#I also was a HUGE phantom of the opera fan so I know Think Of Me and fuck that other song where she sings at her dads grave ya know
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Smut/Romantic Headcanons: Robert Renfield
a/n: ok so i saw this movie recently and i have brain rot so enjoy a collection of my thoughts. this is the first time i've done something like this so be nice
warnings: bottom renfield, smutty (shut up i had to)
if you two have a big fight, he will bring you your favorite flowers and a hand-written note, saying how much he loves u
uses a ton of pet names... but like... not normal ones
"my intended" "moll" LIKE he means well but like... girl...
also a BIG fan of cuddles
he is a touchy boy and wants a hug
would try a learn a language for you (maybe french or german? idk just vibes)
the KING of big romance moments
like this man will cook dinner AND run a bath for you if you had a stressful week
the farmer's market is the most common location for dates
ok idk this one is a semi-romance one but he HATES horror movies (but loves them cuz he gets to cuddle with you if he or you get scared)
he would meet and greet all of your stuffed animals (if you have them) and then refer to them by name when talking to/about them
HE'S SUCH A GOOD KISSERRRRR
like he is always kissing you and hugging you
WRAPS HIS ARMS AROUND YOUR WAIST. I'M TELLING YOUUUUUUU
he would def run thru an airport just to get you your passport or a snack
he is always doting on you (esp when you are sick)
enjoys seeing broadway shows with you
loves when you laugh at his stupid jokes (he is a vadition SLUT)
ok this is stupid but i believe renfield is taylor swift fan (not a swiftie, just casual fan)
his fav is either lover or red (taylor's version)
the king of talking out your feelings
you're upset? why? what can he do to make you feel better?
he wants to know it ALL
smut warning if you dont wanna read
okay straight off the bat, HUGE dick
like 9 inches type of beat
and omg is he gentle!!!!!!!!!!!!!!!!!
"i want to go slow... i want it to be special"
AAAAAAAAAAAAUUUUUUUUUUUUUUGHHHHHHHH renfield def whimpers
and cries after sex
you are just so pretty and hot and sexy that he can't help it
one word. edging.
edging is the only thing that he does to get his share of the power
and sometimes... he abuses it til you are a whiny, moaning mess
his fav position is CEO (aka he is BEGGING to be topped)
but fr his fav position is one where he can see your face
he literally can't come without looking at you or a picture of you looking at the camera
if you say something while looking into his eyes, he’s coming immediately
literally you could say “did you get peanut butter at the store today?” and he would creampie
there is so much he's into but he's scared to bring it up at first cuz he doesn't want you to break up or think he's weird
will wanna play music
but then you find out that it's just the phantom of the opera soundtrack
but like... he makes it so romantic?
this big ass organ playing in the background as renfield is fucking sideways
two words. HOLIDAY SEX.
this man wanna make christmas, easter, and your birthday the most fuckable days ever
"you want me to do what?" (renfield anytime you explain something you wanna try)
okay this is JUST based on vibes but i think renfield would be into roleplay (no, i will not elaborate)
#renfield 2023#renfield movie#renfield#nicholas hoult#renfield spoilers#the great hulu#nicholas hoult x reader
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Favorite Movie Costumes (pt. 1)
Recently got the line-up-your-toys urge to list and discuss my favorite tv and movie costumes-- my favorites are many and tumblr's image limit is low, so I'm not sure how many posts this'll eventually spread to, but here's the first crop.
The Queen's red gown - The Brother's Grimm
I don't think anyone on earth wanted to love this movie more than I did when it came out-- sadly, the film itself was generally a letdown. However, its costumes absolutely delivered, which should come as no surprise since they were designed by Gabriella Pescucci. The costumes for Monica Belluci's queen are my favorites of all, but this piece, the one she wears for most of the movie, may be my favorite costume of all time.
The costume has several iterations; it's paired most prominently with her enormous horned headdress (my fave), but she also wears it with a more delicate tiara.
Marianne de Morangias' red riding habit - Brotherhood of the Wolf
Although Brotherhood of the Wolf is far from a good movie, I have a terrible soft spot for it, which is mostly due to its wonderful costumes, including a crowd of hunting costumes throughout, none more gorgeous than the one Marianne's debuts during the film's first hunt.
I probably owe my love of riding habits to American Girl's Felicity and her swoon-worthy green velvet habit-- they are sadly underused in movies (meanwhile Marianne not only wears this red habit, but also shows off an equally beautiful green one later.)
Christine Daae's masquerade dress - The Phantom of the Opera
Fun fact, I watched this movie as a teenager (after falling in with the inescapable junior high theater nerd crowd, who tried unsuccessfully to use this as a gateway drug to getting me hooked on musicals), then forgot about the vast majority of the costumes, and stumbled upon it again years later without realizing it was from a movie and completely fell in love with it.
I'm very fond of the early 1870s silhouette in general, long trains in particular, and the back of this one is what really sold me. The frothy layers of chiffon?? the flowers?? the graceful tiered bustle?? Obsessed. (Another fun fact, this is one of the references I always bring up when discussing potential wedding dresses.)
Imogen Spurnrose's red ensemble - Carnival Row
I know, another red velvet number ¯\_(ツ)_/¯ Imogen's wardrobe is full of lovely quasi-Victorian pieces, but this one had me GASPING when it came on screen. These pictures do not do the color or vibrancy of that jacket justice!
Geilis Duncan's white ballgown - Outlander
I'm usually not a fan of stripped down historical styles, especially ones this anachronistic, but something about the minimalist design of this dress just charmed me.
It reminds of in some way of artistic undress in 17th century portraits, and the lightness of the colors and material has this clean, airy, almost White Lady quality to it, and the simplicity and limited accessorizing really brings out the period silhouette. (Also I adore lover's eyes).
Vanessa Ives' lace blouse - Penny Dreadful
Vanessa has a gorgeous wardrobe (Gabriella Pescucci hitting it out of the park again) containing a number of delicate black and white blouses, but this one is my favorite.
The design is not that complex, but the wealth of tiny details, especially the petal shaped blackworked collar and cuffs, give it a huge visual punch; paired with the decorative belt and beautiful black skirt it's a very unique look that shows off some of the most beautiful elements of the period (last photo courtesy @periodcostumefantasylover)
Lorna's church dress - Lorna Doone
YES another red number. And what a red!! This miniseries is so obscure I had to do my own (butt ugly) screencaps off Youtube, but despite being a fairly modest production, they do some nice 17th century looks in it.
