#poto/carrie

[stabbystiletto]

"They're all gonna laugh at you!!! 😫😫😫"

Okay so please consider a modern highschool au wherein it is senior prom. The theme this year is "A Night at the Masquerade," and Christine Daaé, feeling remorseful over a particular bullying incident, has asked the weird kid in class to prom.

But Carlotta, spiteful over being banned from prom after walking out on detention over said bullying incident, enlists the help of Firmin to set up a nasty little surprise over the stage 😏😏😏😈😈😈🩸🩸🩸🩸🩸

[nipuni]

Sing for me!!

A step by step process of this will be available at my Patreon on may 1st 😊

[nerdywriter36]

Hey Emily! 👋

For the fic title ask game

1) A Heart of Glass

2) Something Old Something New

hi hannah! thank you so much for the ask, these were great suggestions!

A Heart of Glass

Canon era: Erik's heart was so fragile, like a piece of fine china. Over the years, Nadir had seen it be broken and cracked before, right before his eyes; the shah did plenty of damage, and Erik never truly did recover from losing Reza, from playing a part in the death of Nadir's son. He had heard of how people in Erik's past had broken it; the circus ringmaster, the Italian stonemason, his own mother. He thought that by now, surely Erik would know to be more careful with it. Clearly not.

Now, he could only watch from afar and hope that the Daaé girl wouldn't be the one to finally shatter that delicate heart inside of his dear friend's chest.

Something Old, Something New

Post-canon era, happy E/C: There had only been one other girl in his life: Luciana Bellandini. For the time that he had her, she had been the most beautiful girl in the world to him. She fawned over him, showered him in her sweet affections. She was his first love, his first kiss, the first—and thus far only—girl he had shared a bed with. He couldn't call her perfect, though; there was also her prying questions, her vicious outbursts, and her incessant curiosity about what lay under his mask. Though he had lost her so long ago now, her memory stuck with him. The beautiful parts, yes, but also the parts that had left scars long ago.

Those scars had made him wonder for some time if Christine Daaé would end up the same way when he first met her, when their mutual interest first became known. Luciana had damaged him in so many ways amongst the love she had given him, which only made him wary of Christine. Was her love false? Was she only playing him so that she could find out what lay under his mask and mock him endlessly, reveal him to the opera staff?

Bless the girl's heart, she was patient with him. She took the time to help him work through those fears, and now, he knew that he had been wrong. Now he had a woman whom he would kiss and love for the rest of his life with no fear of whether she would turn on him one day, exchange her love for hatred. No, there was no fear of that with Christine. His new reality was a far sweeter one.

Find the original post for this ask game here!

[firstventriloquist]

I wanna put him in an oven like a shrinky dink

[greenwitchflora]

INFO!!

wanna unpin my pinned bc I’m embarassed(I had to block my irl bff of 9 years out of shame)

fandoms and characters I write for! (SFW, FLUFF & ANGST (only x readers for now sorry)

•stranger things

•Harry Potter(anyone)

•Marvel(pretty much anyone)

•American horror story (murder house)

•slashers (Jason Voorhees, Michael Myers, Carrie White, Tiffany Valentine, Brahms Heelsire)

•musicals (ride the cyclone, phantom of the opera)

•criminal minds (spencer reid, emily prentiss, penelope garcia)

[fireworkss-exe]

Here we go again!

Ride the Cyclone v. Chicago

Les Miserables v. Great Comet

Falsettos v. Carrie

Six v. Phantom

[vvaspoppie]

Masterpost:

Request Status: Open

What I will write:

All genders for the reader

First, second and third person POV

Slightly suggestive content ['limes' if you will]

Polyamory / Polygamy

Yandere!Reader

Reader with a specific trait (personality or physical)

NSFW/SFW/ Alphabet

Platonic x readers

What I won't write:

Smut [oral or penetrative sex in the form of a one-shot, to be specific, nsfw headcanons are ok]

Romantic adult x child characters

Character x Character / OC x Canon

Extra Stipulations:

Please specify if you would like a one-shot or headcanon as well as general information about said request.

