#2004 phantom of the opera imagine

[operas-phantom]

Squished Erik- that is I -thinks that whoever is taking the time to read this and care for someone like him is a very interesting person. Possibly deranged, but he cannot deny thinking greatfully of such a person anyhow.

He also wonders why he is squished. Perhaps it is the fault of the Vicomte, or Carlotta. He will get vengeance with his squished lasso and squished sword.

Do you guys like my meme? It’s.. the meme-sic of the night.. see I made the picture look squished.. do not worry for Erik’s safety.. also, the Vicomte is innocent in this, and Carlotta as well.. note that Erik is trying to act kinder to them. SEE, CARLOTTA? NOW ACTUALLY TAKE MY DAMNED MUSIC ADVICE FOR I FEAR THE RAT POISON WILL NOT WORK ON YOU DESPITE YOU BEING A RAT!

[lickkuid]

Okay, just imagine-

Modern AU: Christine with her and Erik’s daughter. Erik is the one behind the camera taking the picture as Christine teaches her a piece of Erik’s music. Meanwhile Erik is tearing up as he watches his girls 🥹

Okay now I’m crying

📸 Emmy | Instagram

[sleepyconfusedpotato]

🎭Phantom of The Opera! GhostJade🌹💀

Happy Halloween! ( •̀ .̫ •́ )✧

This took me longer than I wanted to admit and I'm obviously late 😭 But here it is! Did a poll on Tumblr about which character GhostJade should dress up as for Halloween, and Phantom of The Opera was the top one.

I took the colors/vibe from the 2004 movie with Gerard Butler and Emmy Rossum. Ghost with that mask looks better than I imagined! Jade is just so fun to draw as usual (not the dress though 😭)

Anyway, hope you like it and let us all welcome MWIII! ✨

Support me on Ko-Fi! ✨

[forthegothicheroine]

It's extremely funny in retrospect that the Phantom of the Opera fandom after the 2004 movie had such a big thing about the word "fop." People who hated Raoul would use that word almost exclusively; I can only assume there was some popular fic that used it and it caught on as a meme. People can think whatever they want to about a character, but look at Patrick Wilson in the movie.

That is a guy. That's not even a dandy. That is the most conventionally dressed upper class 19th century guy I can imagine. He wore his army dress to a masquerade party. He spends most of the movie in what's basically a tux except when the shirt gets ripped open. That is what you find in the encoclopedia when you look up "attractive old timey guy."

[selcouthself]

Reclaiming Leroux's Original Vision | part 1/?

Despite passionate pleas from dedicated Phans who have kept Leroux's original text alive through decades of discussion, fan works, etc., production companies continually choose marketable romance over authentic adaptation, perpetually ignoring the faithful rendition fans have been clamoring for. ***For the purpose of this discussion, I am excluding the 1925 silent film adaptation, which stands apart as perhaps the most faithful adaptation of Gaston Leroux's novel, and focusing on the grievances that Phans commonly express regarding other adaptations across various media.​​​​​​​​​​​​​​​​***

From the 1984 BANGER musical that prioritized spectacle over substance, to the 1990 miniseries that gave us a subdued, sympathetic Erik, to the 2004 film that turned Erik into a brooding, misunderstood hottie with convenient scarring, to various others, each attempt seems to misunderstand that fans don't want a dumbed down love triangle (Though it should be said that we do adore these adaptations for what they are-- Webber's music is undeniably beautiful, Dance's performance is genuinely moving, Chaney's makeup & dedication remains iconic, and not to mention the 2004 film is visually stunning)—we want the brilliant, morally complex, historically textured, genuinely disturbing masterpiece that Leroux wrote.

The recurring sins remain consistent:

The bastardization of Erik's character. Erik's horrific appearance isn't just physical description—it fundamentally shapes his entire psychology and justifies his isolation from humanity, making him simultaneously monstrous and tragic; when adaptations give us a handsome phantom with decorative/minimal scarring, they erase the lifetime of rejection and dehumanization that forged his broken psyche and twisted worldview. Erik is SYMPATHETIC.