This dress is glimpsed for a moment as Lorna catches sight of her separated lover through the crowd-- very dramatic, but unfortunately it means getting a good look at the beautiful dress is hard, but I did my best: here's the actual scene, if you want a better look (and I'd recommend the series, too!)
Virginia Wilson's Worth dress - 1899
Big shock, the replica House of Worth dress made it in *Oprah shrug* I've adored the original dress for years, so I went nuts seeing it on the show! On top of just top tier everything, the costuming on 1899 was great, and the fact that they decided to throw this dress in was just the cherry on top.
There are some minimal differences between this dress and its inspiration, most notably the change in pattern-- Virginia's dress not only incorporates the alchemical logo like all the rest of the characters, but the rounded edges in the original are all made jagged to match it, as you can really see in the last photo.
---- on to part 2!
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Barbatos 🌂
Okay so forgive me because all I could think of when I saw this was how much Barbatos probably enjoys the musical Singin' in the Rain. I feel like he secretly (not so secretly?) is a huge broadway/live theater fan. He certainly has memorized the main dance number.
So I'm using this as an excuse to do an entirely indulgent Bros + Extras HC post:
What is their favorite musical?
Lucifer: Les Misérables. Happy endings where? He appreciates the nuanced plot and relates to all the bullshit the leads have to deal with. He gets teary at the end but will never let a soul see. Except perhaps you. Perhaps.
Mammon: Newsies. A bunch of scrappy up start business boys coming together to demand some extra coin for their hard work? What’s not to like? I mean, if you asked him he’d deny enjoying musicals at all, but we’ve all heard him singing the lyrics under his breath.
Leviathan: Six. History but turned into an idol concert? His dream. For a period he got way into learning everything there was to know about Henry VIII’s six wives and he and Satan were insufferable, spouting facts to anyone who would listen.
Satan: Phantom of the Opera. A classic, and for a reason. He admires the impact it had on contemporary theater and he claims to relate to the Phantom…but you know better. Once he admitted to you that his real favorite was Wicked, and you suspect he sees himself in Elphaba more than he may be ready to admit.
Asmodeus: Chicago, of course. Razzle Dazzle? When You’re Good to Mama? CELL BLOCK TANGO? This is the most Asmo-coded musical to ever grace the stage. You know he’s just WAITING for the excuse to force his brothers to dress up and perform with him. He'd be satisfied if you'd settle for a private performance as well.
Beelzebub: Beel has a hard time with live theater, because it’s a long time to sit without any concessions to get him through. Watching a performance on TV or as a movie though he’s happy with. His personal favorite is Peter Pan. He likes the Lost Boys the best, a group of brothers all happy together (and Wendy too of course). Also, he knows it doesn't count...but that food scene in Hook? Nice.
Belphegor: Heathers. What can he say, he likes the bitchiness. Also he always thought J.D kinda had a point. He likes to imagine that he and Veronica blow up the school and run away together to live happily ever after in a sort of a twisted Bonnie and Clyde way. Anyway, how about those uniforms? Any chance of you wearing one of those sometime ha ha…?
Diavolo: The Lion King. Oh man oh man Diavolo loves The Lion King. Does he frequently tease Barbatos (and sometimes Lucifer) about being his Zazu? Absolutely. Was Nala his first not-so-secret crush? Oh yes. Does he wish he had a dad like Mufasa? …Well, let’s not worry about that. Diavolo loves every minute of the play, but he openly weeps at the end when Simba takes his place as king.
Barbatos: Singin’ in the Rain. The classic aesthetic, themes of struggling with adjustment in a changing world, a triumphant ending...it's a bit of an escapism pleasure for Barbatos. Not to mention, he's happy for any excuse to dress up and go out on the town with you on his arm.
Solomon: Moulin Rouge. Solomon is a romantic at heart, but he’s a romantic who knows that all too often, romances are tragedies wearing a mask. He enjoys indulging in the sweetness of the love story, the hopeful crescendo, before the fall into the reality of loss. He finds it depressing in a comforting way, like an old friend waving hello from across the street. As time with you goes on however, he finds it’s becoming harder to watch through to the end…Perhaps Beauty and the Beast is more to his new tastes?
Simeon: Waitress. Simeon, like Lucifer and Solomon, enjoys the bittersweetness. He likes that it doesn’t shy away from the messiness of human connection. As an angel, it’s fascinating, like a fruit he can never know the flavor of. However, unlike the other men, Simeon likes a happy ending, and the ending of Waitress makes him choke up for different reasons. If Luke asks, however, his favorite is Matilda.
Luke: Annie. Little kids being rascals and naughty with the sweetness of a tender adoption story? It makes him feel warm and fuzzy (and mischievous) every time. Knows all the words to every song though he won’t admit it in front of Mammon.
#I SPENT WAY TOO LONG ON THIS#obey me#obey me hcs#blithe hcs#obey me solomon#obey me leviathan#obey me satan#obey me beelzebub#obey me lucifer#obey me mammon#obey me asmodeus#obey me barbatos#obey me simeon#obey me diavolo
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Eclipse writes a … book review?
Yes, that’s right! I decided to review a Phantom-based book I read earlier this year.
Basic summary of the book: A modern paranormal romance reimagining/sequel to Phantom of the Opera. In this novel, Christine Gray is sent on a ghost hunting investigation to the Paris Opera House.
You can either read my review below here on Tumblr or on Goodreads. This review contains spoilers. The first part is generally spoiler free, however.
Review:
Rating: 3.25
Oh man, this book was such a mixed bag! I really enjoyed the first half, but then it started to lose me in the second half.
What I liked:
— The main characters were good. I found the FMC enjoyable. While Erik’s characterization feels more based on the Susan Kay version of the character than on the original Leroux version, that didn’t bother me. I liked his characterization in the first half, but not so much in the second half (I’ll get to that).
— The writing is good! It’s not particularly flashy or flowery or anything, but the writing style is solid and engaging.
— Good side character in the form of Balt. He wasn’t super deep or anything, but he was fun. I’d like to read more about him.
