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"Our Love Is God" Fic Notes

OLIG finished off yesterday! For once I almost nailed the length, I was expecting 12 chapters but didn’t want to commit early on. HI I TRIED TO POST THIS SO MANY TIMES but apparently it was TOO MUCH TEXT in a single block and it wouldn't give me that error, I just had to GUESS because I knew that's been a problem before. Anyway. Here it is finally.

Playlist:

Obviously the West End and Off-Broadway cast recordings, but also I did still primarily use a separate curated playlist:

Good For You — Dear Evan Hansen (original Broadway cast)

The Worst Person Alive — G Flip

Ego Talking — Fletcher

Take Your Time — Chloe Moriondo

You Don’t Want Me Like That — Rachel Bochner & XANA

leave me for dead — GAYLE

pity — Charlotte Sands

Bodybag — Chloe Moriondo

spite — Charlotte Sands

butterflies — GAYLE

Tantrum — Charlotte Sands

Killbot! — Chloe Moriondo

LOVE IS A… — PVRIS

I Don’t Like The Quiet — The Haunt

Celebrity (Blood Bunny Version) — Chloe Moriondo

Doing Better — FLETCHER

Bad Girl — Daya

Not To Be Dramatic — Zoe Clark

My Perfect — Gen and the Degenerates

Often — Lauren Sanderson

Pretending — FLETCHER

Epilogue Life:

The original cast of Heathers played on stage for just over a year before most of them move on to other projects with the major cast change. Heathers (gay version) runs for about two years, going through two more cast changes, before closing. The original cast does go to see the new cast and cheer them on, but it is kind of weird to see someone else acting out a role that became like breathing to them. Overall the remake is taken very well but has just run its course by the time it ends. There will be another revival in a few years and it actually uses both the straight and gay versions of the musical between cast changes.

Catra carries Shot in the Dark for its entire two year run before it dwindles into a temporary retirement and gets revived with a new cast a few years later (same sets and such). She’s the defining lead for the show and obviously on the cast album. She’s really, really proud to have originated a magicat-led show and makes her new origination goal a sapphic role.

After Shot in the Dark, she takes a supporting role in another musical for eight months before leaving early to join Adora and Netossa on a new project. They don’t actually interact a lot in the show and aren’t love interests or anything, and they’ve long since learned to balance their careers while in different shows, but it does allow Adora to propose to her during final bow (with approval from Netossa). Adora tipped their parents off and they’re both in the audience to watch her say yes.

(Adora knew she was going to accept, hence the public proposal, and Catra’s relationship with her mom has gotten better now she’s a successful, independent adult. Also Felina would have been So Sad to miss it so Adora told them both). Oh also they moved in together as soon as their leases came up lmao.

Adora led one show in the mean time between Chicago and their show together, but it was smaller, not as demanding as Veronica, and she was really excited to hop on a project with Netossa and Catra again. She decides to make originating a gay role and collecting cast albums her career goal, in addition to getting in a few specific shows she and her mom looked up to when she was growing up. She already feels pretty fulfilled with her early career though and considers everything else the cherry on top.

Rest of the cast quick hits: Mermista plays Velma center stage in Chicago along with Adora. Fitting her braid in that wig cap is definitely a challenge lol. Sea Hawk starred in a Hello, Again short revival run which Catra and Adora were dying sitting through, but they support all their fellow cast members when they move on to new shows. Perfuma finally got up the nerve to ask Scorpia out on their very last night performing in Heathers together, getting her flowers and then revealing after the show — when everybody was already crying about it ending — they were from her. It was a very confusing confession until Perfuma was finally able to spell it out for her that she wanted to go on a date with her. Scorpia enthusiastically agreed (still crying before the whole “last show” thing), and then gushed to Catra later about how she couldn’t believe Perfuma liked her while Catra nearly tore her hair out listening to the obliviousness. Glimmer and Bow got to play a couple that were already-together side characters in a musical and that’s what finally gets them together because Bow realizes oh, I can’t risk losing this, and Glimmer is done trying to play the jealousy game because it clearly didn’t work and she doesn’t really have a flirty relationship with any of her new cast so they can finally just be honest with each other.

