Drama: A Graphic Novel

“Greg: But you’re...I mean, you’re cool, Callie, but…

Callie: But what? All you’ve ever said about Bonnie is that she’s annoying and stuck-up and only cares about herself.

Greg: But, But...she liked me!

Callie: She’s not the only one.

[Callie and Greg kiss on the lips]”

This exchange exemplifies the ambiguous dynamic between Greg and Callie that lends tension to the entire narrative. Greg remains preoccupied with the self-centered Bonnie, while stringing Callie along with non-committal mixed signals. But, at this initial point in the narrative, Callie is still smitten with him and vying for his affections. 

“Loren: The first thing we should discuss is who will be in charge of what department.

Callie: Set! Set design! Me! I’ve never seen a live production of Moon Over Mississippi, but I’ve got the deluxe edition cast album, which has a ton of photos from the original Broadway production, and they built this amazing—

Matt: Okay Callie, we get it.

[Matt and Callie glare at each other]”

During this moment, Callie has made it clear to Matt that she has a crush on his older brother, Greg. Matt’s behavior immediately turns cold and haughty toward Callie, who is supposed to be one of his closest friends. This tension rears its ugly head during the first production meeting for “Moon Over Mississippi,” as Matt snidely jabs at Callie for her effusive enthusiasm. The passage also demonstrates Callie’s deep dedication and passion for the theater, as she throws herself whole-heartedly into the production. 

“Callie: Greg! What’s up?

Greg: Uh...Not much. Guys, I’ll be back in a minute.

Greg’s friend: Whatever.

Callie: It’s good to see you again! How are you doing?

Greg: I’m fine. [swipes hand away from Callie’s reach and turns away from her]

Callie: What’s wrong?

Greg: Well...Last night, when I got home, my phone rang, and it was Bonnie. She was crying. It was hard to understand what she was saying, but I couldn’t just hang up. She and I talked until her phone died around midnight. I’m supposed to see her later, after school. Sorry Callie...Maybe you and I can catch up another time.

Callie: [Walking away] Sure. Maybe.

Greg: Thanks for understanding, Cal—You’re the best!

Callie: Uh-huh. See ya.”

In this scene, Callie has come to find Greg at the lunch table where he eats. He leads her away from his friends in order to have the conversation in this passage—signaling his embarrassment or a desire to keep his involvement with Callie discreet. In this exchange, he centers his own feelings as well as those of Bonnie, and obliviously tells Callie that she is “the best” after her face drops (as the illustrations show) and she becomes clearly disappointed with this turn of events. This exchange further cements the fact that Greg does not really care about Callie as a full person, nor does he care to communicate with her, a girl who clearly has feelings for him, in an empathic and respectful way. The way that Bonnie repeatedly swallows this treatment and Greg does not face any negative consequences from her for his careless actions depicts a gender dynamic that is common within patriarchal society. It is possible that Telgemeier is therefore depicting an experience common to many young women through the ways that Callie grapples with her attraction to the self-interested Greg. This scene also lays the groundwork for a satisfying emotional climax when Callie ultimately rejects the advances of Greg, who will eventually be stilted by Bonnie. Through this plotting, Callie struggles with notions of self-worth and romantic validation—and, by the end of the novel, she triumphantly sees her own worth and draws boundaries for herself about what kind of treatment from Greg she deserves and accepts. 

“Callie: This is what I was thinking. Scene 4, when we have the battle sequence...Two cannon props, which we can actually fire onstage. Then in Scene 7, we’ve got to build a giant magnolia tree. Someone could get up in it and shower leaves on Bailey and Maybelline during their big kiss! Beyond that, we need a gazebo and an interior and exterior for the house.

Mr. Madera: Okay, first of all...I’m worried about the cannon. Eucalyptus may be a progressive middle school, but having real pyrotechnics onstage will never fly. Second, we’ve only got room in the budget this year for two set pieces, tops.

Callie: The cannon has got to be one of them, Mr. Madera. Sanjay, how much leftover scrap material do we have from last year?