Stuff that didn’t work for me:
— Erik being written as very proficient in sex. I could buy him /maybe/ having slept with one or two other people, or having a lot of knowledge from books, but him being so experienced and excellent at it didn’t really make sense for his character and background. But, eh, it’s not really too surprising for this sort of book.
— There’s a dub-con scene I wasn’t a fan of. I don’t usually like dub-con (though it can occasionally work) even in villain romances, but I know other villain fans feel differently, so your mileage may vary.
Stuff I didn’t like:
— Like I said, I got annoyed with Erik’s characterization around the halfway point and particularly at the end. It was frustrating to see him repeating the same mistakes he made in the original novel. Now, he’s a very damaged character, so I wouldn’t expect him to make entirely healthy or rational decisions. But a /huge/ point in the original novel is that at the end he learns to be selfless and lets Christine go.
While Forgotten Phantom is sort of a reimagining of the original book, it’s also a sequel. So it’s frustrating from a characterization perspective to see him make the same mistakes in general and then doing the whole torture chamber and ultimatum bit again. There’s no real growth.
— The other thing is that I wished the author had explained the reason for events and names repeating. It was clearly stated that it’s not a reincarnation thing, so what’s actually going on? There’s never any explanation. I don’t expect everything to necessarily be explained, but it’s such a big point that’s brought up throughout the story that I feel there should have been a bit more of an explanation.
Overall, I do think this is worth reading, but with my caveats stated above.
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What songs would the Ducks audition with? And are they any good?
Ok so we're keeping this to the Eden Hall Ducks cause I see it being in high school. Although Jesse would be at every performance mostly to laugh but also to support.
Charlie: I can totally see Charlie singing something from Disney because he isn't a musical fan. He would sing Go The Distance from Hercules. I feel like he would be one of the better singers. He isn't perfect but he is perfect for the lead with some practice.
Adam: Adam did not want to audition. However, Julie and Connie force him on stage. At first he is super squeaky and flat but they let him try again. On his second try he is much better. I feel like he would play like the side kick or nurse. If I can put on my shipper glasses I can totally see Charlie flirting and trying to make him blush during rehearsal because he thinks it's hilarious. He has better chemistry with Adam than with the leading lady lol.
Connie: Connie is a perfectionist and has a beautiful soprano voice. She auditions with think of me from Phantom of the Opera. She actually brings the director to tears. She scores the leading lady. Her and Charlie are a couple in the play. I can see her and Charlie taking it seriously and not seriously at the same time. Like Connie makes fun of his kissing skills and Charlie quips that the person he's with (Adam) likes it.
Julie: Julie doesn't audition because she can't sing. She knows she's tone deaf. However she does get on the crew. She loves to create the sets and she is very particular about how the cast use the props. She threatened to break Averman's leg before the opening night if he didn't stop trying to use his prop as a toy. Julie was asked to be stage manager as well but she passed saying it was too stressful.
Kenny: Kenny did audition. He sang Grow for Me from little shop of horror. He was chosen as Adam's understudy. He was however given the title of stage manager. He takes his roll very seriously and isn't afraid to implore the Bash Brothers to keep everyone in order. He also knows all the parts and because of him things go well.
Russ: Russ is a fantastic baritone. He auditions with Home from the Wiz. He gets the comedic relief character with Averman. They steal the show cause they are constantly bantering. The director really lets them go off script if it will make it funny. He ends up really liking musicals and continues to audition through high school.
Averman: Averman is a really good tenor. I could see him audition with a few different songs. You Won't Succeed on Broadway from Spamalot or My Girlfriend Who Live in Canada from Avenue Q. He focus on making the director laugh and he nails it. As said he plays opposite Russ.
Fulton & Portman: They audition together. I can see them singing The Internet is for Porn from Avenue Q just to be chaotic. They don't get a part, but the director does allow them to be in the crew. They are very strong and are great at moving scenes quickly. They love it and consider themselves ninjas of the crew.
Guy: Guy sings Proud of your Boy from Aladdin. He actually is chosen to play the main villain or the villains enforcer. He actually has a blast acting evil. He is so nice that he just loves playing evil. So much so that the other Ducks are concerned. However, he turns it on and off crazy quick. Like one minute he is cackling evilly and the next he saying "Oh thanks babe" with a huge smile when Connie compliments him. It is hilarious.
Dwayne: Dwayne auditions with You Got a Friend in Me from Toy Story. Despite his sweet demeaner he is chosen as the villian or villain enforcer. Him and Guy are kinda like Prince John and the Sheriff of Nottingham from Robin Hood. Just a beautiful dastardly duo. He is very good at playing bad but not to the point of Guy.
Goldberg: Goldberg auditions however only to act not to sing. He like Julie can't really sing. However, he is a really good actor. He doesn't get a huge part but he is just happy to be involved. He plays like three different chorus roles. A total of maybe ten lines but he sells those lines!
Luis: Luis tries out for the lead. I could see him singing One Song Glory from Rent. He is a bit pitchy but he is very emotional. He is so good at emotion he actually gets a main supporting role. Something like a parent role. Also if he is Connie's parent he likes to joke with her and give her the "father" voice.
For some reason I picture them in like Romeo and Juliet but like a musical version. So like West Side Story or if we want to go more fun I can see it being Beauty and the Beast. Thank you for the ask!
#tmd#charlie conway#adam banks#anon answered#guy germaine#luis mendoza#kenny wu#julie gaffney#greg goldberg#lester averman#dwayne robertson#russ tyler#fulton reed#dean portman#Connie Moreau#I love my hockey idiots#mighty ducks asks
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What Makes a Story Satisfying?
This is of course only my own point of view, but it’s an idea that came to me recently. Like: why are some stories so satisfying that we love to read, hear or watch them over and over, and others aren’t?
A good, if not perfect way to make a story satisfying is a plot twist. In order to work, it must fulfil these prerequisites:
happen towards the end of the story
be wholly surprising, even better if “magical” (supernatural)
be connected with love / affection
lead to happiness / fulfilment
Good examples
In Beauty and the Beast, the magical moment takes place because Belle is wholly unaware of the nature of the spell that is being lifted. She is stunned and in awe when everything changes, and so are we.
In Snow White, the dwarfs and the prince do not know that the heroine is not dead but under a spell. Much of the happiness of the finale comes from the fact that her reawakening is a total, wondrous surprise for everybody involved.