The complete erasure of the Persian. Removing him not only gets rid of MAJOR PLOT DETAILS, but it also removes Erik's only genuine human connection and moral counterbalance, eliminating the character who humanizes Erik through their shared history while also serving as the crucial voice of reason who condemns his actions.

Christine's character being reduced to a silly little ingénue forced to choose between two love interests instead of a determined young woman making impossible choices while processing immense trauma and grief, despite the fact that she's a victim of severe emotional manipulation and abuse—which isn't romantic, it's horrific.

Raoul being flattened into a one-dimensional pretty boy when his character is much more complicated than that. He's driven by emotional insecurity, naivety, and a sense of duty. He's young, new into society, and wanting to prove himself. He wants to protect Christine. He's wants to understand the connection Christine shares with this Erik.

Completely abandoning Leroux's "this is a journalist investigating real events" framework that makes the original novel so unique and unsettling.

Philippe de Chagny mysteriously vanishing from adaptations despite his "mysterious" drowning being a major plot point.

The opera house itself losing its character as a place of history, secrets, and genuine architectural strangeness.

Should an accurate adaptation of Gaston Leroux's "The Phantom of the Opera" be considered, I believe it would seek to rectify these recurring issues. It should breathe new life into both dimensions of the original novel: the meticulous journalistic investigation and the heartbreaking tale buried beneath the Paris Opera House. Leroux himself should take center stage at times—chasing leads through dusty archives, interviewing reluctant witnesses, and piecing together fragments of evidence about a masked man who once terrorized the opera. These investigative sequences would illuminate how Leroux blended documented facts (the underground lake, the mysterious accidents, the architectural oddities of the Opera Garnier) with his novelist's imagination, creating a compelling framework that constantly questions where reality ends and fiction begins.

Parallel to this investigation runs Erik's devastating story—a tale of profound isolation, artistic genius, and doomed love that explores deeply human questions about appearance, acceptance, and redemption. By returning to Leroux's original character descriptions and historical inspirations—such as the real-life soprano Christine Nilsson who influenced the creation of Christine Daaé—this adaptation would strip away decades of reinterpretation to present these characters as they were originally conceived.

Through this dual narrative structure, viewers would gain unprecedented insight into what Leroux was trying to teach us about societal cruelty, the transcendent power of music, and the complex nature of love in its various forms—familial, protective, passionate, and obsessive. This dream project imagines bringing the authentic literary Phantom to life as Leroux intended, where the line between factual investigation and gothic romance becomes as murky as the waters of the underground lake itself.

I intend to explore what a truly faithful adaptation might look like by suggesting ideal casting choices, highlighting scenes from Leroux’s novel that deserve proper screen treatment, various references that I would love to see, and debating whether a tv series or film would serve the complex narrative and gothic atmosphere of the original work. My goal is to envision an adaptation that honors the psychological horror and the rich historical context that made Leroux’s novel a timeless classic.

[nerdanel01]

Emmrook at the Opera

In honor of Sylvia confirming Emmrich’s occasionally into a “bold Orlesian opera” (one of the most exciting things to ever happen to me), I wanted to put together this little post on resources for anyone who might be curious about the genre, or want to incorporate it into their fic writing.

It’s going to be a little USA-heavy because I do, unfortunately, live in the land of hamburgers and assault rifles, but the silver lining is that I also live in the country that created this:

The Metropolitan Opera House in NYC has to be one of the largest opera houses in the world, at least partially because of the fact that it was built much more recently than many of the old ones. When it’s full, it fits over four thousand people in it. I once took a tour of the backstage with one of my best friends who told me, partially in jest, “Wow, I’ve never seen you look at your boyfriend the way you’re looking at this building.” I broke up with that boyfriend like a year later, but the Met is my love for life. I love the red velvet on the walls and the seats. I love the giant Marc Chagall paintings. I love the sputnik chandelier. I love the peeling gilt gold on the ceilings, which I often have a perfect view of from my seats in the nosebleeds. The Met is my boo. 

Onto the resources!

If you just want to watch a movie that FEATURES opera but is not specifically an opera:

Moonstruck - Cher tries to invite her fiance’s brother (Nicholas Cage) to her wedding. Can you imagine what happens to Cher and Nicholas Cage next. Features the both of them on a date at the Met Opera (my beloved!) and excerpts from La Boheme. One of my all time fave movies, I identify deeply with Cher’s grandfather in the film. 

