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* Several ''WesternAnimation/MyLittlePonyFriendshipIsMagic'' fics go by the Alternate Reality theory, and call the spontaneous bouts of CrowdSong and SpontaneousChoreography "Heartsongs."


* ''WebVideo/AbridgedOnTitan'' is largely Diagetic. Armin improvises ''Please Don't Kill Us, Please'' on the spot, and Dot Pixis pardons him explicitly because he liked the song; Eren later repeats the song and gets Levi to want him on his squad because his voice is a good fit for Levi Squad's quartet ''Levi's Lovelies''. The song that Levi Squad sings was rehearsed beforehand, and [[spoiler: was part of Levi's plan to alert the rest of the group about when to spring the trap on the Female Titan]]. ''F**k It'' dips into Alternate Universe and All in Their Heads, as the first verse (sung by Annie when she's revealed as the Female Titan) gets a surprised reaction from Armin, and the rest of the song is Annie and Eren's internal monologue as they're having a vicious fight in Titan form. InUniverse, the term for spontaneously bursting into song as a tactic is called the Menken Musical Maneuver. While it apparently was a horrible failure for Dot Pixis, it's worked surprisingly well each time it's tried in the present.

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* ''WebVideo/AbridgedOnTitan'' is largely Diagetic. Armin improvises ''Please Don't Kill Us, Please'' on the spot, and Dot Pixis pardons him explicitly because he liked the song; Eren later repeats the song and gets Levi to want him on his squad because his voice is a good fit for Levi Squad's quartet ''Levi's Lovelies''. The song that Levi Squad sings was rehearsed beforehand, and [[spoiler: was part of Levi's plan to alert the rest of the group about when to spring the trap on the Female Titan]]. ''F**k It'' dips into Alternate Universe and All in Their Heads, as the first verse (sung by Annie when she's revealed as the Female Titan) gets a surprised reaction from Armin, Eren, and the rest of the song is Annie and Eren's internal monologue as they're having a vicious fight in Titan form. InUniverse, the term for spontaneously bursting into song as a tactic is called the Menken Musical Maneuver. While it apparently was a horrible failure for Dot Pixis, it's worked surprisingly well each time it's tried in the present.

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* ''WebVideo/AbridgedOnTitan'' is largely Diagetic. Armin improvises ''Please Don't Kill Us, Please'' on the spot, and Dot Pixis pardons him explicitly because he liked the song; Eren later repeats the song and gets Levi to want him on his squad because his voice is a good fit for Levi Squad's quartet ''Levi's Lovelies''. The song that Levi Squad sings was rehearsed beforehand, and [[spoiler: was part of Levi's plan to alert the rest of the group about when to spring the trap on the Female Titan]]. ''F**k It'' dips into Alternate Universe and All in Their Heads, as the first verse (sung by Annie when she's revealed as the Female Titan) gets a surprised reaction from Armin, and the rest of the song is Annie and Eren's internal monologue as they're having a vicious fight in Titan form. InUniverse, the term for spontaneously bursting into song as a tactic is called the Menken Musical Maneuver. While it apparently was a horrible failure for Dot Pixis, it's worked surprisingly well each time it's tried in the present.


* ''WesternAnimation/StevenUniverse'' is always AlternateUniverse, with characters listening to each other sing or the behavior being otherwise acknowledged in-universe. While there are a few exceptions, with some being ambiguous All In Their Head ("Strong in the Real Way", "Stronger Than You", "Full Disclosure") or Adaptation ("Giant Woman", "Both of You"), all of these songs still have a DiegeticSwitch partway through. All these musical numbers have been [[LampshadeHanging lampshaded]] on at least two separate occasions, with Lars complaining that Steven was just singing while they were doing all the actual work in one episode, and Peridot sharing a data log where she notes that Pearl is prone to "random outbursts of singing, crying, [[BreadEggsBreadedEggs singing while crying]]..." in another.