Chapter 1: Auditions

⦁ Things like homophobia and Christianity are usually world aspects I avoid in my fics, but they’re both present in the musical so they had to at least be mentioned in this.

⦁ Oh I should say this will have mentions of all the triggers warned for in the fic.

⦁ Adora and Catra both gave good but not necessarily the best auditions of the day separately. Catra’s was really good when she got permission to do it in her natural register and threw in a growl (she wasn’t actually audibly straining yet, but Netossa scouted her specifically for her voice and knew she was pushing it up near the top of her range), but her Candy Store was a little more uneven thanks to the lack of practice and register change. Adora did just fine in her regular song and really good in her Beautiful reprise, but there were people that did sing a little better technically. That doesn’t mean they would have been better over the course of the show itself, though, and what Catra and Adora had going for them was it looked like they were considering involving fists (the sexy or the fighting kind, take your pick) the moment they were on stage together. They eyefucked their way through both songs with such insane chemistry Netossa was like oh we can sell Fight For Me with these two EASY.

⦁ (Fight For Me is the second song in the musical where Veronica basically see JD in a fistfight and thinks it’s so fucking hot she immediately falls for him, and then they actually spend time together and it seems like they have similar views of the high school around them. And they do! But they definitely have very different solutions. Anyway, it’s a quick romance plot setup that doesn’t pretend not to be based solely on sexual attraction at first but that works and is realistic! The actors just need to have chemistry to make it read right, and damn do Catra and Adora have that).

⦁ Okay, every Veronica has been pretty, but there was some metric that made them not perfect conventional. For the first two Veronicas this was pretty much being brunette with messy hair lmao. For the West End, Veronica was played by Carrie Hope Fletcher, who I think is gorgeous and has blonde curly hair, but she faced a lot of backlash for being “too fat” to play Veronica. Adora is close to the Hollywood ideal, which is the point Netossa is trying to make: someone who could play Heather Chandler in one version of this show ends up the Veronica because she commits the sin of not meeting society’s hetereonormative expectations. Bigots will throw you out for any association with queerness. However, still meeting all those other metrics is what allows her to slip in with the Heathers as long as she helps them out and dresses femme — that’s part of her transformation, going from jeans in the opening number to skirts for the rest of the musical until the final sequence. When show starts, she’s wearing jeans and a ratty flannel with her hair in a ponytail. It’s a quick change outfit, so she runs behind the set to pull it off to reveal her main outfit beneath, brushes her skirt into place, and lets Netossa fix a scrunchy with a big bow on it on top of her existing ponytail to complete her transformation into a feminine popular girl.

⦁ “Janis Dean” is a reference to Mean Girls, and yes, that’s in-universe.

⦁ Catra got the casting call specifically because Netossa needed someone to match JD’s register — plus the growls in the right places added a lot of emotions to his songs. Including the sex ones.

