#if we do phantom of the opera and i get christine i

[ithinkimightbeagoose]

my dad said dinner was in five minutes

and I had to physically STOP myself from saying "thank you five" like ?????

[lets-try-to-be-normal-otakus]

I have phantom of the opera stuck in my head, so pls join me in the idea of a phantom steddie au

[hadesknockedupintheunderworld]

While I was reading the later chapters of Phantom of the Opera a friend of mind reminded me it was a serialization, and suddenly I had a moment of clarity in which I thought "Oh so that's why it's written like that"

[boygirlctommy]

watching this phantom boot for the second time today auaghhh

[ozzgin]

Yandere School Q&A

I've gotten some related asks and thought I'd put them in a cleaner format, so I don't spawn another round of screenshots from my inbox.

Ohhh how would yan school react if y/n got hurt somehow?? Also quick question is her parents also platonic yans for them? Thanks!! - Anonymous

It only makes sense that the staff of the school is yandere material, too. The students may rush to help and insist they've got it under control, but the school nurse will be quick to act. It's the chance of a lifetime, having you to himself, and for longer than the usual standard checkup. The curtains are pulled, and the "do not disturb" sign is flipped. Your injuries are not to be taken lightly. You'll need to spend all day under his supervision.

The parents and all relatives are indeed platonic yanderes! I thought it'd be a nice touch since I've never approached the trope before.

YAYAYAYYAYYAYAYAYAYAYAYAA MORE YANDERE SCHOOLLLLLL You’re amazing!!!!! (I had to ask to make sure I used the right your/you’re) also is the darling yandere gonna keep sabotaging y/n? - @femboybasil

The tying up incident was actually an exception to what I originally planned, haha. For most of the competitions, darling yandere will guide (Y/N) and aid them for a flawless win. That's the comedy of it: he's indirectly doing the yandere part while trying to be discreet enough as to not alert the other yanderes. Additionally, (Y/N) helps him with the darling tasks. Though that part is very much expected by everyone from school. The Daring Academy teachers are probably observing the activities, baffled. "Who the hell is that student? What skill...what obliviousness. They should've applied to us."

If you’re comfortable with this concept, (since it’s a school-based series I don’t know if the reader and yanderes are minors are not, if they are then you don’t have to write this.) but obviously the students of the Yandere Academy are going to need to learn how to tie up their darlings once they’ve been captured. Would you mind writing a little blurb about it since Reader is the unofficially assigned darling stand-in for their classes? - Anonymous

This is the ask I used for the tying up idea in Part 3! To answer your worries, all of my stories involve 18+ characters! Just wanted to clear it up for anyone in doubt. The school/academy setup is more of a college/university kind of institution. I do love a good high school setup, but not for self insert romance.

I’d imagine that there’s a drama class at the yandere school to help the students learn how to act and seem innocent. What if they put on a musical or something like Phantom of the Opera (because of course it would be that) and reader got the role of Christine or the equivalent. Imagine all the yanderes fighting for the role of their love interests to get the excuse to kiss them, and other yanderes trying to sabotage them as tactfully as possible to keep the show going, but replace the leads to be alongside reader. Think that may be something cool to add/write about? No pressure of course! - Anonymous

You know the whole thing is going to turn into a ninja survival shitshow. They had hoped to never cast (Y/N) in any role, for everyone's safety. And for the most part, (Y/N) thankfully never showed any interest in the drama club.

The supervising teacher held (Y/N)'s application form with trembling hands. It seems their little club had finally run out of luck.

Worst part: the school can't even rely on the teachers. They're just as desperate to see their cute little (Y/N) perform on stage. "Maybe this job is too overwhelming for one person, sensei..." they'll smugly tell the original supervisor. "We could divide some tasks. Someone else could train (Y/N), for example..."

ok here me out, what if there is like a field trip or sports festival kind of thing where the Yandere and Darling academy meet up. Basically where a Yandere and a darling are made to pair up to go through the numerous activities (maybe ones that test their yandere/darling skills) so reader decides to pair up with clumsy Yandere ( who is in Darling academy) much to the displeasure of Yandere classmate. Maybe like a battle of the the Yanderes? - Anonymous

This was a little trippy to read, because it came right after part 3, haha. Which I feel is basically the same plot. Though it would be interesting to see how it'd play out if the stranger was Reader's best friend instead.

Reader excitedly approaches Clumsy!Yandere and asks him to work together, to the dismay of all other students. They're enraged. You can see it plainly: their hands tremble, their jaws are clenched, their eyes have a psychotic glint. Poor Clumsy!Yandere is in constant shivers, unaware of the death stares. You're cheerfully guiding him around, his hand in yours, happy to see your friend again.

[braisedhoney]

DRAMATIC MUSICAL OVERTURE DRAMATIC MUSICAL OVERTURE DRAMATIC MUSICAL OVERTURE—

HELL YEAAAAAAH!!! (tag screaming hold on)

🎶The Fantom of the Opera (special) is there🎶

👉How it’s started

👉Narry Viscount design belongs to Insomniphic

👉And of course check out this masterpiece

Enjoy Hive x Narry bros x Phantom of the Opera content 🫵❤️

Specs in hospital is an Easter egg to human transition au that belongs to Insomni (I saw a bunch of her art on discord 👀)

Big thanks to @insomniphic and @braisedhoney for inspiring and motivating me with their amazing art ❤️

[gothwineaunts]

I tried my best to replicate the post that Tumblr ate earlier.

It’s not as good but you'll get the jist I think. :’)  

---

Hi again! I wanted to follow up on my post from yesterday. I’ve been mostly offline since then, and I feel much better now, especially after seeing the thoughtful responses y’all left. Where did you all even come from!? I don’t think I’ve ever posted this account anywhere, haha. But thank you so much. I’m horrendous at taking a damn compliment but I read all the replies and reblogs and I’m just incredibly humbled. You all brought up my mood a lot and highkey made me feel sane again. I’ve been so confused at why everyone in the WEBTOON comments seems to be so mad all the time, it kind of does my head in if I’m being honest.

But please don’t worry about me or Flynn. Or about Nevermore! We’d never change the story to fit what we think the commenters want us to do, for a lot of reasons. The most important of which is. If we had to do that, I think we’d rather just stop making it. What they seem to want is a story we’re not really interested in telling.

Wholesome wlw is a wildly important thing to be able to find if you’re looking for it. That really cannot be overstated. Until very recently, queer characters have been subjected by popular media to a disproportionate amount of anguish and violence. So the concept of seeing two women just, living a safe and fulfilling life together? I get why people want to see that so badly. And there’s so much beautifully written aspirational content for queer audiences out there now, and I’m pleased to death over it. But the thing is, it’s just not what we’re making.

Nevermore was always intended to be a dark gothicky romance with horror elements. Like Wuthering Heights, or Phantom of the Opera. Because those were the stories that always inspired us when we were young. Bloodsoaked stories of melodrama, intrigue, grief, and passion. Those stories would captivate me and get me asking all kinds of questions. Why can’t the Phantom be a beautiful woman? Why does Christine have the agency of a desk lamp? Why can’t sapphics have something cool like this?

So we decided to make it. Nevermore is not a wholesome romance. It doesn’t try to be. The point was never to explore sapphics having a healthy and (heavy air quotes here) “normal” relationship, like heterosexual couples get to have in real life. We already have that, together, Flynn and I. We live it, everyday.  In Nevermore, what we wanted most was to explore a sweeping sapphic romance full of danger, like heterosexual couples get to have in fiction. That’s why we love those kinds of stories so much, because of how divorced they are from the mundanity of real life. They’re fantasies.

I know that I'm preaching to the choir, aha.

But my point is: if you go to a hardware store to order a cake, you’re probably going to be disappointed. If what you crave is aspirational wlw content, there are so many bakeries you can go to that will give you exactly what you’re hoping for, and more. I especially recommend Muted by Miranda Mundt. It’s also on Webtoon, it’s completed, and it’s free to read.

And please know that I’m not saying to stop reading Nevermore, just maybe to adjust your expectations a little bit. We don’t sell cakes here, but I am pretty sure I've got a few 12ft tall skeleton lawn ornaments in the back if you're interested.

