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Double bind
Fandom: Elisabeth das musical
Characters: Elisabeth, Emperor Franz-Joseph, Der Tod
Relationship: Elisabeth/Emperor Franz-Joseph, Elisabeth/Der Tod
Rating: Mature
Elizabeth – Maya Hakvoort. Death – Máté Kamarás.
Read on AO3
Or read below
The letter was small, in a cream-colored envelope sealed with the imperial seal. Elizabeth reached out and opened it before she could stop herself.
Three minutes later, she sat in a chair by the fireplace, gazing at the flames, as if hoping to read something else in them, something other than what she saw, written in ink on cream-colored paper.
Elizabeth knew all was not well between her and Franz Joseph. She smiled bitterly. Not counting her clashes with his mother, his constant mutterings, where it was impossible to tell whether he was blaming his wife or defending her, when in the end everything ended in the old empress's favor. Not counting his long absences and eternal affairs of state. Not counting how he constantly tried to mold her into what he needed. What was right. What was convenient. Elizabeth knew all was not well between them.
But, strangely, she couldn't imagine him cheating on her.
Who, Franz Joseph? The skinny young man who vividly described to her the hardships of being the emperor's wife, who gave her a heavy, uncomfortable chain as an engagement gift, and who always glanced back at his mother?
She might have something to do with this, Elizabeth couldn't help but think. And she immediately dismissed the thought. The person to whom the letter was addressed ruled that out.
Amalia von Wisber arrived at court last season. The twenty-year-old widow, with her husband's fortune and title, immediately captivated Viennese high society. Everyone was delighted with her – even the Empress Mother. On the other hand, despite all the admiration – with her graceful figure, her rosy cheeks, and her studied naivety – Amalia seemed to be on her own.
As if she had come to court not to, as she herself said, ‘take a break and try to live, for such is our duty, even if grief from loss tears us apart,’ but to find a new place for herself.
Now Elizabeth understood what it was.
God, probably everyone did.
Except her.
Anger, sharp and hot, like the very fire crackling softly before her, rose within Elizabeth. How dare he, she thought. How dare he...
With a quick gesture of her hand, still clutching the letter, she made to throw it into the fireplace. But suddenly she stopped. She turned the envelope over in her hands and held it up to her eyes. She skimmed the text again. And saw something she hadn't noticed the first time in her rage and anger.
The letter, written in the Emperor's name and signed by him, was full of tender sentiments and promises. It beckoned, enveloping, and announced that His Majesty would be delighted to see Madame Amalia von Wisber at a masquerade ball at Schönbrunn Castle on such-and-such a date this year.
Elizabeth knew well what went on at such balls. Everyone knew, no one was embarrassed. The times were ripe for experimentation, and even darker ones, a thought she always consoled herself with. Although she never once took advantage of the opportunities.
It was an invitation, explicit and frank. Signed by the Emperor. And yet...
Elisabeth skimmed the text again. After their engagement, she and Franz Joseph had corresponded for a long time, and then, during his or her travels, until they grew disillusioned with each other and the spark of mutual interest faded completely. Now they hardly exchanged notes, but Elizabeth knew her husband's handwriting very well.
The hand that wrote this letter was not the Emperor's.
This could mean two things. First, Franz Joseph wished to keep his affair secret – at least from everyone but the court. And second, receiving a reply was undesirable.
He couldn't really expect an open expression of her consent, Elizabeth thought irritably. The Emperor of Austria was not one to refuse.
Even before the thought had time to form in her mind, Elizabeth rose and walked to the table. Sitting down at it, she pulled out a sheet of imperial letterpress paper and a quill.
When you know how to draw, it's easy to change your handwriting, she thought maliciously.
A few minutes later, she held an exact copy of the imperial letter in her hands. Everything was there: the compliments, the passion, the confession. The only difference was the location to which Amalia had been invited: Elizabeth had replaced Schönbrunn with Hofburg.
Having sealed the letter, Elizabeth left it on the table in the exact spot where His Majesty's envoy was supposed to pick it up. After taking another look at the writing utensils, the chair, and the fireplace, she slipped out of the study.
She needed to prepare for the masquerade.
***
The old lizard stepped on her foot. Elizabeth had never liked the imperial secretary, and he generally reciprocated her feelings. But she hadn't expected their confrontation to ever become so sharp.