Falling for Figaro is a pretty cute romcom about a finance chick who quits her job to pursue her dream of becoming a soprano. 

And listen like the singing in Phantom of the Opera (2004) is. Not great. (I’m sorry Gerard Butler, I loved you when I was twelve.) But the opening sequence of the rolling camera pulls through the opera house as the overture plays will haunt me for the rest of my life. 

If you’ve never seen an opera before, and want to watch one (either online or in person), I recommend starting with one of these:

La Boheme - One of the most popular operas, period. Also, it’s literally RENT. Beat for beat, from ‘will you light my candle’ to ‘la vie boheme,’ it’s RENT, just sung in Italian and set in Paris. (Spoilers, the ending in the opera is more tragic.)

L’Elisir D’Amore - If you like Agnes and Emmrich because you enjoy watching two idiots who are obviously in love with each other pine for each other, this is a good one. Very sweet. One of my faves.

The Barber of Seville - I think this one is very approachable if you think of it as a comic version of Sweeney Todd, if Sweeney had no tragic backstory and Jamie was a young noble. It’s a romance, shenanigans are had, and Largo al Factotum is one of the biggest bops of all time. 

My personal favorites also include Akhaten, La Fille Du Regiment, Le Nozze di Figaro, and Turandot, but your mileage may vary with these—Akhnaten is very contemporary, productions of Turandot sometimes feature some pretty heckin’ yikes orientalism. 

If you want to listen to opera music:

WQXR is NYC’s Classical Music Station. In addition to their regular classical music stream (which is also very good) they have a separate stream of just opera music called Operavore. (I also love New Sounds, but the streams vary wildly and its definitely an acquired taste.)

The Met broadcasts a series of live Sunday radio transmissions every year starting in the spring, available online and also via WQXR.

The Chicago Lyric Opera has a bunch of their live streams archived online.

I have also made a playlist where I’ll be adding all the songs featured in my Emmrook fics. :)

If you want to watch an opera stream online:

OperaVision

There’s this incredible list from OperaWire

But there’s also this site, where you can find pretty much anything

The Met also has it’s own paid streaming service, which is SPENSIVE on the subscription model, but if there’s something you really want to see and can’t find elsewhere, they allow you to rent single titles for $4.99 each.

I do strongly recommend, if you have any interest at all and have the opportunity, to go see an opera in person. For me it makes such a difference to be there in person, and it’s not as expensive as you might think! Plus, since opera is a dying art and opera houses are desperate for new audiences (at least, in America) there are usually a number of discounted ticket programs. (Again, the list below is super USA centric, I’m so sorry—and of those below, I’ve only been to the Met myself.)

The Metropolitan Opera is the biggest opera company in the US in terms of literally the number of operas they put on a year. Other than a brief break in February, the opera is pretty much in session 5 nights a week, from October through the end of May. 

Family Circle. I love the family circle. I’ve spent so much time in the Family Circle. The acoustics ARE genuinely better up here than they are in other parts of the house, and depending on the opera, tickets in the Family Circle typically go between $26-45 dollars each.

Rush Tickets are available every day online—these are usually seats in the orchestra. I can’t remember exactly but I think these are always $25. 

If you’re feeling ~opulent and looking for a very special date night, the Met also runs a program called Fridays Under 40. It’s a special priced Orchestra ticket for people under 40. Many of the dates also include little parties where they usually have photo booths, charcuterie, etc., and opportunities to meet some of the cast.

The Detroit Opera offers student rush tickets, although it looks like you have to be at the box office in person to get them. 

The Chicago Lyric Opera has discounts for students and 50% off rush tickets.

The San Francisco Opera has a great offer for first-time opera attendees who live in the Bay Area - $20 for two great seats

The L.A. Opera also offers student rush discount tickets, and $30 tickets for attendees under 30 years of age.