[yona049]

𝕻𝖍𝖆𝖓𝖙𝖔𝖒 𝖔𝖋 𝖙𝖍𝖊 𝕺𝖕𝖊𝖗𝖆 𝖝 𝖗𝖊𝖆𝖉𝖊𝖗

Part 1

Part 1

Part 2

Part 3

Part 4

°°°°°°°°°°°°°°°°°°°°°°°°

Disclaimer!

This is a story following the events after the Phantom of the Opera (2004) and only follows the movie and not any other adaptations!

Started with this fic a few years ago and finally continued bc I couldn't find any new fic's to read! 🥺

°°°°°°°°°°°°°°°°°°°°°°°°

(For ambiance~)

°°°°°°°°°°°°°°°°°°°°°°°°

Y/n stood with her feet planted infront of the burning Palais Garnier opera house, the ashes of a once red stage curtain falling on her bare shoulders. The only bit of warmth was the costume she was wearing.

A red fire dancer, her hair still in perfect shape. Tho it seems that the other staff of the Opera house weren't as lucky.

Her home was burning down infront of her eyes, and snow did nothing but usher on the burning flames of rage.

This was the doing of one Phantom of the opera. The damned demon took it all from them, their home, their jobs and even Christine Daaé.

The lead singer and great musician that made Y/n dance like never before, Christine's sweet melody made her feet float inches from the ground as her soul danced in sync with her body.

One shiver crawled up Y/n's spine when she heard an unghastly scream. Her feet simply lept to it, only to find a man crawling out of the burning opera house.

"Monsieur!" she cried out to him.

His face seemed to have already been caught by the fire and he barely wore anything but a shirt and his trousers. Y/n fell to her knees beside his weak body.

"Don't worry, Monsieur, you are out of the fire! Please, be still! You are injured. "

She trembled watching blood force its way through the thin gaps between the snowflakes. Blood still warm enough to melt and merge with ice to water.

In a desperate attempt, Y/n pulls off the bottom part of her dancing grown and desperately looked for the point of injury when she finally found the wound on the calve on his leg.

Tieing it tightly before Y/n hoisted him up to his feet.

"Please lean on me, we need to get further from the flames!"

He didn't speak, only grunted in pain. His voice was deep, without effort as if he was willing to Perish without hesitation.

Y/n took a moment to gently touch his burnt skin on his face, he didn't seem to whine. It was as she thought, the wound was not from the fire that had engulfed many others in its treacherous flames.

She shakes herself awake and quickly focuses on the problem at hand.

"I have strength to carry you, but you'll need to carry your consciousness for a little while longer!" she shutted, her voice swelling with pity for him.

'What happened to this poor soul?' She wondered and dragged his feet though the snow.

Y/n didn't know his name, nor his origin from the opera house. Perhaps a operator for the theater special effects? Or perhaps a member of the audience, sitting among the red velvet seats and nearly getting crushed by the chandelier falling loose from its hinges.

It wasn't long after when Y/n and the other performers were taken to a nearby inn. Perhaps it was the will of a greater power that the Opera managers didn't leave them to rot on the streets. Rather to reclaim insurance funds or come around a lone?

At least, she hoped that was the case. But for the moment, she was afraid of what might happen.

The opera house had been home for the last eighteen years of Y/n's life. No, certainly more!

Her father was a dancer, and her mother's legacy had been lost among the chatter and rumors of the opera.

Y/n's father had passed when she was only ten. Now, she was eighteen years older and she promised to follow in his dancing steps to fame.

Still engulfed in her thoughts Y/n stared into the small oil lamp flames while she sat on the bed of the inn. The figure of a woman danced in the red and orange colors.

This seemed to distract her from the man waking up from his exhausted slumber behind her.

He winced with a grumble when Y/n's head turned to face him. His palm covering the burn on his face that she saw before.

"Monsieur?" she whispered in an effort not to frighten him.

His gaze slowly trailed to Y/n's worried expression, but his palm never left his face.

Y/n took this opportunity to explain their predicament.

"Please, do not be frightened. We're in an inn, the managers have sent us to wait until they can reclaim funds."

She stood up to take the bowl of water and cloth to dampen the burnt flesh on the man's face.

She knelt down beside the bed and lightly lifted the damp cloth to his face. His eyes met hers, but Y/n only stared in silence hoping he'd understand her efforts.

Tho he was hesitant, his palm lightly lifted from his face. She feared the wound was still hissing with pain. Lightly the cloth is placed onto his eye and he gave a simple sigh of relief.

Silence filled the room, it would've seemed like only the stars were their witness if it weren't for the drunken cheers from the bar below.

Finally the man took a breath and spoke.

"What of Christine Daaé? Has she been found?"

Y/n's breathing seemed to betray her when her body couldn't fathom the gentle voice the man muttered. She tried to form words, creating a stutter.

"Y-yes, it um, It seems she has been retrieved by the Viscount Raoul de Chagny. She has offered many services to those who did not escape the flames unscathed." she whispered and willed herself to not look into his captivating eyes.

He looks to the side and gives a simple smile, seeming satisfied with his thought.

As soon as his skin was dampened once more he tried to stand with a gasply hiss of pain.

"Monsieur, please be patient! Your wound is still open and fresh!"

He grits his teeth before taking his seat again but looking back at the fireplace.

The rest of the night remained quiet, like he didn't have need to ask her anymore questions.

An awkward night spent sharing a room with a stranger. He fell asleep quickly with exhaustion.

Y/n couldn't sleep. Things ended so abruptly! How could she? Her love died in the fire, her home, belongings. She had nothing to her name anymore.

Y/n quietly stood up from the bed trying to keep noises to a minimum. Avoiding the creeking floor boards and opening the window to look outside.

The smoke from the Opera house covered the sky, no moon in sight. This quiet moment with her thoughts caused her throat to close up and her eyes to push tears.

As quietly as she could, she tried crying everything out, to no avail. Morning her loss took more than just a moment of soft tears.

"I'm sorry my love, Aloïs, I couldn't save you!"

She whispered. Her lover in the theater house had been burnt in the flames because he pushed her away from falling beams.

"Aloïs?"

She gasped when the voice lurks from behind her caught her off guard. The man stood up from the bed and had walked to right behind her without her hearing him.

"Monsieur! I'm so sorry, did I wake you?"

He shakes his head before spotting Y/n's shivers. Looking back at the blanket on the bed, he grabs it with one hand and swings it across her shoulders.

A gentleman! Y/n wasn't sure many workers from the Opera were quite so kind.

"You knew my Aloïs?"

He nods before leaning on the wall next to the window.

"Indeed, he helped me with costumes, more specifically Masks." The man mumbled folding his arms across his chest.

Y/n quickly realized what he meant when the dim light shone on his burnt face. Aloïs was the lead costume designer for all actors, singers and dancers in the opera. He'd certainly be willing to help a gentleman like the man stood next to her.

With a small giggle she put her hand on his shoulder.

"Of course, Aloïs would do something like that. I'm sorry if I make you uncomfortable without a mask."

He looks at me confused almost relieved that he wasn't the one in trouble for once. That someone genuinely asked if he was uncomfortable instead of rushing him away and out of sight.

"You're apologizing? Mademoiselle-"

"Y/n, please."

He seems to smile before leaning closer and wiping a lingering tear off Y/n's cheek.

"Y/n, my name is Erik."

Small talk lasted for a few more hours until the sun started to rise.

All members of the Opera house were called to the outside of the Inn where Monsieur André and Firmin would enlighten them of the situation.

Monsieur André took the lead standing ontop of the inn balcony.

"Listen all! I'm afraid we have terrible news you will all now be let go from the Opera house!"

A sudden uproar of voices filled the street and Y/n felt my body wobble a little from shock. Erik stood beside her with his hand on the small of my back trying to stabilize her.

Monsieur Firmin then took the lead and explained:

"This was a terrible tragedy! And with the business in shambles we have no hope of reviving it, thanks to our generous sponsor, Viscount Raoul de Chagny, we will be giving out warm clothes to help with your resignation."

They both quickly scurry out of view back into the inn, likely out the back door leaving the crowd in shock and anger.

Y/n bit her lip feeling another wave of sadness overcome her. Quick breathing and a pounding heart for the unknown future that lied before her.

"Fools!" She hears Erik mumble under his breath.