She stepped aside, moving away from the gaunt courtier, clad in a doublet patterned with silver scales. She quickly glanced at the snake-headed cane in his hand and reminded herself that he didn't know who she was.
Or rather, he thought he did.
She smiled wearily beneath the mask that covered her own face up to her chin.
Getting into the ball was easy. Far more difficult was passing herself off as the person she wanted to be accepted as.
Elizabeth didn't spend long searching for a dress. She needed something revealing enough – not to say provocative – but not luxurious enough to suggest she was richer and nobler than a provincial baroness.
After some thought, she settled on a dark red dress with a black velvet bodice and a low neckline draped in white silk. ‘Not a whore, but ready for anything,’ Elizabeth assessed, glancing at herself in the mirror. She added a black cloak with gold embroidered edges and a mask with a gold pattern, and the gift for the Emperor was ready to be served.
She frowned beneath her mask. The anger and confusion that had gripped her since she'd seen the letter had subsided amid the bustle and preparations for the ball. But in this hot room, amid the candles and glitter, under the gaze of shameless eyes peering at her from faceless faces, she felt the pain and rage rising again.
Elizabeth took a glass of wine from the tray a liveried waiter carried past her and drained it halfway. The leg the snake-like secretary had crushed ached mercilessly. Elizabeth crossed the room, careful not to brush against the women's wide skirts and to keep her distance from the men. The latter, however, wouldn't have dared approach her. Elizabeth felt beads of sweat form on her upper lip. Her dress suddenly felt heavy and tight.
With a quick gesture, she removed her cloak, remaining in a tiara and veil that fell intricately almost to her hips, concealing her long braid. If anything could give her away, it was her hair. Amalia von Wisber had short, blond locks. Tossing her cloak to a passing servant, Elizabeth stepped into the midst of the guests.
He emerged from the crowd, at first unnoticed, but within minutes all eyes were on him.
He wore a green moiré suit: a jacket with velvet lapels and slim trousers. Under the jacket was a gold-embroidered shirt. Three peacock feathers were embroidered in gold thread on his right shoulder. He wore a pair of black velvet gloves. A green silk mask fit tightly to his face, completely covering it. The mask had a sharp nose and high cheekbones.
He made no attempt to hide.
Elizabeth moved forward.
Standing behind the lady in a wide velvet crinoline and the gentleman in a suit covered in sequins from head to toe, she watched the Emperor slowly walk across the room, nodding graciously, bowing, and responding to the respectful curtsies of the ladies and the clicking of the men's heels.
It all suddenly seemed so ordinary to Elizabeth, so familiar, almost boring – a ball, an Emperor, and a meeting that could not be missed.
The wine she'd drunk went to Elizabeth's head. She watched the green-clad figure approach, his motionless face catching the reflections of the flames, as if swallowing them. She wanted to see him, to let him in. The music pounded in her temples like a staccato pain.
Taking a few steps forward, Elizabeth extended her hand.
‘Your Majesty.’
She didn't say it. And yet, it felt as if the crowd had parted, both to let him pass and to push her away.
Crowds don't like heroes. They like the doomed even less.
Amalia was doomed today. And everyone knew it.
Elizabeth took another step forward and placed her hand in the black velvet-covered palm.
The music flared, danced, and unfurled around her like lace-like bone fans. It rang, drew her in, pressed against the back of her head, clasped its hands at her waist, and looked into her eyes.
Elizabeth didn't recognize her Emperor.
She wanted this more.
Her cheeks burned, the dance increased in tempo.
She hated Amalia von Wisber for wanting him.
He was hot, impatient, prickly. Insistent and almost rude – but not like always. Elizabeth knew, could predict his rudeness in advance.
This time, everything was completely different.
Before, he had been rude because he hadn't noticed that she was hurt.
Now, he was driving her crazy.
They circled the room, almost wrestling, accelerating, and the music crunched under their feet like the first snow.
...Elizabeth heard the study door slam, the rustle of her skirts.
It was time to open up.
His fingers were doing a better job.
So much better than anyone could.
Than she could do it herself.
Elizabeth looked up.
Candlelight flickered on the cheek of the green mask.
Do we really have to be strangers to feel this way, Elizabeth wondered.