I am not aware of any discounts for the Santa Fe Opera but it looks so cool and it’s on my bucket list to go one day <3

Dallas Opera offers student discounts and discounts for attendees 21-45 (although it looks like they’re aksing for a membership fee for the 21-45 program—boooo Dallas Opera)

Not super clear on the specifics, but Houston Grand Opera also offers some kind of Under 40 discount on select performances

Opera Philadelphia, which recently appointed my all-time-favorite opera singer Anthony Roth Constanzo as their director, offers $10 rush tickets and student discounts

Tips for your first time at the opera, if you do go:

A thing I did not know before I started going to the opera is that even though they are sung in foreign languages, there are almost always subtitles. At the Met, these are transmitted to the chair back in front of you and available in a variety of other languages. Other houses often project the titles above or at the side of the stage.

If you don’t want to read and listen at the same time, synopses are almost always available in your program or ahead of time.

The food and drink is expensive and almost always not worth it. When I go to the Met with my friends, I regularly bring in alcohol minis as well as little cheese/meat/fruit plates in tupperware in my purse. We eat these outside the theater at intermission. No one has every batted an eye at me. (Mileage may vary at other theaters.)

I know opera has a Reputation, and I definitely was a little worried at first that I would look out of place and people would be snide to me. I have never found this to be the case. The only reason someone will be an asshole to you is if you have your phone out or are talking during the performance—don’t do that. Keep it in your pocket until intermission and silence your notifications. 

Crawl into my dms to talk to me about opera at any time, I will happily yap your ear off

[behindthemirrorofmusic]

How are we feeling about this upcoming YA Phantom? 😃 (im not scared at all haha)

Worried mostly, mainly because of how modern media works. In the past if you messed up an adaptation people could just wait for it to go away.

Now if they mess up how they write Erik we will be in for decades of essays, reaction videos, judgement, having to explain the original book. It will keep showing up in our hashtags. I mean look how much damage the 2004 movie is still doing ...

I just can't imagine it will be able to properly understand Erik’s character or the trauma he went through before he decided to live in the opera, and what made him fall in love with Christine ...

[imaginethebeautifulworld]

So I was reading Phantom of the Opera and some of Erik's descriptions made me think so much of Gil! I remembered how amazing your Hades and Persephone fic was, and I was hoping you could do something with the Phantom too? Thanks so much!!!!

Hello, Anon! I absolutely adored Erik in the book, and now that I read your ask, I can easily see the similarities, too~ I grew up on a weird blend of the book, musical, and both the 2004 and Lon Chaney films; I tried to honor that blend in this a bit, but a majority was pulled from memories of the book. I hope you enjoy, and thank you for your patience~

The theatre was filled to bursting, the audience awed, riveted, mesmerized, your voice weaving an enchantment over hundreds of unsuspecting admirers.

He was proud of you.

Your voice reached him even in the highest and most of isolated rafters, a platform forgotten- abandoned- by the stagehands stationed several stories below. Your voice was full, carrying all of the strength and conviction and passion as the character you were playing.

Gone was the timid spirit he had stumbled upon all those years ago, broken and shattered from loss, left with only the protections of a then-aloof guardian and a firm, dispassionate teacher.

He was drawn to you from that first day, a twist of compassion, of understanding; in spite of your upbringing and (even then) impressive talent, you were still an outsider, your peers and the other students keeping their distance, leery of your background, and some envious even then.

Yes, the companionship and camaraderie would come in time, but in those first few months, he saw the same loneliness and sadness in you he'd once carried so heavily himself, and his heart ached to comfort you.

The first time he spoke to you was purely accidental, a slip of a whisper he prayed you would dismiss as a ghost, or mere imagination. He had grown too comfortable in answering you when you were alone, his voice always near silent as you spoke to your mother, your father, and sometimes the angels themselves.

It was the latter with which you had caught him, crying out with a broken heart after discovering another student had sabotaged your satin slippers, intent on seeing your failure, your embarrassment, and (as likely was the case with that particular little shrew) your dismissal from the school.

But you persevered, successfully completed your performance, never once showing your distress until you were away from the others. It was only then, hidden away in a forgotten practice room that you showed your anger, your sadness, your hopelessness. The mask had fallen, and he was once again struck by the beauty of the fractured soul he admired so deeply.

"Please," you whispered, and it broke his heart to hear it, "I feel so alone."

It ached, being unable to comfort you, seeing your progress and healing of the past few months tested so needlessly. He ached for you; he was angry for you.

