Thenamesh. Tomb Raider. AU. Please.
Gil did his best to swim to the surface but it wasn't easy. The tunnel he had followed let out to a rather violent section of the river. He had chosen this slightly riskier path entirely because he had thought it might give him a head start on Thena.
Did Thena make it out okay?
He had bigger problems to worry about, like surviving this river.
He fought to the surface, gasping in what air he could before he was tossed aside again. Okay, so choosing the tunnel section close to the rapids was not his wisest decision. He was trying to think like his more reckless and impulsive colleague!
Colleague probably wasn't the right word for what they had. A frenemyship...a rivalry...some tension that he knew he felt, but was quite sure Thena was oblivious to. Not that it mattered now that he was drowning.
"Gil!"
He was hallucinating now. Much closer to drowning than he thought--great. He hit a rock under the water, its speed overpowering all the muscles he had worked so hard for. His air left him in one gulp.
He wasn't sure if it was a hallucination or not when he saw Thena in front of him. His eyes were barely open when she swam down to him. The river was calmer further from the surface. She swam right up to him, pressing her lips to his, pushing air from her lungs into his.
He must be dying, he thought.
Thena's hands gripped the straps of his bag, urging up back into the momentum of the river. He knew she was plenty strong herself. She would have to be, to be called 'Tomb Raider' by those in their profession, freelance or otherwise.
Thena gasped loudly as she surfaced first, then forcing his head up as well. "Breathe, you bastard!"
He didn't know how necessary the name calling was. But he did take in a breath--a real breath of air. So, he wasn't hallucinating, and he wasn't dead. He was surprised.
"Come on," she growled, still fighting against the current to keep him afloat. "Just keep breathing."
He tried his best, although he was waterlogged, to put it lightly. He felt her sharp talons of fingers creep around his pockets, finally pulling at the zipper of his bag, "hey!"
Thena grunted as she finally disposed of the counterweight he had in his side pocket, expressly for the purpose of switching out certain artifacts, potentially surrounded by traps. "Not a world of difference, but a stone is a stone."
He wasn't sure if that was a crack about how heavy he was or if she really was talking about the rock he was planning on switching out.
They did eventually make it to the side of the river. Thena grabbed onto the riverbank first, fingers dug into the grass and holding onto the strap of his bag for dear life. "Come on."
Gil groaned, dragging himself up out of the water after her. He did feel heavier after his impromptu river ride, he had to admit. He coughed up some water, although he was pretty sure he could hear Thena doing the same. "Thanks."
She remained facing away from him, also fighting to catch her breath. He had underestimated just how strong she was, apparently, given her ability to drag him to shore with those thin little arms. "Imbecile."
"Okay," he huffed, turning over to sit on his butt and lean back on his palms to gasp in the rest of his air. "I'll send you a card, I guess."
"What were you thinking?!"
Gil stared at her as she grasped the front of his soaking wet shirt, shaking him. Her voice was raw and warbled from the shouting and the almost drowning. But it was more than that; she had tears in her eyes.
She shook him again, looking terribly upset (angry and otherwise). "Why didn't you follow me?"
"I-I-" he shook his head, still stunned.
She grabbed his shirt with both hands now, pulling him closer so she could really shout in his face. "Why didn't you follow me?!--down my tunnel! It leads further downstream, at a lower altitude!"
She seemed awfully upset with him for...almost dying? Gil let her grab and shake him all she wanted though. Whatever helped her get it out (and not start punching him). "I didn't know. This was the way I came in."
"You could have died, Gil," she asserted, since apparently it bared repeating. She never called him Gil.
"I-" he blinked, sitting up more properly and gently reaching up to her hands. He tried to pry them away from him gently, and she let go as soon as he touched her. But her hands were so small, and so soft, and now they were so cold, too. He held them in his, "I'm sorry, Thena."
She didn't have a clever response to him holding her hands and wholeheartedly apologising. He still wasn't sure why he was apologising for almost dying on her, but what the Lady wanted, the Lady got.
Thena sighed, her hair now hanging around her cheeks limply after their little log ride. "I thought I was the reckless of the two of us."
