Bestest Boy. Oh my god. I had such a big crush on him <3

>four years without a boyfriend
>mid twenties
>friend asks me if I watch Tangled
>start gushing about pic related
>friend comments on how I was "smiling like I was talking about a guy"
I'm this close to getting daki and a new vibrator.

I distinctly remember my stepsister and her friend, who were both early 2000s scene girls gushing over him.

Oh God, Dimitri.
>told my sister that I liked that name and wanted to name my son that
>"You're only saying that because you have a thing for that guy from Anastasia."
And now, more than a decade later, I'm listening to the broadway show on repeat But Gleb is better.

Anyway, I remember the Azula x Spidey comics. The daughter of Doom comics. The Wolf Batman series. I remember the totally-ironic-until-it-wasn't Watchmen yaoi threads when the movie came out. I remember storytiming Scarecrow comics and getting guys to send me pictures of their hands. Board tans. Attack ships on fire off the shoulder of Orion. I watched C-beams glitter in the dark near the Tannhäuser Gate. All those shitposts will be lost in time, like tears in rain. Time to die.

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Reckless, a bit broody, playful, big eye brows, puppy eyes, side cut

He's got a good face but that young republican haircut ruins him for me

Broadway Dimitri is a douchebag so yes, Gleb is much better. Although Broadway Gleb is more of a douchebag than the preview/Hartford version of him, so there's that.

But Girls?? On Yea Forums??

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I'm just glad the boy got into the academy at the end.

Solid opinions, Satan. I love the Hartford version. I know the broadway version is more popular because of the actor, but the Hartford version sounds...lankier? I can't explain it, but I really liked the Hartford version. I'm bitter Gleb's reprise of the Land of Yesterday and "Anya" were cut.

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Yes!

Hartford Gleb is a more interesting character. He seems genuinely sympathetic and interested in Anya while having something menacing still about him. I hate that they cut his line when he meets her and says something about her eyes. "Be careful comrade--they'll give you away."

Broadway Gleb is too much of a "ooo dark and charismatic guy who lifts his finger under girl's chins to be intimidating" mess for me.

He still does a Land of Yesterday reprise IIRC, it's just on the cast recording. Although since they are trimming the show since the tour started--no more 'Crossing a Bridge,' some historical references are cut--who knows if it will stay.

>She is even worse than a capefag. She is (may Allah forgive me for uttering such a word) a fujoshit

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Im a straight guy, and I had a crush on him when I went to see Treasure Planet as a kid.

1/2
>something menacing
It's hard to articulate, but I know what you mean. I think it's the attempts at goofiness. The "They'd kill you without hesitation...only...you're not! Ha!" He's not trying to be scary - he's actually trying to be affable - but the guy literally cannot help but make a fucking death theat casually before bouncing back into rehearsing his schtick.

I also think he comes off as more of a neurotic bureaucrat. This is actually sort of funny at first until you realise that he's actually in a position of power and could do damage. The line after the Neva Flows where, like a schoolmaster, he chides "I won't look the other way" is a great example. It sounds so absurd. It'a like when your mom threatens to turn the car around. But of course, he's a fanatic, and he has a gun, the whole Soviet enterprise backing him and some serious daddy issues. His pathetic attempts at being scary go from being funny to actually threatening. Like when that creepy weeb kid threatens to kill himself if m'lady won't text back. Or the husbando I started my post with, incidentally.

The "give you away" line initially came off as a little melodramatic to me, but I can see how it fits in with what I just said. There's a genuine attempt to help ("Be careful Anya, people in authority can tell when you're lying") but there's also a subtle threat ("I am in authority and I can tell when you're lying.")

I love "Anya" to pieces. The way he trails off before "maybe you might learn to" fits in with Dimitri's "the only thing I lose" followed by the "home love family" musical cue. Your mind fills in the blank. Learn to what, exactly?

His condescension towards her is simultaneously sweet, miosgynistic, and completely arrogant. He does see her vulnerabilities (her panic attack after the truck makes noise) but also completely underestimates her in order to make her fit his fantasy of a "strong beautiful young Russian woman".

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2/2

He's so enamoured with "tfw streetsweeper communist gf" that he can't accept she made a concious choice to join Dimitri and Vlad. Anya walked across the fucking Ukraine! She made a decision of her own free will and while she may have weaknesses, she is definitely not passive! But Gleb can't see that, he patronizingly sings about how this tiny waif was clearly tricked by ruffians into playing along with their ruse.

And this works because, like you said, there's something sympathetic there - a man who genuinely wants to help a frightened young woman. But it's also scary - a man so deluded about his own importance that he views other people as helpless fools he must direct into living properly. His speech at the window is highly reflective of that. He at once admires the Russian people ("I could stare at them for hours!") while simultaneously looking down upon them.