⦁ Changes in Netossa’s version: - The aforementioned “Pretty Veronica” thing. When the Heathers give her the makeover she puts on the iconic skirt and has to wear skirts for the rest of the show, performing femininity in every extra way she can, to make up for her “deviance” of being bi (also, she’s bi. It’s another thing where any degree of deviation is grounds for rejection). - The line delivery (and some content) has been tweaked for the fatphobic stuff to match the changed metanarrative that comes from Scorpia, someone who isn’t actually overweight, playing Martha. The commentary then becomes that nothing is good enough and society’s fatphobia is thrown into light as completely unreasonable. The whole point of that aspect of the show is that it illustrates how awful the characters are, but genuine fatphobia and using it as a plot device to show a character is morally corrupt looks awful similar, so by having someone who is basically just tall and strong play Martha it makes it extremely obvious that the demands are unreasonable. This ties in well with Heather M’s story, where she does have that model body type and is pretty and popular but develops an eating disorder because she’s afraid of losing that. - Obviously a lot is different with JD. She “chooses” to be a lone wolf/outcast because of her personality and views on society, but there’s obvious undertones in their dialogue in the 7/11 that even if she did want to choose differently, she couldn’t because she would be rejected for being a dyke, so is she really making a choice at all then? She goes by JD specifically because it’s more gender neutral than Janis. She couldn’t ever be a Heather and she couldn’t even be a Veronica either, because Veronica could at least be comfortable putting on a matching skirt with her friends while this JD is butch, so she hangs out in her trench coat at the fringes of society. There’s also undertones to her being the only magicat in school due to her father moving around and not caring if he brought her into a hostile — conservative, racist, homophobic, etc — area. - Heather M. is only in with the popular girls for safety and there’s some dialogue around this in the bathroom scene with Veronica. It’s kind of public information (not officially stated but implied in her social media) that her actress, Perfuma, is trans. This wasn’t planned at the time of the casting call, but Netossa worked on it during workshops and the backstory became that Heather M started transitioning how she could before high school and is continuing to “in secret” now. Some people have clocked her though and she sticks so close to the other Heathers to keep herself from being the target of terrible bullying. As long as the Heathers tolerate her (Heather C is on a bit of an ego trip about having blackmail material on her and essentially owning someone in the palm of her hand), she’s given a pass and “has the best (cishood) assumed” about her. - Veronica and JD’s relationship is a little more secretive in this version, but the Heathers do know and Duke later tell her to just be careful not to “dyke it up” at school or they would out her (currently she’s just kind of clocked by some, not confirmed to the whole school). After Heather C’s death, Duke basically threatens Veronica to stay at her heel like Heather M or she’ll out them both.

Chapter 2: Workshop

⦁ You would have to be fucking blind to not realize Adora and Catra have history even in the glances of them Netossa and Spinnerella saw, and Netossa spent the first part of workshop trying to unpack whatever was going on with them. She had to put together the clues to figure out what it was. Once she decided exes was a likely story, she confronted Catra about it because she figured talking about it was the only way to handle the resentment. She was partially using reverse psychology and partially being honest about not resolving all of it being good for the show.

⦁ I made Freeze Your Brain more homoerotic. In the musical, JD does his entire song facing Veronica or walking around the stage and then offers the drink to her at the very end. He does not get in close and offer her the drink and then sip from it after her in an indirect kiss with her lipstick prints on the straw, but mine’s better.

⦁ In the actual show, Heather Chandler doesn’t put on any death makeup. The Off-Broadway would shine a blue light on her after she died to give her an other-worldly appearance and the West End didn’t seem to do anything at all, which was a mistake imho. In this one, when she “rises from the dead”, she does it a bit more dramatically and zombie-like under a blue light, and then she on-stage reaches over for her vanity and starts powdering her face, looks back at Veronica and says “What? I want to look good for eternity” and finishes as Veronica and JD write the rest of the suicide note before collapsing so the cops can find her.

Chapter 3: Previews

⦁ Once again changing the staging for my version (jokes on you, this isn’t just a Catradora fic, it’s me writing my ideal version of Heathers). Usually Heathers has some kind of bi-level stage. This one has catwalks hidden along the backs of the lockers, but they also have more sets. They have house facades they slide in front of the high school set/lockers for the croquet scene (Freeze Your Brain is the closest song) through to Heather’s murder, sliding them away again for The Me Inside of Me. They come back for Our Love Is God, although the second level with JD’s window isn’t brought back until the very end of the show. Kurt tries to climb the same trellis Adora used to get into JD’s window to escape JD as he chases him down. The full facade doesn’t come back until it’s time for Meant To Be Yours so JD can climb through Veronica’s window (that was once his). It is wheeled out as the entire stage narrows in on the center stage for the pep rally and finale.

⦁ Veronica doesn’t rebutton her shirt until after the nightmare scene in the West End version (I honestly can’t remember for off-Broadway), but for this show Adora just isn’t super comfortable hanging out shirtless in front of crowds every night, especially knowing some people are perverted about the lesbian version of Dead Girl Walking, so Netossa said buttoning her shirt and putting her clothes back on before they fall asleep was fine back when they were deciding what Catra was going to do since JD rips his shirt off undoes his buckle during this scene. Adora could have done it (she wears the bodysuit for Mona, after all), but Netossa didn’t mind making that small tweak for her. Catra cared less, but also because she’s not in the kind of underwear that straight guys like. They decided she would have a high-coverage sports bra, the kind that can pass for a binder, on (for this scene and for the entirety of the show since Janis Dean is supposed to be firmly butch). Catra does most of JD’s usual choreo here, minus the belt thing, because they do the version of the choreo where they never stand up and Catra isn’t wearing a belt at all.