Please state the full name of the character(s) you want as well as the media they originate from

Unless specified I'll probably try to make the reader gender-neutral

Unless specified I'll write in Second Person POV (you/your pronouns)

Unless specified [without using a prompt] I'll probably write headcanons by default

Please don't request fics in my dm's use the asks instead

Only one character per one shot

Media I write for:

Venom (2018)

House of Wax (2005)

The Girl From Nowhere

Spider-Man (1994 + 2002 + 2012 + 2017 + Spectacular)

Ragnarok (Netflix)

IT (Movie)

[midnightangel0722]

We can be heroes … just for one day …

In honor of David Bowie’s birthday, here is an excerpt from chapter 3 of Voices Carry.

I chose to use this song because to me, it’s just the beginning of our favorite couple’s journey of healing one another and in the end, they will save each other. And it’s also my top song by Bowie.

———————————

Another bottle of wine and second helpings of food later, a couple of hours had flown by. They gathered everything from the table and moved into the kitchen. Erik helped store away the remaining food while she started washing the dishes. He stepped up next to her and rinsed the dishes she washed. As they perfected a flow, a new song started up through the speaker and she started to hum along.

Christine handed the last dish to Erik for rinsing and realized she forgot the wine glasses. Seeing a little wine left in hers, she finished it off and placed the glass on the edge of the sink to wash later. She turned to ask Erik where his glass was but stopped when she saw him.

He was standing a bit away from her with his hand extended toward her.

“Dance with me?” he asked softly, his eyes meeting hers.

He watched as her face flushed from her cheeks and down her neck, the color disappearing beneath the collar of her shirt. Never breaking eye contact, she took one more sip of wine before placing the glass on the counter. Her hand tentatively reached out toward his only to pause.

You’ll be fine. Dance with him, a voice encouraged in the back of her mind.

Her hand finally rested in his and he didn’t hesitate to gently pull her towards him, his left hand resting on the small of her back as her right hand rose to his shoulder. Their bodies slowly started to sway to the music. Her gaze finally broke from his and fell onto their clasped hands. He didn’t hold her hand with force or anger; his touch was tender as if she would break. She felt her heart start to race.

This isn’t right, a small voice told her. It’s a trick. He’ll only hurt you in the end.

Erik bowed his head, placing his lips next to her ear to whisper,

“Let go, Christine.”

Her eyes closed at his words and she took a deep breath through her nose, exhaling through her mouth. She felt her shoulders drop, her jaw unclenched. She opened her eyes and looked up at him. He smiled ever so slightly at her before he directed them around the island and out into the open space between the kitchen and dining area.

“I … I wish you could swim … like the dolphins, like dolphins can swim …”

The speed of their swaying started to pick up, matching the music.

“Though nothing, nothing will keep us together …”

She felt the pressure on her lower back as they spun in a circle, her head tilted back slightly with her eyes closed. His gaze lowered to the slight stretch of her neck and he had the sudden want of feeling her skin against his lips.

“Oh we can be heroes … just for one day …”

Their bodies turned in a half circle before he gently pushed for her to spin out again then pulled her hand, bringing her back to him. Her hand went back to his should as he spun them around, the pace picking up a little more.

He let go of her again and brought their arms up, signaling for her to twirl. She laughed. Not the same laugh she emitted while they shared stories. This laugh was … joyous as she twirled around. Once again pulling her towards him again, her hand gripped his arm as he spun them several times, his own hand on her lower back pressed her more against him.

As the song started to fade towards the end, they were left breathless but Christine was still giggling like a child. Her hands came to rest on his chest as she caught her breath. His hands slowly moved to her hips.

“That was … I haven’t laughed like that … in so long,” she told him with another smile. Another genuine smile. “Thank you, Erik, for everything.”

[compozingart]

Literary Drawlloween Prompt List 2023

(Translation at the end of the post)

After two years (or so?) without participating in any drawing events in October, this year I decided to create my very own prompt list!

