#am i about to re-watch TUA yet again?? why yes

[moonchild-in-blue]

Date concept: you come over, we get some snacks and a comfy blanket, binge The Umbrella Academy, we get absolutely turned up when This Scene happens, life is good 😌

Also we can sloppy kiss or whatever ¯\_(ツ)_/¯

[number5theboy]

Favorite song montages/music scenes?

Oooohhhhh, love this. Because I’m on a roll, I made this another list, a top ten one, just so I don’t go overboard. I really looked at this as the scenes as a whole, rather than me liking the song or the scene individually. There are songs from the soundtrack that I love way more than some on this list, but didn’t think that they worked as well with the scene they’re in as the ones that did make the list. Without further ado:

10. I’m a Man (S2E2) - Diego & Reginald Fight

I just like how the aesthetics of this fight and the vibes of the song play perfectly together. It’s a more laid-back song than most fight scenes we get, and the line ‘I’m a man, yes I am, and I can’t help but love you so’ played over Reginald, who is demonstrably not a man and definitely doesn’t love Diego gives it such an almost sarcastic tone, like Reginald is toying with Diego.

9. Exit Music (For a Film) (S1E7) / All Die Young (S1E9) / Hello (S2E5) - Group Montages of Sadness and Change

I couldn’t decide between these three, because they all basically fulfill the same function in the narrative, showcasing different characters at low or turning points, and the mood of each song just hits perfectly. The way ‘Exit Music’ ramps up to Vanya’s guilt over killing and the confirmation that Leonard is Harold Jenkins. How ‘All Die Young’ is upbeat yet melancholic as nobody but Vanya truly is at their lowest at that moment, but you feel the arrow being drawn to the inevitable conclusion to this whole mess. And ‘Hello’ hit so much harder than it had any right to, it have the Swedes some dimension, but also the interplay of music with the funeral and the siblings’ big decisions, Vanya trying to confess to Sissy, Klaus going back to his cult, Allison telling Ray the truth, Diego and Luther burying the hatchet. It’s the perfect mood for it all, and the idea to use a Swedish cover is absolutely brilliant by the music department.

8. Soul Kitchen (S1E6) - Klaus & Dave in Vietnam

The Doors and Vietnam of course perfectly fits, but using the Doors to soundtrack a gay Vietnam romance??? Awesome. I’m usually someone with an ear for lyrics rather than the music, because I just know more about it, so I like it when the lyrics match up, but in this case, I don’t know any of the lyrics. I just like the mood the music creates. It’s a club in Vietnam and they’re not dancing to a club song. I like the rift between image and sound, and the sound still creates such a charged yet comfortable atmosphere.

7. In the Heat of the Moment (S1E5) - Five’s life in the apocalypse through the years 

The fact that Noel Gallagher’s snooty singing and borderline meaningless lyrics fit this scene so perfectly is a minor miracle, but they do. The na na na nas coming in with the image after the counting in before the song quiets down just to soar again over Five’s struggles. And it’s also not a song that sounds strong, that is technically perfect, it never quite reaches grandeur, and I don’t know why the atmosphere it creates goes so hand in hand with decades in an apocalyptic wasteland. And the irony of a song about having someone by your side over excruciating loneliness. Also the lyric ‘you better learn to fly ‘cause they’re gonna point you up at sky’ objectively goes harder than Noel Gallagher lyrics should.

6. Stormy Weather (S1E8) - Allison drives through the rain to find Vanya, haunted by her past actions and flashes back to when she rumoured her daughter

It’s just the perfect soundtrack to Allison’s backstory with her powers, and the fact that it’s sung by Emmy Raver-Lampman herself adds a dimension to it. The entire scene is centered around her voice, you hear her past rumours, you see her tell a story to Claire, then rumour her, and she is singing in the background. It intertwines scene and soundtrack on another level, and I love it. The combination of the sad lyrics but the more upbeat instrumentation, and how they carry into her memory........so good.

5. Shingaling (S1E4) / Pepper (S2E8) - Drug Trip Scenes

TUA has two scenes where people are tripping on drugs, and I cannot choose which one I like more. The mood for weed chocolate vs the consciousness-warping FBI drugs is so drastically different but the song choices are so perfect for both. Hazel and Cha-Cha dancing high off their asses to Shingaling, which is a chill but fun song as they commit arson, coupled with that green colouring and fun shot set-ups. Truly exquisite. Vanya getting nightmare visions in the FBI building, with the weird, disconcerting energy and lyrics of Pepper blasting, and the second-best use of scene switch at the drop that this show has pulled off this far. Stupendous.