In Cinderella, nobody was expecting that the heroine would have the second glass slipper at hand which would identify her as the right girl.
In The Little Mermaid, we do not expect that Ariel’s father will relent at last, much less that he has the power to give her a human form.
In Moon Knight, in Episode 4 Marc finds his alter ego Steven, and despite their earlier bickering they form a strong bond and, in the last two episodes, resolve Marc’s internal trauma together.
In the first classic Star Wars film, Han Solo comes back at the last moment to save his friend Luke. In The Empire Strikes Back, Leia can feel where Luke is so that they can rescue him. In Return of the Jedi, Darth Vader unexpectedly chooses to save his son in the end at the cost of his own life.
In The Last Jedi, Kylo / Ben kills Snoke in the throne room scene instead of Rey. This leads to a dramatic scene in which both young people fight the Imperial Guards together, effectively showing that together, Light Side and Dark Side are invincible.
The first season of The Mandalorian ends with the redemption of Greef Karga, the shady leader of the bounty hunter’s guild, after the mysterious child has healed his deadly wound with the aid of the Force.
The Book of Boba Fett ends with Mando’s unexpected rescue through Grogu, who stops the rancor’s aggression by influencing his mind through the Force.
I am also a huge fan of Star Trek: Deep Space Nine, among other things because its episodes kept surprising the viewer with unexpected, often sudden plot turns. Other Star Trek shows are much more predictable, which is why I usually can’t enjoy them.
The Netflix show Sex Education has some surprising developments and some satisfying ones, but I can’t think of a single one that is both.
The novel (and musical) The Phantom of the Opera ends with the bad guy / protagonist unexpectedly having compassion with the heroine and letting her go after she showed compassion to him in the first place, something he had never known before.
Bad examples
The awakening of Sleeping Beauty is not a surprise for the characters, again leaving the story without the surprise effect.
One of the reasons why I am not a big fan of the Star Wars prequel trilogy is its lack of surprises.
In The Phantom Menace we learn that the handmaiden Padmé is in truth the Queen Amidala of Naboo, but this is not a supernatural turn of events. Qui Gon is killed by Maul, without an explanation except for what we can make of it: young Anakin will be trained by the less experienced and mature Obi-Wan. This is never said anywhere however.
Attack of the Clones and Revenge of the Sith (although I find the latter a small masterpiece) also do not offer real surprises. As fans of the saga, we knew what would happen - Anakin would sire children, then turn to the Dark Side and Palpatine would take over the power over the galaxy.
Rogue One also does not offer any development or plot turn which we would not have already known or expected, and the end is depressing.
In The Clone Wars, the only unexpected development is Ahsoka leaving the Jedi temple; which is only sad and further emphasizes the moral decline of the Jedi Order.
In Ahsoka, Sabine does manage to master the Force in the end, but it leads to an open end.
Ben Solo’s ultimate redemption in The Rise of Skywalker, the only positive aspect to this atrocious movie, is not a plot twist. It happens step by step, not suddenly, and all except but the most dense of viewers already knew or highly suspected that it would happen.
In the tv show Obi-Wan Kenobi, we have Reva’s final decision to not hurt Luke after all: but since this comes out of nowhere, it falls flat.
The Mandalorian season 2 leaves a bitter aftertaste: Luke coming to Mando’s and his friend’s rescue is cool to look at, but it leads to the worst end possible - he separates Mando from Grogu, when the show made it clear from the very first episodes that these two belong together.
And now we come to the really boring part.
The Star Wars sequels, Loki, The Bad Batch, Ahsoka… all these stories offer no twist and no resolution. They introduce characters which we get attached to, and then don’t seem to know how to finish their arc.
Which leads me, in turn, to interpret why most of the latest Disney Star Wars stories suck.
They lead to no end.
There may be some surprise here and there, but it doesn’t have that twist that leaves you with that “Wow” feeling. The heroes are not saved by magic and love and they don’t find fulfilment. All these stories want is for us to continue watching, hoping that some further development will finally give the characters we have grown to love closure.
The problem is that - we don’t live forever, dear Disney studios. Neither do you.
#storytelling#sw#star wars#disney#lucasfilm#skywalker saga#the mandalorian#loki#the bad batch#ahsoka tano#grogu#beauty and the beast#snow white#cinderella#sleeping beauty#obi-wan kenobi#rogue one#the little mermaid#the book of boba fett#moon knight#star trek#the clone wars#the phantom of the opera#netflix#sex education
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I was watching the Phantom of the Opera movie and when the masquerade scene came on I showed it to my mom because I love the scene and I was like "Oh look there's a guy dressed as a bat" and when she saw him she said "He looks more like he's dressed as Batman" and at that moment I had a huge revelation
Maybe you know, maybe you don't, but the director of Batman Forever is also the director Phantom of the Opera and he was a big fan of Batman so remembering that made it all make sense.
There is a possibility that there are references to Batman Forever (and the bat franchise in general) in the scene and as far as I am concerned I am going to marry the idea that this is the case.
Let's start with those 2 photos, a guy with a two-faced mask dancing and being the center of attention while the bat is behind him watching him. Do you see what I see? Schumaher said Twobats canon in the phantom of the opera
Here's a better view of the bat, his companion is a blonde girl (maybe Chase?) And I can't help to think about the fact that next to him there's a clown
There's also this character in the background that I think is dressed as a cat and it makes me think of Selina, but I'm not too sure about this one.
I just love the idea of thinking of this as some kind of reference or easter egg because if I already love this scene it all made me love it more.