His fingers caressed her, penetrating.
She had no name for what was happening to her.
Music was drifting from the ballroom – some kind of bravura march.
He took her between heartbeats – and Elizabeth clutched his hand, which he leaned against the wall above her head.
...Every movement of his hips inexorably brought the denouement closer, and when it was almost upon her, Elizabeth reached for his mask – and pulled it off.
His skin is very fair against the green velvet. His golden hair spills over his shoulders.
Pleasure overwhelms her, and with it, understanding.
Emperor Franz Joseph was never a skilled lover.
***
‘The letter was real?’
‘The letter was real. Does that matter?’
‘None.’
The silence was deafening.
‘You sent the Emperor to Hofburg?’
‘I couldn't resist.’
‘I hate you.’
Elizabeth looked up from her suitcase. She never trusted her maids to pack her personal belongings. Traveling to another continent meant a long voyage, and she was already feeling tired.
She stood up and dusted her hands.
‘Elizabeth –’
‘I won't commit suicide,’ she said curtly.
He smiled bitterly.
‘Not worth it?’
Elizabeth turned around. For the first time since the evening at Schönbrunn, she met his eyes.
‘What do you think?’
He looked so young now. Tired, almost confused. Elizabeth walked over and touched his cheek.
‘If the letter was real, then here's my answer…’
Death closed his eyes.
‘I think I've only just begun to love life.’
With these words, she turned and left.
A perfectly human laugh followed her.
Melusine
Fandom: Dracula (2020)
Characters: Count Dracula, Agatha Van Helsing
Relationship: Count Dracula/Agatha Van Helsing
Rating: Mature
@hopipollahorror @alma37
Read on AO3
Or read below
‘Let her go.’
Agatha stepped forward.
‘Why?’ Dracula bowed his head.
‘What difference does it make to you?’ Agatha asked. ‘Just let her go.’
God, how tired she was.
What a long day. What a terrible night.
She looked at Dracula. With that rumpled shirt, covered in blood and dirt, with that wide, mocking smile. With that curiosity, anger, and childish joy of his. She closed her eyes for a moment and thought about the dead women up there. About the long life she'd left behind in Budapest. Even about her parents in Amsterdam. How absurd it all was.
She opened her eyes. Then looked at Dracula. In his dark eyes interest was mingled with wariness.
‘You don't need a victim,’ Agatha said. ‘You need someone to talk to. Mina isn't suitable for that. Take me.’
***
Agatha opened her eyes and stared at the lights of a huge, ornate chandelier. She looked down and around. The last thing she expected after death was to end up in a wine cellar. Was this her purgatory? Or what? What was she supposed to do here? Drink herself to death... realizing the gravity of her sins?
Agatha, concentrate.
She looked around again. And groaned.
‘Not you.’
‘You said you wanted to be the one I can talk to.’
Dracula rose from the chess table where he was sitting. He approached her.
‘I meant that you would eat me and gain access to my... what do you call it... soul or memory?’
‘Oh, so you've read about that.’
‘‘Blood is lives.’’
‘And Jonathan still didn't get it.’
‘He was a lawyer, not an expert on vampires and werewolves.’
Dracula looked at her intently.
‘Sit,’ he said suddenly, gesturing to the table behind him.
Agatha glanced at the table, then back at Dracula. Then slowly walked over to the table and sat down.
***
‘Don't be silly. Whatever Plato wrote, I maintain –’
‘Checkmate, Agatha.’
‘Oh, damn.’
‘You get distracted when you explain your point of view. And that's why you always miss an important move.’
‘So, about Plato –’
‘Have you had anyone? In life?’
Agatha fell silent.
‘What do you mean, in life?’
He smiled.
‘Before the monastery.’
She paused. Shrugged briefly.
‘Depends on the definition of ‘had.’’
‘Agatha, leave Plato alone.’
Agatha laughed.
‘The foundations of formal logic were laid by Aristotle.’
‘To hell with both of them. So, did you have someone or not?’
This time she answered seriously.
‘I honestly don't know. It was all so…’
What could she tell him? About her quiet childhood, the cramped courtyard of her parents' house, overgrown with thick grass? About the little shop in Amsterdam where she met a frail young man who brought her flowers and sweets? The taste of warm cookies, hurried encounters, promises of eternal love. The owner of the neighboring shop, a friend of her father's, who proposed to her one winter evening and dashed her timid dreams of happiness.
