#you see majora has been worn before but she's never caused this much trouble before So I think she can use the powers of those she posesses

[gensnix]

Hey zelda fandom 

do any of you have headcanons that only you seem to have? I’d love to here them 

One of my favorite headcanons that i have is that Skull kid was born a gerudo male along side Ganondorf unfortunately for Skull kid the gerudo chose Ganondork instead of him since they were afraid of the strange anomaly that was 2 gerudo men being born at the same time and thought it would bring tragedy to them 

[dragonkeeper19600]

Jaws: The Musical (Concept)

So, out of curiosity, I looked online to see if anyone had ever adapted a musical from Jaws. There is a musical called Bruce that’s scheduled to debut in Seattle next year about the production of Jaws (and I would be interested in seeing that), but as for a musical of the Jaws story itself, I found one that’s for kids and about 48 minutes long.

Now, I’ve never seen this musical, so I cannot attest as to its quality, but, in my opinion, both of those choices are wrong. This musical should be the full two acts, and it should be aimed at adults. 

I’ve been brainstorming, and I think I’ve got a hypothetical musical all mapped out. You might think a musical based on Jaws is silly, but a lot of successful musicals have been adapted from really strange things (such as a comic book artist’s coming-out memoir, a crappy Roger Corman movie, and a collection of goofy cat poems), and I feel like a Jaws musical could be really epic. The story easily lends itself into a two-act structure. The first act is the shark attacks on Amity Island, and the second act is the hunt for the shark in the Orca. 

However, the musical wouldn’t make the mistake of putting lyrics to John Williams’s iconic Jaws theme. The theme would obviously be used as a leitmotif throughout the show, but it’s not the type of song that lends itself to lyrics, and I think that would be corny,

So, the musical would play out like this:

ACT ONE:

The movie opened with Chrissie’s death, so the stage show will do the same. The scene will be short and all dialogue, no singing. The shark will also not be seen, but its presence will be implied by the music, lighting, and Chrissy’s acting.

First song: “Welcome to Amity Island.” Functions as an intro to the setting of Act One. The tone is joyous and celebratory as the islanders welcome the flood of tourists that always come in the summer. A big portion of the song is sung by Mayor Vaughn as he sings about what a wonderful vacation spot Amity Island is. We also meet Brody, and a dark undercurrent is introduced to the song as he finds Chrissy’s mangled body.

Brody, of course, takes steps to close the beach right away, but he’s stopped by the Mayor, who sings the second song, “Summer Dollars,” where the Mayor insists that closing the beaches is bad for the town and that Brody shouldn’t be causing an unnecessary panic and causing hysteria that could drive tourists away. Brody tries to argue back but in the end, Vaughn has his way.

Brody returns to the station, apprehensive about keeping the beaches open. Here, we’re introduced to Brody’s wife, Ellen, who saw no problem with visiting him at work since nothing ever happens on Amity Island. Brody expresses his uneasiness, but Ellen assures him that his fear of the water is making him overestimate the danger. This gets Brody’s coworkers curious, so, with a little prompting from Ellen, Brody sings his first solo, “Drowning,” about his fear of the water. In the song, Brody sings about a childhood incident where a bully held him underwater at a public swimming pool. Not only did this give him a fear of water, but the bullying he received as a child is what set him on the path to become a cop, since he wanted to be able to protect people from suffering the same mistreatment he did. However, he moved from New York City because the working environment there was unfriendly to cops who wish to protect and serve instead of, well, being typical American cops.

Next song: “Blue Sky” Just as the Mayor wished, the beaches are open, and summer is in full swing. Brody is there with his family, anxiously keeping an eye on the water. The rest of the ensemble doesn’t share his anxiety, however, as they frolic and play in the sun. Brody is jolted to his feet several times by the sound of screaming, but it’s always a false alarm. However, the mood turns scary as we segue into the next song:

“Shark!” - While out swimming on his raft, young Alex Kintner is attacked and eaten. Brody sees it and screams the title of the song. It’s pandemonium as people rush out of the water, and the song is fast-paced and chaotic. However, it ends on a mournfully quiet note as Mrs. Kintner calls for her son. (”Alex? Alex!?”)

Quick scene transition, and we move immediately into he next song, called “Something Must Be Done.” Here, at a town council meeting, the townspeople argue back and forth about what to do about their shark problem. I imagine the music here sounding like the “Mayor’s Meeting” theme from The Legend of Zelda: Majora’s Mask. Brody argues strongly in favor of closing the beaches (in song, of course), but he is shut down not only by the Mayor but by the rest of the townspeople, who still rely on the income brought in by the tourists. People throw around various suggestions, with one woman finally declaring that she’ll reward whoever catches the shark with three thousand dollars. The song descends into a cacophony as people argue over each other.