"You are not alone."

It was a fleeting, foolish slip, his temper and his longing both getting the better of him. Your sudden silence choked his own breath, his entire body freezing in terror.

For a moment, for an eternity, there was naught but silence.

He didn't dare move, fearful of how even the slightest shift of fabric could give him away, could startle you, could-

"I was half-afraid I had gone mad, speaking with shadows and expecting them to finally reply."

You were... teasing him, only a little, though at the time he was still petrified that you would demand he reveal himself. You had moved closer to the false panel, studying it closely, seeking out any faults that might give away its secrets. For a moment, your eyes were perfectly level with his own, and he feared you could hear his heart racing in his chest.

But soon enough you had drawn away, crestfallen. "Perhaps I have gone mad," you murmured, sighing in defeat. "Perhaps the rumors are true, and you are nothing but a ghost."

Memories of his time spent serving in the court of a distant empire flickered to memory, a rueful sound resembling laughter slipped past his defenses. "Of the many things they may wish and claim me to be, dead is not yet among them."

Your focus once more returned to the panel, and he instinctively took a step back. "Please-" he began, quickly cutting himself off.

Where others would have pressed forward, you paused, then took several steps away from the wall, granting him his distance, a warm sense of appreciation, and another he couldn't name at the time, sparkling to the surface at the warm breath of relieved laughter you released soon after. "You- You're really there."

That moment, one he could still so clearly remember as the peripeteia, the decided, unexpected change to a familiar script, one which would set the trajectory of both of your lives for the next ten years. It would lead to many late nights spent in practice, in conversation, in debates about the literary characters you loved so dearly. "I am always here."

Your aria had drawn to a close, the spell broken by the deafening roar of the audience's applause, and Gilbert was pulled from his memories, unable to conceal his smile.

Brava, Schatz. Bravissima.

He stood to his full height and began to make his way towards the nearby ladder.

For your role, another scene yet remained- a joyful reunion between your character and the valiant hero following the defeat of the jealous villain, a happy end to a romance so riddled with tragedy.

Gilbert needn't see the ending; it was a tale as old as time.

His footsteps were silent and certain, following a path he could traverse in his sleep; he had already paced it many times in his dreams.

Of all the false doors he had constructed in his opera house, there was one he had yet to pass through, one which now loomed before him. The room beyond was bathed in the ethereal golden glow of candlelight, a world outside of the darkness, fueling even more of the torment already plaguing his mind.

He was haunted by his doubts, by his need to... His need to properly introduce himself.

You had risen so high, could fly even higher, could rise above anything the fools in this theatre could ever hope to imagine. With your voice, your grace, your elegance, and your perspicacity, he had no doubts you could soar to a realm where only angels once dare tread. Perhaps it was wrong to want to burden you, to-

Movement on the other side of the glass brought his thoughts once more to a standstill. You were laughing, carefree, glowing with happiness and a brilliant light which followed everyone through the corridors after a triumphant performance. His heart fluttered to see you so beautifully framed, a living portrait he yearned to touch.

He frowned at the thought.

These feelings...

He had cared for you when you first arrived, a deep friendship slowly growing, even as he never allowed you to glance upon him. Slowly, then almost in an erupting whirlwind, those feelings had adapted, deepened, solidified. He was left hoping, wishing...

You were an Angel, in the most benevolent, compassionate of ways, but even an Angel would surely shun a Devil's Child.

For that was what his eyes and his appearance had always been: that of a devil. And surely-

Another figure was entering the room, and you were quick to abandon the comfort of your velvet settee, rushing to embrace-

No.

You were laughing, falling into conversation with an ease that only came-

You were familiar with this... this boy.

Perhaps even intimate, his traitorous thoughts interfered, the herald to the invasive darkness which followed.

It was a cold, bitter thing, rising from the depths, twisting and corrupting his every breath.

He had been careless, allowing you your freedom, allowing you to slip away to the gilded sanctuary of your guardian's maison de ville.

This boy dared to presume he could even look upon you, let alone embrace you, speak with you so candidly, even addressing you by your given name-

Gilbert felt his rage, his envy, grow stronger, even as that bedamned Raoul finally departed for the evening, leaving your bright smile in his wake.