"We must go quickly!" he said grabbing her hand and pulling her through the crowd to the front.

They got their clothes, thanks to Erik for getting them there early enough to take a few extra pieces of clothes.

Even with a wounded leg, Erik managed to take them to a proper alleyway to get dressed in the clothing.

He dressed first, then stood at the front of the ally to let Y/n get dressed keeping a look out.

A gentleman walked by peeping into the alleyway, but Erik growled loudly and with his burnt face scared the gentleman away.

"I'm done!"

Y/n smiled walking out with the costume she wore neatly folded in her arms.

Erik seemed to smile at her for a very small second then it quickly fell away, he brought his palm to cover his face.

"May I?"

He looked at Y/n confused until she gently took his hand and pulled it away.

"This might not be as good as Aloïs's handy work."

She looked down at her costume before quickly ripping off a piece of the skirt. She used the edges to tie it delicately around the side of his face tracing over it.

"You shouldn't have to hide! People are children! Gasping at the first strange thing they see." Y/n declared.

Erik chuckles but only for a second before going back into a smile.

"Perhaps."

He offers his arm which Y/n gladly took. They walked out into the crowded streets.

The sights were great and all the small shops and children seemed so foreign to her. In the Opera house they only had wooden or stone walls with the occasional windows high up in the building. The space of an open sky and streets going as far as the eye could see was a breath of fresh air.

A few hours later, Y/n suddenly realized that neither Erik or herself currently had a place to live, she have no living family to rely on.

Walking around the city for the first time in years distracted her from the dormant thoughts about the trouble we were in.

She looked back at Erik ready to ask him if he has a plan, but his eyes were sparkling. He was bewildered and intrigued by buildings, people, sounds and other sights. Y/n was starting to wonder if he'd ever been outside the Opera.

She felt a smile spread across her face from the warmth radiating off Erik.

"Erik, have you never-"

"Hello little mis!" a voice from behind her.

Three men quickly surrounded them and Y/n felt her body shrink into fear. Her lack of outside experience made her forget about the rats lurking around the city.

"Well, well! Give us a smile! How much?"

Y/n felt one of the bigger men behind her run his hand down her back.

She jump forward from his touch ready defend herself however, Erik pinched her arm tightly between his bicep and torso.

Y/n looked up at him and noticed the grimace clenching of his teeth.

"Now, this is unfortunate, just as I was starting to enjoy the outside." Erik fumed.

The man reaches for Y/n's behind again but this time Erik uses a closed fist to swing right into the man's nose.

He pushed Y/n off to the side, just hard enough for her to delicately hit the wall. She watched while this night old acquaintance fights off three large men with a bit of wood he swooped off the ground.

Using it to jab into the first mans forearm and then kneeing him in the groin.

Erik kicks the second man in the side, and to their luck, the third starts running. Finally all three run at the first sight of blood.

Erik breathes heavily before dropping to a knee with a loud grunt,clutching his injured leg from the fire.

"Erik!" Y/n ran to his side and wormed her arm underneath his arm and around his torso.

"We have to leave before they bring friends." Y/n stammered.

Her eyes dart around to land on a Inn with a tavern at the ground floor. The sun was setting again so soon and the candles of the tavern were lit.

She walked with Erik and quickly made their way inside to set Erik down in the corner of the tavern by a table.

"Oi!" The barkeep yells at us.

"Out!! You don't have no money!"

Looking at their clothes Y/n understood exactly how he knew we had no money to spend.

"Please! This man is injured, we need-"

He interrupts Y/n again.

"No money, no service! Out!"

Y/n bit her lip hard, thinking of anything to pay this man until she got a small shred of an idea.

"I dance!"

This makes the barkeep stop and look back at them. He leaned against the bar and waited.

Y/n realized he wanted an example before she swallowed the lump of pride in her throat.

She slowly pulled her coat off revealing a very inexpensive dress they received from the Managers.

Low cut to account for all bust sizes and too long skirt for all heights of woman in the Opera house. Throwing the coat over Erik she leaned close to his ear to whisper.

"Hold on, I'll get more help and medicine for that leg."

He groans grabbing Y/n's arm, objecting to what he knew she'd do. She felt her heart want to cry at his genuine worry for her pride. She gently lifts his hand off before turning back to the bar keep.

She looked down at her skirt before lifting it and tieing it into a knot showing just above her knees.

The musician with a pocket fiddle in the corner starts playing a rhythmic song and patrons start coming in.

Y/n puts on the best smile she could muster before starting to move her legs and hips.

Y/n felt the gazes of every drunken basted, but worst of all, she felt Erik watching her. Intrigued or Disgusted? She wasn't sure. She hoped for the latter. It was the better of the two.

Moving her hand over a rich looking patrons shoulders before spinning to the bar and smiling at another gentleman.

For what felt like forever, Y/n danced following each rhythm of each song played.

Getting a small tip from some patrons before she stopped and leaned against the bar.

Out of breath with her chest moving up and down rapidly. Another song had ended. She wasn't sure how much longer she could continue, her legs burnt from no warm up before hand like she knew she had to.

The barkeep, more likely the owner of the inn, pushed a glass of water toward her.

"Well done girl! We haven't had this many patrons in a while."

He praised but Y/n growled and reached out to him with an open palm.

"I did my part, I need payment."

The barkeep looks disgusted and Y/n was afraid for a moment he would refuse her payment. Thankfully he reached into his apron pocket and gave her a good hand full of coins.

Before she could pull her hand back he grabbed her wrist and smirked.

"Come back, with a better attitude, and you can make twice as much."

Y/n gritted her teeth looking away knowing its a large possibility she'd need to come back for more payment.

She pulled her wrist back then ran to where she'd left Erik only to spot him with an angry expression.

"Erik?"

She knew it, he was disgusted! She hesitated in front of him. He only managed to lean forward and pull the knot out of her skirt letting it cover her legs again.

He looks away but patted on the seat beside him. Y/n felt her body once again shrink in on itself as she sat beside him.

She took this opportunity to count the coins and realized they had enough to rent a room for the night and for her to go buy bandages and medicine.

Once they were in the room she felt a very strange hole in her heart, she felt like she'd betrayed him. She was sure he'd leave the next chance he got. She basically did what he'd tried to prevent in the first place.

She sat on the bed facing away while Erik used this time to wash up in the wash room and apply the medicine and bandages himself.

"Y/n."

His voice stood out from the muffled cheers downstairs.

His hand traveled to Y/n's and he sat beside her on the bed.

"I'm sorry."

Those small words made Y/n breath a sigh of relief before she felt his arms wrap her into a hug.

She'd never cried in front of anyone or at least she tried to avoid it as much she could, so how is it possible for this man to have seen her cry twice.

His chin rested on her head as she sobbed. It felt like she would never stop. Until Erik started humming. A soft but familiar tune. A song from the Opera house used in one of the famous plays.

It was beautiful, an angel of music. A voice she didn't know she longed to hear. In sleep he sang to her, and in dreams he he came.

Y/n slowly calmed her sobs before her body fell into a limp sleep and exhaustion.

Erik smiled before slowly laying her onto the bed, however she was clenched onto his shirt so tightly, Erik gave in and layed with her on the bed.

He looked at her calm face wondering how she was able to remain so strong though everything, even taking care of him aswell as herself.

Feeling his heartbeat similarly to the first time it did when he saw Christine. He placed a gentle kiss on her forehead and slowly pulled her into his chest, keeping her covered from all the worldly wrongs.

[weylersource]

WELCOME TO WYLER HALLOWEEN EVENT OF 2024!

The title of the event is pretty self-explanatory. This event will celebrate all things kooky — excuse me, spooky — and what better couple embodies the spirit of Halloween than Wednesday Addams and Tyler Galpin? 🎃

WHAT IS THE TIMELINE OF THE EVENT?

The event will run from October 25th to October 31st. We accept all types of works: gifs and gifsets, stories, fanart, edits, recommendation lists, playlists, essays — pretty much anything is welcome.

ARE THERE DAILY PROMPTS FOR THE EVENT?

Yep. But they are not mandatory. They are more like guidelines if you guys ever need an inspiration. You can just publish one thing, follow any prompts you may like, or disregard them entirely, it's up to you!