The noise is interrupted by the screech of nails on a chalkboard. It’s Quint who sings the titular song, “Jaws,” as he sings about his job as a shark hunter and how dangerous sharks can be. (”Those jaws will swallow you whole. / A little shakin’, tenderizing’, down you go.”) He offers to kill the shark for ten grand, not three. The woman who made the offer balks at the high price, and the Mayor explains that kind of money isn’t in the budget “right now.” Quint takes it in stride and tells everyone they’ll know where to find him if they change their minds. He’s supposedly addressing the room, but he looks right at Brody as he says it. He can tell Brody is the only one who will actually listen.

Many sailors of various aptitudes come to Amity Island, hoping to catch the shark and cash in on that three thousand dollars. Among the new arrivals is Hooper, who introduces himself to Brody as a marine biologist from the Oceanographic Institute. Hooper sings his intro song, “Beautiful,” referring to his views on sharks. Hooper recounts how he was bitten by a shark as a child, but instead of coming to fear them, Hooper walked away fascinated by them and now views sharks to be beautiful creatures. However, the song takes a somber note as Hooper is brought in to examine Chrissie’s remains, and the word “Beautiful” is shifted from referring to sharks to referring to Chrissie when she was alive. (“She was just a kid. / So much of life to live. / Now, bits and scraps are all that’s left. / Of a girl who was once so beautiful.”)

“Hell of a Fish” - The fishermen succeed in catching a large tiger shark, presumed to be the shark that killed Alex and Chrissie. Brody joins in the celebratory atmosphere, but Hooper examines the dead shark’s teeth and is convinced they’ve got the wrong fish. The Mayor and the fisherman who caught the tiger shark argue that this is the shark that’s been causing the trouble, while Hooper argues back that it’s definitely not. Hooper angrily demands that he be allowed to dissect the shark to confirm whether there are human remains inside, but Mayor Vaughn rejects his request. He doesn't care if they’ve got the right shark. He doesn’t believe a third attack will happen either way. (”We’ve got a hell of a fish to show. / And shark attacks are pretty rare, you know?”) 

This song is interrupted by the entrance of Mrs. Kintner, in funeral attire, who goes up to Brody and slaps him. She then sings “My Boy Is Dead,” a slow, tragic lament about her son, Alex. (“He was just a boy. His whole life still ahead. / Now, I’ll never know what he would’ve been. / Because my boy is dead.”) Mrs. Kintner blames Brody for not warning the town after Chrissie’s death, and Brody takes the blame to heart. The song ends with a callback to “Hell of a Fish,” as Hooper bitterly remarks that he hopes Mayor Vaughn is right about the tiger shark being the culprit, otherwise there’s a “hell of a fish” still out there somewhere.

“Cloud on the Horizon” - Song is kicked off by a TV reporter, who delivers a brief story to the audience about the recent shark attacks on Amity Island. The holiday-making resumes on Amity’s beaches, but people are more nervous than before, The ensemble sings amongst themselves about whether they should go in the water. They finally do so with a little encouragement from the Mayor. Meanwhile, Brody encourages his son Michael to stay in the shallow pond.

“Shark! (Reprise)” - A shark fin is spotted in the water, and the ensemble takes up the alarm, scrambling while frantically singing a reprise of “Shark!” However, the alarm dies down when the fin is revealed to be a fake worn by a swimmer. However, a lone woman takes up the cry again as the shark is spotted swimming toward the pond where Michael is. The music ramps up as the shark takes down a boater mere feet away from Michael, and the audience gets their first clear view of the shark.

“Red Sea” - The song functions as a reprise of “Blue Sky,” but also contains musical elements from “My Boy is Dead.” Brody pulls his son Michael out of the water, unsure of whether he’s still alive. Luckily, Michael is only in shock. Ellen runs to call for an ambulance. As he waits by Michael’s body, Brody sings his second solo, loudly berating everyone in town, including himself, for allowing this to happen three times. All of the beachgoers, including the Mayor, are cowed by his song.

“(Can’t Find) a Good Man” - This is the first song between all three crew members of the Orca. Brody goes to hire Quint to kill the shark, agreeing to pay whatever he wants. Quint knows he has Brody by the balls and keeps upping the price, demanding additional payments like various kinds of booze and a color TV in addition to the ten thousand dollars. Brody agrees to all of it, but Quint’s one crew member refuses to go out after the shark, so Quint fires him. Hooper and Brody volunteer to go along, but Quint is reluctant to bring them aboard. He contemplates whether he should go alone, since Hooper and Brody will be useless on deck. Hooper loudly argues that he's qualified and “doesn’t need this working class hero crap,” but Brody is more gentle and persuasive. He reminds Quint that his own son was nearly killed by this shark and feels he owes it to both his family and the town to help in whatever way he can. Quint is won over by Brody’s humility and agrees to take them both on.

