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@bibiuksha
bro's first day on the job
I am a really really big fan of this whole filming and putting pro-shots of musicals in theater
Incredibly hot take that may get me murdered There is something inherently feminine in Fiyero's narrative in Wicked (at least in the movies) . Like Shadow the Hedgehog
Well not as much but like. There are elements there. I swear im not crazy guys please hear me out
Ooh I'm now pissed off over Raoul again whoops-
Once again, when Raoul puts up the proposition to save Christine, he is willing to let her go. To quote (from the Coward's translation):
"I will free you from his power, Christine, I swear! You’ll never give him another thought! It has to happen!"
"Could it?" She allowed herself this momentary doubt—an encouraging sign—as she dragged Raoul up to the top floor of the theatre, far, far above the traps below.
"I will hide you away in some isolated place where he’ll never find you. You will be safe. Then I shall leave, for you have sworn that you will never marry."
He's listening to her and what she chooses. He loves her and it's enough to let her go if she sees fit. What some people also don't seem to get is that Raoul and Erik are two sides of the same coin. To quote once again:
"Until he goes, I want him to be as unhappy as I am!”
"And what does that mean?" asked Raoul.
"That’s what I should be asking you. Does being in love mean being miserable?"
"Yes, Christine, if you’re in love and not sure of being loved."
"Are you speaking for Erik?"
"For Erik and me both," said Raoul, with a pensive, disconsolate shake of his head."
Just... C'mon guys. Raoul loved her completely and while immature (he's literally 21 and raised wealthy) he tried his best. He ended up being saved but it was Christine's choice to be with him.
One gifset per production of ALW’s The Phantom of the Opera
- Sydney Harbour Revival
Christine had been wanted before, of course, desired by The Phantom in much the same way that the man who had been both flesh-and-blood and ghostly-shade had wanted coins as gold as Meg’s hair or a particularly beautiful songbird in a iron cage.
That’s what I am, she remembered thinking in mute horror as he forcefully dragged her down the tunnels underneath the Opera Populaire for what she feared would be the last time, a songbird, nothing more than a trifle, something to be owned, and now, that I’ve rejected him so publicly, something to be killed.
Yes, Christine Daaé had been wanted, desired, but she never been adored in the same way her mother had been adored by her father, she had never been loved in the way she’d always been promised she would be as a child, and she was certain she never would be, because who would love her, the mistress to a monster, a chorus girl who once had not a cent to her name, a penniless state that she would returned to as a diva unwillingly slingshotted into ill fame and notoriety that would grant her to never grace the stage again, a—
“Dearest, Christine, who ever has said such things to you?”
Christine blinked, broken out of her tirade, suddenly realigned with the world around her.
She was abruptly aware again of the falling snow, the trees encircling her, and Raoul on his knees in front of her, her gloved-hands gently (he was always gentle with her) held in his own.
Raoul, who had golden-brown hair and a clean-shaven face and gray eyes that steadied Christine whenever she looked in them.
Raoul, who still limped when he walked, the bones in his leg destined to never fully heal after The Phantom had broken them in their final confrontation.
Raoul, who had chased her red scarf into the sea as a child.
Raoul, who had chosen mercy every time she’d asked it of him.
Raoul, who had taken Christine and Meg and their mother in to his house by the sea with not a second thought.
Raoul, who was looking up at her with concern, not for her wonderings — which she’d had since she’d been a child — but for the words that had pouring from her lips unbidden when he’d sunk to his knees proposing marriage.
“Most everyone,” Christine admitted to the night air annd the falling snow, almost unable to look Raoul in the eyes, “most everyone has told me such things. Except Madame Giry”—she had never been allowed to call the older woman mother, a cane snapping against the back of her knees whenever she’d tried to do so until Christine had learned simply not to try in that particular regard—“and Meg and you. You have never doubted me.”
“And I never shall.” A knight kneeling at the feet of his queen, swearing fealty and undying loyalty — undeserved loyalty.
A knight kneeling at the feet of his lady-love, unaware that she was the true beast that had struck him down, that had broke his bones and his brother’s back and his familia ties, not the dragon guarding her tower that he had slain to rescue her.
“Oh, Raoul!” Christine cried suddenly, dropping down on her knees beside him — red skirts pooling around her like blood — and throwing her arms around him with such loving ferocity that she nearly destabilized them both. “I know you shall never doubt or scorn me! I know!”
The cold air stung her skin where the tears sparkled on her cheeks like morning dew.
“I know this! Deep down to my bones, I know this! But I simply cannot marry you, Raoul! I cannot!” She took a shuttering breath, inhaling the dark, rich scent of snow and pine needles and the soap Raoul used, and buried her head in the crook of his neck, lips brushing against the collar of his wool coat when she spoke next. “I cannot. I do not deserve to. Not yet.”