Day 1 | October 25: A Classic and Old Horror Cliché (eg. witches who sold their souls to the Devil, a haunted mansion, etc.)

Day 2 | October 26: Wyler as Other Horror Characters (eg. Phantom of the Opera and Christine Daaé, Dracula and Mina Harker, etc.)

Day 3 | October 27: Bad Romance (One of them dies, gets maimed or otherwise hurt at the hand of the other.)

Day 4 | October 28: A Modern Horror Cliché (eg. 80s slashers, no cell-phone signal, teenagers getting killed at a camp, etc.)

Day 5 | October 29: Role!Swap (Wednesday as the Hyde and/or a monster Tyler has been searching for.)

Day 6 | October 30: Halloween Party (Is it going to be a bloodbath or a regular, fun party? It's up to you.)

Day 7 | October 31: Halloween Fluff (Because we're all going to need this after these other prompts.)

HOW DO I SUBMIT MY CONTRIBUTIONS TO THE EVENT?

If you want to contribute to this event, please tag your works with #wylerhalloween2024. You can also submit your stories to our AO3 Collection.

[tainbocuailnge]

we're told and shown very little of what shalem and phantom's bond was and is like, so there's a lot of ways to interpret it. but personally I think it's a bit of a waste to show them straightforwardly getting along when they're both extremely insane in conflicting ways. the only on-screen interaction they have is shalem reprimanding phantom, and then testing him, and phantom's response is that he'll do something really detrimental to himself if shalem asks. so to go with their first impressions as looming ominous guy and modest nervous guy and portray shalem as losing composure & getting all blushy at phantom's advances doesn't feel right to me.

shalem actually presents himself to doctor as the one you go to when /you/ lose composure. his profile is clearly written by the troupe instead of rhodes HR like everyone else, and it tells you "you don't remember meeting, but you trust him and rely on him," like a command for the situation to develop as such, rather than a report of how the situation developed. his colleagues think shalem is weirdly pessimistic sometimes, but he's capable and reliable. his role as "modest and gentle shalem" requires him to be composed. in those new CN lines where doctor hands him an outfit to put on he doesn't sound embarrassed about it either. I don't think flirtatious attention would get him to blush that easily.

all the glimpses of what he's like outside that role show him as pretty decisive. every instance of breaking character is him being more forceful than his image allows. if something needs doing and nobody is doing it shalem will go "this is stupid why are we letting this happen" and step in. when he loses composure in his oprec he tries to :/ through the pain before getting screaming mad. when he's scared he gets mad too. shalem tries very hard to be a meek person and his life would be easier if he actually was, but he's not. he's mentally stronger than a lot of people including himself give him credit for. he just doesn't like when it's quiet.

and phantom clearly trusts shalem enough to completely submit to his judgement. the one interaction they're shown having is phantom saying he'll sing if shalem wants him to. phantom will explicitly do what shalem tells him to even if he thinks its a bad idea.

his codename may be phantom and his cat's name christine, but lucian is the christine in this situation. he's the young actor kidnapped and forced to sing by his shadowy teachers. they're making him play the phantom of the opera but that doesn't mean he actually is the phantom. shalem is far more like the phantom of the opera than lucian. shalem can't exist without the mask that lets him pretend to be a real person or leave the theater that mask was made for. it's just that his mask is also salome, which makes him extra insane (love) because salome was a no-name normal girl used as a tool in political machinations until she got written into a play that reinterpreted her as insane and a willing participant. so shalem's nightmares try to convince him he actually did want that guy's head on a plate.

phantom's second module says he doesn't see any art in killing despite how much the troupe hyped it up to him, but he works as assassin and went back to kill the troupe. shalem does still see the art in it, but he works in logistics and ran away because he didn't want to kill. we know phantom left after he realized his teachers were villains and that he completely trusts shalem's judgement, so while there's no clear proof it's likely that shalem's betrayal is what inspired phantom to leave as well. everyone in the troupe was raised to look up to lucian, and told that they had no worth if they couldn't make it to his level. shalem didn't have what it took to become like lucian, but that's exactly what made phantom want to be more like shalem.

and again, we know very little of what their relationship was like, or is like now. we know phantom completely trusts shalem, but the only opinion shalem expresses about phantom is "we're certainly similar, but I'd like to stay away from all that" and their only interaction is shalem reprimanding and testing phantom. so it's possible that shalem doesn't like phantom at all, and is only saving him because the situation is stupid and someone has to do something. phantom is the only person who could begin to understand shalem, but shalem doesn't like being seen closely because he's scared he has no "self" behind the act, so phantom understanding him might not be a good thing to shalem.

I think that kind of resentment between fellow survivors is really interesting. they both left, but lucian is still the troupe's favourite while shalem is called a cowardly traitor. even if shalem does get along with phantom, that would still be simmering below the surface right? their experiences were similar, but lucian was the standard that the others were held to, and the punishment for not being able to live up to that standard was death. isn't it a sick joke to have to go back to save the man whose mere existence made yours harder?

phantom knows that he was the bait the troupe used to draw in fresh blood, and he feels deeply guilty over it. so I think his willingness to submit to shalem's judgement is also because he knows he's at least partially to blame for what's wrong with shalem. meanwhile shalem's nightmares taunt him by saying the troupe was wrong and he's a great actor, so I think part of him still wants to prove himself as an actor. he wants to escape the audience in his head, but can't fully let go of the promise of getting to be on the stage either. and while phantom is the more outwardly insane one, he's making new friends and picking up new hobbies in his oprec while shalem has to be in the eternal nightmare vortex. even in rhodes island phantom is the one who actually gets what shalem wants.

so you have shalem, who wants a normal life he can't have because he was raised to be an actor-assassin with no self, and phantom, who is willing to do whatever shalem says to make up for being the symbol used to ruin shalem's ability to live normally.

phantom in general tends to punish himself. he refuses both medical treatment and gratitude until folinic corners him and chews him out. he feels guilty over being a dangerous person to associate with, but also over rejecting the help he is offered in spite of this. he's willing to submit to shalem's judgement and accept any punishment from him, but shalem wants to be normal and just helps him because it's the right thing to do and this whole situation is stupid, but that only makes phantom feel even more guilty. that too is unresolved resentment.

there's a tension between them where phantom repeatedly shows a desire to leave his decisions to others, while shalem desperately tries to take his decisions from the hands of others. there's clear incentive for phantom to just hand all his agency over to shalem, especially if we assume that shalem leaving is indeed what inspired phantom to follow, and depending on how you read the scene it's phantom's willingness to do what shalem says rather than his reluctance to sing that confirms to shalem that phantom is back to usual. phantom through this respect for and trust in shalem gives shalem a lot of power over him that shalem doesn't actually want to have, because the only decisions shalem wants to be controlling are his own.

they certainly are similar, but they cannot recognise themselves in that mirror, because the part of them that wants to be like the other is at odds with their actual desires. phantom left the troupe like shalem did, perhaps even to follow shalem's example, but shows no indication of wanting a normal life. shalem is a valued coworker, and phantom is an elusive mystery that schwarz warns you as someone familiar with the underworld to stay away from. he speaks of guilt and punishment and truth, but not of what comes after, and he's largely dependent on miss christine to be his moral compass. he's making friends and getting hobbies only because miss christine pushed him to. phantom values justice, but struggles to make his own judgements, and seems to reason that since he's already a murderer he might as well keep killing.

shalem meanwhile values normalcy, but doesn't seem to care nearly as much about justice. his reasoning for defying the troupe and letting his target go wasn't that it was wrong to kill, but that the situation was ridiculous and there had to be a different way. what shalem's nightmares taunt him with isn't the morality of his actions, the way phantom stumbles over his words to justify himself in his own nightmares, but whether they were really his actions. violence excites shalem in a way it doesn't for phantom, and he has no hesitance about threatening murder to secure his agency.

so phantom values justice, and he values shalem's judgement, but he appears unaware that shalem doesn't actually share those values. a normal life just generally doesn't require or involve murder. so while phantom is frequently punishing himself out of guilt and is implicitly looking to shalem to deliver some of that punishment, shalem doesn't really give a shit, because he doesn't really want to think about let alone reckon with their pasts at all. what shalem reprimands him for is causing trouble for the doctor.

their relationship is, by virtue of both operating through externally imposed personalities, inherently somewhat out of sync. you might even call it somewhat parasocial. I think there's probably a lot of pity involved too, pity for the one made to chase your shadow, and pity for the one who cannot escape that shadow. as fellow survivors they're the only ones who could possibly understand each other, but their values and priorities don't line up, and so neither do their expectations and images of each other.

but crucially, i think if any moves are to be made between them, it has to be shalem who makes those moves. because phantom wants to leave his choices to others while shalem is far more decisive than he appears and in fact much of shalem's character tension is based in being forced to finally step up and do something. phantom has very decisively put the ball in shalem's court by establishing that he'll literally do whatever shalem says. all of which is a very long way to say. i respectfully disagree with some of the fanart ive seen on twitter dot com lately.