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i'm super basic and only know a few musicals so these have probably been suggested but! but for the broadway au i could see percy playing an absolutely spectacular erik in phantom of the opera with keyleth as christine and vax as raoul, and vex and percy as elphaba and fiyero in wicked. (my first pick for glinda was allura but i can't unhear indira varma as allura so in that case she'd probably be a low mezzo or an alto; i can't think of anyone else in VM who'd be an immediate standout for glinda but i think jester would be so funny in it). scanlan and pike would be perfect as harold hill and marion paroo in the music man
okay yes yes yes to all of this
I am such a huge fan of Percy and Keyleth getting to play opposite each other and same with Pike and Scanlan because they have such good chemistry. But also imagine the dynamic of Vex and Scanlan playing off each other? Maybe as Quasimodo and Esmeralda in Hunchback. But honestly all of VM play so well off of each otherrr
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i promise this will be my last post of today, but i feel like nobody here has any idea who i am apart from a select few details and some 2-3 year old tiktoks😭 so here u have it; an introduction to the queen herself.
my name is sarah, and i’m 18. i live in northern ireland, which is sadly part of the uk! sexuality and gender have always been weird topics for me, but because i was born as and am fairly comfortable living as a girl, i just go with that lol. i used to be comfortable using the label queer, but then i heard all of the slur discourse and it made me uncomfy. ergo, best way to describe my sexuality is probably bi (hence the pfp)
i’m going to be heading to uni soon to study psychology!!
my two major passions in life are music and books. i don’t think i could live without either. i absolutely adore the phantom of the opera, which may be evident from the few (fairly popular!!) posts i’ve made about it before lol. i am also, bizarrely, a HUGE fan of ‘the strange case of dr jekyll and mr hyde’ (feels weird to use its government name LOL) the musical is SO good i am acc obsessed w it HAHAHAAH
in further regards to music, some of my favourite artists include (but are not limited to); my chemical romance, chase atlantic, set it off, and adam lambert. i have been to see queen, and i’m seeing set it off pretty soon too!! overall, concerts i’ve been to are; queen, hella mega (which was green day, fall out boy, and WEEZER HELL YEAH), and the 1975. i also have (as mentioned) set it off in a few weeks and the killers in several months!! i also saw twenty one pilots but that was in 2019 lol. this is probably unnecessary but i just thought y’all would maybe be interested to get to know other sides of me better :) (i can also play 3 instruments💯)
OH and two of my a-levels are spanish and french so if anyone else is a linguist here feel free to chat w me i love that shit lol
#shadowhunters#lgbtq#the shadowhunter chronicles#queer#the last hours#chain of gold#thomastair#alastair carstairs#thomas lightwood#chain of iron#chain of thorns#christopher lightwood#grace blackthorn#cordelia herondale#cordelia carstairs#james herondale#lucie herondale#jesse blackthorn#matthew fairchild
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So, I have been in a bit of a writing dry spell recently and I am trying to find a way to kickstart things. For those of you who don't know, I am a HUGE fan of musicals! It is honestly a bit of an obsession 😅 So, I want to try something! (I haven't forgotten all of my current WIPs, requests, or series. I am hoping this restarts some of my creative juices to go back to them!)
Challenge: Send me a character or characters below the break (they have to be in the same fandom/world) along with a song from one of the musicals listed below, and I will write a drabble or fic (loosely) based on the song. Unless specified, I will make it a reader-insert.
Feel free to send me as many requests as you like and I will try to do my best to fulfill them. Also, feel free to ask about other musicals or other songs. These are just the ones I felt could really work with some of these characters but there are a ton of great ones I didn't include here!
Note: feel free to request a song from a musical not listed below. These are just the ones I thought had multiple songs that would work well for drabbles/fics. Due to this, some of my favorite musicals were left off this list, so please request away! I will at least consider any song. Feel free to reach out and ask first if you would like! 🥰
Characters: (one or more from a category)
Top Gun: Hangman, Rooster, Bob, Phoenix, Fanboy, Dagger Squad (as a whole), Maverick, Iceman (what the heck!)
Marvel: Bucky Barnes, Matt Murdock, Frank Castle, Steve Rogers, The Avengers (as a whole), Peter Parker (The Amazing Spider-Man or MCU Spider-Man)
DC: Batman (general or Battinson), Jason Todd, Dick Grayson, The Batfam (as a whole)
Rick Flag, Harley Quinn, Captain Boomerang, The Suicide Squad (as a whole), Peacemaker, Vigilante
Star Wars: Poe Dameron, Kylo Ren (Ben Solo), Din Djarin
Misc: Takeshi Kovacs, Stephen Holder, Ed Baldwin, Rhett Abbott, Miles Miller, Harrison Knott
Musicals: (unless specified, the Broadway versions not movie versions)
Anastasia, Be More Chill, Catch Me If You Can, Chicago (movie), Hadestown*, Hamilton, Heathers, Into the Woods, The Greatest Showman (movie), The Lightning Thief, The Phantom of the Opera (movie), Wicked
*No Batman-related characters for Hadestown. I have a full fic in the works for that 😊
Wild Card Song Picks: (not traditional musicals but still great songs)
Songs from season 2 of the NBC show Smash (still obsessed after all these years)
Songs from the ABC show Galavant (an extremely underrated show)
Feel free to include a song from a Disney movie/musical and I might give it a shot. Some I am definitely open to off the top of my head are:
Proud of Your Boy (Aladdin Musical), Evermore (Beauty and the Beast live-action), Go the Distance (Hercules), I Won't Say I'm in Love (Hercules), Part of Your World (Reprise) (The Little Mermaid), How Far I'll Go (Moana), or anything else you can think of!*
*I know I am a bad Disney fan, but I still haven't seen Encanto 😬 so please no songs from that
#vee's musical fic event#musical#top gun#marvel#dc#star wars#batman#batfam#jason todd#dick grayson#rick flag#vigilante#peacemaker#bucky barnes#spider-man#matt murdock#frank castle#takeshi kovacs#stephen holder#ed baldwin#rhett abbott#miles miller#harrison knott#harley quinn#the suicide squad#the avengers#rooster#hangman#bob#galavant
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secret rocker santa's here again!! i really liked 'what a fool believes' thank you :)
could you tell me more about your tumblr name? what's the meaning of mydaroga?
Ah I'm glad! It's so catchy, and I love what they call the "Doobie bounce"!
Haha, my user name. Okay, I come from the days of fandom where you picked one name and stuck with it. So a sideblog for this interet didn't occur to me. This is a name I had back on livejournal, and AO3, and DW, and here obviously. I needed a username quick (someone had discovered my old one who I didn't want to) and I was and am a huge fan of The Phantom of the Opera--not so much a specific version at this point, but the whole thing. My favorite character is a guy who is simply called "the daroga," and given no other name. He knows the Phantom's secrets and yet holds tremendous compassion and empathy, and refuses to destroy him when he could, but also refuses to let him get away with murder.
Anyway, I think "Daroga" was taken, and I thought it was funny to say "my daroga" like "My Sharona," and thus it is basically a joke a picked with very little thought like fifteen years ago!