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* ''WesternAnimation/StevenUniverse'' is always AlternateUniverse, with characters listening to each other sing or the behavior being otherwise acknowledged in-universe. While there are a few exceptions, with some being ambiguous All In Their Head ("Strong in the Real Way", "Stronger Than You", "Full Disclosure") Disclosure", "Finale") or Adaptation Adaptational ("Giant Woman", "Both of You"), all of these songs still have a DiegeticSwitch partway through. All these musical numbers have The constant singing has been [[LampshadeHanging lampshaded]] on at least two separate a few occasions, with Lars complaining that Steven was just singing while they were doing all the actual work in one episode, and Peridot sharing a data log where she notes that Pearl is prone to "random outbursts of singing, crying, [[BreadEggsBreadedEggs singing while crying]]..." in another.another, and [[WesternAnimation/StevenUniverseTheMovie the movie]] having several such acknowledgments.
-->'''Steven''' ''(while singing)'': Look at them, they're not even singing along!



* ''WesternAnimation/AdventureTime'' occasionally uses Diegetic, while also putting a RealityEnsues twist on the AlternateUniverse version by having many musical numbers [[StylisticSuck be very obviously unrehearsed joke songs]] with terrible melodies or lyrics if not sung by characters like Marceline, who are explicitly stated to be musically inclined in general.

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* ''WesternAnimation/AdventureTime'' occasionally uses Diegetic, while also putting a RealityEnsues twist on the AlternateUniverse version variant of the tropes by having many musical numbers [[StylisticSuck be very obviously unrehearsed joke songs]] with terrible melodies or slap-dashed lyrics if not sung by characters like Marceline, who are explicitly stated to be musically inclined in general.


** When different versions of the Legends from {{Alternate Timeline}}s appear in "Legends of To-Meow-Meow", they're introduced by faux-{{Title Sequences}}, showing what the series would be like with these versions of the characters, with clips of their adventures playing in a TitleMontage, accompanied by a ThemeTune. These seem to be only for the audience's benefit, not something that exists InUniverse, which would fall under the Adaptation Hypothesis. ''Except'', this gets tricky once the "''Puppets of Tomorrow''" are introduced, since soon after their Title Sequence they demonstrate that, as a result of being transformed into ''Series/SesameStreet'' style puppets, they can ''also'' magically break out into song, Alternate Universe style, and Constantine's reaction to this ("Please! No more singing") leaves it ambiguous whether the Puppets actually sang their own theme song.

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** When different versions of the Legends from {{Alternate Timeline}}s appear in "Legends of To-Meow-Meow", they're introduced by faux-{{Title Sequences}}, Sequence}}s, showing what the series would be like with these versions of the characters, with clips of their adventures playing in a TitleMontage, accompanied by a ThemeTune. These seem to be only for the audience's benefit, not something that exists InUniverse, which would fall under the Adaptation Hypothesis. ''Except'', this gets tricky once the "''Puppets of Tomorrow''" are introduced, since soon after their Title Sequence they demonstrate that, as a result of being transformed into ''Series/SesameStreet'' style puppets, they can ''also'' magically break out into song, Alternate Universe style, and Constantine's reaction to this ("Please! No more singing") leaves it ambiguous whether the Puppets actually sang their own theme song.


* ''Series/LegendsOfTomorrow'' has used some different forms and combinations:

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* ''Series/LegendsOfTomorrow'' has used some several different forms and combinations:


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** When different versions of the Legends from {{Alternate Timeline}}s appear in "Legends of To-Meow-Meow", they're introduced by faux-{{Title Sequences}}, showing what the series would be like with these versions of the characters, with clips of their adventures playing in a TitleMontage, accompanied by a ThemeTune. These seem to be only for the audience's benefit, not something that exists InUniverse, which would fall under the Adaptation Hypothesis. ''Except'', this gets tricky once the "''Puppets of Tomorrow''" are introduced, since soon after their Title Sequence they demonstrate that, as a result of being transformed into ''Series/SesameStreet'' style puppets, they can ''also'' magically break out into song, Alternate Universe style, and Constantine's reaction to this ("Please! No more singing") leaves it ambiguous whether the Puppets actually sang their own theme song.


* ''Series/LegendsOfTomorrow'' has used several different forms and combinations of these different hypotheses:

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* ''Series/LegendsOfTomorrow'' has used several some different forms and combinations of these different hypotheses:combinations:



** In "Séance and Sensibility", we get a straight up Alternate Universe musical number, of the altered reality variety, as Kamadeva's powers not only work as a LovePotion, but can those affected to express their feelings through song, going so far as to generate sets and costumes appropriate for a [[UsefulNotes/{{Bollywood}} "Bollywood musical number"]] out of thin air.