[mukimokai]

okay no cuz why is every kinich ship valid smh

TW: LONG ASS RAMBLING BUT FUNNY SILLY CUTSIE I PROMISE

kinlani is kinlani. like omg have you seen them: sunshine social butterfly girlfriend and her introverted moon boyfriend that she loves unconditionally. And it's a new concept for her once abused boyfriend who thinks everything comes at a cost: who gets confused when Mualani just loves him without asking for anything in return and he just loves it so much it makes him weak for her; he'd do anything for her without asking for payment like he does with anyone else because she helped him heal and she's his darling little wife who he'd do anything for.

ajawnich (ajaw with the ability to go into human form because seriously. we NEED human ajaw in more ways than one) is your typical doomed mortal x immortal tragedy in which a dragon who is new to human emotions and thinks lowly of humans slowly starts to understand humanity over the years with his infuriating yet kind human companion. Both are emotionally constipated fools; Ajaw pining like a lovesick idiot because he's supposed to hate his companion and want him dead but when that day of death finally comes, Ajaw feels no joy or happiness: just empty as he looks himself in the mirror, touching his face, or, well, Kinich's face.

oronich (idk the ship name, but also it exists lol) is two characters who are seen somewhat as outsiders by their own tribes: Kinich, while loved by most of the children, has a negative reputation for his job while Ororon is seen as a problem child and cast out of society. The two ostracised characters coming together in a doomed "we're kinda similar, aren't we?" Eddie Munson and Chrissy Cunningham style (from stranger things, sorry chat) and forming an unexpected yet wholesome and definitely welcome bond with each other (they'd tend to their garden together).

lynich (a rarepair!! a popular rarepair is a miracle honestly) is two traumatized boys, the flirt and the flustered. One who speaks the truth outright, and one who's every word is a lie. One who thinks everything comes at a price, and one who thinks everything is a trick. When Lyney tells Kinich about his connections with the Fatui, Kinich isn't mad, surprised, but not mad. How could he be? When he knows why Lyney joined? He accepts him with open arms, Weighing the costs, befriending a member of the Fatui would most likely leave him out of their shadier affairs since Lyney would never harm him, right? Right. Even when Lyney succeeds Arlecchino, Even when he becomes a harbinger, even after everything: they're together, despite all the complications there are.

basically yeah. every kinich ship is valid rn. those are the popular ones at least-(ororon and kinich is not popular but it has more content than any others I've seen and ppl actually talked abt it at one point so it's being included)

citlali and kinich is being excluded bcz that's p3d0philia: fanbase, that was your lesson for shipping characters before we even know anything about them/before they're even released smh (/lh lololol)

-

to my unfortunate realization: kinlani is poppy and branch smh (singing killed his father and made his mother run away, okay). They're basically every cliche quiet boy and cliche loud girl duo ever in history and they have that absolutely based opposite aesthetic duo vibe going on and it's wonderful i love them to bits and pieces chat.

-

ajawnich is princess and the frog in which ajaw turns into a pixel dragon instead of a frog, or beauty and the beast in which ajaw's seal is the rose curse thingie, or both. or fluttercord, cant forget fluttercord. or billford, cant forget billford either. take your pick with them honestly.

-

oronich is chrissy and eddie, could also see it being christine and raoul from phantom of the opera in which ajaw is the phantom, kinich is christine, and ororon is raoul.

(wait that's genius, im a fucking genius chat. someone make that an AU and credit me right NEEEEOW.)

-

and lynich is kinda just there i dont really know anything else to compare it to but it's giving that one scene in tom and jerry where it's like: "I love you. *smothers in kisses* Why, you set my soul on fire. *smothers in kisses* It is not just a little spark. It is a flame; a big roaring flame. I can feel it now *smothers in kisses*" (the person doing the kissing and talking is lyney in case you couldn't tell LMAOOAO)

-

anyways yeah

basically kinich harem i guess

i love being a multishipper because i can collect ships like a bitch and fawn over so many a time whenever i want >:3

also i love the whiplash between some of these: like kinlani and oronich were so wholesome and then you have AUGHHGHG angst with lynich and ajawnich smh.

sorry for rambling lmao but yeah

[flagbridge]

I Saw the Phantom Proshot at the NYPL

Happy 36th birthday to Phantom's first preview on Broadway! I was going to save this post for the actual 36th, but I figure all of us need some more Phantom Broadway "original" content since the official Insta accounts are reminding us today that Phantom is no longer (though it should be) on Broadway. I'm going to post about what I saw, and I'll follow up on January 26 with all my answers!

Some time ago, @or-what-you-will and I went to the NYPL's Theater on Film and Tape Archive, and viewed the archival pro shot of the Original Broadway Cast of Phantom of the Opera, filmed live on May 25, 1988. There is only one copy, and its purpose is artistic preservation (not commercial distribution--the library owns it). It was kept under lock and key during the show's run. All information about how to access the archive is on the website. I can't really tell you anything more besides what's out there because it will become identifying. You get set up in a room with monitors and can pause and rewind, although you can't touch the media.

This was not my first TOFT proshot, but it was the best-filmed. Some, there's a single camera just parked, or there's some generation loss because of when the tape was transferred to digital. This had absolutely vivid colors, a multi-camera shot, and brilliant and clear soundboard audio. I heard lyrics I have never heard (especially during Notes when everyone is singing over one another), the sound balancing was so good. It was as transformative as seeing it live.

These are all the notes we took while there (apologize if they can seem disjointed) More below the cut.

ACT 1 NOTES: 

-Multicam shot

-amazing audio (soundboard), vivid colors

-Raoul/Barton is crying in his voice during the auction

-there’s a “voice” that sounds like a woman singing with the overture (maybe a theramin?) We jumped in shock at this. We've never heard this before, not even on soundboard.

-Sarah Brightman comes on stage during the Hannibal rehearsal, moving across the stage with Meg during “Rome not Roma”--so she dances in the front row during the Hannibal ballet

-Hannibal ballet then has 10 dancers and since Christine is in the whole thing, there is slightly different choreo

-there’s a synth under Meg’s “he’s there, the phantom of the opera” 

-Firmin lights a cigarette and Andre (Future Phantom Cris Groenendaal) stops him right before “Think of Me’ which makes the “Defense de Fumer” on the back of the curtain make even more sense

-Think of Me Gala skirt is not as full (but of note, Carlotta’s Elissa costume is much more ornate than we have now or even at the end of Broadway)

-Raoul sings slightly different notes in Think of Me. Steve Barton goes down a few notes on “young and innocent” (it’s not belted) and is clearly wistful. 

-The think of me cadenza is absolutely effortless

-The “Bravi, Bravi” is haunting and perfectly sound balanced!

-Meg can actually sing and the Angel of Music harmonies work

-Raoul (Steve Barton) is nervous before going into the dressing room. He taps his fingers on the banister and takes a deep breath before going in

-He’s also nervous inside the dressing room–you can see him going from seeing an old friend to suddenly having feelings, being attracted to her. When he’s standing behind her he has a slight moment when he nearly touches a lock of her hair. 

-Raoul is wearing a ring on his right hand (signet?)

-Steve Barton says MY Little Lotte

-Christine (Brightman) is excited about meeting the Angel of music and has a wanting and longing in “Enter at LAST master” (in a way that Lily Kerhoas does now and we haven’t had many Christines who do this) 

-The picture is VERY CLEAR and NO WASHOUT when we see Michael Crawford appear in the mirror for Phantom’s entrance. You see everything

-When the door opens for Raoul to the dressing room after they go through the mirror, it opens slowly (vs banging open). It’s the same tempo that Phantom moves to take Christine through the mirror

-1925 Phantom silhouette vibes at the first “sing for me” 

-Not a particularly aggressive cape twirl, but def a twirl. 

