#phantom architecture

[the-gilded-chronicles]

Opera Garnier, Paris, France.

August 2024.

Edited with Snapseed

[littlemsjane-error]

[depressed-linguist]

opéra garnier, paris

[thoughtfulobservationcollection]

Biotechinca Dogtown

[vladdyissues]

They could have been BFFs

[escapismsworld]

Opera Garnier where Phantom is based off of in Gaston Leroux's book. The chandelier did fall in the late 1800’s. Other accounts state it was one of the counter weights and not the chandelier. There’s many variations of Erik’s origin but Christine was based off a Swedish singer of the same 1st name.

[melit0n]

Thinking about Her again

[sictransitgloriamvndi]

[neptunefairytales]

Phantom Manor (Disneyland Paris, 11/01/2024)

(Personnal pic. Please REBLOG, do not use or repost. Thanks! NSFW AND KINK ACCOUNTS DO NOT INTERACT !!!)

[stacy-spacy]

[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.

[the-gilded-chronicles]

Inside His Majesty’s Theatre in West End, London

The home of The Phantom of the Opera Musical since 1986

June 2024

[gabityaby]

I think i cracked it, the reason everything produced in the times of the High Republic is soo good compared to modern Star Wars, tldr its because of pain.

See, in all the works that date during the High Republic (specifically during George's ownership of SW) there's this fearlessness to show pain and tragedy and death, and i know it sounds like "everything for the children these days is sanitized!" but think for a second if Revenge of the Sith would be something Disney would publish these days and that's your answer, but that's just a tangent meant to emphasize the difference between Og SW and new SW, because what Og SW had was strife, and you the viewer knew that, because every time you booted up KOTOR or played Phantom Menace you knew what was coming, you knew to expect the isle of happiness in which the characters lived to slowly sink beneath the waves of tragedy and you'll see it happen as the characters around the story just dug up their own fates, in very much George Lucas fashion, and THAT is what made the work and the small moments of levity to taste so much sweeter, because you see the characters who you've grown attached to suffer so un-justly that when you return to the good times you can't help but appreciate the good and mourn it's departure.

The reason new SW does not achieve this is because the characters are dealing with the aftermath of the destruction of the baddies, its the birth of the hope for the future, its when you look at the horizon at the END of the movie, yes new problems may arise but the big hurdle is done and Disney didn't cultivate the joy from the Alliance's victory as it should, because instead of giving us proper post-war optimism (as it fits the real life post WW2 countries counterparts and fantasy sci-fi proper) it stuck only with the brooding post-war trauma, and while yes, that is also a very realistic take it still lacked verily from the former and thus there is no reason why we should mourn a character's strife if that is all we've seen from them, its like watching paint dry, nothing particularly changes, just a new villain here and there, the new character discovers new powers, new info, but there is no resolution, no reward for their strife, and even if they were going for a bleak post-war future (which they didn't and it also doesn't fit SW's constant theme of hope for a better future) it still ends up looking incomplete for the mere reason that they don't want to shut the book in case they need to milk the cow some more.

My point with all this was not to bash new SW though, my point was to use it as a comparison to highlight how Og SW built itself on a foundation of hope, how it showed us the height before the fall, how it is possible to make Shakespeare in space and leave all of us with broken hearts and looking hopefully into the future.

[phantom-cosmonaut]

Virgil Abloh DJ Set

Williamsburg Brooklyn (2018)

📹 From my personal archives

[thoughtfulobservationcollection]

Dogtown views part ??

[opera-ghosts]

By Troy Lennon /Daily Telegraph; May 5, 2018

Gaston Leroux was inspired to write Phantom of the Opera after Palais Garnier accident

WHEN a counterweight crashed through the roof of a Paris opera house, Gaston Leroux stored the story away to help create the Phantom of the Opera.