For career purposes, I niched the list with the literary theme to explore spooky characters, wether they're from horror books or not. It is not a daily challenge because I really wanted to focus on quality over quantity this time.

Anyone is welcome to join in! Just remember to credit me and, if possible, tag or mention me so I can check your art as well <3 (my IG profile is written on the image).

Here's a translation for English speakers:

01/10 - Dracula (Dracula, by Bram Stoker)

04/10 - Carmilla (Carmilla, by Sheridan Le Fanu)

07/10 - Lestat (Interview with the vampire, by Anne Rice)

10/10 - Frankenstein's monster (Frankesntein, by Mary Shelley)

13/10 - Erik (Phantom of The Opera, by Gaston Leroux)

16/10 - Wicked Witch of the West (The Wizard of Oz, by Frank Baum)

19/10 - Coraline (Coraline, by Neil Gaiman)

22/10 - Carrie White (Carrie, by Stephen King)

25/10 - Brás Cubas (The Posthumous Memoirs of Brás Cubas, by Machado de Assis)

27/10 - Samel (Renascimento Sombrio*, by Piter Salvatore)

31/10 - Bia (As cartas de Vento*, by Fábio Yabu)

*These last books haven't been translated to English yet, so feel free to use it as a blank space to add a character of your choice!

1. Bia is the same character from the Sea Princesses TV series, but her first appearence was in the book mentioned. 2. Renascimento Sombrio is available on Amazon as an e-book. If you're curious you can see how Samel looks like (he's the ginger guy on the cover).

[britishchick09]

it would be so funny if rewrite erik has a powerful voice that sounds like a ghostly angel, can play the piano/organ like no other, knows everything about music theory, composed an entire opera...

and yet he can't whistle ;)

[birdstooth]

He’s standing up in solidarity bc she prob can’t sit down in that dress ✊🥹

A speedpaint video of this will be available at my Patreon on august 1st! 😊

[purrlockswatson]

Phantom of the Opera (1990), you did Erik proud

Alternate title: Christine, we have beef!

(Meme inspired by this post.)

I have not a bad word for this Erik (and not just because I can feel a certain friend of mine holding a chandelier over my head). The 1990 adaptation made some big changes to the story, but it perfectly captured the childlike soul of Leroux's Erik that is often lost in translation but vital to him. (When I was explaining POTO to someone outside the situation, i. e. my mum, two things I kept using as comparisons were a child and Gollum - not because he's a chaos gremlin, I was trying to describe how he has a skewered perspective of the world that isn't evil but doesn't follow the accepted moral system. But that's for another time.)

I found myself trying very hard not to resent Christine - a first time for me. I will defend her choosing the Compte de Chagny over Erik, she doesn't owe Erik love, no matter what he did for her. The problem is that she took on a responsibility she couldn't possibly carry.

Never, ever assume to fully understand someone. Especially someone like Erik, who thinks and exists on a different pane as most people. Christine was wrong, terribly wrong, to assume she 'knew his heart.'

When faced with a person so sensitive, so particular, when being the one person trusted by a person who trusts no one, don't make huge gambles like that. She shouldn't have assumed she knew what Erik needs better than he does - he told you he is happy with where they were, then stay there with him! Instead, she pulled the 'I can fix him' and shattered him completely. I don't hate her for being unable to catch Erik when he falls, I hate her for blindly promising to catch him and failing him.

(I do realise how much of the above describes myself and my worries about how people treat me, so fair warning, I may be a bit biased.)

An opinion: in every version, Erik emotionally manipulates Christine but here, Christine is the one who is emotionally manipulative. ('Manipulative' may sound malicious, but manipulators aren't always aware of what they're doing.)

In the second part of the series, she said at least three times 'If you love me...' Now, that is one of my least favourite sentences to see and hear in the best of times, but this is somehow even worse because Erik DOES do everything because he loves her. In other versions, there is the question of obsession against love when it comes to their relationship; in that context, I would accept her saying this. But here, Erik is not possessive.

