A Sentimental Soapbox Essay On Fandoms And Archives And Why Your Hyperfixation Matters

A Sentimental Soapbox Essay on Fandoms and Archives and Why Your Hyperfixation Matters

Offline, I'm a grad student/historian in training who studies a community that is systemically under-archived. A significant part of my day job involves helping that community craft the archive from what's "left" while coming to terms with what they've already lost. In the meantime, I'm also navigating how to write the dissertation I want to write without the sources I want/need.

Aside from providing the fodder for my gothic romance hyperfixation, fandoms are a breath of fresh air because they remind me that it only takes a few passionate people to build an archive and, eventually, a preservation ecosystem. It all starts with someone who records things, collects stuff, and accumulates niche knowledge--and then shares it with others--just for the joy of it.

Two episodes of a (now obscure) Jane Eyre BBC adaptation have been missing for years, and today an anonymous superfan/de facto JE adaptation archivist who never gave up announced that they've been found after all this time. Masters take the time to make elitist or ephemeral artforms like musicals more accessible for present and future generations' enjoyment and now several Phantoms who performed the role before I was even born are among my favorites. Stuff like this warms my heart as a fan, historian, and a human.

Don't take for granted that some institution is studying and stewarding that "thing" you care about. Universities, museums, and the internet are flawed systems and, yes, instruments of power and capitalism. They also just can't (and shouldn't) do it all. Preservation runs on informal archivists and spaceholders like @glassprism and @wheel-of-fish and @behindthemirrorofmusic and trading economies (in the case of POTO) and so many other people/spaces. It thrives on us investing in the things that bring us joy. And that investment doesn't have to be financial; it often just looks like collaborating with others for free and finding time to channel our intellects and energies toward what we love.

The things that matter to you...matter lol. Don't let *gestures wildly* all the stuff going in the world convince you otherwise. Now or somewhere down the road someone's going to be glad you cared this much.

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.

The Saturday Stream sent me looking at Anthony Warlow and now between this and JRox I'm no use to man or beast.

Can't decide whether to crawl into fetal position or just cry face down in the pillow atp.

2 notes View Post

litloverscorsetlaces

4 weeks ago

Me: *Has the thesaurus open in multiple tabs.*

Also me: *Opens another tab and types in "redundant synonym."*

*a few minutes later opens another tab and types "excessive synonym."*

*and another tab: "compulsive synonym."*

1 note View Post

litloverscorsetlaces

1 month ago

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...

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

1K notes View Post

litloverscorsetlaces

1 week ago

Hugh Panaro's evolution over the course of his different runs deserves more attention.

There's that mysterious year long run in the 90s that I know nothing about (is there even footage of it?).

Then he came back around '03 and early on it seems like he tried to fit the mold of the more "classic," operatic Phantoms...but then by '05 you see him embrace his unique vocal style and that more psycho, jokeresque approach to the role.

And then you've got the final run in the 2010s where he builds on what he started exploring at the end of run 2 and perfects the unique touches like "my angel" and offers a more queer-coded Erik, and I love it all. How many Phantoms do you get to have these kind of change over time analyses with??

6 notes View Post

litloverscorsetlaces

1 month ago