Chapter 4: Candy Store

⦁ No wonder she was what way indeed, huh, Catra? Well, multiple. No wonder she was so frustrated, because Catra is infuriating when she wants to be. No wonder she was so hung up on her, because Glimmer also wants to fuck her inexplicably. No wonder she lived and breathed the word homoerotic, because Catra made sure they lived on the razer edge of it at all times. No wonder she was down bad, because again — see the last two point. This line is less of an insult and more of Catra being too magnetic for anybody’s good, honestly, but that annoys Glimmer because she doesn’t want to like her (like that, or at all) so it definitely comes out like an insult and Glimmer is good with that.

⦁ I need you to picture Catra’s “What?” after the brat comment in the same tone of voice as Elle Woods saying “What, like it’s hard?” because Catra definitely wants it hard.

Chapter 5: We Can Start and Finish Wars

⦁ I was nervous about doing this scene just from a trigger perspective, but I figured it would be okay if I kept it all contained to this one chapter, and it was something I really wanted to cover. It was my first thought when I heard You’re Welcome (since it was a new song). I also wanted to explore the support a cast really gives. You don’t have to improvise every night or anything, but there’s always something that pops up over a show and you have to adapt for when you’re doing shows night after night. This is why casts really have to have each others’ backs and are often close. Every person on that stage would have done what they could to help Adora get through the show, but Catra, Bow, and Sea Hawk were the only ones who could have helped in that specific scenario due to their roles, and Adora was good enough at covering it up that only her best friends noticed.

⦁ This chapter was a turning point for them between the lines with the show and reality blurring and Catra realizing (though trying to repress it) how important Adora is to her.

⦁ They do workshop a version of the scenes where Kurt and Ram just don’t come as close in contact to Adora and end up being even more slapstick with each other in place of the more aggressive choreography moments, and during Never Shut Up Again they don’t even come close to Veronica, instead running around the stage to tell the audience/school. They only use it once on Adora’s signal, and Bow voluntarily opts for it once based on vibes and Sea Hawk immediately adapts, but Netossa is right: it’s a good thing to have, and she’s really glad Adora agreed to collaborate on something.

⦁ This last scene wraps up the rest of the show to verify it goes well, but it’s mostly here just to showcase Good Director™️ Netossa. She really cares about her people a lot even when she’s a hard ass.

⦁ Adora doesn’t keep up too much with comments due to what she mentions about knowing there will be homophobia in them, but she’s not totally tuned out on them and a long flood of notifications still draws attention. After this time she becomes more committed to not reading them much, though.

⦁ Yes they’re going to the same dinner place featured later.

⦁ While out at dinner, Glimmer and Bow try to ask her how she’s doing and she gives them an even more abridged version of what she told Netossa and Catra because she just doesn’t want to think about it anymore, but of course Glimmer and Bow are super supportive, and Bow is really enthusiastic about them choreographing an alternate version of the scene because he just wants Adora to be okay and is proud of her for taking that step.

Chapter 6: No Time to Knock (I’m a Dead Girl Walking)