As for Monsieur Carrière, I have beef with him too. An even bigger, tougher slice of beef. He is proved to be irresponsible: not once, but twice, he got in relationships and then left this partners when they have children. First time could be a mistake; the second time, especially when kept Erik's mother in the dark about his marriage, is inexcusable. Yes, he stayed with her till the end, but then left their son in a basement. Yes, he reached out to Erik in the end, but too little, too late. If Erik is emotional and irrational, it's because Carrière never gave him the guidance he should have.

Christine and Carrière love Erik, I don't doubt it. But it's still painful to see Erik fall down through everyone and everything that should have caught him: his talent, his parents, Christine.

If you'll excuse me, I need to cry in the catacombs and draw something miserable.

I talk about several other adaptations here!

[operafantomet]

hi! by chance do you happen to have any photos of that stagehand outfit the phantom wears during il muto in the restaged tour? i don’t know if it’s a more recent addition to the production but i’ve only ever seen two quick bts photos of anton zetterholm and josh pitterman!

The best photo I have is probably these of Chris Mann in the Restaged US Tour:

You can see more - and an explanation - in this photoset. And yes, it is a more recent addition to POTO in terms of the Phantom wearing it. It reminds of 'Love Never Dies', where the Phantom does a similar disguise stunt as a bartender. But original POTO features actual stagehands and actors wearing these type of costumes throughout to the show. Kinda feels like they sat there with all these costumes and decided "Hey! Let's have fun with them!"...

Here's some of the stagehand costumes used in the original staging - but then worn by people who either do stagehand work for real, or within the play (and not being the Phantom). The most prominent viewing is inside the elephant in Hannibal:

And carrying dead Piangi across stage:

I guess members of the mob chasing into the Phantom's lair in the end of the second act could also qualify as stagehands:

It varies what kind of headwear they use, if the waistcoat is single or double breasted, if they wear a necktie, and if they wear an apron - there is a large variety. In the original design Maria Bjørnson added rare workwear quirks like a printmaker's hat (literally a hat of folded paper, looking like a box), separate knitted or sewn sleeves, and a wide array of aprons and tool belts. Her level to attention and a dash of historical accuracy will never fail to amaze me! But a typical stagehand costume in POTO may look like what Dustin Layton wore in Las Vegas:

Which, with variations and a different hat, is what they have the Phantom in disguise wear in the Restaged Tour.

(ETA: Buquet's costume is also made in this style, so that he technically blends with the other stage workers. Ditto for Meg Giry in the Final Lair)

[rainsofcamelot]

i need to talk about this beacuse i've been a poto fan since 2021 and i just have to say... i truly don't think raoul was trying to gaslight christine AT ALL in the rooftop.

the goal of his character is to protect everyone and make sure everything is ok at the opera. including christine.

one of his lines in "why have you brought me here/raoul i've seen him" is: "my god who is this man?"

of course he knows there's someone who's killing people. he just wants to make sure christine knows that it's not a supernatural being, because she is having a mental breakdown and because, at this point of the story, raoul thinks that if the murderer is only a man then he can be defeated and is not as dangerous as a literal monster (that's a reason why he tells christine "you said yourself he was nothing but a man... YET while he lives, he will haunt us till we're dead".)

he even checks to see what is happening when she asks "what was that?". he does care. that's why he's telling her all this. he wants to make her feel safe and calm.

while erik is blinded by the dark he has lived in his entire life, raoul is, at the same time, blinded by the light and his position. he is naïve (and maybe a bit dumb) but he has a heart of gold. he only wishes good for everyone (even for erik in some way. i mean, notice how he gives him advice. and, also, him and christine met because he went to fetch her scarf!! this dude wants to help others!!). and it seems to be hard for him to accept that not the entire world will be good and that not everything will always go the way he wants it to go.

he has blind optimism.

and his journey is to see life and the world as it is. it's personal growth. it's letting go of the chains that held you down. and that is also christine's journey.

they both leave their caves and learn about life together.

he wants to do everything for everyone and he may be stubborn as hell, but he would DIE for others (especially for christine). he needs to be the hero, it's not until the end when he becomes the victim that he realizes that the world is more than what he'd always known. and now he has seen the good and the bad. and the middle of both. and he can carry on.