“Farewell, Amity Island” - Reprise of “Welcome to Amity Island” and the Act One Finale. Like “Welcome to Amity Island,” this is a huge ensemble number, this time centering around the Orca’s upcoming departure. Several characters come to see the ship off as Quint yells at Hooper and Brody, including the Mayor and Ellen. The Mayor apologizes to Brody (“I know you’re angry. You have every right to be. / My own children were there in that same red sea.”), where Ellen bids a tearful farewell, knowing she might never see Brody again. Brody’s sung farewells are intercut with a spoken back and forth between Quint and Hooper, as Quint snarks at everything Hooper does. The song also contains instrumental traces of “Spanish Ladies.” Brody and Ellen’s embrace is broken up by Quint as the Orca shoves off.

ACT TWO:

After the act two opener (which is an instrumental of “Jaws,” the song Quint sang earlier), we return to the Orca where Quint fishes off the stern, loudly singing “Spanish Ladies” a cappella. It sounds pretty good, but he’s interrupted by Hooper, who yells that he’s been listening to Quint sing for three hours and can’t take it any more. Brody has no choice but to listen to the ensuing back and forth as he chums the water. 

The childish behavior is interrupted when Quint gets a bite. He's convinced it’s the shark, but Hooper, still annoyed with Quint, believes it’s some kind of sport fish. Hooper begrudgingly goes to help Quint pull in the line, but a moment of inattention causes the line to snap.

“City Hands” - Quint berates Hooper for losing the shark and trying to tell a professional shark hunter how to hunt sharks. Their animosity finally erupts into an angry duet as they hurl very personal insults at each other, with Hooper calling Quint a drunken, senile sea dog, while Quint berates Hooper for being a coddled, privileged city boy. Their musical fight looks like it’ll get physical when Hooper snatches the beer Quint was drinking out of his hand and chucks it into the ocean. Luckily, Brody breaks it up, pointedly reminding them why they’re here and that they don’t need to be at each other’s throats when the shark will gladly do that for them. Quint sheepishly apologizes to Brody and only Brody. Hooper likewise backs down.

Brody returns to chumming the water only to toss a shovelful of chum directly into the shark’s face. The shark is right beside the Orca, and it’s huge. There is an instrumental score but no singing as all three men work together to try and bring in the shark. The shark seems unfazed by all the bullets and harpoons they shoot into it, but they manage to attach one barrel to the shark. Quint is satisfied that the shark will tire itself out with the barrel attached and that all they have to do is wait it out. Brody is all for returning to shore and calling the Coast Guard, but Quint ignores him.

Scene transition, and we’re in the ship’s cabin that night. All three men are staying up to wait for the shark, and they’ve had a bit to drink. Quint catches Brody examining the rope burn he got on his hand earlier in the day and reassures him that it won't leave a permanent scar. This segues into the duet “Something Permanent,” as Hooper and Quint compare scars. The tone isn’t angry and harsh as before but jovial and upbeat. Clearly, the earlier animosity is forgiven. 

“Those Eyes” - This is Quint’s solo about the sinking of the Indianapolis. Brody asks Quint about a scar on his arm that he hasn’t mentioned. Quint offhandedly mentions it’s a tattoo he had removed. When Hooper makes a joke about it being a “Mother” tattoo, Quint informs him it’s actually for the U.S.S. Indianapolis. Hooper clearly knows the story, but Brody doesn't, so Quint tells it. The song is slow and eerie. The words “those eyes” are used to refer to both the sharks’ eyes and the eyes of his crew mates as they were devoured or lay dead in the water. Quint sings that he still sees those eyes looming up at him in the dark of the night. He then catches the looks on Brody and Hooper’s faces and chuckles darkly, telling them not to look at him with “those eyes.” After all, they delivered the bomb. No one comments on this, but all three men have now sung their backstories at some point in the show.

Hooper quietly starts to sing “Show Me the Way to Go Home.” The other two join in. Their singing is interrupted by the shark ramming into the ship.

The crew scramble back on deck. Quint, his mind still swimming in the memory of the Indianapolis, wildly fires a rifle at the shark, but he only succeeds in driving it away, Hooper goes belowdeck  to assess the damage. The ship can still run, but it’s struggling. Brody loudly advocates returning to shore, but Quint refuses.