THERE had long been rumours that a ghost walked the halls of the opera house in Paris, known as the Palais Garnier. Some dismissed it as superstition, but many believe that confirmation came on May 20, 1896, during a performance of the opera Helle, by Étienne-Joseph Floquet. Act one had just finished and the audience had called for an encore from soprano Madame Rose Caron. As she finished her aria a loud noise was heard through the auditorium, followed by a crash and a cloud of dust.

A fire in the roof of the opera house had melted through a wire holding a counterweight for the chandelier. The weight had crashed through the ceiling injuring several people and killing Madame Chomette, the concierge of a boarding house, who was watching her first opera.

Some newspapers reported that the chandelier itself had crashed to the stage. Gaston Leroux, a journalist working for the newspaper Le Matin, read about the accident and used it, and the rumours of a ghost, as inspiration for a story about a disfigured man who menaces the cast and stage crew of an opera company at the Palais Garnier. Titled Le Fantôme de l’Opéra, it was first serialised in the periodical Le Gaulois in 1909 and as a novel in 1910. It was published in English as The Phantom of the Opera.

Leroux, who was born 157 years ago, was mostly known for his detective fiction, which inspired writers such as Agatha Christie. Yet outside France he is really only known for the Phantom, a story that has inspired plays, films and a hit Andrew Lloyd Webber musical.

Gaston Louis Alfred Leroux was born on May 6, 1868. His parents were travelling in a coach from Le Mans to Normandy when they had to stop so his mother could be taken to a nearby house to deliver the baby.

His father was a wealthy shipbuilder and Leroux lived a comfortable childhood, with a love of sailing, fishing and swimming. Straight out of school he went to work as a clerk in lawyer’s office, but spent his spare time writing stories and poetry. He was then sent to university to study law, winning awards and prizes and giving every indication that he was headed for a glittering law career.

But when his father died in 1889, leaving him a million francs, Leroux sank into a life of self-indulgence, gambling, going to the theatre and partying so hard he ended up broke after six months.

Faced with the need to work and frustrated by the legal system, Leroux pursued writing, taking jobs as a theatre critic and court reporter. By 1890 he had become a full-time journalist, impressing his editors by using forged credentials to score an interview with a high-profile prisoner awaiting trial.

His expertise in law also saw him reporting on the Dreyfus Affair, when anti-semitic elements in the French army conspired to accuse Jewish officer Alfred Dreyfus of espionage, seeing him drummed out of the army and sentenced to life in prison in 1894. Leroux described Dreyfus’s trial as a farce and was one of the many journalists who campaigned to free Dreyfus.

Leroux also became a foreign correspondent travelling the world, including to Africa and Antarctica. He even reported on the 1905 revolution in Russia, although at times using his flair for creative writing to embellish his copy. At the time he could be relied on to boost circulation with his colourful stories.

But Leroux tired of being at the beck and call of editors, decided to concentrate purely on his forays into fiction. He had been publishing short stories in newspapers for years, so in 1907 he published his first novel, Le mystère de la chambre jaune (The Mystery of the Yellow Room), introducing amateur sleuth journalist Joseph Rouletabille. Inspired partly by his own experiences as a court reporter and Arthur Conan Doyle’s “consulting detective” Sherlock Holmes, it was light on action but struck the right balance of mystery and intellect to appeal to French readers.

He followed this with many other mystery novels featuring Rouletabille but, in between, he wrote other novels, including The Phantom of the Opera.

After several of his works were adapted to film he realised the cinematic potential of his fiction and in 1919 formed a film company with another writer, Arthur Bernede, to make films of his own novels and plays.

In 1922 Leroux gave a copy of Phantom to the head of Universal Pictures, Carl Laemmle, while Laemmle was visiting Paris. It resulted in the 1925 Lon Chaney adaptation, which made Leroux’s name famous outside France and helped him pay off gambling debts.

Some of his other works were also adapted to film in the US, but his detective works, despite winning fans like Christie, were not as popular in the English-speaking world.

Leroux died in Nice in 1927.