[geekcat]

#of course local broadway bitch red especially loves these and purples just there fur the violence but i couldnt find a way to fit that in #or dib trying to subtly impurress said local broadway bitch. itd mess with the structure of the post too much

poto actor au but Again This Time and with Lesbians!

weve got christine as tenn, raoul as tak, gaz as erik, and zim as carlotta

irken theatre is less like a thing mew do fur fun and more like,,,, mew get Conscripted into it like its the fucking Draft beclaws all irken plays/mewsicals include at least one purrson dying ((mewsually more, with red and purple as tallest,,,))

mew Can choose who mew want to be! or rather, mew can fight ofur it, or get assassinated by mewr understudy who wants mewr role, or any number of horrible things

when tenn is drafted into Phantom of the Opera (Space Edition), gaz and tak sepurrately vow to get her back!

it dawns on the actors that day that not only is this phantom Fur Real, but shes Definitely not the actor that was picked,,,,

the tallest are delighted that the phantom really Is a hideous thing!

oh and dibs also there. i guess. to try and stop gaz beclaws "shell get hurt!" and also to stop ZIMS evil plan!!! to,,, uh,,,, be the best carlotta there efur was?

zims just mad that tenn got to be christine. shes not even that much taller or purrettier than him!!!!!!!!!!

it all purrobably ends with the theatre burning down. red and purple have nefur had more fun in their lives watching this

[shutyourfacemonsterlover]

Overall thoughts and opinions on the most famous Phantom adaptations / most famous Eriks

Because these things are fun, i thought maybe it could be interesting for me to reunite my overall thoughts on the most popular adaptations, because everybody has opinions on them (and maybe my takes are super cold and vanilla). Still, it's fun!

I'm also gonna go with the most popular because there are like a million Phantom adaptations and I don't have the energy to rank them all. (i'm also mostly doing the ones that are series / shows / musicals- the books i would pretty much mostly mention the Leroux OG and Kay, and i'm already going somewhere with the second one). (Forgive me all Ken Hill / Song at Midnight / MazM fans)

-The 1925 silent film with Lon Chaney: I'm really biased, but I admit this is my favorite Phantom adaptation, even if i know as a film it's rather limited by the constraints of the era (bad acting, slow pacing, the weird whitewashing of the Persian etc etc). It downplays the tragic romantic elements of the story (Christine is very one-dimensional and seems more afraid of Erik than empathetic), and Erik is written a little too "generic evil villain", but there are elements to suggest that there's more to Erik than meets the eye, and why he's an engaging figure in the first place. Yeah, like most, i hate the ending, but it's saved by overall faithfulness to the novel (he's born deformed! he has a death's head! he has a life of tragedy! he loves Christine! you can't imagine the number of adaptations that don't get these simple things RIGHT), and the subtle moments Chaney adds to make his Erik more three dimensional (the moment in the Apollo's Lyre scene where he holds his mouth in pain lives in my head rent free) It has my favorite movie Erik, and that's all that matters to me. <3 8/10

-The 1943 film with Claude Rains: I always call this film "missed potential". It looks beautiful, it sounds beautiful, it has good quotes, I like the film delving more into Christine's character; but the Abbott and Costello comedy of the two Raouls is out of place, and the writing of Erique is kinda of a mess (and considering he's the most important character in POTO...YEAH a good adaptation depends a lot on his writing). You don't really understand what is his connection with Christine, and how his initial sympathetic scenes kinda clash with his more violent streak (he gets thrown acid in the first place because he kills a man pre-Phantom); making the character come off as a little inconsistent and not as sympathetic as he should be. This movie also started the "disfigured in an accident, no Persian" versions of Phantom that I feel kinda cheapen the story later on (a lifetime of tragedy is what shaped Erik, not "one bad day"). A real shame, because Rains carries an elegance to Erik that I think helps with the imagery of the character (a monster trying so much to be "human"). Hmm...6.5/10