Sanjay: Probably enough. I’ll definitely need another person to help with construction.

Callie: I can help! And I’m sure I can find another pair of hands!

Sanjay: You sure? You’ve only ever painted sets, Callie.

Callie: Let me try. Please??

Loren: I say we let her. Why not?”

In this passage, Callie breathlessly details her vision for the play’s set-pieces. Her desire to have a functioning cannon is impractical, but it speaks to her grand ambition and imagination. While Mr. Madera must temper her vision a bit, both he and Loren are ultimately happy to support Callie’s vision. In contrast to the treatment she receives from Greg, Callie’s theater community is supportive and affirmative of her unique gifts and drive. 

“Justin and Jesse: Hi!!

Justin: Hello.

Jesse. Sorry.

Justin: So how do I become a star in this musical, hmm? Do you know?

Callie: Oh, well…If you want to audition, you can go see the music director, Mr. Glenn. He’ll give you a CD with the audition songs on it.

Justin: Squee! Okay!

Callie: I’m headed that way now. Want me to walk you?

Justin: Would you?!

Callie: Sure. Follow me.

Justin: You are officially my new favorite person. My name is Justin, and this is my brother, Jesse!

Callie: Um, I’m Callie Marin.

Jesse: Callie! What a happy-sounding name. Very sunshiny.” 

This is the scene in which Callie meets Justin and Jesse, who will become important characters within the narrative, for the first time. Our first glimpse of the two brothers shows us some key elements of their contrasting personalities: Justin is effusive and emotionally demonstrative, while Jesse is more quiet and low-key. But both of them are very friendly and kind, as evidenced by the courteous and complimentary way that they treat Callie. 

“Callie: Are you both going to try out for the show?

Jesse: Not me.

Callie: Oh? How come?

Jesse: I’m...not very good. At singing. Or acting.

Justin: You’re so modest. Jesse is very talented. He’s just shy.

Callie: Aww. Lots of kids in theater are shy at first!

Jesse: Yeah, but—-I’m happy to let Justin be in the spotlight.

Callie: That’s cool of you, I guess. You guys are twins, right?

Jesse: Uh-huh.

Callie: I’m surprised I’ve never seen you around!

Jesse: We spend a lot of time studying. Our dad’s kinda all about good grades.

Callie: But he’ll let you do theater?

Jesse: Well, Justin, anyway! He still wants me to be the obedient son, and next year, when we’re in high school, I’m sure I’ll have to disappear into the books again, forever.

Callie: Heavy.”

In this excerpt, Callie and Jesse have a private conversation that gives the reader insight into Jesse’s character and motivations. As we will later see, Jesse is indeed downplaying his theatrical talents. By his own account, he is doing so partially to afford Justin his time in the spotlight. This excerpt shows some of Jesse’s key character traits, such as humility, empathy, and thoughtfulness. The conversation between Callie and Jesse also gives the reader a bit of insight into the brothers’ family life, which in turn develops each of their characters. The way it is written also convincingly portrays the language and mannerisms that contemporary young adults use as they relate to each other. 

“Liz: [turns on the light in the costume vault]

Matt: Cooooool.

Callie: You’ve never been down here, Matt?

Matt: Nope! It’s wicked!

Callie: ...fifteen pairs of slacks, various colors...twelve pairs of character shoes…

Matt: [wearing a costume top hat] Spot of tea, madam?

Callie: [wearing a costume feathered hat] But of course!

Liz: Gray slacks...blue slacks...black slacks…

Callie: Hey, Liz!

Liz: Hm?

Callie: Look at this dress.

Liz: Nice. Not exactly right for Moon Over Mississippi, though.

Callie. I know. This is the only time I’m jealous of the kids on the stage. It’d be so much fun to wear something wild like this.

Matt: Don’t be jealous! What we do is awesome, too.

Callie: I didn’t mean it isn’t!”

