I Love When People Say "meg Was So Out Of Character In Love Never Dies" Because Then I Have The Opportunity

How far down in your 2024 Wrapped Playlist does the first non-English language song appear?

If never, consider expanding your horizons, hmu for recs if you need them

Thank Goodness but for some reason the onceler is slowly creeping up behind her. possibly a metaphor for her greed.

I can't find my post but anyways re what I said about how jean valjean's relationship with his own body is for the most part never really explicitly touched on but there's huge amounts to be extrapolated from it, I think it's really interesting how physical & related to the body the descriptions we see him give are when he's thinking about confessing & then confessing to marius at the end of the book. obviously there's the more literal one:

where the physical state of his leg proves that he was in the galleys and is sort of a physical manifestation of his status as a convict, but there's also, e.g.:

I just think it's really interesting that his feeling of his own taintedness is so physical that it's externalised into his body like this in his descriptions -- particularly when it comes to touching other people

You know what's really tragic about the character of Rudolf in Elisabeth das Musical? (Besides, y'know... Everything?)

That he's a LOT like Franz Joseph too, at least when he was his age.

They're both under the thumb of one parent, who doesn't allow them to express their own political view. They both feel like intrigue is ruining their lives, and wish they weren't in the restricting position they occupy. And most importantly: they both express a desire to be "soft", instead of the hard and emotionless leader they're drilled to be.

Why then, is there no song, not a single line, where either of them acknowledge that similarity? Elisabeth and Rudolf both sing about how similar they are, why can't Rudolf and FJ?

Because Rudolf doesn't know. How could he know that his own father went through the exact same pressure he is under.. when the pressure was successful in molding him? He never sees that softer side to him.

Franz Joseph might have chosen Elisabeth over his mother in the end, but he internalized her lessons and sees them as truth. He is hard, he is strict, and he doesn't know any other way to be. He doesn't see anything wrong with how he's treating his son. (And in his childhood, how Sophie raised him). He turned out fine, why should Rudolf be different?

So Rudolf had not one, but two parents who should have been able to relate to at least part of his despair. But both failed to be the parent they wished they had. And I don't know if it's better or worse that he never even knew how his father was similar to him, too.

Unpopular (?) (actually idk the popularity level) opinion:

I greatly prefer the POTO productions that replace Christine’s second kiss with a hug.

Cause what really does the Phantom in isn’t that a beautiful girl is willing to kiss him, it’s that no one has ever recognized that he’s a person and has the same needs, aspirations, desires, etc, as everyone else. It gets across that he’s unaccustomed to and amazed by ANY affection, not just romantic.

I don’t really see this interpretation much anywhere but I think the fact she’s doing this for Raoul’s sake is actually part of his change of heart. First of all, I’m certain by that point he was convinced that Christine was going to say no and save herself instead, but she doesn’t. She’s not only willing to sacrifice herself to save Raoul, an incredible act of love and selflessness, but she recognizes the horrors the Phantom had to experience to become so cruel and chooses to give herself up for his sake too. Instead of simply agreeing to stay with him with as much coldness as she can muster.

He has every reason to believe the only reason empathy exists is because there are people who just haven’t learned they must be selfish to survive. But Christine still did what she did after clearly losing her innocence. Even though she’s grown to understand the cruelty of the world and is now capable of true malice, greed, and hate, she chooses not to use them despite having every right to. She’s no longer naive, and she is still kind. That’s something the Phantom didn’t think was possible until now.

Pia Douwes & Uwe Kröger

- Elisabeth das Musical -

Left: 1992 Vienna

Right: 2002 Essen

reblog this to pet the user you reblogged from please

nothing better than the wrong capitalization of Sie

Mayerling

fucked up hurt/comfort. the person who stabbed you tends to your wound. the person who killed your loved one helps you grieve.