-The 1962 with Herbert Lom. This one also changes a bit, and normally i'd be bitching and moaning about it, but i prefer the changes here to the Claude Rains version since they're more consistent in portraying Erik's character. You feel for his music being stolen, and want to see this artist have such a simple dream as seeing his creation come true. People don't like it erases his obsession with Christine, but i think here it works, since you can believe his passion for his art is what drives him. (Also, i think this movie is what started the trend of Phantom adaptations having another villain, which is something explored better in Phantom of the Paradise). It doesn't look as nice as the Claude Rains film, tho, and something in the acting stops it from going the most. 6/10

-Phantom of the Paradise: A BLAST. It changes a lot about the source material, but considering even the setting is different, everything works to its advantage. Winslow is the first Phantom that really delves well into the "tragic monster" element of the character, with even his violent tendencies being a consistent trait from the start of the story (he attacks Philbin for making an inoffensive comment about the Juicy Fruits). The imagery is distinctive, Swan is a very compelling villain, and the songs are fantastic. Winslow's sacrifice, like Lindsay Ellis said, is simply a progression from his acts in the novel (yes, I believe Erik would sacrifice himself to guarantee Christine's safety, post development). What only sucks is that I don't feel you buy Winslow's passion for Christine / Phoenix, and she comes off as inconsistent in her ambition and not as empathetic (still, she sings very nicely and I love that the actress resembles Mary Philbin (1925 Christine) at times). Also while the Faustian elements add to the movie, i'm not sure how they can relate to Erik's' character in general (not to mention the Dorian Gray element). Also the pacing in the last 10 minutes is rushed and kinda sucks. But still...As a movie? It's my favorite. 9/10

-The Maximilliam Schell 1983 made for TV film: My least favorite, and it all has to do with how slow and dull the pacing is, you just don't get the sense of dread or tragedy. The reincarnated wife subplot is really random, and it makes Sandor pathetic and delusional instead of empathetic and tragic. And i'll take bad over boring any day of the week. 2/10

-ALW's musical (add here the 25th version too): Oh ho ho, the one piece of media that got us all into Phantom I think. It's a big, bombastic musical, and you can see the appeal. While i don't like some characters are turned more one-dimensional (Raoul, Christine); I do like how it pushes forward Erik's trauma, and how it has broken him; he's not a good man, no, but not a monster, either. And this idea that abuse victims can turn cruel as well...But, you know, they still deserve love. Perhaps they always did! And the focus on the romance which puritans complain about...Boy you will not be ready to hear me when i tell you the original novel implies Christine is indeed into both Raoul and Erik, for different reasons lol. I dont like the omission of the Persian, but I like that this cements that again, Erik wasn't a rando who one day snapped, it was a life of tragedy that turned him into what he is....We can dislike it, we can like it, but we can admit it has influenced our perception of the story in more ways than one. 8/10.

-The 1988 cartoon: The most faithful adaptation of the novel is also the cheapest movie of the bunch. Whew lads...Tho I do like Erik's character. He's got the redemption, the deformity, the sense of humor (when i read Erik i often headcanon him having this Erik's voice). I also like Christine, she's not written as a bland damsel, she shows a bit of an attitude. And hey, rare Persian appearance! I even like the ending, with the cast showing compassion towards Erik's misfortune. It's just that the technical limitations of the movie avoid the film from reaching high status. 6.5/10

-1989 with Robert Englund: An unpopular opinion, but I love this film. It's strange in that it's both very faithful to the novel, adapting the gothic horror of the elements, but it changes way too much Erik's character (the crux of the story) into somebody who isn't really tragic or sympathetic. A musician who sells his soul to the devil (an element it took from Phantom of the Paradise...I have the theory that Phantom adaptations take elements from each other more than from the novel) and gains immortality...and kills people for no reason??? Normally, in another adaptation, I would dislike a lot this change, but Englund's interpretation turns the character into more layers than simply a psychopathic asshole. He gets the "allure" and horror of Erik, which is a big part of the character. I feel with a more book accurate backstory, and impulse more the angle of "doomed dark lover" with Christine (yes his love is also...downplayed), this would easily be one of the more popular Eriks. Yeah it steals a lot from Nightmare on Elm Street, but there's an interesting movie in here, amidst the music and the beautiful cinematography...8/10.