You often called Gilbert your "Angel of Music," a bringer of light to your once dreary and dark days. You used it affectionately, a term of endearment for one you saw as a companion, a compatriot in curiosity.

But much like his namesake, Gilbert was Fallen, cursed, a creature of shadows and Night.

It took so little to pull him back into the Darkness, and now, with the sting of envy plaguing his every thought, Avarice and Doubt whispering in his ear, his ambitions had changed.

You were his.

He would ensure no one else could dare claim you, would have the slightest chance at your heart.

With skill honed from years of practice, Gilbert silently slid open the trap door, his voice carrying over to you in a tone he himself barely recognized. "Insolent boy. The impertinence of him, sharing in our triumph."

You startled at his voice, turning to him instinctively, your eyes widening in disbelief, before you graced him with your brightest smile yet.

Your joy glittered with more radiance than any star in the heavens, but its glimmer eclipsed your awareness, obscuring the darkness in the figure stealing ever closer.

"Hello, Engel."

Thanks for reading!

Special shout-out to @the-scribe-and-her-scribbles for unwittingly inspiring me today to finally sit down and write. She's an amazing writer, and if you haven't checked it out already, I highly recommend her ongoing series It Will Come Back.

[batmanbebop]

in 2004 bruce wayne watches joel schumacher's the phantom of the opera...

he immediately goes home to practice flourishing his cape, and orders 1000 candles and a canal boat. He also vows to protect gotham - his beautiful, dramatic, campy gothic city - from becoming anything like the neo-futuristic eyesore that is metropolis.

also, ever since then, when he's feeling particularly melodramatic, he'll play the title song, and sing the "dun dun dun"s as "nuh nuh nuh"s, imagining it's his theme song.

[nerissalmao]

mhm so uh yeah

Everybody knows I love Arcane. Everybody knows I love Phantom of the Opera. But what if they were more similar than we think?

Okay. Erik. While this isn’t very known, I’ve never seen anyone say anything about it, he does hear voices like Jinx does. In the 2004 movie he thinks he hears Christine and Raoul singing to each other as they leave, and it can’t be them, it must be his mind, for they’re on their way out and Christine even looks back at Erik. She’s not singing. Erik only thinks he hears their promises of romance echo in his head, like he does at the rooftop scene where again the words echo— causing him to, like Jinx, suffer a breakdown, tear up the rose, and scream out to the sky. Like Jinx, he becomes a symbol— the Phantom, and not a man; she’s the Savior of Zaun, and not a real, breathing person. Like how the Phantom’s mask is symbolic and feared, Jinx’s blue hair is distinctive and inspires Zaunites. They both were once traumatized young kids, saved.. but not really saved. Erik was taken to the opera house by Madame Giry as an older teen, and young Powder taken in by Silco. They both kill people due to thinking them similar to those who traumatized them— Jinx kills a Firelight who looks like Vi, and the man who exploited young Erik as the “Devil’s Child” looks an awful lot like Joseph Buquet, who Erik kills.

And come on.. they both have the thing with those creepy monkey cymbal toy things! For Erik, he keeps the monkey toy as a reminder of his childhood, as it was something he made, while Jinx also made a monkey bomb as a kid, and used the monkey as her symbol or calling card.

Jinx is rescued from her suicide attempt from Ekko. Christine saves Erik from going off the deep end just by showing him compassion.. the same compassion Ekko gives to Jinx which talks her down from killing herself.

So imagine this. Phantom!Jinx and Christine!Ekko. Work with me here, okay?

“Pitiful creature of darkness.. what kind of life have you known?”

“God give me courage to show you..”

“You are not alone.”

[lokislynx]

The Phantom of the Opera. It's been in my life for... over 30 years now more or less. ALW's was the first I knew. I love the original book by Gaston Leroux. I even like Susan Kay's version to a point... Would have been so much better without the ending.

The musical has become somewhat of a trigger to me but not related to the story.

The first time I was "shocked" somewhat by the story was when I saw the musical years ago in Finland, my hometown Helsinki. It was glorious and different but there was a second after Christine fainted in the end of Music of the night that implied... that's too strong a word really but... rape.