In this scene, the three students have gone down into the costume vault for the first time in the narrative. As theater kids, they are in their element—which is exemplified by Callie and Matt’s natural and good-natured banter while they don costumes. Also, it is in this moment that Callie first sees the dress that she will eventually wear to the eighth-grade formal. She also remarks that seeing beautiful costumes is one of the only things that can make her jealous of the kids who perform on the stage. By giving Callie this line, Telgemeier allows the reader to share in Callie’s triumph when she eventually gets to wear the costume dress to the dance—it’s as if Telgemeier is communicating that Callie will always find a way to exercise her desires, and her moment to glimmer under the lights while wearing a beautiful dress will eventually come. 

“Jesse: What about you, Callie? What kind of books do you like to read?

Callie: Come sit down in the café with me, and I’ll show you! [Callie finds a large, red volume on a shelf and puts it on a table.]

Jesse: Wow. That is one huge book!

Callie: It’s my favorite book in the world. Published in 1932 and reprinted thirty-four times, it includes photographs of Broadway set and stage design from the nineteen-teens and twenties...Ziegfeld! The New Amsterdam! Look how beautiful!

Jesse: Whoa!

Callie: I want to design sets like this someday!

Jesse: Wow!

Callie: I want the audience to believe that the actors really live inside of the world onstage.

Jesse: I’d live in a world like this.

Callie: It’s one thing to dream it...And another thing to actually build it.

Jesse: You should buy this thing, if you love it so much.

Callie: I can’t...It’s too expensive. But I visit it here all the time.” 

In this scene, Callie, Jesse, and Justin are at a bookstore in town. Justin has buried himself in the manga section, while Callie shows Jesse her favorite book. Through Callie’s enthusiasm for the historical details about theater that the book displays, Telgemeier demonstrates the fullness of Callie’s passion: She truly lives and breathes theater, and is as excited by the art form’s history as she is about her own contemporary role in a theater production. Her inability to afford the book also speaks to her middle-class upbringing. This excerpt therefore accomplishes important character- and world-building work. 

“Justin: Jesse’s been helping me rehearse.

Jesse: By singing Maybelline’s part!

Callie: And you’re both really, really...Well, you’re great. Like you could be on Broadway! Wow! Justin, you’re gonna nail this thing! Jesse—I can’t believe you don’t want to try out! You’ve got a terrific voice! You both do!

Justin: We’ve got the Moon Over Mississippi soundtrack at home.

Jesse: We can both sing all the parts.”

In this passage, Jesse, Justin, and Callie are waiting outside for the twins’ father to pick them up from the bookstore. The twins have performed a snippet of a song from “Moon Over Mississippi.” Despite his previous self-deprecating remarks, Jesse has demonstrated that he has a beautiful singing voice. He also reveals that he has been singing the part of Maybelline while helping Justin prepare for his audition. This moment foreshadows an upcoming plot event: Jesse will eventually step into the actual role of Maybelline when Bonnie refuses to finish the show on the play’s closing night. It makes that moment more believable, as the reader now knows that Jesse has talent as a singer, and has also been studying Maybelline’s part. This scene also shows a beautiful, supportive friendship growing between Callie and the brothers, in which they are all able to see and affirm each other’s talents. 

“Justin: I’ve known Greg since second grade. He’s always been thickheaded, even if he is cute.

Callie: Mmm. Wait, what?? When you say he’s cute, do you mean like…

Justin: Like, I like boys? Yeah.

Callie: Oh. Huh.

Justin: Um, is that cool? Is it okay that I told you?

Callie: It’s cool...I guess I was never really sure if anyone I knew was actually...um…

Justin: Gay? You can say it! I don’t mind.

Callie: Okay, so does anybody else know? Does your brother know?

Justin: Jesse’s the first person I ever told.

Callie: Is he gay, too?

Justin: No…

Callie: Good to know.

Justin: Uh-huh.

Callie: Anyway, c’mere—(hugging Justin) Your secret’s safe with me.

Justin: Thanks.” 