So what brought you to classic rocker fandom?
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Any random hot takes on EA and her musical? Literally anything you got about any aspect. I’ve become fascinated by the ins, outs and history of the industry thanks to YouTube and even though the Asylum story does nothing for me I’ve found the weird journey she’s taken to getting it made interesting to watch.
Oh I have all the hot takes on EA's musical. I've been a casual fan of EA since she played in Courtney Love's solo band and became a hard core fan right when Opheliac was re-released (2009). I mention that just so you know I know all the history when it comes to the Asylum and the musical.
I got into theatre my freshman year of high school. I started doing community theatre my junior year of high school. After I graduated from high school I kind of stopped but my sister got real into theatre and spent well over a decade as a professional actress. Like she still has her equity card. Covid was what brought things to a stop for her. I mention this because while she was never on Broadway, I know the industry. She did regional threatre, she worked on a cruise ship in Europe for two years. She has friends who are on Broadway and who have done national tours. She was in the pre-broadway engagements of "A Tale of Two Cities" and "Bonnie & Clyde."
My honest opinion, Emilie's musical will never be on Broadway or off Broadway. It's not the kind of story people come to see, the music is of a style of the Broadway of yesterday and it's a niche market. As far as I've seen she doesn't have it finished or keep making changes after changes. You need a majorly finished project to pitch to producers. She's not Andrew Lloyd Webber. Only he's special enough to earn the right to shut down his own show after lack luster reviews to make major revisions.
Emilie is also too big of a control freak for anything to happen. Some of her best work is when she has additional producers or a manager or somebody to watch her and keep her on track and hold her responsible. I remember when there was talk of the Aslym was going to be a movie musical done by the guys who did "Devil's Carnival." I had real faith in that. They also did "Repo!" and it was a huge cult hit (with Andrew Lloyd Webber's ex wife Sarah Brightman in it!). I don't know how Emilie burned her bridge with them but all of sudden she went from talking about the Asylum movie musical to no it must be on Broadway.
I remember reading that and laughing. She has like zero connections to Broadway or the musical theatre industry. She's been in NYC like 5 years now and the closest thing I saw to her make a connection was when she had a friend who was a dresser at "The Phantom of the Opera." And that wasn't even the right connection for her. She's writing a musical, she needs to connect with other writers, directors, theatre managers, you know people who can connect you to people who might be interested in putting on your work. A dresser is a good connection if you're into costumes.
Emilie doesn't have the slightest clue about how the musical theatre industry works. She just thought she could come in and tell everybody she's amazing and they'd believe her hype. She was supposed to do that workshop with IAMT and for a hot minute I thought something might happen. Then it didn't and they even removed the post from their instagram. Like IAMT is a pay to play training academy and she burned her bridge with them?!?! Or so I'm assuming. Again I think it's a control thing. Like it has to be completely her way or nothing. Which is why I believe the musical will never happen.
I don't have the link for it anymore but I remember when she announced the Asylum book was going to be be legit published. For a few days she had a link on a post to a literary agent. As a writer myself, with a 60% edited finished novel, I'm always curious about agents. So I looked up that agent. She specialized in fantasy and sci fi and historical YA. Not too long after that Emilie announced decided she was bringing the Asylum to everyone through self publishing on Amazon. I couldn't help but laugh. I was like I bet that agent and an editor wanted changes made.
I feel a bit bad for Emilie right now I must admit. I too am bipolar and I know some of her issues still stem from that. She had this great passion and idea and put all her eggs in one basket and they aren't hatching. She either can't let go because she has nothing else or she doesn't want to let go because she's afraid this is who she's been for a decade now. She doesn't seem exactly happy, she seems almost desperate. She's a talented musician and puts on an amazing live show and her book would have been great with an editor (I have the 1st edition hard cover). Whatever she's doing now is not her forte.
I know that was A LOT and had some tangents. I'll end with some photos. Me at VIP with Emilie 2009 St. Pete, VIP 2013 Orlando, VIP 2013 St. Pete
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Thank you @hgejfmw-hgejhsf for the tag! I love these kinds of games, and loved reading yours and getting to know you a little bit more through yours. I was way too excited to fill this out just now, tbh
1. How many works do you have on AO3?
I have 44 works!
2. What’s your total AO3 word count?
195,554!
3. What are your top 5 fics by kudos?
The Story of us
You Got Me, and Baby I got You
My Saddle's Waitin'
the cold came, the dark days
The Mess that We Made
4. Do you respond to comments? Why or why not?
I try to respond to all of them, but sometimes I miss something here and there.
5. What’s the fic you’ve written with the angstiest ending?
Hmmmmm. I don't have one that has a downright angsty ending, because I'm a huge fan of HEAs, but the one that has the potential to have the angstiest ending would probably be if i could love you for a minute (then i'd go through it again)
6. What’s the fic you’ve written with the happiest ending?
Probably the cold came, the dark days despite it being my angstiest fic!
7. Do you write crossovers?
Yes! I would love to do a firstprince crossover, and I have an idea for one, just gotta write it!
8. Have you ever received hate on a fic?
No, I haven't, but I stay in constant fear of it happening lol
9. Do you write smut? If so, what kind?
I do! It's pretty vanilla, and I'm not the most comfy doing it, I'm still getting into it, but yea! I do a little of it.
10. Have you ever had a fic stolen?
Not to my knowledge
11. Have you ever had a fic translated?
Nahhh
12. Have you ever co-written a fic before?
No, but I really, REALLY want to do this so... hit me uppppp if you want to write something together!
13. What’s your all-time favorite ship?
Alex and Henry are my boyyyys. They're just so lovely and canonically happy and I just melt
14. What’s a WIP that you want to finish but don’t think you ever will?
I started an equestrian thing that I really like but I doubt I will end up finishing it. It just doesn't have enough umpf to really go anywhere, I don't think.
15. What are your writing strengths?
Hmmm. I think I write angst really well because I'm pretty decent at diving into emotions and unpeeling all of those layers.
16. What are your writing weaknesses?
Where to begin, lmao. I'm a pantster and I think that's my biggest weakness. I hardly know where a fic is going to go when it starts, and sometimes they morph into something so completely off from the initial intention. I also think I lack depth when it comes to creating plots. Like I said, I could go on for this one.
