TOY SAVE CHRISTMAS?!" *shows footage of Buzz-Saw Louie spreading the meaning of Christmas to all unbeknownst viewers* Joking aside, this was a really good video! I agree with a lot of the points you brought up for Josh and the Big Wall. It'd probably be my least favorite 90s episode if not for everything else going for it. On a similar note, I agree that Auto-Tainment always felt weird, and the creepiness makes sense when you realize it was produced at the exact time Big Idea was falling apart at the seams Can't wait for your next video!

I cannot express how excited I was to find this in my subs when I got home last night, nor how quickly I clicked! I remember back in the Fall telling myself that I hoped Part 2 of your Veggie Tales series would be posted by Easter 2024, but I'll never decline an early masterpiece! (I also cannot believe that when you made the preview joke at the end "are women...ducks?" it took a mere fraction of a second for me to piece together what that meant, no googling required, even though I haven't watched Veggie Tales in about 15 years, THAT IS HOW DEEP THESE EPISODES ARE PLANTED INTO MY MEMORY! That's how I know this series is for me, I guess!) It's a flipplin' tragedy that you have less than 600 subscribers, your delivery and critiques are amazing! I'm watching the above video for a 3rd time now, kbye.

I watched your first part of this series about a month ago, I'm excited to see there is a second part now!

This is amazing

I cannot wait for the next episode in this series! I don't know why, but you give me Nathan Lane character vibes and I love it!

I needed this.

Thanks for insightful comments. I’ve always hated the Manufactured Miscommunication Trope!! (I wanted to love Broadchurch given it’s rave reviews, but it built entirely on one character after another ‘biting their tongue’ until their lives were ruined…) Any thoughts on Young Royals, Aaron?

So, I am a new subscriber who admires and agrees with your take on Heartstopper S1 here. May I put in an encouraging word for a follow-up video on S2? I will honestly be checking back here quite a bit and will schedule time to watch it and break out a special snack like nachos or something to accompany my viewing when you publish it. Just so you know what goes on out here when someone's opinion is enthusiastically anticipated. Wait, I am sure you do this for other creators' work from time to time yourself. So you know. Yeah!

This was so well done. You put my own feelings about the film into words perfectly! Really enjoyed the video 👍

Interesting take, than k you

Liked for the singing

When I saw that ending yeeeeear later😢☹ 🤯😫😫😫😫

I love this! Thank you! Will you be doing season 2?

i think as a child my parents genuinely did not know this was a christian show lmao. now that i think about it, they showed me a lot of christian movies despite us not being a religous house... hm.

Have i already seen some of the video essays in question? yes. Am I still excited for whats yet to come? Hell yeah!

Literally my new favorite UA-camr.

The "trombone solo" had me dying. Incredible job.