Justin reveals to Callie that he is gay. Telgemeier is careful to keep Callie’s response to her friend’s revelation realistic. Callie doesn’t immediately and unrealistically dive into effusive affirmations. Initially, she is cautious, a bit shy, and acts as if she is slightly uncomfortable about Justin’s assertions. She’s also careful not to use the word “gay” until Justin tells her it’s OK to use that word to describe him. But Callie gets over her discomfort rather quickly and then moves to give her friend unqualified support. In this scene, Telgemeier depicts each character’s actions in a way that is consistent with each of their characters. Justin is unabashed and open, while Callie is cautious, thoughtful, and ultimately supportive and empathetic. 

“Bonnie: But could you even believe some of those other girls who tried out? None of them had a chance.

Callie: For your information, I wasn’t actually trying out for that part. I was just having fun. This is supposed to be fun, remember?

Bonnie: Whatever you say.

Jesse: Don’t be rude, Bonnie. We’re all going to have to work together, after all.

Bonnie: What, so are you in the play? You don’t seem like the type.

Jesse: I’m gonna be on stage crew! Thanks to the extra-awesome Callie, here.

Bonnie: Oh. That makes sense, for a brainiac like you. [she walks away with her friend]

Jesse: I am so tempted to start tutoring her in manners instead of science.” 

Bonnie is passive-aggressively slinging barbs at Callie, who got onstage to deliver a tuneless song during auditions. Callie clarifies that her time onstage during auditions was just for fun, and that she wasn’t seriously trying out for a stage role in the play. But Bonnie leans in to her insult against Callie in response. She also treats Jesse, her own tutor, with snide disrespect. The pretty and talented Bonnie is displaying prototypical mean girl behavior, which makes her a good foil to Callie—who is loyal, thoughtful, and kind to the people around her. The scene solidifies Bonnie as a mean, vain, and unlikeable character.

“Richard: Callie? Whatcha workin’ on?

Callie: A model.

Richard: Of what?

Callie: A stage set.

Richard: What for?

Callie: My school’s play. Don’t touch, Richard.

Richard: Remember when Mommy took us to a play? It was “Les Miz”? Downtown? When I was six? Remember?

Callie: Oh, I remember… [the graphic panels show a flashback depicting a younger Callie being completely enraptured at the theater]

Callie: After that, at first, I just wanted to be Cosette. But I figured out pretty fast that I didn’t quite have what it took. [illustration shows young Callie singing out of tune]

Callie: That didn’t stop me from continuing to listen and learn, though. My first week of sixth grade, a magical flyer appeared. [illustration depicts a flyer for stage crew] And my new life began.”

In this passage, Callie reminisces with her younger brother about the trip to the theater that ignited her passion. The illustration panels depict Callie as a young child, completely transfixed by the stage production of Les Misérables. It also shows her discovery of a stage crew flyer during sixth grade. As the reader sees these depictions of a younger Callie, the Callie of the present day narrates with the lines of the passage. The reader therefore sees that Callie’s passion for the theater originated in her childhood, and is not something new. Rather, it is a sustained and deeply-seated passion that she has tirelessly and persistently cultivated. When she realized that she did not have the singing skills necessary to be onstage, she still found a way to use her talents toward theater endeavors—by joining stage crew. And, in her own words, she worked fastidiously to learn all that she could about her new craft. This passage therefore accomplishes important character development for Callie, as it highlights the landmarks of her personal journey within the theater.  

“Jesse: Ha! The dancing part looks hard!

Callie: Tell me about it. I don’t mind the fun kind of dancing. Like at school dances where you just jump around an’ stuff.

Jesse: Oh yeah? I’ve never been to a dance before.

Callie: No?! You should at least go to your eighth grade formal! You’d have a good time.

Jesse: But what about the small parts? Where do my feet go?

Callie: C’mere. I put my arms up here, and yours go at my waist.

Jesse: Like this?

Callie: Uh-huh.

Jesse: Now what?

Callie: Now you just kinda...spin around slowly. Good!

[Loren and Justin watch from nearby]

Loren: Is this entertaining or awkward for you?

Justin: A little bit of both!” 