The two of them made quite a pair, he thought. He chuckled, looking up at her in her hunched position up on her knees. His hand drifted, and he almost wondered what it was doing. He pushed back some of her loose strands escaping her braid, tucking them behind her ear again. "Guess I had to beat you to it, just this once."
Fuck, she was beautiful. If only her very existence didn't interfere with every job he had ever taken.
Thena looked him over, determining if he really was fit to travel or if he was having one last surge before croaking right in front of her. But she must have been satisfied, because she rocked back on her heels before standing. "Just this once, Gilgamesh."
He mourned how she called him Gil.
"Are you able to walk?" she asked more genuinely, more firmly, and more like her usual self. She glanced at him over her shoulder (with as little effort as possible). "Or should I come back for you."
"I'm fine, I'm fine," he insisted, even as he let out a loud groan to get on his feet again. "Maybe if I tell them I almost died trying to get that stupid idol they'll still pay me for my trouble."
"You did technically find it," she shrugged as they began trudging back to the main basecamp around the remains of the city. "I would vouch that your finder's fee still applies."
He smiled, tired as it was. Her shoulders sat lower than before, and she had never looked more delicate to him. But he dared to nudge her shoulder with his elbow, "thanks for saving me."
She declined to respond to that.
If she wanted to walk in silence then so be it. But he had to wonder, "where's the idol."
"Bottom of the river."
Fuck.
"It was made of gold, Gilgamesh, I could not possibly have swam with that on my person."
She abandoned it...for him? He looked at her curiously, but apparently his eyes burning a hole in the side of her head was low down on her priority list.
"Which means my finder's fee also applies."
Ah, that was more like the Thena he knew. He chuckled, soaking up the sun, both for the warmth and in hopes it would help dry out his clothing. It was stuck to him like a second skin. He would worry about Thena, but her raiding outfits tended to stick to her like a second skin already.
Not that he had noticed.
"I can always go back for it."
He laughed more fully, even though his lungs still ached a little. She elbowed him for it this time, and damn her elbows were pointier than his. But he let it slide, given how she did forsake a great treasure to save him. "No racing this time."
"It was never a race," she rolled her eyes at him. "And if it were, I had beaten you anyway."
Ah, Thena never changed. And he kind of didn't want her to.
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@ride-a-dromedary Since you asked, here's my beef with Hugh Jackman Meredith Willson's The Music Man Sutton Foster. (No really, that's what the soundtrack album cover looks like.) Basically, I think the revival did a terrible job of capturing the soul and energy of the original show. If you want to read my protracted rant about it, then by all means, continue below.
(Note: I'm mostly going off of the movie adaptation to count for the "original" since it's the version I'm used to, but I also listened to the OBC recording occasionally to see what was shortened for the movie.)
I think the first big thing I should mention is that Hugh Jackman is simply a terrible choice to play Harold Hill. No offense to him, but in my eyes he's always been better at playing a character who seems very charismatic but is actually a bumbling fool (i.e. PT Barnum). Harold Hill might be a conman, but his whole livelihood revolves around getting people to believe that he means what he says and then believe that, too. You need an actor with an incredible amount of charisma and presence to be able to pull that off, and IMO, Jackman is not that actor.
He's also (again IMO) really just snoozing his way through this recording, especially on 76 Trombones! He's dropping R's left and right (to the point where it almost sounds like he's making the effort to sound Southern) and they had to add in a trombone sound behind his mimicking one because it sounds SO dull. Then he mispronounces "Creatore" somehow?? I know that's the littlest thing to get upset over but it also just shows how little this show's creatives know or care about what this musical is all about (more on that later).
And then: they do the MMM thing from Cats 2019. AKA, where they drop out all of the orchestra and sing the biggest song, probably the song that the most people in the audience will know, in a really annoying, slow build-up that entirely kills the flow of the piece. Speaking of killing the mood, the dance break in the middle of the song really does that as well. "76 Trombones" is about the farthest you can get from broke, so I have no clue why they tried to "fix" it in this way.