Raoul murmured, holding her gently (he was always gentle with her), fingers softly pulling through her hair.
“Christine.” He said, voice soft as the snow caught in her hair or the silk ribbon bound around the slender, swan-like curve of her throat. “Christine.”
“Raoul.” A prayer offered to God (not to the angels, not anymore).
“Christine.” A prayer answered.
“I cannot accept your marriage proposal, Raoul. I wish to, but I can’t. Not yet.”
“Than I shall ask you tomorrow, and I shall ask you on all the tomorrows until you can.”
Tomorrow. More precious to her than gold or silver or pearls, more precious to her than even her voice or the memories of her father. Tomorrow. The future. Her future. Something she’d never thought she would had.
“I love you.”
There was nothing more to say.
From a perpendicular discussion @phaptomoftheopera tags
Yes!! I liked Lindsay Ellis's and Dominic Noble's summary of everything Phantom but they did our boy so dirty by stereotyping him as the jerk who calls Christine a disgraced slut and a commoner opera-wench in every scene they're in together.
Exhibit A: he doesn't call her a slut, and in even implying it he knows it's wrong and he judges himself as stupid
Exhibit B: He apologizes and respects her boundaries. I feel like even my favorite media review bloggers keep on missing this part. Raoul didn't even have to kidnap Christine and tie her up to get this epiphany for himself. She just had to look tired at him. Get you a partner who backpedals when you look sad and tired at him.
Exhibit C: how many estates does this guy even have? he's offering one up for like a 19th-century witness protection program, and when Raoul says that he'll finally (finally!) accept the friendzoning — which he should have done sooner, but better late than never ain't that right Erik? — then i actually believe the insolent boy
Again, people really want to ignore the fact Raoul's storyline and character development mirrors Erik's. Erik wins in the Sympathetic Origin Story Wars, of course, but that disparity in upbringing informs both characters' behaviors. Raoul has to work hard to unlearn the entitlement he was raised in, and Erik feels like the world owes him after all the misery he's suffered. Both eventually overcome these flaws, driven by their love of Christine.
Raoul haters, you're missing the whole point! He and Erik aren't so much enemies as they are Prince and the Pauper or Jekyll and Hyde! Two sides of the same coin! You can embrace the anxious little golden retriever vicomte and sinister sewer goblin with both arms!
first off- "Raoul didn't even have to kidnap Christine and tie her up to get this epiphany for himself." killed me
and secondly, yes yes my little narrative devices erik and raoul, I love thinking about how similar they are, in a "when I look at you I see everything I could be if my situation was different. I would act just like you given the circumstances. and I hate that" way
also thinking about how much of the story is driven by erik and raoul being deeply jealous people, and the different ways they express their jealousies
i realize now that i also did not really respond to ur original point saint-starflicker about people misrepresenting raoul when they summarize the book, which yes always gets on my nerves bc they’re never even listing the stuff he actually does that’s annoying. he is not a slut shaming play boy who is harassing christine he is a sensitive young man who would probably say “where’s my hug at” and christine has a deep emotional connection with him
what it's like every time I open procreate
i love lnd raoul beautiful man with a disorder
Greg Hildebrandt
this is actually perfect
REBLOGING AGAIN BECAUSE I JUST NOTICED THE FUCKING RING ON HIS SKELETON HAND IN THE LAST PICTURE WOW I AM DONE GOODBYE
this is so fucking unserious 😭
the size difference and choking though…ok
the father-son dynamic between anthony and sweeney is my favorite dynamic from the entire musical but i barely see content of them 💔💔💔 gotta do this shit myself
doodle dump
Past the point of no return…
More art by the lovely @/ mameomal ! Kanisha Marie Felicano and Rhys Whitfield used as references.
From a perpendicular discussion @phaptomoftheopera tags
Yes!! I liked Lindsay Ellis's and Dominic Noble's summary of everything Phantom but they did our boy so dirty by stereotyping him as the jerk who calls Christine a disgraced slut and a commoner opera-wench in every scene they're in together.
Exhibit A: he doesn't call her a slut, and in even implying it he knows it's wrong and he judges himself as stupid
Exhibit B: He apologizes and respects her boundaries. I feel like even my favorite media review bloggers keep on missing this part. Raoul didn't even have to kidnap Christine and tie her up to get this epiphany for himself. She just had to look tired at him. Get you a partner who backpedals when you look sad and tired at him.
Exhibit C: how many estates does this guy even have? he's offering one up for like a 19th-century witness protection program, and when Raoul says that he'll finally (finally!) accept the friendzoning — which he should have done sooner, but better late than never ain't that right Erik? — then i actually believe the insolent boy
poor little meow meow raoul gifset | lnd hamburg finale
the father-son dynamic between anthony and sweeney is my favorite dynamic from the entire musical but i barely see content of them 💔💔💔 gotta do this shit myself