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** In "Séance and Sensibility", we get a straight up Alternate Universe musical number, of the altered reality variety, as Kamadeva's powers not only work as a LovePotion, but can make those affected to express their feelings through song, going so far as to generate song. It even generates sets and costumes appropriate for a [[UsefulNotes/{{Bollywood}} "Bollywood musical number"]] out of thin air.


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** The Fairy Godmother's singing is a combination of Diegetic and Alternate Universe. It's unclear if her song was improvised or something she'd developed and practiced on previous occasions, but she's the only one singing it, and everyone is weirded out by her breaking into song mid-conversation; that'd seem to be Diegetic. However, a dash of Alternate Universe comes in because the instrumental music backing her up is ''not'' just part of the soundtrack; the other characters can hear it, but can't tell where it's coming from.

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* ''Series/LegendsOfTomorrow'' has used several different forms and combinations of these different hypotheses:
** Sometimes we'll get a purely Diegetic number, like Stein singing [[Theatre/TheSoundOfMusic "Edelweiss"]] at a nightclub, or Hank picking up a guitar and performing [[Music/JamesTaylor "Sweet Baby James"]].
** In "Séance and Sensibility", we get a straight up Alternate Universe musical number, of the altered reality variety, as Kamadeva's powers not only work as a LovePotion, but can those affected to express their feelings through song, going so far as to generate sets and costumes appropriate for a [[UsefulNotes/{{Bollywood}} "Bollywood musical number"]] out of thin air.
** The performance of "Good Morning" is arguably Diegetic, but a very weird example, as an alien who had previously watched ''Film/SinginInTheRain'' uses MindControl to make some humans perform that song-and-dance from the movie, even though they likely wouldn't have been able to otherwise.
** Similarly, when "Sweet Baby James" gets a reprise at the end of Season 4, it's unclear how much of it is Diegetic, with everyone in a huge crowd getting in on the sing along, and how much of it is Hank's ghost exerting influence on them.

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** "In Our Town" from "The Cutie Map, Part One" is clearly Diegetic, and that fact actually increases its effectiveness as a {{Villain Song}}. It's the anthem of a small town that's been taken over by what is essnetially a hyper-conformist cult, so the rehersed choreography comes off as disturbing instead of fun, as the singers march and sway in unison while singing about how they are proud to be all alike and have no individuality. There are even a couple of ponies who have trouble keeping up with the rhythm, but a quick angry glare from their leader brings them back into line.


* '''The All In Their Heads Hypothesis''': There is no singing; the songs are an artistic rendering of the characters' fantasies, with the format of song in a way serving to distinguish between what really happens and what is only in the characters' heads, much like a [[Creator/WilliamShakespeare Shakespearean]] [[ThinkingOutLoud sililoquy]]. Naturally, this means that no characters are aware of what goes on in another character's song: there may be duets, but then they are {{Distant|Duet}} {{Counterpoint Duet}}s where the two characters do not know of one another's participation. This makes the musical more palatable for some, since there is obviously no literal singing involved in-universe.

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* '''The All In Their Heads Hypothesis''': There is no singing; the songs are an artistic rendering of the characters' fantasies, with the format of song in a way serving to distinguish between what really happens and what is only in the characters' heads, much like a [[Creator/WilliamShakespeare Shakespearean]] [[ThinkingOutLoud sililoquy]]. Naturally, this means that no characters are aware of what goes on in another character's song: there may be duets, but then they are {{Distant|Duet}} {{Counterpoint Duet}}s where the two characters do not know of one another's participation. This makes the musical more palatable for some, since there is obviously no literal singing involved in-universe. TiredAfterTheSong debunks this because there's no way you can tire yourself out by imagining singing.