-They get VERY close on “turn your face away”, almost kiss (like, Russians, Panaro/Joseph close) 

- he has a nice portcullis sprawl but she does not press against him, there is visible space between them the entire time

-”Caress” and “hear it, feel it” are explicitly seductive, the former in how it’s sung, the latter because he self-caresses on “feel it”

-the “Touch me” in touch me/trust me is half sung/half spoken order, she strokes her hand over the mask and he does not pull away

-He does have a little panic when she faints and he covers her with the cloak. He’s holding her hair when he sings to her there

-At the unmasking, MC holds for a brief moment before covering his face with his hand so the audience gets a peek of the deformity (before “damn you”) 

-Vixen not viper

-Crawls on knees, not stomach. We get…lots of crying and whimpering 

-Christine sees his face a lot during this sequence. MC lowers his hand as soon as he’s on her side of the stage from “secretly dreams of beauty” to “Oh Christine”, when he turns away–but she is looking at him the entire time. MC is angled right by a mirror shard so we can see a bit of the deformity reflected back

-Right before “come we must return”, MC is about to cup her face with both his hands before changing his mind–she starts to reach for him as well. 

-His Mandarin robe is much longer than we have now (ankle length vs calf length) 

-This Giry has witch vibes

-Steve Barton is playing eager puppy Raoul and it shows even though he looks older (Barton was 35 at the time)

-The sound balancing is so good that you can hear lines you don’t normally hear during Notes 1 and Prima Donna–including the Managers thinking that Christine has just been off with Raoul all night. 

-Sarah Brightman does a different pose on the bed as the pageboy during Il Muto. She crosses her legs vs putting her hands on her hips. 

-Firmin yells “the role of Christine Daae” to the proscenium, clearly directed at Phantom

-Barton Raoul’s “There is no Phantom of the Opera” comes off more as “Christine this is just some dude” vs “he doesn’t exist at all.” 

-Raoul loves Christine so much. He strokes her hair gently to comfort her right before “No more talk of darkness”--his eyes are soft and he’s genuinely caring and concerned (vs trying to be a hero) 

-”All I ask is for one love one lifetime”--different lyrics, she does it twice (This is on soundboards from the time)

-Raoul puts his face to Christine’s hands at the proposal. 

-Christine is clearly kissing his cheek right next to his mouth during the kiss (the final lair kiss is a real kiss) 

-Christine’s “I must go” is not as playful as we often see it later. She really is trying to go. 

-Raoul is nervous at “Christine, I love you”--he lowers his head for a moment worried that he said something wrong. He’s excited when she replies “order your fine horses”

-AIAOY Reprise: Michael Crawford is partially slumped over the angel, he’s holding hands with it to the audience’s right, and arm is slumped over on the left. We get a lot of anguished weeping, and little distressed moans as Christine and Raoul sing, there is rocking and head shaking and then covering his ears. It’s a HUGE difference then when he stands up fully for “You will curse” (he does this again during final lair between “unfeeling scrap of clothing” and “pity comes too late) 

-He also roars before standing

-The Phantom laugh/cackle continues well into the chandelier drop into intermission at the light cut out for about 15 seconds. 

Act II

-Carlotta masquerade costume has no mesh in the skirt–it’s much more of a see-through skeleton crinoline, so the feature is the purple tights

-Not surprising since Sarah Brightman is a dancer, but Christine does the proper choreography during Masquerade--she's the center of attention. Barton also does quite a bit of dancing.

-There’s an organ (almost like a circus organ) underlying the finale during masquerade

-Red Death double doesn’t run down the stairs, he stays at the top

-Giry/Raoul exchange after masquerade–both holding the lantern and super closeup

-Reyer is clearly gay–coded. Some voice and hand gestures during Sitzprobe

-Wishing–only one “help me say goodbye” (when did the second one get added?)

-”Far-reaching” gaze, Wandering Child is a duet

-Piangi says “conquest” is assured (at some point, this became “congress”)

-Michael Crawford imitates Piangi until “past the point…”

-Sarah as Christine is listening intently to Phantom’s voice and immediately noticed something is off–she doesn’t figure it out right away but she notices something. She is suspicious the entire time. It's not clear when she knows for certain.

-Christine never flees from him, during the first caresses, he hovers over her body, she turns to kiss him, he turns away, her hand lingers on her back, before she gets up to sing her solo part away from the table

-Michael Crawford’s hands are in in his crotch when Christine’s singing on the other side of the stage (“you have come here”)--he’s moving his palms in his lap the whole time, his hands are shaking, we only get glimpses of him, most of this part it’s focused on her

-There is none of the arm waving circling while their hands are held, she takes his hands, he switches his grip to hold one of hers, and they keep them on him

-She figures it out when she reaches down–she’s holding his hands above him and she pushes her left (our right) hand down and he pulls and she notices something–we can only see to his upper waist but her hand disappears and her expression changes, it’s implied he has an erection

-she doesn’t ever feel the mask, either accidentally or on purpose

-She doesn’t actually ever try to escape. It’s not the current West End or the past blocking–but more accurate in that she is aware of the situation and plays along. She keeps going with the blocking

-they both get up and keep singing, neither drags the other to the centre, they move together and keep singing 

-The last “return”--he sings it at the unhooding, she doesn’t

-”Say you’ll share with me”--he is really pleading and almost crying on “say you want me” 

-The managers don’t come out to try to usher her offstage, she doesn’t signal to them to stay

-When Phantom gives her the ring, she takes it, but doesn’t put it on–she just holds it

-He doesn’t scream at the unmasking, he just looks shocked and sad

-Ratcatcher order is different–it’s after Raoul and Giry’s first lines, that’s the indication that Giry needs to turn around, Giry screams

-Phantom is crying at “flesh” and through “unfeeling scrap of clothing”, he’s also hunched over through this sequence, and then stands to his full height at “Pity comes too late.”

-Phantom makes a big show of raising the portcullis, hands fully raised

-Raoul swats at Erik with one hand (the other is still on the noose) when Phantom grabs Christine on “start a new life” 

-Phantom is probably the “minimum” amount of rough as we see Phantoms be with Christine in this sequence, as in, he’s definitely scary and menacing but he’s not harming her. He does grab her and spin her around on “start a new life with me.” There are a few wrist grabs (which is book accurate). He’s realizing more that his plan is absolutely crumbling. We get some shots of him on the organ looking panicked.

-Phantom makes a low growling noise before “you try my patience”, which is delivered quickly and almost casually. It is not menacing as some later Phantoms do. 

-”Pitiful creature”..MC’s hand is subtly shaking by his side

-The kiss: the 1st one MC stands with “claw hands” at his side, on the second one, the “claw hands” start shaking

-MC hunches over after he burns the noose

-He stands over the monkey, conducting it with one hand, he is mimicking the symbol clashes, he doesn’t touch it or cover its face

-When Christine returns the ring, his hand shakes as he takes it, he’s hunched over again. 

-She does seem conflicted about leaving, but she doesn’t press her hand back around his, she holds out the ring and his hand shakes as she takes it. She doesn’t linger very long. 

-He says a second “I love you” after she’s gone.

-He’s about to say it a third time, he says “I love…” and then see the veil, and grabs it and screams into it, and then turns and sees the boat leaving

-He sobs and keens a lot

-Raoul bends in the boat to caress Christine’s face on “say the word”)--this is halfway across the stage as opposed to during the stage right exit.

-Deliberately cracks voice on the "can" in “you alone can make” 

-MC Cradling the veil like a baby at the very end

SEND ME YOUR QUESTIONS! You can put it in comments, reblogs, AMA or DM's. I will answer all of them on January 26!

[phantomonabudget]

We need to talk, Pham. Stop shaming Christine Daaé.

I have seen this behavior consistently for the 30+ years I have been a Phan. What's worse is that I see A LOT of it from grown women. I see posts calling her foolish for leaving Erik. Slut shaming her or calling her a gold digger. Calling her stupid, weak, or unworthy because a "real woman" (presumably the women posting these absurd notions 🙄) would have loved him better and been worthy of his awesome talent and capacity for love. 😳🤮

It's disturbing, disheartening, and disgusting. And it needs to stop.