4. Run Boy Run (S1E2) / Never Tear Us Apart (S1E2) - Five pushes his powers and lands himself in the apocalypse, where he finds his siblings’ bodies

These scenes are SO good. So good, and it’s because the music is the driving force of the emotion in that moment. Run Boy Run has exuberant energy to underline Five’s excitement as he’s testing out his powers, but it’s also somber and dark and swells at the chorus, which leads to the best scene-switch at a song’s drop in the show. The moment where Five lands in the apocalypse as the chorus becomes grand and he looks around, panicked, and when he runs frantically back to the Academy with the claps and percussion in the background? I get chills every time, and the lyrics make it, I think, the definite Five song as it pertains to his character, his characterisation, his arc, as running, in many different interpretations, is one of the key themes to Five for the entire show. The relatively short scenes really hammers in the tragedy of Five being ripped from his home at such a young age, and it gets underlined with Never Tear Us Apart. I put it with Run Boy Run because they fit together, but Never Tear Us Apart is heart-wrenching in itself. Just the imagine of Five searching through the rubble for his siblings, his small frame stumbling through the ruins, with Paloma Faith giving it her all in the soundtrack, and this heavy bass really banging us over the head with the heaviness of the situation. It’s great and sad and both scenes are carried as much by the soundtrack as they are though Aidan Gallagher’s acting.

3. The Phantom of the Opera Medley (S1E1) / I Think We’re Alone Now (S1E1) / Sister of Pearl (S2E7) - Character-establishing Montages

I am a sucker for this trope, of characters being characterised through a song playing, and TUA pulls it off so well. Phantom of the Opera shows you what the siblings do and where they are at in their lives perfectly, telling you so much with so little. It’s a great introduction and using the Phantom of the Opera, with the idea of Vanya being the phantom, the mysterious musician constantly belittled and underestimated (this is generalised, very much so, but it fits) that lashes out at some point because of the abuse they suffered, is genius also because it combines different themes that you can set the Hargreeves to. I Think We’re Alone Now is about personalities, of who these siblings are if nobody’s watching. I don’t think I need to sing its praises, the scene has become iconic for a reason, it’s memorable and creative. And the music choice, a pop song that they could have listened in their youth, with lyrics that are eerily prophetic, is so good. And Sister of Pearl is the long-awaited addition that introduces Ben’s character, and the music is sweet and fun and him messing around in the world, all giddy and a little goofy, fits with the whole theme of dancing like no one is watching. All three are so amazing at characterising the different Hargreeves.

2. Istanbul (Not Constantinople) (S1E1) - Five fights the Commission agents at Griddy’s

Okay, but what is better than a musical sequence that characterises a sibling? A musical sequence that characterises a sibling that’s also a fight scene! I’m not going to be long about this one, because I wrote 500 words on why I think Istanbul (Not Constantinople) is a brilliant scene just yesterday, you can find it here if you scroll for a bit. It hits so many sweet spots. It re-contextualises Five and adds several dimensions to him. The fight scene is brutal but the music is happy and fun. The song is thematically relevant to the scene and the character and what this scene is trying to accomplish, namely making clear that this kid, who looks like he did at age 13, is not the same as he was, and never will be. Again, go to that other post, I couldn’t stop gushing about how excellent this sequence is, because I really love it, but Season 2 brought along another that I love even more.

1. The Order of Death (S2E6) - Five arrives at the address Reginald sent them, and watches on as his siblings slowly join him one after one

I genuinely don’t know why this one resonated with me so much. I just like the cold but melodic 80s synth together with the cinematography. Every single shot is so good, Five looking up at the looming skyscraper, him climbing the stairs, pushing the button with the use of negative space to show his loneliness, until he gets into the elevator where his siblings come to him. And the music is so fitting, for the scene, but also for Five as a character, it’s a song that works well for him. The rhythmic thumping of ‘this is what you want, this is what you get, this is what you want, this is what you get’ is so dark at second viewing, because this is what Five wants: to talk to Reginald, with the support of his siblings. And what is it he gets? What is the consequence of his actions? His existence gets wiped from history. The music is tense, in anticipation of what comes next, and fits perfectly over these wide establishing shots and their harsh lighting. I can’t pinpoint why I like The Order of Death more than any other musical sequence in the show, but I do. It is such a small, yet perfectly executed scene, and it hits some emotion within me, even though I can’t really articulate which one it is. Intrigue, probably, mixed with dread and a hint of sadness because now I know how this enterprise ends, and it’s not well.