Agatha remembered well how she cried that night. How she promised herself she would never marry him. And in the morning, her father said that if she didn't, if she didn't agree to a decent, worthy husband, he would throw her out. Everyone knew she was a whore, her father told her. The neighbors had seen her hiding with that young man behind the barn. She was probably already pregnant. So there were two choices: marry the shopkeeper or go to a convent.
Agatha chose the convent.
‘He came the day before I left,’ Agatha said, looking at Dracula. ‘He said I was already spoiled anyway. That no one would know and that this was my only chance. That I should be grateful that before my life ended, I would get to experience what a real man is.’
Dracula was silent.
‘Father was downstairs in the living room. The door was locked from the outside,’ she finished.
The silence was very long.
‘Did you think I'd do this to Mina?’ Dracula finally asked.
‘I don't know,’ Agatha looked at him wearily. What a long day. What a long life. ‘I don't know,’ she repeated. ‘But I didn't want anyone else to…’
If this was going to happen to Mina, Agatha wanted to at least open her door.
Maybe Mina would be lucky and escape.
Dracula's voice brought her out of her reverie. Dracula was sitting across from her, looking at her. For some reason, his hands were holding her shoulders. Agatha blinked back tears. What was wrong with her? Why...
‘I told you, we're in Bistritz. In a hotel. You'll come to in a hotel room, in bed. It won't be pleasant, because I've been drinking your blood for two weeks, and I've drunk quite a lot. You'll feel dizzy. But it will pass. Three days, maybe four, a week at the most, and you'll be fine. I promise you.’
Agatha looked up at him, confused.
‘I'll leave you some food and water and pay for your room for two weeks,’ Dracula continued.
‘What…’
She still didn't fully understand. With blurred vision, she watched Dracula rise and release her, looking down at her. His expression was unreadable. Agatha looked at him wearily, helplessly. She felt as if she were drowning. Or waking up. Dracula's image faded, surrounded by a thick fog.
‘Mina is fine,’ Dracula said, either beside her or in her head. His voice was quiet, thoughtful, and it was the last thing she heard before Dracula vanished completely.
***
The bitter taste in her mouth nearly made Agatha gag. Sitting up abruptly, she coughed. Then she pushed the matted hair out of her eyes. She took several deep breaths. For a few moments, everything around her swirled and swayed. When the world calmed and ceased to resemble a stormy sea, Agatha decided to open her eyes.
She was in a simply furnished room. Simply, if not sparse. A chair, a table, a bed. The window was missing bars, Agatha thought gloomily. Otherwise, it was quite a madhouse. She tried to recall how she had ended up here, but her memory kicked like a restive horse. Agatha caught images from the edge of her consciousness, like a half-forgotten dream. A table, chess, wine, someone's voice.
Once upon a time, when her father was still her friend, when he loved her and Agatha's mother was still alive, he read Agatha bedtime stories. One of them was the story of Melusine, the river maiden, half woman, half snake. Her upper body was beautiful, while her lower body was scaly and slippery, ending in a cold snake tail.
In the fairy tale, Melusine met a handsome prince who saw her splashing in a forest lake. Since Melusine was only waist-deep in the water, the prince couldn't see her tail and assumed she was simply a beautiful maiden. He fell in love and proposed marriage. And Melusine loved him too. But since the prince wasn't the first to come to her forest or the first to see her, Melusine knew that sooner or later he would discover who she was, sooner or later he would see her snake tail. She met him late at night, at dusk, on moonless nights, at dawn, in the fog, and never left the water. But she knew that one day he would see her naked. He would see her and realize she was a monster.
She couldn't bear it.
Agatha didn't know the end of this tale. Her father read it from an old book he'd found either in the shop across the street or in the attic. Several pages had been torn out, so the tale ended with the prince proposing to Melusine. She agreed, but on the condition that she travel to the palace alone, in a closed wagon, carried in a huge barrel of water.
Agatha liked to imagine Melusine becoming a princess, her tail disappearing, transforming into graceful feminine legs, and she and the prince living happily, with many children.