⦁ Chapter title from DGW

⦁ Dead Girl Walking honestly didn’t look that different that night, and Netossa did miss them making out after the lights went down because she was scrambling looking for a scrunchy, but she could tell Catra was going further with the choreo than she was supposed to, especially with the kiss during the kitchen scene when Netossa had given up looking for it until the show was over, and in a situation like that Adora couldn’t say no or stop her without changing the intent of the scene, hence Netossa threatening Catra about the consent issue despite how Adora didn’t seem upset. It’s just something she has to do as director. I ended up reducing it to a one-sentence mention later in the fic, but I thought about having a scene where, after a few nights of them kissing on stage, Netossa goes to Catra’s dressing room and asks her if Adora ever gave her permission for that, to which Catra says yes she’s fine with that, and Netossa corrects her and says did Adora ever give you verbal, explicit permission for that at which point Catra goes quiet and Netossa then demands she go to Adora’s dressing room and secure it before she’s allowed to leave for the night. Cure Catra awkwardly standing in Adora’s doorway asking Adora if it’s okay for them to kiss during the show as Netossa stands down the hall and waits for her. Adora was very bewildered but could tell Catra was being put up to it from the way she kept glancing to the side so she just agreed because she didn’t want them to get in trouble and Catra quickly fled. It just didn’t even up fitting in the flow of the story because it meant verbally acknowleding what they were doing earlier than they were supposed to so that’s why I changed it to Netossa privately asking Adora instead of forcing a confrontation, which is the better thing for Netossa to do anyway rather than force Adora to deal with it if she really were uncomfortable (the reason she did it in this version of the scene was because she was 100% certain it didn’t bother Adora but was doing her duty as director).

Chapter 7: Happiness Comes / When Everything Numbs

⦁ Chapter title from Freeze Your Brain.

⦁ Forever thinking about ND’s “and it was” comic.

⦁ Real shoutout to the person who informed me about the official stage recording of the later version of the West End Heathers because I definitely did not remember any of the dialogue outside of songs and it let me take notes to write scenes like the croquet scene, which is like 50% similar to the one that actually takes place in the musical. A lot of the dialogue not overtly related to Veronica’s queerness is the same, but a little bit of the action was changed around to extend the scene for the extra dialogue and include using an actual ball, because Glimmer being frighteningly accurate at hitting things with a giant mallet felt right.

Chapter 8: Fight For Me

⦁ Heather tries to get Veronica to admit she’s into girls so much so that she can have blackmail over her to keep her in line, although she doesn’t actually need her to admit it, she just knows Veronica would be more afraid of the threat whenever she makes it if Veronica is aware it’s something Heather has 100% confirmed to be true.

⦁ I didn’t include it because I didn’t want to have to cover every scene with differences in here, but in the 7/11 Heather bothers Veronica more about clearly being into girls and is mildly homophobic to JD. Then, in the scene after Dead Girl Walking and Veronica’s nightmare, as Veronica is freaking out about getting to Heather and making amends before Monday, she tells JD in clear terms “She’s going to out me and tell the school I’m bi” which is what Adora was referring to in chapter three when she mentions this version of the musical having the word bisexual in the opening act.

⦁ I know what y’all are going to think this was inspired by, but it’s actually inspired by a fucking Try Guys Korean bbq video where they went karaokeing afterwards. I’ve never been to a karaoke place like that and it got me thinking.

Chapter 9: Big Fun!

⦁ When the show started, Bow and Sea Hawk were both given like packs of the exact same underwear (one in blue variants, one in red variants, and one in black variants) so they could match throughout the show. It’d be easier to coordinate if it was all the same pair, but they wanted the variety for people who came to multiple shows. They actually have a lot of fun coordinating and then, on their own, decided to get a pair of those classical heart-print boxers that they throw in occasionally. Sometimes that’s just based on a day when they don’t want to wear something as revealing as the tighty-whities they usually wear, but usually it’s as a gag.

⦁ It was too awkward to shoe-in here, but part of reworking the choreography around You’re Welcome included the decision to have robes backstage for Bow and Sea Hawk, which they don’t often use, but if it’s a night where Adora is getting overwhelmed intermission is a lot more comfortable if Bow and Sea Hawk aren’t wandering around naked. Sea Hawk’s has feathers along the collar and cuffs.

⦁ Glimmer’s best friends all have abs and she has no idea how sharp her elbows can be.

⦁ Glimmer did realize she was flying a little too close to the sun with Adora if she responded to Catra’s flirting.

⦁ Yeah Catra brought her strap.

⦁ Catra was just a little tired during that show, so she asked Entrapta for some of the drain cleaner as a pickup since it has a lot of sugar, and she was taking a few seconds to rest before she had to go be feral on stage again.