17. What are your thoughts on writing dialogue in other languages in a fic?
I'm hesitant, because I'm not great at language and I don't want to screw it up (which I have done before). I'm not against it, though.
18. What was the first fandom you wrote for?
Oof. Phantom of the Opera. Yall.
19. What��s a fandom/ship you haven’t written for yet but want to?
I honestly would love to write something for The Charm Offensive/Dev x Charlie. They call to me lol
20. What’s your favorite fic you’ve written?
I think I gotta give it to Io Saturnalia! It was so much fun to do the research for that fic and then to execute it. The Roman Empire is my Roman Empire so it was so fun to write my favorite characters in one of my favorite periods in history.
I'm going to go ahead and leave this tag open for whoever may want to participate!
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George Lucas Is A Lousy Storyteller, Episode Two
As noted, Lucas alone never rises as high as he does with collaborators. He’s been extremely fortunate in his career to have been in the right place and the right time and to have struck alliances with numerous creators who possess a far better story telling sense than him. Walter Murch, Leigh Brackett, Lawrence Kasdan, Stephen Spielberg, Ron Howard, and the aforementioned Gloria Katz and Willard Huyck.
But he bungled the Star Wars franchise at the very beginning, demonstrating he lacked insight into the reason his film became such a huge success. He started on an enviable high note, but instead of sustaining it he immediately set to work sabotaging his own concept.
Lucas changes his own history repeatedly, ghosting people whom he feels have failed him (such as Jim Nelson, the original associate producer of Star Wars who took the fall for budget and schedule overruns) or else stand up to him creatively (viz. Irvin Kershner, the legendary “last man to say no to Lucas” who overruled his boss to shoot the famous “I know” line in The Empire Strikes Back that delighted audiences, a situation Lucas never allowed again).
Star Wars began life as the (hopefully) first script in a proposed film series, with Lucas recruiting Alan Dean Foster to write both the novelization for the movie and an original novel, Splinter Of The Mind’s Eye, to serve as a low budget sequel should the movie falter at the box office.
It’s long been speculated that Foster also did an uncredited re-write on the first Star Wars movie but he has formally denied this and so we will take him at his word and just say for once in his life George Lucas actually wrote a good screenplay.
But when the first film became the biggest hit of all time, Lucas forgot about moving the story forward and instead concocted a grandiose scheme that would involve four sets of trilogies with a standalone movie between each trilogy for a total of 19 movies.
This was a mighty high aim in 1977 (though Marvel and Eon Productions have proved it can be done). It would have been a challenge had the original Star Wars been the first film in the series, but instead Lucas retconned it to be the first film in the second trilogy, with the first three to be filmed after episodes IV / V / VI were complete.
Again, this might have proven workable, had not Lucas decided the Star Wars saga would be about the ultimate dysfunctional intergalactic family.
Oh, no. No, no, no, George.
Audiences responded as strongly as they did because they’d been primed and waiting for Star Wars all their lives. From Buck Rogers and Flash Gordon to Lost In Space and Star Trek, they’d been given a taste of what glorious space opera could be, but instead of focusing on the whiz bang and daring-do that makes that sub-genre popular, Lucas opted to focus instead on Darth Vader’s lifelong hissy fit.
Here, let me say it out loud:
The success of Star Wars occurred despite George Lucas, not because of George Lucas.
It occurred because comic books and video games and novels and animated series and fan films gave the audience what they really wanted.
Lucas infamously bragged that when he sent the first draft of what became Episode I: The Phantom Menace to fellow directors and screenwriters, they all told him it was perfect and not to change a word.
The only way to get more smoke blown up an ass
would be to set fire to a donkey’s stall.
The Phantom Menace unravels like a tyro’s screenplay, with numerous scenes ending on some variation of “I can’t think of anything else to say so I must ask you to go now” (hint: It’s called” CUT TO:” George). It’s far from the worst script ever written, but lordie, it sure ain’t a good one, much less a great one.
And Lucas, despite the boffo b.o. stung by audience reactions, proceeded to change plot points for succeeding Star Wars movies based on their set-ups not being fully appreciated.
If the audience can recognize a clue when it’s dropped in front of them, it ain’t gonna be a surprise when you finally reach the big reveal, right?
Yet if you panic at initial reactions, you undermine the (allegedly) carefully constructed story you built on those clues.
You can’t have your polystarch portion bread and eat it, too, George; either stick to your plan or play it by ear, but if you choose to plan, don’t gut it because you lack faith in your own storytelling abilities.
And there was a collective sigh of relief when The Rise Of Skywalker finally brought the original saga to an official close so audiences could forget about that and shift their attention to the more satisfying TV series such as The Mandalorian.
Lucas, lacking an understanding of why thematic structure is important in storytelling, contradicts his own mythos again and again and again.
He turned The Force from something any dedicated being could aspire to master into a luck-of-the-draw genetic mutation, creating a race of elitist super-beings who are justified in treating non-Force users like crap.
After plucky young Anakin saves Princess Amidala’s home world, she doesn’t visit the ATM machine in order to buy his mom’s freedom. She does develop romantic feelings for him and marries him when he grows a pair. Yuck.
Outside of making her catty, he gave no thought to Leia’s character, having her shrug off the destruction of her home world as if her bagel fell cream cheese side down, then letting her father -- purportedly as mighty a master of The Force as ever existed -- to torture her with drugs and a hypodermic needle yet she never displays any psychological ill effects from this nor does he recognize her as his own daughter (proof positive Lucas never possessed any clear idea of what he intended to do with the series).
Jar Jar Binks, whom Lucas apparently originally conceived as an undercover villain who only pretends to be inept, gets virtually written out of the storyline when audiences responded negatively to him, despite Lucas laying clues that would later reveal his duplicity.
You don’t do that. You don’t listen to audiences and undermine a sub-plot you’ve already worked out just because they don’t grasp its importance yet.
As a creator, you owe your audience something, and that’s a story told to the best of one’s ability.
Lucas never displayed originality as a creator. His first hit relied on him tapping into a cultural zeitgeist already primed at the pump: Boomer nostalgia for the days before the Kennedy assassination.
Lucas cast Ron Howard in American Graffiti based on Howard’s performance in the pilot of TV’s enormously successful sit-com Happy Days (seen as “Love And The Television Set” a.k.a. “Love And Happy Days” on the Love, American Style comedy anthology series).