My least favorite Hugh Jackman song from this soundtrack, however, is not 76 Trombones, but Marian the Librarian. Just from the off, this is one of my favorite musical theatre vamps ever and they absolutely ruined it by playing it at like twice the normal speed. It also starts in the wrong key and then keys up again (???) before he starts singing, and from there it only gets worse. He basically gets every single vowel he possibly could wrong (my favorite being the classic Brit-as-American "Watt can I do") and just trips and falls through the entire song extremely uncharismatically. He says "li-berry" at one point, for goodness' sake! Please, if you haven't listened to the original Robert Preston version of this song (either from the movie or the show), go do it now and then listen to the mockery Hugh Jackman makes of it. It's so obvious that Preston has such a better command over his voice and sound that it makes Jackman sound like he has no clue what he's doing.
Sutton Foster is not nearly as bad as her co-star, although I think she's also miscast. Obviously a Shirley Jones-style voice is really hard to recreate these days, but she's just got such a bright singing and speaking voice that if you had told me in 2021 that she was going to be playing Marian I would've thought you were bad at fancasting. I think she still does a fine job with the poor directing choices she was given — a true professional.
OK, some quick things before I get to the most infuriating part of this revival.
It was also very bold of the creatives to not only keep My White Knight, which is one of my always-skips of the original, but to also add another one in in "Columbia, the Gem of the Ocean".
Why the hell is Pick-A-Little so slow??? It's a patter song, folks, it's supposed to be peppy.
I guess they directed the poor kid playing Winthrop to exaggerate the lisp as much as possible (could they have considered maybe just hiring an actor with a lisp instead?) because it straight up sounds like he's putting it on as a joke most of the time. 😬
I think the new lyrics to "Shipoopi" are cringe. Is it that hard to suspend your disbelief that people in 1912 had antiquated views on relationships? Is "hussy" really even that bad of an insult anymore? This song also gets the slowed down + long-ass dance break treatment, God save me.
So, if you're familiar with The Music Man, you might have noticed that I haven't yet mentioned a few key songs/moments. This is genuinely the part of the story of this revival that makes my blood boil. If you're unaware, 4 side characters in The Music Man make up a barbershop quartet, played in the original Broadway production and movie by the Buffalo Bills, a pre-existing quartet who Willson had become friends with even before writing the show. The Bills get multiple songs in the show, all sung in the barbershop style, and they all show off the iconic barbershop effect known as ringing chords, created from the quartet's just tuning. (I don't know enough about music theory to get into the weeds about this, but suffice it to say that barbershop singing and musical theatre singing are not interchangeable).
Apparently, when the revival was first being produced before the pandemic, a barbershop quartet called Category 4 was approached to play the quartet members. Great! Then, allegedly, post-pandemic, it was, to quote a spokesperson for the revival, "in the best interest of the show" for them to suddenly cut ties with Category 4, which would have broken contracts Category 4 said they signed. Less great. Instead, the 4 men credited as playing the quartet are Phillip Boykin, Eddie Korbich, Daniel Torres, and Nicholas Ward. I say "credited," but keep in mind that the OFFICIAL cast recording on Spotify does not credit Nicholas for "Sincere" AND "Lida Rose" (where Phillip's name is also misspelled), and on the two songs he is credited for, Spotify seems to have him confused with a violinist/conductor of the same name.
I bring this up to say that I don't blame these men for the situation Category 4 was put in — it seems the producers or someone else behind this production is extremely sloppy and willing to cut corners, including casting four musical theatre singers as a barbershop quartet. Because of this mindset, the songs are distinctly missing those ringing tones that are present in the Bills' versions, replaced with what I can only describe as "tricks" to make it seem like the harmonies are ringing, like a heavy overuse of dynamic changes, especially sforzandos. There's also at least one moment where one member (I think it's the tenor?) straight up sings the wrong note and completely changes the chord. Obviously I don't blame him for not being good at a singing style he literally isn't a professional at, but if there were at least one person in the booth familiar with barbershop or the original song, it hopefully would've been re-recorded.
And that's what hurts me the most — Meredith Willson was a huge fan of barbershop music and the Buffalo Bills especially, and now the music he wrote for them is being butchered by people 60 years later who want to make a quick buck. This revival has "cash-in" written all over it, from stunt casting the leads regardless of how well they fit the roles to not bothering to get actual professional barbershop singers to play a barbershop quartet. It's a soulless attempt to resurrect a great musical that didn't need to and shouldn't have happened.
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