First off, none of these characters are real, so perhaps let's take things a little less seriously in general. It's a fictional story. I get it: we all love it, and probably love the Phantom's character. That's fine....I've made a 20+ year career dressing as the dude, for crying out loud. 🤣 Maybe we all identify with Erik/The Phantom to some degree. Regardless of the version of the story, if the actors or authors do their job well, we *should* feel pity and compassion for him. But feeling compassion and completely ignoring the character's dangerous and abusive behavior are two very different things. It has the potential for some severe consequences in the real world.

By shaming Christine for leaving Erik at the end, you are potentially telling young people that staying in abusive relationships is the right thing. You make them think that if their significant other is talented, misunderstood, been abused themselves etc, then they should stay and love them into a healthy relationship. That if they just love their abusive SO harder, sacrifice themselves a little more or for a little longer, or keep putting that person's needs above their own, that the relationship will suddenly become this wonderful, euphoric experience. It won't. As a survivor of longtime abusive myself, I can tell you from experience: it doesn't happen that way.

Celebrate healthy relationships and enforcing healthy boundaries. Stop shaming Christine for fighting for and winning her life and saving the man she loves.

And please stop calling this a romance. It's the antithesis of romance.

I am sick of members of this Phandom completely ignoring Erik/The Phantom's behavior to justify their blind adoration. Erik is an abusive and dangerous character, and extremely toxic. He lies to and manipulates Christine using her trauma from her deceased father. He kidnaps her, multiple times. Threatens her and her colleagues. He extorts hundreds of thousands from the business managers. He endangers dozens of people with the chandelier crash, and effectively holds hundreds hostage for months or years at a time with his reign of terror at the Opera.

Then there are the murders. Several of them. Probably been at that for awhile so we can assume it's far more than the two we see in the show. We don't know his actual body count, but we do know he's adept and comfortable taking human life.

And yet, I see some mature phans out here completely ignoring all those things and still shaming Christine for leaving him. Why? Because he's "sexy" (author's note: PLEASE go re-read Leroux. Please). And he's talented. And has so much love to give. And is misunderstood. And society was terrible to him...so it's all fine. 😳🤮 She should have just stayed and loved him like he deserves to be loved. 🙄

Recently I saw a post shaming Christine and the justification was that Raoul was so much worse. He isn't. Is he a perfect character? No, not at all. Does he make mistakes and try to use Christine? In some versions, yes. Does he run around extorting, manipulating, threatening, and killing others? Also no.

Pleasw don't ever use LND!Raoul's character assassination as some kind of justification, because he's still the most sane, normal human being in that show, and Erik is still 1,000 times worse than Raoul in LND. Also, using LND as justification for anything makes for a very weak and uninformed argument.

"Hurt people hurt people." Ever heard that phrase? Abused people sometimes abuse others, especially if they haven't done the work to heal themselves. Their previous abuse does NOT entitle them to abuse others. That is always a deliberate choice and those choices have consequences. The dangerous, disgusting rhetoric I see in the Phantom community basically excuses toxic behavior because Erik was previously abused and nothing is his fault. That is simply not true. Those that abused me were previously abused. Didn't make my abuse hurt any less. And I made the choice to do the work so that the abuse stopped with me. Previous trauma is a reason for the behavior, but it is NEVER, ever an excuse.

And don't let the fact the dude can sing or that he's a snappy dresser blind you to his toxicity.

We can all enjoy the Phantom character's complexity and love him, while still acknowledging his flaws and holding him accountable for his deeply inappropriate choices.

We talk a lot more these days about trauma, toxicity, and self care. And yet, as a community, we still shame the character of Christine Daaé for doing the healthy, correct thing. The ONLY thing. And in doing so, we set a disturbing precedent for our young or vulnerable Phans who now might think that staying in toxic relationships in the real world is okay.

Please do better, Phandom.

[cosmerelists]

Favorite Musicals of Each Order of the Knights Radiant

We’ve already considered their favorite boardgames. But what about when it’s time to go to a musical? Which musical is preferred by each order?

1. Skybreakers: Les Misérables

They think Javert is the protagonist.

Szeth: Is it not strange that the musical continues for so long after the death of the protagonist?

Nale: Ah, but it is only thus that we see the real tragedy.

Nale: As all of the lawbreakers go on living, without punishment, due the the lawman not being willing to fulfill his duty.

Joret: It’s so horrifying.

Cali: Yes, hence the title.

2. Bondsmiths: West Side Story

It’s about two warring gangs being brought together.

Dalinar: Although it is sad, it is nice that it ends with all of the previously estranged people bonding over their loss.

Navani: And it really is through music that two warring sides can be brought together--perhaps even feel love for each other.

Dalinar: Yes. 

Dalinar: Wait, what? 

3. Edgedancers: Little Shop of Horrors

Or at least, it’s Lift’s favorite.

Lift: I dunno why Wyndle doesn’t like it--it’s about a plant!

Lift: A hungry plant too, so it has something in common with both of us!

Wyndle: I--

Wyndle: Never--

Wyndle: That--

Wynde: IT WAS SO HORRIFYING, MISTRESS!!!

Lift: It’s kinda in the title, dude.

4. Stonewards: The 25th Annual Putnam County Spelling Bee

They were surprised at how invested they got.

Badali: It may not be warfare, yet the efforts of these children are so inspiring.

Zu: They truly do fight until there is only one standing.

5. Elsecallers: A Little Night Music

Jasnah just thinks it’s neat.

Jasnah: I have to respect the effort of composing each song in 3/4 time.

6. Lightweavers: Phantom of the Opera

It’s about art, tortured souls, disguises...

Gaz: I gotta feel bad for the Phantom.

Shallan: What, because his love for Christine is doomed?

Vathah: Because it would suck to live in a sewer?

Gaz: Well sure.

Gaz: But also that one-sided mask.

Gaz: He must always feel like there’s something there in the darkness, something just out of his sight.

Shallan: ...

Vathah: ...

Gaz: N-Not that I would know anything about that, ha ha!

7. Truthwatchers: Lion King

They went for the costumes and ended up being  blown away by the story.

Rlain: If Simba had just told the truth about his father’s death, all of that could have been avoided.

Stump: Yeah, well, kids are pretty stupid sometimes.

Renarin: Although by running away, Simba did get to be raised by two awesome gay dads, so that’s nice!

Stump: ...

Renarin: What?

8. Willshapers: Scarlet Pimpernel

It’s about rescuing innocent (?) aristocrats from being imprisoned and guillotined!  

Eshonai: It is truly inspiring to see a group of humans working so hard to free other humans before their unjustified deaths.

Venli: That Madame Guillotine song is really catchy though.

Eshonai: Yeah, you almost can almost understand the killing there.

9. Dustbringers: Wicked

They appreciate the overall message.

Malata: Yeah, there really are two sides to every story!

Ral-na: And just because a power is popularly deemed destructive, that does not mean it is so.

10. Windrunners: Also Wicked

Although their reasoning is...different.

Bridge Four, in their barracks: SO IF YOU CARE TO FIND ME / LOOK TO THE WESTERN SKY

Bridge Four: AS SOMEONE TOLD ME LATELY / EVERYONE DESERVES THE CHANCE TO FLY!

Bridge Four: AND IF I’M FLYING SOLO / AT LEAST I’M FLYING FREEEE

Bridge Four: TO THOSE WHO’D GROUND ME / TAKE A MESSAGE BACK FROM MEEEEE

Bridge Four: TELL THEM HOW I AM DEFYING GRAVITY / I’M FLYING HIGH, DEFYING GRAVITY!

Kaladin (wiping away a tear): It’s just such a good song.

[cloudspaintedblue]

Come Rest Your Bones Next To Me, And Toss All Your Thoughts To The Sea

Christine x GN!Reader

Raoul x GN!Reader

The Phantom (Erik) x GN!Reader

(Separately)

What the trio would get you for your anniversary!

Warnings/Notes: I admit I’m a Raoul hater so his part is going to be ass, fair warning

Christine

• Most likely is sneaking away from the Opera House to have an outing with you so don’t expect a super long date if rehearsals are supposed to be going on.