I was bothered by it. Like I was bothered by the missing stockings of POTO 2004 movie. (Over all I do not like the movie at all).

I realised I've always thought Erik's love as extremely passionate but... "knightly". He loves from afar. I feel he never imagines anything as physical as sex between him and Christine. He wanted to live with her, have walks with her and sing with her but physical contact... He broke down from a kiss on his forehead!

I've extremely hard time imagining him even spying at her from behind the mirror while she was changing her clothes. Leroux's Erik frankly doesn't seem mature enough. The rest... or the over all image of him is... sure he blackmails, murders and tortures people but he is a gentleman when it comes to ladies... like Nadir said in Kay's Phantom. This is why he suffers so in the book. Raoul is the very real physical love, Erik represents the love from the old knight's virtues. Like Don Quixote. This doesn't make his love any less passionate, but Raoul's existence makes it ever the more desperate. Erik loves Christine, he wants and yearns for her, but... never expects to "satisfy" her physically. The beauty of it is that he can do so to her mentally and she is extremely pulled by him that way... torn between the mental and physical aspects of love.

And Past the point of no return... I adored the song when I was a child. Now however... it's so far from what Erik would do. He would not parade his (nor hers!) sexuality or sexual passion in front of an audience! He's been paraded almost all his life until he found refuge from beneath the "tomb" he built for himself like the ancient pharaohs! He would rather guide rats down his pants than do that...

[marshbevvie]

Hahahaha I wonder who that designer could beeee

An artistic dramatization of a picture Christine and I took earlier today. Outfits courtesy of a designer from Derry named Beverly Marsh.

[mandms-blog-of-silly]

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[13eyond13]

Ik this is random but can i hear ur phantom of the opera 2004 takes lmao

ahahaha you sure can! I'll try my best to remember what I thought, though I don't think I've actually watched it since it first came out back then...

SO my background with this musical is that my best friend growing up was a big Phantom musical fan, but I hadn't really listened to it myself apart from having heard the titular song from it and all. However on some school trip when I was about 11 or 12 years old I bought the original 1980s London cast soundtrack and then listened to the entire thing on my discman while reading along with the lyrics booklet on the bus ride home, and that was the first time I was actually able to piece together the entire story in my head. I just LOVED it after that and was captivated by the music and the melodrama and the emotion in the acting and everything else. I was particularly enamoured with Michael Crawford's depiction of the Phantom, and his vocal performance really had me feeling a lot of empathy for the character. I got a bit obsessed with this musical for a while after that and memorized the entire thing lol, and I loved listening to it and just trying to imagine what it would actually be like to see the show being performed for real (didn't really have any options to do so available to me then, just had to kind of picture it all in my mind's eye)...

ANYWAY so as soon as I found out a year or two later that they were making a movie out of it and that the Phantom was going to be played by Gerard Butler I was fairly disappointed, because I was so attached to the version of the Phantom that lived in my imagination thanks to listening to the original soundtrack. And he just did not fit my idea of the character in my head at all. I kinda felt like the main thing that the Phantom's character should have is an incredible voice with a ton of emotional range that can easily go from seeming vulnerable and tender and gentle to menacing and powerful... somebody who can be convincingly persuasive and attractive almost entirely based on their voice, if not their appearance. And Gerard's singing and onscreen presence just did NOT do it for me at all. I felt like they cast him in the film mostly just based on his handsome leading man looks, which really annoyed me, because that's definitely not what's important about this character. And it actually takes away quite a lot of the sympathy and the point of his character for me (yeah, I know he had some deformity/burns or something hiding under his mask, but it really just makes his character 1000x more lame that he didn't look in the least bit creepy with a mask on, nor was he actually that great at singing himself... he's supposed to be the "Angel of Music" for crying out loud, you shouldn't cast somebody with an unremarkable singing voice).

I remember thinking Emmy Rossum was beautiful in it and that she had a good look for Christine, but it was kinda hard for her to compete with Sarah Brightman's iconic vocal performance as well.