This passage depicts a sweet moment between Jesse and Callie, and also foreshadows the fact that Jesse will eventually ask Callie to accompany him to his eighth-grade formal. As Callie teaches Jesse how to slow dance, the two are watched, unbeknownst to them, by Loren and Justin. When Justin remarks that the scene is both entertaining and awkward for him to watch, Telgemeier depicts the mixture of discomfort, nervousness, and fun that is attendant to tweens’ youthful explorations of romance and romantic relationships.  

“Callie: But...what about showing the cannon? I thought it’d be part of the poster!

Matt: Nah, it’s better to show the characters.

Callie: But…

Loren: Sorry, Callie, we’re already way behind schedule on this.

Matt: Good! I already made photocopies.

Callie: But think of the people who might have come if they knew there was a cannon involved.” 

Callie has become disappointed because the flyer for the play features a picture of the two main characters—a couple, kissing—rather than showcasing the cannon set piece on which she is diligently working. She astutely thinks that featuring a cannon on the flyer would draw more audience interest from the general student body than the picture of the couple kissing, but the flyer is already ready to go. This moment foreshadows the one in which Callie will set off the cannon in the cafeteria during a publicity spot—which will ultimately draw a huge crowd to the ticket sales booth. By depicting Callie’s sharp insight, Telgemeier showcases the character’s intelligence and resourcefulness. Callie’s desire to feature the cannon, rather than the kissing couple, also metaphorically hints at her narrative arc: By the end of the novel, she has found comfort, validation, and fulfillment within her theater endeavors that outshine any gratification that she can get from her romantic pursuits.

“Liz: Anyway, why don’t you ask Jesse to the eighth grade formal or something?

Callie: Liz, a seventh grader can’t ask an eighth grader to his own dance! Even though that would be awesome...It’s just not right.

Liz: who cares? You want him to take you? Just ask him!

Jesse: [walking by] Ask who what?

Callie: Oh! Ha ha! Nothing. Er, I mean...something, but...I’ll text you about it later, okay?

Jesse: Okay!

Liz: [to Callie] Chicken.”

In this excerpt, Liz, Callie’s best friend, encourages her to unabashedly go after exactly what she wants—even if that involves asking Jesse to his own dance. Through this exchange, Telgemeier develops Liz’s character. Liz is outspoken, bold, and a supportive friend. She and Callie share a close relationship in which she can challenge and tease Callie good-naturedly. And while Callie tends to play by the rules a bit more than Liz, as this exchange proves, she benefits from the support and encouragement that her friend gives to her, nonetheless. 

“Callie: Um, I like your car, Mr. Mendocino!

Mr. Mendocino: Thank you! Justin and Jesse tell me it is an embarrassment.

Callie: No, it’s cool!

Justin: Daddy’s had this since before we were born.

Mr. Mendocino: And it still runs great!

Jesse: [whispering] Justin an’ I call it ‘The Bananamobile.’

Mr. Mendocino: So, Callie...You are...Justin’s girlfriend?

Justin: Daaaaad!! No, she’s not my girlfriend!!

Mr. Mendocino: No? Jesse? Your girlfriend??

Jesse: I...she’s….It’s...Um...Callie is—

Callie: Mr. Mendocino, tell me about what these two were like when they were little!

Mr. Mendocino: Little? Oh! Well Justin was the bed wetter, but Jesse was the crybaby—

Justin and Jesse: DAAAAAAD!!!” 

Justin and Jesse’s father, Mr. Mendocino, is driving the three children to the bookstore in town. The conversation in the car demonstrates some of the key tensions of being a tween. For one, Justin and Jesse are embarrassed by their father’s car. Secondly, Mr. Mendocino cluelessly questions Callie and his sons about the nature of their relationships—as he is oblivious to the sensitivity or awkwardness that such questions may inflame. Thirdly, when Callie moves to change the subject, he immediately divulges childhood secrets of his children that undoubtedly embarrass them. These key beats within the conversation follow along with the conventions of many forms of literature and media that depict the relationship of tweens to their parents. Embarrassment at the behavior or appearance of parents is a common theme within these kinds of media. This tension helps to depict the ways in which tweens seek to break away from their family units and carve out identities for themselves. Mr. Mendocino’s seeming obliviousness about the delicacy of the tweens’ relationships to each other also displays the fact that they have their own social and inner lives which their parents do not always understand. 