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* ''VideoGame/GranblueFantasy'''s "Dancing Avengers" story runs on Alternate Universe as everyone just spontaneously bursts into song when they feel like it, including ''inanimate'' objects that only come to life for the musical segments. Even Stan, the one character LampshadeHanging the random musical segments, does one segment at the story's climax as the characters decide that singing to each other about their feelings is the best method of [[ThePowerOfLove expressing love to each other is the best way to destroy the Primal Beast's shields]]. It being a MusicalEpisode also helps the AffectionateParody of Bollywood musicals they're going for.


** The ''WesternAnimation/MyLittlePonyEquestriaGirls'' shorts and specials also make plenty use of all four types, with the switch from longer movies to shorter specials bringing with it the main series' constant use of Alternative Universe. In particular, ''[[WesternAnimation/MyLittlePonyEquestriaGirlsForgottenFriendship Forgotten Friendship]]'' has its two songs, with said songs being immediately acknowledged by other characters both while and after they were sung, with the latter song even having two characters continuing to enact their plan off-screen while the villain is busy performing their song.

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** The ''WesternAnimation/MyLittlePonyEquestriaGirls'' shorts and specials also make plenty use of all four types, with the switch from longer movies to shorter specials bringing with it the main series' constant use of Alternative Universe. In particular, ''[[WesternAnimation/MyLittlePonyEquestriaGirlsForgottenFriendship Forgotten Friendship]]'' in particular has both its two songs, with said songs being lampshade this. Each one is immediately acknowledged by other characters both while during and after they were sung, with the latter second song even having two characters continuing to enact their plan off-screen while use the villain is busy performing being distracted by their song.own performance to continue enacting their plan.

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** "New Way To Go" in the Season 3 premiere raises some interesting questions about how the characters' perception of the music in their world works. It's a DisneyAcidSequence taking place entirely in Janja's imagination, where he sings about his doubts about working for Scar and wonders if he should join Jasiri. When it's over, the camera pans back to show that Scar's skinks watched the whole thing, which they immediately report to Scar. The question is, did they watch him sitting there for several minutes doing and saying nothing, then just report the few sentences Janja spoke before and after the song, and that was enough to fully convince Scar Janja was definitely about to turn on him? Or were they somehow able to see and/or hear the whole song?

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* In ''Theatre/TheGuyWhoDidntLikeMusicals'', parasitic aliens inside a MagicMeteor cause of everyone to start bursting into song. People being perfectly choreographed and knowing all the lyrics is hand waved by a HiveMind.


* '''The Musical AlternateUniverse Hypothesis''': The musical is set in an alternate world, or magic has been worked on the ordinary world, in which [[CrowdSong people]] really do burst into [[SpontaneousChoreography spontaneous song and dance]]. If the world has always been this way, singing is simply a normal and commonplace form of human communication in this universe; if the world is not normally this way, expect it to be some sort of an uncontrollable compulsion to sing at emotional moments, perhaps induced by the actions of TheMusicMeister. In this interpretation, since the singing is an in-universe phenomenon, the characters are aware of the songs and may explicitly comment on their musical style or specific lyrics; there may be characters who don't like singing and refuse to participate or try to stop others from starting to sing when the music begins to swell; or characters may say things in song that they wouldn't otherwise or regard statements that are sung differently from spoken statements. This is most common in comedic works or as a [[MusicalEpisode one-off occurrence]] in a normally non-musical world, since it [[LampshadeHanging draws attention to the weirdess of the concept]]. In particular, almost all {{parodies}} of musicals treat them as being AlternateUniverse, even when the musical being parodied is not.
* '''The All In Their Heads Hypothesis''': There is no singing; the songs are an artistic rendering of the characters' fantasies, with the format of song in a way serving to distinguish between what really happens and what is only in the characters' heads, much like a [[Creator/WilliamShakespeare Shakespearean]] ThinkingOutLoud. Naturally, this means that no characters are aware of what goes on in another character's song: there may be duets, but then they are {{Distant|Duet}} {{Counterpoint Duet}}s where the two characters do not know of one another's participation. This makes the musical more palatable for some, since there is obviously no literal singing involved in-universe.