Then Agatha's mother died of typhus, her father turned to drink and spent almost all of the small fortune he'd made selling tobacco and sugar, and the owner of a nearby shop proposed to Agatha.
Mina. The memories were vague and fuzzy, but the name pierced through like sunlight through thick fog. Mina was gone. She was fine.
Agatha winced and felt her neck ache. She reached out and groped a fresh scar on the left.
And then she remembered.
Agatha closed her eyes. Opening them, she looked around. As if she were taking in the room anew, the table, the chair, the window, the closet, and the large suitcase next to it. She glanced at the door.
The door was open.
***
Dracula locked the doors to his cabin and threw his cloak onto the made bunk.
Hearing movement behind him, he turned around.
‘I knew there was an illegal passenger in cabin number nine.’
‘Why illegal? I bought a ticket.’
Agatha stepped forward from the darkness.
‘Have you decided to drive the aspen stake into me after all?’
‘I decided to thank you.’
Dracula came closer.
‘I've been drinking your blood for two weeks.’
‘I didn't notice.’
‘I did my best.’
‘You know, I spent twenty years in a monastery,’ Agatha said. ‘I thought I'd never know what was written on those torn pages.’
‘Torn pages?’
Agatha shook her head.
‘Later. It doesn't matter.’
They stood facing each other, so close that Agatha could feel the warmth of his body.
‘How many people have you eaten already?’ Agatha whispered.
‘None,’ Dracula said.
Her surprise was so obvious that Dracula chuckled.
‘I've been alone too long,’ he said. ‘I forgot that people are willing to do the strangest things for the right price.’
‘You pay people for biting them?’
‘I paid two sailors in the port and a handsome young man from the passengers, that one with a lover and a young wife. There are so many people in the world now that I'm guaranteed variety.’
‘Kiss me,’ said Agatha.
When she could breathe again, she found herself standing with her back pressed against the wooden wall of the cabin.
‘Agatha, what was written on the torn pages?’ Dracula asked breathlessly.
She smiled.
‘‘I'm not afraid of you at all.’’
The photo from here.
The photo from here.
I'll catch you.
kamarás máté in elisabeth in miskolc, 1999-2001
'Good omens': for all live to Him
I'm reading posts about the third season of Good Omens, and it's a very interesting read.
Viewers are surprised, angry, and confused about what they're being shown. What is it?
It's all there in the text. You just have to read it.
Idea (complaint) number 1. Rushed pacing.
The film runs for an hour and forty minutes. During this time, the overall plot unfolds, the fabula unfolds, the mystery unfolds, and the characters' threads are brought together. This is a standard pace for a feature film. In the context of a series, it's a wonderful pace for an epilogue.
Idea (complaint) number 2. The love between Crowley and Aziraphale was a rip-off.
I won't go into all the evidence against this idea. I'll just point out one.
Every story speaks its own language. In British culture (the native one for the authors of the book on which the film is based), this artistic idiom is quite distinctive. It's very recognizable. And in pop culture, this language is also skillfully played with.
In the third season of Good Omens, the instrument of this game is the store. The store that Crowley guarded at the cost of his self-respect, arrogance, confidence, wealth, and well-being. A store that remained intact in the middle of a ruined street, barely covered in dust. At that moment, when Crowley snatches the (final?) page of the book of life, where they are written, a realized metaphor emerges, 'And they found themselves as if alone in the whole world.'
The most amazing thing is that this image plays not only with the story, but also with our expectations of it, with the viewer's impatience: when will love come?
Yes, here it is. Right in front of you. When the world shrinks to two and all the books are empty.
And it's also a very dark mockery. So, do you like it? No? But why?
Because love isn't about that. Well, it's about that too, but if it's only about that, it's not love, it's an Instagram post.
Idea (complaint) number 3. In the finale, it's not them.
Of course it is them. When people think that, they forget or don't see that in the final scene in the store, there are two points of view — Aziraphale and Crowley's, and God's.
This is very important.
For Aziraphale and Crowley, the question is, 'The world has ended. What do we do? How do we save humanity?'
Let me remind you: they are an angel and a demon, beings limited by God and their adherence to Her rules and Her will. They truly, literally cannot know Her plan or understand Her vision. All the cartoonish adventures of angels and demons in the first two seasons and their finale in the third are about this.