• Something sweet and simple, she knows what it’s like to be.. love bombed.. shall we say so she likes to enjoy the smaller things with you. A picnic as the sun rises or sets, doing each others hair and dressing in extravagant clothing which may or may not be costumes, enjoying sweets and tea somewhere hidden in the opera house so you can be alone (+Erik).

• Singing for you; showing all of her hard work on the newest song she needs to learn, if you are a singer yourself she definitely has a few duets up her sleeve.

• I feel like she’s more of a ‘few meaningful gifts’ kind of person as opposed to spending all of her money on things she doesn’t even know you’ll use.

• If you’ve at any point mentioned something special from your childhood she wants to include that in her gift, maybe she has found a copy of an old favorite book or turned something only you will understand into a necklace; no matter what she will do what she can to bring something you love to life.

• Your favorite flowers, if they aren’t in season she’s had them prepared months before this anniversary. Anything to show you just how much you mean to her.

Raoul

• He’s a fancy rich man, of course he has something planned that makes you feel like royalty.

• Over the top bouquets, expensive meals, a carriage drawn by pure white horses. He goes all out for his lover, everything needs to feel perfect.

• Of course, money can’t get you everything in life. It can however get you that item you’ve seen in shops and adored but don’t have the money for, Raoul is happy to get you this as long as it brings you joy.

• Unlike Christine I feel like he would shower you in gifts, among the pile you would end up with, yes; there would be meaningful and precious gifts but the rest are spoils from his wealth.

• He would try his best to empty his schedule and make all the time in the world for you, if your schedule is the problem he might try a little bribery of your employer to get your being out of work for the day.

• In the end it’s your relationship which is being celebrated, if this means minimal gifts and smaller amounts of time it matters not to him. Well, it matters a little bit. But as long as you remain happy and he feels like he can keep you safe then he will be content.

The Phantom, Erik

• So so freaked out let’s be honest, even making it to a year of being in a relationship has cause for some kind of celebration for him.

• Like Christine he wants to sing with you, even if you don’t sing (unlikely, considering who he is) he wants to show you something that he treasures. He wishes for your praise but is most likely not expecting it.

• The quantity of gifts depends on your preferences, he’s learned that he does tend to come on strong so he doesn’t want to scare you off. If you do like more material displays of affection then he is more than set, he can clearly sew beautifully so if you need new clothes or repairs on old ones he is more than capable. Not to mention the money he gets from the opera house, asking Madame Giry to retrieve the gifts for him so he can stay hidden.

• Writing, of course. Poetry, songs, simply melodies; he has it all, all for you. Music is where he can express himself and really ‘get in the zone’ without fear of judgement. That is until he’s done with the small performance, that’s when he will flush and the anxiety will set in. Praise him too hard too suddenly and he might just burst into tears.

• All in all nothing too extravagant will be happening, all he needs is your love to be happy. His proclamations of love will be given and all he can do is hope that you return them with a smile and kiss on his cheek.

[dross-the-fish]

Why do you dislike Musical!PoTO?

I've heard that there are better versions than the ones I've seen (a couple of clips of boots on youtube, the 25th royal albert hall performance and the 2004 movie) so take my ranting with a grain of salt. I've said it before and if you've followed me you probably know by now that I don't care much for Andrew Lloyd Webber, I feel like he's very hit or miss and for every Jesus Christ Superstar he writes there's a Joseph and the Amazing Technicolor Dreamcoat (pure shit, irredeemable, possibly the worst musical I've ever had to sit through) Something about Webber's music rubs me the wrong way, it seems like it's trying to be tongue-in-cheek but it just comes off as smug. Characters tend to feel extremely one-note. I HATE madam Giry in the musical. They kind of gave her the Daroga's role and it DOES NOT WORK. She says something early on in the film about how she thinks of Christine as a daughter but she doesn't do a fucking thing to protect her from Erik for the bulk of the musical? Like, you know what's going on, you know who her teacher is but your complicit in helping him deceive her? Why are you protecting him? It's not that you don't think he's dangerous, you clearly know he's capable of murder. I also hate how they handle Carlotta, she's not really a major character in the book and her singing is lacking not because she's bad but because she doesn't have any passion for her performances and she's wonderfully ruthless and calculating about ousting her competition. The depiction of a spoiled past her prime, primadonna who also can't sing and is too old for the roles she cast in is just another example of ALW being needlessly mean spirited. In the book she was actively manipulative about trying to kill Christine's career. There was something really villainous about the way she would use her popularity and her friends in high places to bribe the managers with flattery and gifts. She made newspapers stop giving Christine publicity to prevent her from getting her name out, then she filled the opera house with her own fans and supporters to outnumber anyone who was there for Christine. This woman has been in the game for a long time and she knows how to play it, probably because she's worked for years to build up her career and isn't ready to hand it over to some nobody from nowhere who happened to pop up on the one night Carlotta couldn't perform. You could write Carlotta with so much nuance and give her layers, make her an INTERESTING antagonist and ALW just doesn't. He goes for the low hanging fruit. The laziest trope he could have picked. Spoiled, vain and no actual talent. Given how much creative control over the movie he had I'm going to count that as his official adaptation of the musical and it takes everything I already don't like about the musical and makes it WORSE. Also I said before ALW writes music like someone who enjoys rock but doesn't actually understand it? "We needed somebody who has a bit of rock and roll sensibility in him. He's got to be a bit rough, a bit dangerous; not a conventional singer. Christine is attracted to the Phantom because he's the right side of danger." -Andrew Lloyd Webber on the character of Erik for the 2004 film. Honestly, no? No he doesn't, he has no rock and roll sensibility. Not in your musical, not in the book, not in the movie. What are you talking about Andy? That ridiculous guitar riff during the song The Phantom of the Opera? Because that meshed about as well with your hokey showtune style as eating cole slaw with your Chinese takeout. You CAN do it but you really shouldn't. "The film looks and sounds fabulous and I think it's an extraordinarily fine document of the stage show. While it doesn't deviate much from the stage material, the film has given it an even deeper emotional centre. It's not based on the theatre visually or direction-wise, but it's still got exactly the same essence. And that's all I could have ever hoped for." – Andrew Lloyd Webber

Andy you're full of crap. Go home. That said there are moments and songs I really like. Wishing you Were Somehow Here Again is heartbreaking and I like to think that she's talking about Erik and the broken pedestal of their relationship as much as she is her father. I don't know if that was intentional but I like the angle of Christine feeling heartbroken at the loss of a friend and father. But well, ALW ships Erik and Christine so of course that angle is never really considered. We get one moment where Christine is upset and says she gave Erik her mind blindly and one where she admits to being frightened of him before the performance of Don Juan, but I feel like as much as Christine is verbally resistant to him and clearly terrified of him the musical doesn't really validate her and takes every opportunity to build up the sexual tension between her and the phantom. The supporting characters don't really help either, Madam Giry is complicit in Erik's manipulations, Raoul seems largely dismissive and more focused on hunting down Erik when he finally believes her than protecting Christine (AllI Ask of You is a nice song but Raoul's actions and attitude before and after make it feel a bit hollow). In some weird ways I get why people watch the musical and think Erik is the better choice despite...the stalking, kidnapping and murder. No one is really committed to protecting this girl, not even the people who claim to love her. I can easily see how she'd still feel a need to cling to her angel of music even after the mask comes off given how completely ALONE she seems while surrounded by people who allegedly care about her. I also don't like how Raoul is depicted. Maybe it's the actors but I feel like he and Christine don't have chemistry and half the time he seems annoyed with her. Especially Hadley Frasier feels like he's ten minutes from being completely done, he has no patience. I don't buy that this is a man who ran into the sea to fetch her scarf or would run into a dangerous underground lair to rescue her but I do buy that he's going to become a drunken asshole in 10 years so I guess what they did with him in LND is predictable even if it is completely stupid. If you made it to the bottom of this rant congratulations, I hope that explains why I am not among the musical's phans and why I don't like how much it eclipses the book or other versions. I do think it's good but overrated and the flaws are more than I can over look. And yet I still seek it out from time to time, I still like the parts of it that I like and that I think do work. It's like a toxic ex I can't fully break up with, which I suppose is kind of fitting given the subject matter.