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* '''The Musical AlternateUniverse Hypothesis''': The musical is set in an alternate world, or magic has been worked on the ordinary world, in which [[CrowdSong people]] really do burst into [[SpontaneousChoreography spontaneous song and dance]]. If the world has always been this way, singing is simply a normal and commonplace form of human communication in this universe; if the world is not normally this way, expect it to be some sort of an uncontrollable compulsion to sing at emotional moments, perhaps induced by the actions of TheMusicMeister. In this interpretation, since the singing is an in-universe phenomenon, the characters are aware of the songs and may explicitly comment on their musical style or specific lyrics; there may be characters who don't like singing and refuse to participate or try to stop others from starting to sing when the music begins to swell; or characters may say things in song that they wouldn't otherwise or regard statements that are sung differently from spoken statements. This is most common in comedic works or as a [[MusicalEpisode one-off occurrence]] in a normally non-musical world, since it [[LampshadeHanging draws attention to the weirdess weirdness of the concept]]. In particular, almost all {{parodies}} of musicals treat them as being AlternateUniverse, even when the musical being parodied is not.
* '''The All In Their Heads Hypothesis''': There is no singing; the songs are an artistic rendering of the characters' fantasies, with the format of song in a way serving to distinguish between what really happens and what is only in the characters' heads, much like a [[Creator/WilliamShakespeare Shakespearean]] ThinkingOutLoud.[[ThinkingOutLoud sililoquy]]. Naturally, this means that no characters are aware of what goes on in another character's song: there may be duets, but then they are {{Distant|Duet}} {{Counterpoint Duet}}s where the two characters do not know of one another's participation. This makes the musical more palatable for some, since there is obviously no literal singing involved in-universe.



* Most Franchise/DisneyAnimatedCanon is AlternateUniverse.

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* Most Franchise/DisneyAnimatedCanon is AlternateUniverse.films are set in Musical Universes.



** In ''Disney/{{Aladdin}}'', both of Genie's songs ("Friend Like Me" and "Prince Ali") are Diegetic - he's a LargeHam, pop culture junkie, and RealityWarper; of ''course'' he's going to start a showstopping number when he gets half a chance. Both songs also occur when he's going all-out trying to impress people, as well. "Arabian Nights" may also be Diegetic, as it's perfectly normal for a traveler to sing on the road. The rest ("One Jump Ahead", "Whole New World", and Jafar's DarkReprise of "Prince Ali") are all Adaptations describing actual events, though Aladdin's half-verse reprise of "One Jump Ahead" is uneventful enough that it could be All In His Head.



** ''Disney/{{Moana}}'' acts as a Musical Universe, but [[LampshadeHanging calls attention to this nature]]. Maui continues humming "You're Welcome" to himself even after the song is over (and later brings back the tune for a MadnessMantra of sorts), and "Shiny" is explicitly done "in song form" with Tamatoa asking the heroes if they liked it afterward. Maui also comments at one point that if Moana breaks into song, he's going to throw up. "We Know The Way", on the other hand, could be All in Moana's Head as she's given a spirit vision of her ancestors; but then again, it's a Musical Universe so her ancestors might well have actually sung that. Likewise, "How Far I'll Go" may or may not be an Adaptation of Moana's internal struggle, since she only sings to herself and nobody else takes notice. The only one that ''can't'' be justified by the Musical Universe is "Where You Are", as it's an AgeProgressionSong and therefore an Adaptation.

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** ''Disney/{{Moana}}'' acts as a Musical Universe, but [[LampshadeHanging calls attention to this nature]]. Maui continues humming "You're Welcome" to himself even after the song is over (and later brings back the tune for a MadnessMantra of sorts), and "Shiny" is explicitly done "in song form" with Tamatoa asking the heroes if they liked it afterward. Maui also comments at one point that if Moana breaks into song, he's going to throw up. "We Know The Way", on the other hand, could be All in Moana's Head as she's given a spirit vision of her ancestors; but then again, it's a Musical Universe so her ancestors might well have actually sung that. Likewise, "How Far I'll Go" may or may not be an Adaptation of Moana's All In Her Head giving voice to her internal struggle, since she only sings to herself and nobody else takes notice. The only one that ''can't'' be justified by the Musical Universe is "Where You Are", as it's an AgeProgressionSong and therefore an Adaptation.