“Callie: So...What’s new with you?

Greg: Nada.

Callie: Nada? Not looming graduation, baseball games, nothing? Who are you taking to the eighth grade formal?

Greg: I don’t know. I always thought I’d go with Bonnie, but now she’s taken...Hey, are you going with anyone?

Callie: Uh...I dunno. Only if someone asks me.

Greg: Oh.

Matt: [to Greg] Hey jerk-face. I’m done.

Greg: Oh, good. Let’s get outta here.” 

In this passage, Callie and Greg have a chance encounter. It is almost time for the play’s opening night, and Callie has been furiously working on her set pieces. This could be part of the reason that Greg’s assertion that absolutely nothing is new with him is off-putting or unbelievable to her. Callie has been incredibly busy getting her cannon to work and working with her fellow crew members, and her crush on Greg—as well as Greg himself—have fallen on the back burner. Greg’s behavior continues to underwhelm, and he continues to speak about his preoccupation with Bonnie during this exchange. He openly views Callie as second choice (if that), which is evidenced by the underhanded way that he inquires about whether she will be attending the formal with anyone. This exchange will undoubtedly help Callie to piece the truth of Greg’s vague and selfish treatment of her together: By the end of the narrative, she will reject his bid to make her his rebound girl. 

“Liz: I’m sorry, Bonnie—Your skirt’s almost ready, but not quite.

Mirko: Has anyone seen Justin’s hat? It was in the classroom the boys are using as their dressing room…

[a graphic panel shows a costumed West coughing]

Bonnie: Am I still supposed to kiss him if he’s sick?!

Loren: Can somebody go get some cough drops, please?”

This excerpt depicts some feverish moments backstage during the dress rehearsal for the play. Liz struggles with some unfinished touches on Bonnie’s costume, part of Justin’s costume has been misplaced, West appears to be coming down with some kind of illness, and Bonnie is fretting about having to kiss him if he is ill. The scene therefore depicts the frantic sense of stress prior to the play’s opening night, and adds an element of suspense for the reader. With things in such seeming disarray, the reader may question what is in store for the play’s actual performances. As the audience has been watching the characters furiously work at perfecting the production, the emotional stakes for its success are raised during the eleventh hour. 

“Loren: West! Are you all right? What happened?

West: I’m okay.

Jesse: I’ll get some ice.

Loren: [to West] Think you can get through the rest of the show?

Stage Crewmember: Poor West!

Jesse: That’s not what I meant by ‘break a leg,’ dude!

Callie: Oh, you’re bleeding!

West: I’m okay guys, really! It’s just a bump.

Bonnie: Hmph. Nobody even asked me if I’m okay. He bumped into me on his trip to the floor, y’know. And who helped him up

after that?

Jesse: Bonnie, you’re unbelievable.

West: Seriously. Why are you creating extra drama for yourself?” 

In this scene, West has fallen down onstage, and other students are coming to his aid backstage. Most of them are busying themselves with helping him, but Bonnie centers herself during this moment. Although she is not the one hurt, she resents the fuss being made about West, and feels indignant that not enough attention is being paid to her. In so doing, Bonnie reveals her unreasonable selfishness and self-centeredness. Even Jesse and West openly challenge her assertions in this moment, as she is clearly being ridiculously self-interested. Although West is currently dating her, he still publicly tells her that she is wrong. This sets the stage for the couple’s eventual dissolution. 

“Jesse: How’s your knee?

West: I think I’ll survive. And, Jesse, thanks for actually helping Bonnie study. She’s actually in danger of passing now!

Callie: Hey, that’s good news!

Jesse: Yeah...she...kinda asked me to help her cheat on her last test, though.

West: What?!