The moment in the store at the end is the moment of Aziraphale and Crowley's transformation into humans. 'Give people true free will, free them from the expectations of others' — this is the request, 'Give us free will.' You can't ask for what you don't know. It's no coincidence that the Garden of Eden appears in the store at the end. Because these new Adam and Eve ask for freedom, knowing all of human history before them. Now, at this moment, while they are still angels, but already asking for free will, they are literally human before the Fall.
But there's also God's point of view. She knows not only what Aziraphale and Crowley see, but the whole context. Absolutely the whole thing. She's not the naive, frightened Michael and the archangels, who have completely lost their minds on their conveyor belt of 'good.' She is God. Before Her are people who came and asked for free will. They are no longer babies who cry when they are hungry and are silent when they are full. Not teenagers who 'don't need this hypothesis.' They have grown up. Did you see how happy and proud She looks in this scene? Her children have grown up. They can live without Her. They can and want to create their own world.
She allows them to create a new world.
A world in which they live the way they want. All of them. Each of them, including Aziraphale and Crowley.
All the images, all the ideas, all the quotes — they're right before our eyes. The blank, untouched pages of books (Greek: βιβλία), the Garden of Eden, the progenitor of all books and legends, two people in the Garden of Eden, and God, who 'loved the world so much that he gave his one and only Son so that whoever believes in him may not be lost, but have eternal life'*.
And one more quote.
'...for all live to Him.'**
And the main point of the final episode, it seems to me, is that there is no greater reward than being human.
* John 3:16, New Century Version.
** Luke 20:38, New King James version.
I like this🥰🥰
It feels…loved
I had to take a few days to recover before rewatching. I LOVED it and it broke my heart and it gave me hope and it unleashed a torrent of emotions that I had to really sit with and allow for before I could rewatch. It’s hard to hold and allow for those emotions, I think because of how vulnerable it feels to love something so deeply that makes possible such grief. The same thing happened to me at the end of Our Flag Means Death. I wept for days without really being able to articulate the enormity of feeling.
So I feel a little more prepared this time, for this mourning of this ending: it’s partly for the actual content of the story (look at it, it’s gorgeous); much of it is for the exquisite grief accompanying this ending; but mostly I think it’s for the deep, overwhelming sense of love and gratitude I have that this story and these characters have been in my life. And that I get to revisit them, and keep imagining them, and watch others love them hard and keep loving them. This story and characters and fandom show me an expansiveness, an abundance, a joy that I feel so lucky to be able to take ahold of, to have in my grasp. What a brilliant, lucky thing to be able to get a glimpse of in this world. What a gift, to love deeply.
***
This ending. This incredible, stunning ending. God, who looks at them and thinks, "My sweet, beautiful children." The devil, who looks at them with incomprehension and wariness. Aziraphale and Crowley, who demand answers and a new world, not knowing, not understanding, that the world is always one. Who, from their love, conceive a new world, and continue history as an eternal song of love and freedom.
She knows they are right, but that this rightness cannot be understood. It can only be experienced. Not in ancient stories that confuse even angels (let alone humans), but here and now, in this world, in these glances, under this sun and this rain. She knows what they are asking for, even if they don't fully understand it. Let life be life.
When they ask sincerely, openly, not for themselves, the world is born.
And then everything works out.
Look, look, there's a man walking down the road with his bride.
A quote from the great storyteller, Evgeny Schwartz.
Beyond definitions. Beyond ideology. Beyond time.
Thank you for this.
My impression from Dracula 2020 BBC is another example that my opinion rarely goes along with the mainstream one
Because I LOVEEEEEE THE LAST EPISODE
But guess WHAT?! Most people on IMDb hated it.....
Like WTF is wrong with you, guys?!?!
I don't remember the last time I saw and experienced such...idk emotional involvement, such beauty of feelings, of picture, of acting
And it was actually very well paced towards the culmination!
And surprisingly it never (between those two) was dirty, not even sensual but intimate, like soulmates
don't think I can stop watching Der Letzte Tanz anymore...😎
The photo from here.
First look at The Vampire Lestat (2026)
I saw this and watched two seasons of "Interview with the vampire" in three days.
Sometimes you see the thing and you just know - this is miracle.
The photo from here.