Conversely, the Broadway show is, like you said, very one note. It's not "dorky tryhard stickler for the rules who means well but has some serious fucking baggage that makes him genuinely off kelter" but rather "big scary communist man believe princess die because that what scary communist think". He's too smooth, essentially.

Anyway, I'm glad they didn't actually cut the songs - blame the fact I haven't seen the full thing.

>cut out the song that literally ties into the opening scene
>cutting out the historical references that make it fun
???

I did find it..interesting...how the show was revamped for the broadway going public, though. Like how "Paris Holds the Key to Your Heart" features Gertrude Stein and other folks theatre nerds would grin at. I'm not complaining - I giggled at the "Rose is a rose is a rose!" line, but I guess I saw through the writer's intentions and that stole a little magic for me.

Sorry for sperging, love to hear your thoughts.

He'd be more attractive if his facial features float around all over his face. What was wrong with the character animation in this movie?

girls liking Yea Forums
Yea Forums liking girls

and you know what

we're all gonna like it

I think you hit the nail on the head with "dorky tryhard stickler for the rules who means well but has some serious fucking baggage that makes him genuinely off kelter."

It's a shame that the show didn't delve more into his past trauma and opted for more or less creating a character that doesn't impact anyone in the story except for Anya, as he never even meets Dimitri and the others. The parallels and foils between Gleb and Anya are really interesting... both children of parents whose legacies have shaped their lives and continue to shape their future. And Gleb's father's role in the execution and his subsequent shame and horror at having done it certainly affected Gleb, just as Anya's traumatic repression of her family's death affected her. Imagine if they had actually created a story with this as the central conceit: the two sides of the revolutionary coin. Children of Russia, impacted by history that they never consented to being part of, yet dealing with it in their own way; Anya by forging ahead with her sometimes selfish obsession with finding whatever she thinks she needs in Paris and Gleb with his neurotic and as you said, condescending view of his role in the new Russia.

>cutting out the historical references that make it fun

So far, I know they cut out the line from the Neva Flows Reprise where she says "Do it, and I will be with my parents and sisters and brother in that cellar in Ekaterinburg all over again." Which is such a pointless cut to make. It's in the climax of the show, it's not like "oh maybe audiences won't know what it means" is relevant at this point.

I don't necessarily mind them cutting Crossing a Bridge because it does drag the show but if they were worried about Another Anya Solo impacting the pace, it may have been better to revamp it... a duet between Gleb and Anya, though I would never dare to realistically hope for the musical's creative team to actually do something impactful with Gleb.

Also they cut this before the tour, but I hate how they changed the train scene from Hartford to Broadway. In Hartford the train is stopped so they can check for people fleeing the country, then they start shooting people who have the wrong papers, starting with the 'Stay I Pray You' count. The trio jump off the train because they don't want to get killed execution style on a train platform. Then on Broadway it's stopped because the government has issued a country-wide search for the trio under the false accusation that they're wanted for murder.

Such a dumb change that further Disney-fies the show and takes it farther away from the original concept, which was a more grounded, historical alternate universe version of the "Anastasia survives" tale inspired by the 1997 and 1956 films. . and the original play that the musical producers didn't want to pay licensing fees for, which the musical's producers are now paying for since they were forced to settle out of court and will likely have to pay way more in settlement fees than they would have paid if they'd agreed to work out a licensing agreement with the play estate. Greedy fucks get what they deserve.

Re: Paris Holds the Key. The Broadway version is so lifeless to me. The Hartford version was a literal parade of historical figures, and they've removed almost all of the historical references from the number, pic related,Josephine Baker. I don't mind them cutting down the length because the Hartford PHTK went on for ages, but it's like when transferring to Broadway they took anything that might have given the musical something interesting and went "eh, families won't like this, AXED."

Although I think the core of the Broadway production's problems lie in the fact that the writers had no idea how they wanted to approach the story and instead seem to have just borrowed bits and pieces from various Anastasia media, all without knowing how to make them work as a cohesive whole.

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Hah I’m kinda straight but not really, I have feelings for frylock from aqua teen and I kinda want him to fuck me up harder than anyone hes so hot, from his voice, to his laser eyes, to his gem, gahhh don’t get me started on the gem, I wanna touch his gem more than ever, I wanna see him moan I wanna see him, I want him

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...

Same sort of deal as any James Dean character, but with a bit more direction.
Especially when he's got his coat on.

Obviously that is why user resents them.

I mean even we enjoy shit posting from time to time and laugh at other people.

based

True