-The 1990 miniseries with Charles Dance: Cherik! The phandom darling! This one is strange since i feel it diverges from the novel as much as the Robert Englund version, yet it's one of the most beloved adaptations. It offers an interesting interpretation of Erik, he's not as cruel, but the movie delves more into the aspect of him being a doomed romantic lover. He's not as manipulative to his Christine (i'd argue this is one version of the story where they should've gotten together imo), and has a gentler approach to life. The series takes the element of the book of him having arrested development and runs with it. Still tho, the gentler approach kinda cuts the tragedy of the character; what with loving parents and all being something Erik DIDNT have growing up. The appearance of the father is what dulls the film, and makes Erik come off as more dependent and childish. Still, Charles Dance gives his Erik a quiet dignity, that avoids the character falling into a manchild interpretation. 7/10 (not bad, just that i like my Eriks more lonely and threatening)

-The 1998 film of Dario Argento: Y'all owe Gerard Butler an apology, lol. This is the ONE truly shit adaptation of Phantom, lol. It feels like a fever dream. It's more gross than scary, it's not tragic, it's not romantic, Erik is not in any way sympathetic or complex or alluring...Like the fuck lol. 3/10 (and that 3 is because it makes me laugh...)

-Wishbone "Pantin' at the Opera" episode: Eh, "Phantom for kids", not a interpretation of the story I like, but it's accurate to the novel, which makes it stand out. And it gives Erik a rare happy ending! Tho, as expected since it's for kids, it downplays a lot of the more complex themes. Still...gotta praise the accuracy. 5/10

-2004 with Gerard Butler: I don't think it's as bad as the phandom made it out for years. It could be better, but i think the technical details and the bad makeup are what drag the film down, since it doesn't diverge massively from the story or themes (except the weird grooming thing...ew). This Erik is interesting in that much like Cherik, he grew up inside the Opera House, and it's an unique view of the character, that he's got arrested development due to never leaving his own "house" growing up (a bit of a plot hole then how he learned magic, engineering, architecture, etc etc, but eeeeh). He's also more vulnerable and emotional compared to the stage counterpart, who seems more self assured and angry. It's not horrible, just average, and could be better. 6.5/10

-The cartoon episode of the Triplets with Phantom (aired in the 2000s-something): Phantom for kids again. it's not an interpretation of the story in general that i like (too fluffy for my liking), but this episode gets the points of the story; Christine's complex feelings and Erik's redemption, while still keeping his initial wickedness (he even gets a sorta happy ending! my boy!). also it's funny at times, so there's that. 6/10

-Love Never Dies: This is...frustrating. I'm of the unpopular opinion that a sequel focused on Erik can work, but I feel his story with Christine is over, and dragging it back again just places the characters in square one, their development null. As an original story, it can be a potential good drama, but with these established characters, a lot of the emotions feel forced and manufactured. 5/10

So overall...My favorite versions of Erik and the story are...the musical and Chaney? And Paradise and Robert Englund for the wild out there versions. But there's always something missing, i can't always point to one and go "THAT is the definitive Erik". Erik is a very complex character, made of light and shadows, and the movies never reflect that.

I don't think most of these movies are good, we like them because they're Phantom content, but still, it's interesting to observe how this story has changed reflecting the interests of society at the time being. Before, we wanted this cruel monster punished...Then we turned him into an 80s slasher...And now in the monster fucker era we see him as a potential romantic lead...Huh.