* ''WesternAnimation/AGoofyMovie'' is a mix of Diegetic and Adaptation. For the diegetic part, "Stand Out" and "[=I2I=]" are InUniverse pop songs, while "Lester's Possum Park" occurs during a show. "After Today," "On the Open Road," and "Nobody Else But You" happen with no explanation and may very well be mere representations of the singers' feelings and thoughts, but since Goofy starts to sing "On the Open Road" after noticing a rhythmic beat made by his car, "On the Open Road" may count as diegetic/AlternateUniverse.

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* ''WesternAnimation/AGoofyMovie'' is a mix of Diegetic and Adaptation. For the diegetic part, "Stand Out" and "[=I2I=]" are InUniverse pop songs, while "Lester's Possum Park" occurs during a show. "After Today," "On the Open Road," and "Nobody Else But You" happen with no explanation and may very well be mere representations of the singers' feelings and thoughts, but since Goofy starts to sing "On the Open Road" after noticing a rhythmic beat made by his car, "On the Open Road" may count as diegetic/AlternateUniverse.diegetic[=/=]AlternateUniverse.



*** After "Cabin Fever," [[ExactlyWhatItSaysOnTheTin Clueless]] actually asks Polly the Lobster, "What was that song that just happened?" Polly thinks he's crazy, indicating Polly wasn't aware of the song. This indicates that it was All In Their Heads for the singers, but also for Clueless even though he wasn't singing.

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*** After "Cabin Fever," [[ExactlyWhatItSaysOnTheTin Clueless]] Morgan actually asks Polly the Lobster, "What was that song that just happened?" Polly thinks he's crazy, indicating Polly wasn't aware of the song. This indicates that it was All In Their Heads for the singers, but also for Clueless Morgan even though he wasn't singing.



* The ''Film/HighSchoolMusical'' movies seem to be alternate universe. At least one Tumblr user pointed out the logic of one character doing an entire dance number about how he doesn't dance, and another character not wanting his friends to know he likes singing so he breaks into song during their basketball practice.

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* The ''Film/HighSchoolMusical'' movies seem to be alternate universe.Adaptations. At least one Tumblr user pointed out the logic of one character doing an entire dance number about how he doesn't dance, and another character not wanting his friends to know he likes singing so he breaks into song during their basketball practice.



* ''Film/{{Aladdin 2019}}'': "Prince Ali" and "Friend Like Me," as in the original, are 100% diegetic -- performances given in-universe that other characters can and do fully see, hear, and react to. "Arabian Nights" is also made diegetic, as the "merchant" begins to tell a story by singing it to his children after they specifically ask him to sing. Aladdin's songs fit Adaptation or All in his Head -- a musical rendering of his thoughts and feelings. Jasmine's song "Speechless" is clearly All in her Head, as the guards restraining her keep walking without the slightest reaction to their prisoner bursting into song (until they vanish and everyone else in the scene freezes to indicate time isn't even really passing).

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* ''Film/{{Aladdin 2019}}'': "Prince Ali" and "Friend Like Me," as in the original, are 100% diegetic -- performances given in-universe that other characters can and do fully see, hear, and react to. "Arabian Nights" is also made diegetic, ''definitely'' diegetic in this version, as the "merchant" begins to tell a story by singing it to his children after they specifically ask him to sing. Aladdin's songs fit Adaptation or All in his Head -- a musical rendering of his thoughts and feelings. Jasmine's song "Speechless" is clearly All in her Head, as the guards restraining her keep walking without the slightest reaction to their prisoner bursting into song (until they vanish and everyone else in the scene freezes to indicate time isn't even really passing).passing).
* ''Film/GuardiansOfTheGalaxy'' and its sequel aren't musicals ''per se'', but nonetheless they include a lot of songs which they get from Peter's mixtapes, which usually end up being either Diegetic (when he's playing his music) or Adaptation (a song is playing, with the implication that it exists on his tapes, but it's clearly not happening in-universe). The first film starts with Peter dancing to "Come and Get Your Love", but since he's got headphones on it's functionally the same as an All In His Head song -- which ''Film/AvengersEndgame'' hangs a lampshade on: [[spoiler:Nebula and War Machine time-travel back to this point, but they (and unlike the first time, the audience) can't hear the music and only see Peter dancing and singing off-key to nothing like a idiot.]]

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