Nice analysis, Aaron, but, to me, the original ending of the Little Shop of Horrors movie falls flat because of four key scenes, and they all have to do with characters dying and getting eaten: 1. Dr. Orin Scrivello, D.D.S.'s death. In the stage show, Orin is about to give a gun-wielding Seymour, who's all ready to kill the dentist on the spot, a checkup, before he [Orin] decides he needs to get some laughing gas (for Orin, not Seymour). As Orin puts on his gas mask and begins laughing, that's when the song "Now (It's Just the Gas)" begins. As Aaron said, Orin's mask gets stuck as he tries to take it off, and Seymour is presented with a choice: either help Orin take off the mask, or let him die from lack of oxygen. Seymour eventually realizes that, if he lets Orin laugh himself to death, he can claim that he [Seymour] didn't technically kill him. In the movie, however, "Now (It's Just the Gas)" is cut, and Orin, as he's dying inside the gas mask, asks Seymour, "What did I ever do to you?" Seymour replies, "Nothing; it's what you did to her [Audrey]," after which Orin breathlessly collapses instead of cackling to the grave. Now, Seymour does use Audrey as an incentive for killing Orin in the show, as he readies himself to shoot the dentist dead ("Just a flicker of pressure right here on the trigger, and Audrey won't have to put up with that pig for another day!"), but he never expresses this directly to Orin, so, in Orin's eyes, Seymour is letting him die for no reason. In the movie, though, Seymour pretty much tells Orin that he's letting him die because of his abuse towards Audrey; thus, while Orin's death in the musical and film are pretty much deserved, film Orin's demise feels even more deserved than that of show Orin. 2. Mr. Mushnik's death: In the show, Mushnik finds evidence of Seymour killing Orin, including little red dots on the shop's floor, a picture of Seymour's hat (which was left at the dentist's office), and a Mushnik's Florist Shop bag (which was used to stuff Orin's remains when Audrey II was fed). Seymour denies killing Orin (which is technically correct), and Mushnik tells Seymour to come to the police station. As he's doing so, Audrey II tells Seymour to off Mushnik just like he did Orin, justifying that if Seymour's evils were exposed, if would ruin his newfound reputation. Seymour eventually tells Mushnik that he stuffed thousands of dollars inside the plant (since he forgot the combination to the safe locker), which convinces Mushnik to step inside the plant to try and find the money, resulting in Mushnik's demise. In the film, Mushnik witnesses Seymour chopping up Orin with an axe, and later confronts him; while show Mushnik has only clues to go by when realizing Seymour is a murderer, film Mushnik really does have Seymour's number. Not helping things is that, instead of denying it, Seymour admits, "It's true, I chopped him up, but I didn't kill him!" (which, to be fair, is also true) Mushnik's not buying it, and is about to take Seymour to the police (at gunpoint!), when he reconsiders, instead giving Seymour the opportunity to leave Skid Row and lay low for decades, while Mushnik takes care of Audrey II; instead of going to the police and telling them about the murder, Mushnik in this film is willing to let Seymour get away with the murder, so long as he doesn't come back to town. This ultimately makes Mushnik's death less tragic and more karmic. 3. Audrey's death (or, rather, the events leading up to it). In the show, Seymour asks Audrey, if there had never been an Audrey II to begin with, if she would still love him. Audrey says that she does, and Seymour, in a mental breakdown, decides to destroy Audrey II before leaving Skid Row with Audrey. Thing is, he says all of this in the florist shop, within earshot of the plant. Later, after Seymour runs off to get the plant some meat, Audrey, worried sick about Seymour, returns to the shop (while singing a song called "Sominex"), only to find the alive Audrey II, which tricks her into watering it (to a reprise of "Suppertime") before grabbing her and preparing to eat her. Seymour arrives to save Audrey, but it's too late, and Audrey makes it her dying wish to have Seymour feed her to the plant. After Audrey goes out with a reprise of "Somewhere That's Green", Seymour feeds Audrey to the plant. In the film, Seymour asks Audrey the same question as in the show, with the same response (and even a marriage proposal, which wasn't included in the original show), but this time, they do so outside the shop, where the plant can't possibly hear them talking. Later, Seymour goes off to get Audrey II some meat, and, instead of Audrey returning to the shop to look for Seymour, the plant gets the idea to call Audrey (who is happy and smiling from her last interaction with Seymour instead of worried) on the phone. With the song "Sominex" being edited out of the film, Audrey receives a phone call from Audrey II, forcing her to run inside, where she is caught by the plant and almost eaten before being saved by Seymour. And after the "Somewhere That's Green" reprise, Seymour is much more hesitant to feed Audrey to the plant, slowly walking inside the shop while holding her. While in the show, the whole ordeal is kind of Seymour's fault for blabbering about his plan to leave Audrey II to die on Skid Row with Audrey II nearby (leading the plant to take spiteful action), in the film, it is Audrey II's fault entirely, and makes the plant's plan to eat Audrey out to be for simple shits and giggles. 4. Seymour Krelborn's death: In the stage show, Seymour finds out from Patrick Martin about a plan to sell leaf cuttings of Audrey II in florist shops all over America. As it turns out, this is what Audrey II had in mind from the start; thousands of bloodthirsty Audrey IIs would be numerous and (eventually) powerful enough to conquer the world. Underscored by an instrumental reprise of "Da-Doo", Seymour decides that the plant has to die right now, and so starts shooting the plant with a gun. When that doesn't work, Seymour goes for a pack of rat poison, and when that fails as well, Seymour decides to chop away at Audrey II from the inside, wielding a machete. Seymour screams, jumps into the plant, and gets eaten, and the distribution goes ahead. In the film, Seymour finds about the same deal, and the same consequences, and similarly realizes that he must stop this from happening. Underscored by the song "Mean Green Mother from Outer Space", Seymour uses a pistol and an axe against Audrey II, both of which fail (the latter is foiled by Audrey II pulling down Seymour's pants). After this, the plant toys with Seymour by trapping him in a wall of vines, before pulling down the shop's roof to crush Seymour. As Seymour climbs out, Audrey II grabs the guy and slowly pulls him into its mouth, while Seymour (silently) screams and weakly kicks his legs, after which the plant spits out Seymour's glasses. While show Seymour is actively making the effort to kill Audrey II (even if it does lead to his downfall in the end), in the film, it seems that Seymour's fate is being forced upon him.

I get annoyed that in the Middle School productions is that they leave the second half of Into the Woods, just because they don’t want to scar kids for life.

Oh, no! Whatcha gonna do? *when the Algorithim finds you*

When I came back home from seeing the theatrical version the other day, I was uncertain about the ending at first. I don’t know what it is about not getting a “happy ending” that upsets me so, but then I had a thought: Maybe. There *was* a happy ending. I merely rooted for the wrong character. Pun intended.

I HATE this. I mean, I cannot argue your facts or the points on the merits or deny any of it. But, well, you know.... XD

I remember the day it dawned on me that the Federation in general and Starfleet in particular are actually pretty awful. It was around the same time I realized that, as written, everyone on the Enterprise is an extraordinary moron. That was some real whiplash for an idealistic 18-year-old. (That was around the first week of September, 2001; I didn't end up spending that much time pondering it.)

When it was shown that you were including stuff from later into the Star Trek timeline, I immediately though of you just having this intervention with the dead corpse of Jean-Luc after all the events of the franchise, and it made the rest of the video 10 times funnier, and 10 time sadder simultaneously

The dark ending could have worked if the film itself had a different tone, but based upon everything that came before 'Mean Green Mother...", the happy ending fit best. Tonally. I do love that we have the two versions available and fans can enjoy their favorite ending. I mean, that's pretty rare