Jesse: I didn’t do it! She was mad, but she must’ve studied harder as a result...I told her I wasn’t always going to be around to pick up her slack. I also resigned as her tutor.

Callie: Whoa.

West: That was pretty messed up of her.”

In this excerpt, Jesse reveals to both West and Callie that Bonnie has asked him to help her cheat so that she can pass her class. Although Jesse expects West to take Bonnie’s side, he actually voices his belief that she was wrong to do what she did. In a way, he is therefore siding with Jesse. This makes the eventual romantic energy between Jesse and West more believable. It also paints West as a likable character who has the integrity that Bonnie lacks. Jesse also asserts that he quit being Bonnie’s tutor after her immoral request, which shows that he also has integrity that Bonnie lacks. The casual manner in which the students talk to each other displays Telgemeier’s realistic and relatable depiction of tween/teen life.

“Matt: What’s going on in the house?

Callie: A couple of people are laughing up front.

Loren: Let ‘em laugh. This show’s not stopping them. Callie, can  

you do the set change without Jesse helping?

Callie: On it.”

Matt, Callie, and Loren discuss what is happening in the audience after Jesse and West share an onstage kiss. Jesse has stepped in to play Maybelline after Bonnie, upset about her breakup with West, has locked herself in the custodial closet and refused to finish the play in her role. Matt is nervously questioning Callie about the audience response to the onstage kiss between the two boys. Loren displays his dedication to the play, and his willingness to embrace Jesse’s improvisation, through his response. Ultimately, most of the students side with Jesse and with their own production, rather than let any homophobia ruin both the show and any friendships. Through these plot choices, Telgemeier depicts the campus community at Eucalyptus Middle School as generally accepting. Although the onstage kiss between the two boys surprises the audience and draws a scattered derisive or nervous response, there is no real, hurtful blowback or fallout after the kiss. Through this depiction, Telgemeier forges a truly contemporary portrait of American tween life during a historical era in which LGBTQ+ identities are enjoying more widespread exposure and acceptance than in eras past. 

“Liz: Hey, at least Jesse knew the part, right?

Matt: What guy sits around studying a woman’s role in a musical?”   

Callie: A talented one, that’s who!

Matt: Whatever, Callie. Hasn’t tonight made anything especially

obvious to you?

Callie: Maybe.

Matt: Maybe it’s time you started chasing after real men.

Callie: Why, do you know any? Enough of this—I need pizza.” 

This scene takes place after the play’s final night has wrapped. Matt uses the occasion of Jesse and West’s kiss to continue his passive aggressive bullying of Callie. He is clearly jealous of Callie’s friendship with Jesse, and perhaps has even picked up on her crush on Jesse. He therefore uses a homophobic jab in an attempt to discredit and insult Jesse. But Callie is having none of it: She defends Jesse as talented, and throws Matt’s remark about “real men” back in his face. And the audience sees the normally kind Callie bare her teeth in order to defend both her friend and herself. She has clearly lost patience with Matt and his rude behavior, and isn’t afraid to let him know as much. Through this depiction, Telgemeier deepens her character development of Callie, and shows her many facets. 

“Callie: Oh jeez, look at my mascara. And I got it all over you, too...

[beat]

Callie and Liz: Ba Ha Ha Ha Ha!!

Callie: Hee hee...Maybe we look better like this.

Liz: Yeah! Mess that hair up, too! It’s so not you. There we go!!

C’mon, let’s go take a picture.” 

In this excerpt, Liz has finished comforting Callie in the bathroom during the eighth-grade formal, where they took refuge after Callie discovered that Jesse abandoned her in order to spend time with West, on whom he has a crush. Callie has begun to cry, and now notices that her mascara has smeared all over herself and Liz. Instead of calling the night a wash, however, Callie finds the gumption to lean into her ‘mess’ and celebrate it. Liz’s clear and persistent support does pull her through this tough moment, as the two make the best of the dance and their newly disheveled appearance—even reveling in it for a professional photograph. Through these details, Telgemeier depicts the power of friendship and the indomitable spirit of both girls.