The one thing I WILL say in favour of the movie is that I thought Patrick Wilson actually made a very cute and likable Raoul, and that I cared a lot more about him in the movie than I ever did when listening to the pompous sort of performance the original actor gave on the London soundtrack (though Raoul being so likable in the movie added EVEN MORE to how much I did not like the Gerard Butler Phantom at all fhhfhfs).

I think when I watched it way back in 2004 I was basically just sitting there feeling quite disappointed and nitpicky about all of this stuff, especially the singing, but ALSO kinda going "oh ok so THAT'S what it's supposed to look like in that part"... overall from what I remember of it now it's a pretty lackluster adaptation to me. I DID eventually get to see it performed live in London a few years after that at the original theater though, and that was such a blast!

[starsomens]

So Im a huge fan of the phantom of the opera movie from 2004 and the song between Christine and Raul (All I ask of You) JUST AAAGHGHGSD

~~~~

Just imagine it's your wedding day and you and Noah had agreed on a private first dance to make things more intimate and the song is playing in the back and you're singing the words to each other, like secret vows for only you to hear

Say you'll share with me one love, one life time "Say you'll share with me one love, one life time"

Your hands are around his neck and his arms are wrapped around your waist holding you close while you sway to the song. Feeling tears brim your eyes, His lips kissing them away so gentle

Let me lead you from your solitude "Let me lead you from your solitude"

Your hands trace at the shapes and features of his face, feeling out the face you love you love so much. He was everything you could ask for. The good and the bad...you loved him so much. The way his eye crinkled when he smiles, the way his words would flow through you and send shivers through your body like an icy river. How deep his eyes were, but yet so warm

Anywhere you go, let me go too "Anywhere you go let me go too"

He looked at you and saw his entire world in the palm of his hands. Every inch of your skin, every corner of your soul....the woman of his dreams. He loved how messy you looked in the morning, or how you'd complain when he didn't get enough sleep. Coming home and sleeping with you in his arms. He was in love with the feeling of your new ring against his skin. A reminder that you were husband and wife, you were his and he was yours

share with me each night each morning love me, that's all I ask of you "share with me each night each morning love me, that's all I ask of you"

You loved him He loved you.

and that's all he needed to feel like all was right in the world.

"Forever," he whispered

"and always." you finished

[megistusdiary]

ASDFKASFJDSAKFASJF VAMPIRE ANON I LOVE YOU god you and me same brain my dude.

ok so! vampire anon is dead on however there are some details i need to shed some light on with the phantoms first meeting of his beloved angel (who is named christine, and im going to call her that for the sake of clarity)

so their first meeting is after christine has filled in for the leading star and gives a glorious performance, after which her fiancee (yes shes engaged) sends roses to her dressing room. phantom is Not Happy and unbeknownst to christine, her dressing room has a secret passage. now im going to pause here, because the lyrics to this song (entitled "the mirror" youll see why) are fantastic: https://www.youtube.com/watch?v=yh3_ps50yrg&ab_channel=ThePhantomoftheOpera (link is to the 2004 film adaptation)

so! turns out the fucking full length mirror in her dressing room is also a door, down to what i believe are referred to as "the canals" which where the phantom resides, deep below the opera house.

after taking christine down there, he shows her a wedding dress (either a mirror depicting her in one, or a mannequin wearing one he made for her himself, depending on adaptation) and yeah she fucking faints and the phantom just scoops her up into his bed and goes back to writing music

and GOD im going to fucking combust over here.

(it should also be noted that when chrisitine initally rips the mask off, phantom is pissed at her (and usually slaps her for it) because he doesnt want her to be repulsed by his face. he'd literally rather die than submit to the mortifying ideal of being known)

-🎭(previously phantom!arle anon)

okay so basically the phantom is a red flag!!! but we already know arle is probably also a red flag, so...fitting, right?

not the secret passages though, uh oh-

imagining arle making her darling a wedding dress fit perfectly to her measurements. scary, but also, if it's arlecchino, i'd be down.

and taking her angel to her room...hmmm 😇 she is definitely toned underneath her jacket. i just know she's got muscle and superhuman strength, so princess-carrying her angel is lightwork.

not sure if arle would slap her angel though, or maybe even just a light tap to push her away? or maybe nothing at all? who's to say...

hopefully not because as long as she is kind to me, i'd do whatever she wants 😭