⦁ When I first told my friend Meta I was doing a Heathers fic, Catra downing the fake drain cleaner like shots was one of the first jokes they made and I had to include it.

⦁ Adora thinks there is — a chance — that Catra wants to be dating after this exchange where she says it’s not “a problem”, but she’s definitely worried about saying anything too soon or too presumptive and scaring her off, so she’s just going to lowkey keep acting like they’re seeing each other and hope Catra will open up enough for them to have a conversation about it eventually.

⦁ The people at stage door the night they got “dinner”, and the night they actually got dinner, and the night they went home together, all definitely thought they were dating but only the ones from the first night even thought that might be news. The girl who was a big fan of Catra kept it to herself and her friends, but one half of the couple publicly tweeted the picture they got with Catra and Adora that night mentioning they got to take photos before they went off on a date, but that picture didn’t make its way back to Catra because she wasn’t tagged in it and not that many people “noticed” per se. Final bow was when everyone was like ah so there is something fruity going on there, but even then a lot of people weren’t sure, and it’s something that just got solidified over the coming months as they were seen together more, kissed in public, got a little sappy on Instagram, etc and everyone retroactively realized they were right.

Chapter 10: Beautiful

⦁ Usually the chapter titles are either lyrics that match the chapter or a song that features in a chapter, but in the case of “Beautiful”, it was a thematic match. Beautiful features Veronica picturing her future and the next phase in her life. For this chapter Catra is also exploring her future and her next steps. And also she’s gay for Adora.

⦁ The First Contact scene started as a Mass Effect joke (iykyk) and then I ended up including it. I honestly thought I was going to cut it because it’s kind of random but the point was to show how long they’ve known each other and they have their own world of games and jokes that they lost when they lost each other, so I ended up keeping it.

⦁ Cheekbone > Clavicle > Cupid’s bow (aka Achimenes longiflora) > Gums (aka Alveolar process).

⦁ Catra freezes up after Adora asks what she gets for a good show because she can’t bring herself to say “Me.”

⦁ Shot in the Dark is one of the episodes of the show I’ve rewatched the most, when they find Melog and Catra learns about the power of friendship. The musical was either going to be called that or White Out tbh (real ones know my relationship with that episode) but Catra is playing a magicat specifically in this role so going with the Melog episode felt right.

Chapter 11:

⦁ The blanket came from Lance, actually.

⦁ What’s my ideal choreography for Meant To Be Yours? So glad you definitely asked. This scene is usually presented so abstractly I don’t think someone unfamiliar with the musical/movie would even know Veronica is hiding in her closet. My ideal version (with the staging already set up in this play) is the house facade with the window being rolled in on one side of set (only one just cuz there isn’t time) and JD appearing on the other side of the window (with the light off so it’s more like he’s creepy in the dark) and doing his knock knock thing. Veronica in the middle of the stage panics and runs to the back of center stage, where it’s carefully choreographed for the ghosts (Kurt and Ram) to be rolling in an open doorframe that she runs through and Heather slams behind her. Then Kurt and Ram would lean against each side of the doorframe making fed up and “can you believe this dude?” faces at each other as JD has his whole villain speech in center stage before going to pound on the door and finally wrenching it open to reveal Veronica hanging on the other side with Heather kind of “in the corner” making a comedic fake shock face looking between JD and Veronica as JD breaks down. When he leaves and Veronica struggles to get down for a second, Heather would roll her eyes and help as Kurt and Ram wheel off the door and then quickly move the house facade off stage as it transitions to Dead Girl Walking (Reprise).

Chapter 12:

⦁ My idea for this AU was that Catra would have a “stage mom” and then their acting coach would have been Shadow Weaver to get that Trauma Backstory™️, which means Catra needed actual parents. I already had the pair from Trade Today For Tomorrow, so I wasn’t going come up with a new set of names, but it does feel kind of wrong to have changed Leona to be a “bad” mom. In general, if/when I do use them again, I’ll be using their TTFT personalities. Also, in this AU Leona isn’t awful or anything, but she really wanted to be an actress and it didn’t work out so she has been pushing her child in that direction even when it was painful, which gave them a tense relationship. Most of my other Catras would be thrilled to have parents like this, but Catra doesn’t have that context for None or Very Bad parents, so she’s just another person with an awkward relationship with her parents and doesn’t think about it too much.