Lucas didn’t pioneer new territory, he jumped onboard a train already pulling out of the station.
His later megahit, Raiders Of The Lost Ark, reflects little of him and more of Spielberg.
I’m not an overawed fan of Spielberg’s style of filmmaking, but the guy does know how to tell a story and in his later years turned out some really good work.
Lucas lacks that talent. He would function best as a journeyman studio director in Hollywood’s golden era, someone to be handed over to a no-nonsense producer with a fully developed script who could supervise the final product without having to step in too often.
Come to think of it, perhaps I’m being too harsh on Lucas.
After all, he is telling stories to the best of his ability.
It’s just that like his retconned Force,
if you don’t already possess the storytelling gene,
you never will.
© Buzz Dixon
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I wish TWN had just adapted all the short stories as accurately as possible and purely focused on Geralts life because it could have been a timeless fantasy masterpiece but now it’s probably going to fade into obscurity and irrelevance once the show is done and just go down as another b-level fantasy show that’s just decent when it could have been GREAT
Ehh, yes and no?
Because the thing is, I strongly believe that "as accurate as possible" is not the best goal when adapting a story to a different medium. It's how you wind up with adaptations like Watchman or Phantom of the Opera, movies that faithfully retread the source material beat-for-beat, and in doing so, manage to turn an engaging premise into a plodding, lifeless slog.
Books and film tell stories in different ways. They rely on different methods to convey information to the audience; the structure and pacing that works in one may not work in the other; sometimes an action/event that is incredibly impactful in one medium simply doesn't land in the other.
The cultural context shifts; a book that was written in the eighties is a product of its time, and the themes that were particularly resonant then may not be as relevant in the world of the 2020s.
(And I've gotta say, I don't mind how subsequent adaptations of the Witcher books have chosen to quietly discard some of the skeevier elements of the source material.)
Good Omens and V for Vendetta are two works that I would point to as examples of adaptation/modernization done right. They are both labors of love, done by people who believe that the source material is a story worth telling -- but they also weren't afraid to cut the weaker parts, expand on others (or even invent new material wholecloth), and update the themes to be more relevant to present-day audiences.
Basically: adaptations are translations, and sometimes the most literally-accurate translation is not the best one. Sometimes staying true to the feel of the original requires taking some liberties to make it work better in the new language.
...
...But on the other hand, SERIOUSLY, why did you even bother licensing the witcher IP if you're going to engage with it on such a superficial level that it becomes just another paint-by-numbers grimdark fantasy?
And that's the vibe I get from TWN showrunners: that they don't give a fuck about the story the books were telling. This isn't a labor of love. They took a cursory skim for names and basic ideas, and then just fucked off to do their own thing. (And, insult to injury, did it badly.)
And I find it incredibly ironic that I've somehow wound up in the position of being offended by how dismissive and contemptuous they are of the source material, because god knows I don't have any respect for it either -- but the people who do love it deserved better. And there's a huge difference between "taking liberties to make the adaptation work better," and what TWN is doing.
I write fic for lazy, sloppy, sexist canons that I have no respect for -- The Witcher, The Dresden Files -- but the whole point of me writing it now is that I can be like, "...OKAY BUT WHAT IF IT WEREN'T LAZY AND SLOPPY AND SEXIST?"
What if those interesting ideas that the OG canon raised but then discarded/underutilized/fucked up got a more nuanced exploration?
What if those female characters didn't have to trip over their breastily-boobing tits every other line?
What if queer people Existed?
Which is why I'm fine with creators taking liberties with the source material when adapting it to a new medium -- sometimes the adaptation is better than the original -- but in order for that to happen, you have to be working with the source material, not against it. You have to be invested in turning this story into the best possible version of itself, not calculating how much of it you can get away with disregarding before fans get mad at you.
So yeah.
Ultimately, I think the real issue was not that TWN showrunners didn't use the short stories from the books, but that they didn't care to. That they didn't actually care about making this adaptation. It's a symptom of the problem, but not the problem itself.
(And also let's be real, it's not just the lack of canon fidelity to blame here -- this production team was never gonna make a timeless fantasy masterpiece even if they had stuck to the books.)
#asks#drunk gremble answers asks#witcher shit#twn critical#and maybe I'm wrong#maybe they do care#and they're just really bad at showing it#¯\_(ツ)_/¯
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i dont know if this is an unpopular opinion, but im not a huge fan of this experimental era in kpop. Its hard to explain since artists have always experimented, but I feel like before, the songs felt more genuine? They felt like a product of creativity instead of just a cashgrab, or rather, something made to be experimental not out of passion but to get views because negative attention is still attention. Like vixx putting classical samples in their work felt genuine, f(x)'s Pink Tape album is the audible embodiment of getting a sudden burst of creative energy at 2am and surprisingly making some of your best work. But a lot of music recently hasnt been hitting like that and its so disappointing how normal it is for a song to be considered a 'grower' or whatever people are calling them.
you better speak that truth!!!!!! that's def an unpopular opinion among people who think disliking a kpop song is worse than invoking candy man or something. in my humble onion 'experimental' has become the pithy excuse for a song that's just a mess. nd you're so right abt negative attention 😂😂😂😂😂😂 cacophonic 'noise' music causes so much debate and for a bunch of these groups thats literally the only reason why they do it. REAL experimental is literally just changing up the structure of songs, including strange instruments, changing tempos, going against the grain of what is currently popular. it's meant to be different but also listenable? the phantom of the opera overture at the start of on and on? experimental. the shrieking sfx and layered screaming vocals of rbb? experimental. i got a boy having 20 tempo changes? experimental. wonder girls doing a total 180 and coming up with a retro band concept? experimental. not as noisy as what ppl try to pass off as experimental now but they were experimenting with new concepts nd sounds etc etc. and while some ppl probably don't like any of the songs/concepts mentioned the general consensus was never 'this is a bad song unless i listen to it 500 times therefore it must be experimental'. the internet really will take a word with a set meaning nd destroy that meaning just to avoid using their damn brains!!!!!!!!
#like songs that have the same formula as everyone else just with random sfx are not experimental per se......#bc theres no experimenting to create a product meant to be enjoyed.......its really just trying to make yall mad on twitter
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