The shark returns, leading to the next song, “Barrels.” The song has a lot of dialogue and instrumental but also functions as a reprise of “Something Permanent,” as Quint gleefully proclaims his intent to leave “something permanent” on the shark. The crew manages to attach three barrels to the shark, but they lose track of it again. 

Quint decides that since barrels and weapons don’t seem to be working, and the ship is only becoming more damaged, that the thing to do is lure the shark back to shore and drown it in the shallow water. Hooper warns Quint that he’s overtaxing the engine, but Quint only leans harder on the throttle. The engine gives out. 

Brody goes to the radio to call the Coast Guard for help but is shocked when Quint smashes the radio with a baseball bat before the message can get out. This leads to an even angrier reprise of “City Hands,” now with Brody insulting Quint instead of Hooper, calling him “certifiable.” Quint shouts more than sings that he can handle it and he doesn’t need rescuing “this time.” The song shifts to the slower, gentler melody that was used when Brody calmed Hooper and Quint before as Quint tells Brody he vowed that would never be helpless in the water again. Both Brody and Hooper, who was heard the entire outburst, are struck silent.

“Beautiful (Reprise)” - Hooper somberly volunteers to be lowered into the anti-shark cage. Brody argues against it, but, for once, Quint is willing to hear Hooper out. Hooper sings about how putting himself in harm’s way is his only chance to the tune of his intro song, “Beautiful.” Hooper then admits that Quint is right, he hasn’t been through what Quint has, but he’s willing to try and prove his worth. Quint and Brody realize they don't have much choice and agree.

Hooper goes into the cage. Brody takes Hooper’s glasses, and Hooper gives them both one last look before he puts on his mask and goes under. 

“In the Cage” - Instrumental. While below the water (which is just another part of the stage covered in blue spotlights), Hooper tries to attack the shark with the syringe on the end of a spear, but he drops it. The shark begins to break its way into the cage, but Hooper manages to escape and hides behind some rocks, apologizing to the men above for failing.

Quint and Brody, of course, can’t hear him, nor can they see what’s happening below. Quint and Brody pull up the cage to find it mangled and empty. Brody is devastated, thinking that Hooper is dead, but Quint seems to be truly unraveling. He sings a shaky reprise of “Those Eyes,” this time obsessing over the look Hooper gave them before he went under. He frantically recalls that he saw the same look on the faces of his crew mates after the sinking of the Indianapolis. Tragically, the song also functions as a callback to “My Boy Is Dead.” (”It’s far too late for me now to take back the things I’ve said. / They’ll haunt me ‘til my dying day. / Because that boy is dead.”)

“Quint’s End” - Instrumental, spoken dialogue. Quint can’t get the last image of Hooper out of his mind and begs him to stop looking at him like that. Brody is alarmed as Quint’s pleas to Hooper change to pleas to his dead crew mate, Herbie Robinson. Quint has slid into a full-blown PTSD flashback. In his mind, he’s back in the waters of the Pacific thirty years ago, surrounded by sharks and dead crew mates. Brody tries to calm Quint down by reminding him where he is, but at that moment, the shark leaps onto the stern, and the Orca lists backwards. (In my head, the Orca set is on some kind of platform that can be raised at an incline.) Both men begin to slide toward the waiting jaws of the shark. Brody manages to grab onto the door frame leading into the cabin. He tries to hold onto Quint, but Quint slips out of his hand. Quint tries to fight back against the shark, but with a sickening crunch, Quint falls silent. The shark retreats with Quint’s lifeless body.

“Smile!” - Payback time. The Orca is sinking fast, and Brody knows that if he ends up in the water, it’s game over. Brody manages to ward the shark off with one of Hooper’s scuba tanks. The shark takes the scuba tank into its mouth, giving Brody the chance to climb onto the mast with Quint’s rifle. The music ramps up in speed and intensity as the shark closes in. Brody’s singing ramps up to match as he fires at the shark again and again, reminding himself of his promise to protect others and vowing that this shark will never kill anyone again. Then, with a final, bombastic, “So, smile you son of a bitch!” he gets a hit on the tank, and the shark explodes. He whoops and hollers as the music swells.

The finale instrumental is both sad and sweet. The sinking mast deposits Brody in the water. Hooper surfaces besides him. They laugh together, relieved that it’s over. Hooper asks about Quint, but Brody only responds with the single word, “No.” Hooper and Brody are close enough to paddle back to shore, so they do just that. As they set off, Brody begins to sing, “Show Me the Way to Go Home.” Hooper joins in. The curtain falls.