⦁ Catra used to spend Christmas ever at Adora’s house and then Christmas at her own/moms’ when they were kids.

Chapter 13:

⦁ My original idea for a childhood dream musical was to stick Adora in Wicked because you know Mara is a sucker for that show, but for mezzo-soprano it’s mainly Elphaba, and the whole point was giving her a role that wasn’t lead. I settled on Chicago because something LGBT is happening in that prison and I think Mara and Hope would both like the show. Adora is going to play Mona in Chicago, a fairly minor character who gets a solo verse in Cell Block Tango when describing why she killed her lover for cheating on her. She appears (namelessly) in more songs but also gets off-stage time, and that song is absolutely ICONIC, so Adora is really excited to get to take part in it, even if it’s pushing the absolute limits of her dancing ability. She does a lot of practicing leading up to the show, so Catra is worried for a bit about her getting too busy and their relationship faltering about, but it balances out after the initial push. Adora’s moms are super psyched when they hear she’s going to be in the show and the marketing team ends up releasing the Broadway cast’s version of Cell Block Tango online at the open of the show to drum up hype for it, so Adora really hits one of her big career dreams — though still with room to grow, if she can get it with a larger role and a full album. This role shows her that headlining isn’t all there is to musical theater, though, and having smaller parts can really by worth it for the off-time.

⦁ Uh so. Mona’s outfit. The outfits for the inmates in Cell Block Tango are usually pretty close to lingerie. Adora has a bodysuit, because it works for the song and she’s more comfortable being covered in something skintight than just wearing two pieces, but it’s still quite a Lot for her parents to see it. They know what they’re in for though and everybody just neglects to address it after the show when they praise her voice. Catra loves Adora in the outfit though.

⦁ Based on my previous formatting Shot in the Dark, Chicago, and Hello, Again should actually just be written out without italics, but because the nature of the titles (length and formatting) make it confusing without italics and clunky with quotes, so I ended up just being inconsistent between them and Heathers.

Original Outline:

I outlined this one pretty heavily going into it, in the way I used to for my fics where I’d write like a one-sentence summary of every scene planned in a chapter going in. Of course, I knew I would add and change scenes as I went, but I was pretty faithful to the outline outside of additions. I was outlined out to chapter 8 but thought it would expand to about 12 chapters between the ending I hadn’t outlined (I needed to be closer to it to know what the right conclusion was) and scenes adding themselves in along the way to up the count, and I finally put that count on the fic when I was writing chapter 10 or so, but then I realized I fucking forgot about the cast album and I got the idea for the bar scene so all of Chapter 12 ended up getting added and expanding it to 12 chapters.

The only “big” thing that didn’t happen was the catnip thing, which was mostly a joke I outlined anyway, but it was just too much from several angles so I cut it before I finished it. The idea was someone pulling a prank on Catra by putting catnip on her vanity and getting her lowkey high. Non-destructively pulling something on a castmate’s dressing room is pretty common antics, but this felt… very targeted and tense even though the castmate was doing it fairly innocently and just ignorant of that angle to it, so I didn’t want to go through with it. Catra was going to corner Adora though and demand if she fucked with her dressing room, and when Adora was obviously confused by the confrontation, fall into her arms and aggressively scentmark her even as she growled explaining the vandalism, which Adora offered to clean up for her and let her use her dressing room to change so she didn’t get more exposure to it. Again, the “getting a castmate a little high” thing, even accidentally (they didn’t realize it had much of an effect) was just not a line I — or the cast — wanted to cross, though.

Upcoming:

The 4th anniversary SPOP Big Bang is going to run May 12th-18th and I’ll be posting daily for the first few days with my magical realism AU Lightbeam along with my amazing artist partner who made an illustration for every chapter! Keep an eye out for it :)

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