Look, I'm Very Excited To See Jordan Donica In The Gilded Age, But All I Know Is THIS BETTER NOT INTERFERE

The Winged Victory of Samothrace J.E. Schuler, Masterpieces of Sculpture

Phantom Acting Choices That Live in My Head Rent Free (Part 2)

The way Hugh Panaro says "sing for me" during the title song. Extra emphasis on the ME, like this man knows Christine doesn't sing for anyone else like this--especially not that insolent boy.

Tim Martin Gleason's emotionally regulating self-hug.

David Shannon plays the Phantom like his skull exposure is actually vulnerable/causes him chronic pain.

Earl Carpenter directs tf out of Christine's voice during the title song in his '06 run. Gospel choir director energy, but make it sex.

Phantoms kneeling during the Don Juan AIAOY reprise. (Looking at you David Thaxton and Hugh P.)

Every acting decision Gina Beck makes in the final lair.

There's a boot (I think 1995?) where Davis Gaines pauses after he says "this is the choice" and he actually realizes he's gone off the deep end and "this is the point of no return" fr.

Michael Nicholson's deranged laugh turned sob. So sad, so disturbed.

Gary Mauer says like 4-5 ily's in the final lair like he can't stop now that he's uttered it aloud. And the more the merrier imo lol.

A ROOM WITH A VIEW (1985)

dir. james ivory

“I am your Angel of Music. Come to me, Angel of Music.”

I have never seen Hadestown but the gifsets constantly convince me that I might not be able to handle it emotionally.

So I took him underneath my wing, And that is where he stayed, Until one day...

Melanie La Barrie as Hermes, Dylan Wood as Orpheus, Hadestown West End 2025: @callmelasagna’s master

I'm going to reblog this combination whenever I see it.

I've just thought of a phantom of the opera remake directed by guillermo del toro and now I will never know peace

Phantom Acting Choices That Live in My Head Rent Free (Part 3)

Final lair edition because this scene alone has permanent residence in an entire area of my brain.

When Davis Gaines and Stephen Buntrock take "this face which earned a mother's fear and loathing" up an octave. If you got the range, flaunt it I guess.

Hugh Panaro absolutely torments Raoul. Why are you waving at him from the other side of the portcullis? Why are you singing "raise up your hands to the level of your eyes" like that?!

The way Ian Jon Bourg and Kevin Gray scream "I love you."

The way Hugh Panaro whispers "I love you."

The way John Cudia fumbles "I love you. I--" in his performance with Sarah Lawrence.

Honestly there are no less than fifty Phantom I love you's that play in my head at any given moment. I'm obsessed with extra ilys.

But also Earl Carpenter saying "fuck an ily" and just dropping to his knees to offer Christine the ring again like the sad wet cat he is.

David Shannon screaming "No!" when Christine says "you deceived me."

Phantoms who lean their cheek against Christine's hair between kisses (shout out to Ben Crawford, Laird Mackintosh, and Jonathan Roxmouth, this is an underrated 2020s calling card).

Any Christine putting their hand to the Phantom's cheek during the kiss. Common West End staple, but bonus points if a Phantom reacts to it (Ramin, Earl, David Shannon, etc.)

When Sierra Boggess turns back to look at Erik one last time during the 25th anniversary performance and RK gives her that slight nod like, "Go ahead, it's ok." Kill me.

Lucy St. Louis staring down Killian Donnelly's Phantom through the portcullis while she (supposedly) sings "share each day with me" to another man.

Thinking about how Erik wasn't just left alone by people, but also had no support system in the century he was born. His traumas would never be taken seriously (specially considering the men in his time), his mental illness would never be treated, he would probably be locked in an asylum and endure horrific torture if he ever tried to search for help. His abusers were protected by this very system and got away with everything they did to him. He was left down by everyone, even in his family, anywhere he went he was met with abuse, discrimination and ableism, and there was no way to escape this monstrous society other than hiding from it.

Thinking about no matter how much Leroux evidenced Erik's humanity, his nuances, the good he was capable of making, how his crimes were circumstantial (and in a lot of cases even forced), but not from thoughtless sadistic satisfaction, how he had no chance of living as a normal person in the world that casted him out like a 'monster'... he will always be a "villain" in the eyes of so many people. Because it's easier to blame one single person that already doesn't have anything or anyone and is already down on his misery, poverty and trauma, than to aknowledge the very system and society that forced him to live that way. It's easier to create an enemy that won't be accepted by anyone as anything other than an enemy, an 'other'.

Just thinking about how tragic and sadly realistic Erik is.

From “Cinéastes de notre temps” Robert Bresson, 1965.

I can’t remember if I posted this before or not 😭