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Eivør - UPP ÚR ØSKUNI / RISE FROM THE ASHES

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Phantom of the Ballpark
★ Christine... - Phantom of Opera
Gorgeous! I love everything about this. The pose, the expression, the soft pastel sweeps.
Credit to the artist @ishazo
there’s something so funny about the juxtaposition of the canon rik home in leroux vs basically any other production of phantom bc the other productions are usually like WELCOME TO MY WEIRD AND STRANGE SEX DUNGEON (no sex has ever happened there) while leroux rik home is just. normie core house to an extent. like the only thing that truly throws off the feng shui is that it’s a.) underground b.) has in-house torture chamber and c.) he sleeps in a coffin. otherwise the house is equivalent to today’s standards of grey laminate flooring and white prefab shaker cabinets paired with some vintage furniture
💯
I love how every single director and screenwriter has decided to completely disregard Leroux's description of Erik's underground home.
Is it because the dated granny flat isn't creepy or sexy enough?
Don't get me wrong, I actually love the idea that Erik would live in a lair that's been decorated with all manner of theatre props and set pieces that he's collected over the years. However, it makes total sense that canonical Erik would absolutely covet some facsimile of the normal life he's been denied. Except for the whole funeral parlour coffin bedroom. My dude, why? Stop trying to out-goth us humble poseurs. 😬
Lerik vs Gerik
Source: antiquated.omens on Instagram.
Anyone want to tell him about LND?

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Storm I & II 🥹
I'm not even sure where to start with describing this video, but let's go with the choreography and the tricky videography that captures it. It's hypnotic and conveys so much visceral emotion, and tentative hope. From a technical perspective, I suspect they're utilising variable speed, and multiple cameras focused on different areas of action, which are then stitched together in post production. This is what gives it the uncanny quality of something that might be AI (because almost everything in frame is also in focus).
And then there's the overall story in the full video:
The story is set at an all boys school in the UK in the near future (2034) and opens to the protagonist moving through a school hall of reposing or unconscious school boys. As he passes, they begin to stir and awaken.
In the next scenes the protagonist seems to cast himself as the schoolyard bully antagonising some of the boys while others begin to admire and assist in his bullying and chaotic revelry (perhaps to avoid being bullied themselves). In this first half of the story he seems to be the epitome of rebelliousness and unrepressed masculinity in a setting notably devoid of any adults. He is the unforgiving storm bringing chaos to listlessness.
The protagonist and his admirers get high on technology (literally), and the tension that has been building culminates in a scene reminiscent of Fight Club with one of the boys finally landing a punch on the protagonist during a fight. We, the viewers, are left in this suspended moment of tension, just like the boys watching the fight, wondering how this will resolve, and the protagonist reveals he might not be quite the brutal bully we assumed at the beginning of the story. He smiles and embraces the boy who fought back, rather than escalating with further violence, and therefore galvanises his status as the leader in the eyes of the other boys. This brings us to the conclusion of the first half of the story with all of the boys arranged around him in confident solidarity.
In the second half of the story, everything flips in a catharsis of some of the most evocative and beautiful choreography I've ever seen. The school boys now move together in an emergence of order from controlled chaos. In contrast, the protagonist stands calm and unaffected at the centre. He is now the eye of the storm.
Like an empty fire Like your desire Like an empty fire Stand tall, go higher
all i ask of you (erik’s version) is never NOT crazy. whether he’s even toned or erratic. whether he’s begging or peacocking. whether he kneels or not. whether he forcefully puts the ring on or just hands it to christine. whether he’s choking back his stomach bile at his last resort elopement or he’s like WHY YES. OKAY. THIS IS SUCCCCH A GOOD IDEA. whether he’s a real living breathing man or roblox skin. whether there’s a table involved for him to climb onto so the people with guns pointed at him can get a better vantage point. whether its coop. it’s all important to me.
Preach!! 🙌
The Point of No Return scene and all of the different ways it's played have become a hyper-fixation for me. All of the variants are brilliant. I might need to expound on the narrative brilliance of this scene in a lengthier post at a later time.
I WONT SEE THIS ALONE YOU GUYS NEED TO SUFFER WITH ME
Good lord. 🥹
@yourbxsicwitch
This arrangement of 'The Point of No Return' has me in such a chokehold.
Send help. 🥲

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change my mind!
And I love him, your honour!
Two more photos!
x x
I do love it when there's such a sharp contrast between Christine being into it and... not, when she realises it's him
@mysticscorpia all of this is FACT
Honestly ponr is one of the scenes which defines for me how I feel about the Phantom/Christine relationship in any given show and yeah. When she has this moment of so rapidly oscillating between "I'm scared I'm so scared I have to run, but I still like him, I'm scared because I like him? Unholy thoughts, no time to think, help". When she's still attracted to him even after everything that's happened it's just... aaaaaargh
Aaaaargh!! Yesss!!
It's honestly how I felt so absorbed when I saw it live, and definitely the vibe I got when I saw my Phantom/the Christine and the sudden, and inexplicable change between 'playing pretend because we are Professionals', and the potential of:
Does Christine feel it because the music speaks to her? Is it the pretend of [Someone] being that person to lead her down in this treacherous, dangerous path - (and she can trust that safe, alluring landing)
- And that person happens to be the one who cannot be seen? Visually acceptable? Or the fact it *isn't the handsome Prince who's technically tried to sweep her off her feet?*
Is it because she's a Professional, and she's already acted like this with Piangi, and she's *COMITTED*, whoever is under the cape?
Or has she realised it was him even at the start and is now pretending, that even under the facade, it could be *Him*, but as long as she's not reminded, it was okay? (insert knocking into his mask and then proceeding to Freak. Out.)
Or Take 2) she's realised it's Him, but she cannot in reality be able to comprehend giving him up, because it's *his* piece, his music, and someone should be able to see the genius she has clearly seen and felt? That despite all the atrocities, she cannot simply give him up so easily, until it becomes a breaking point between her fear and what he would do. Once. It. Ends.
All of these interpretations are VALID. And it's what gets me EVERY. SINGLE. TIME.
And it alllllsoo matters if our Phantomy boi is MASKING (ha ha) if he's the real deal or not. I.E imitating Piangi's voice or not.
Doesn't Hugh Parano imitate Piangi? I genuinely can't remember which of the Greats did this.
Excellent choices in acting all around. And the combinations are endless.
Anyway, barely coherent ramble back, thank you for your excellent analysis 👑👑🙏
A+ addition, beautiful analysis, no notes. Also! I love that you outlined the possible options for Christine's headspace in this scene because I hadn't even considered the first idea, that she is kind of enticed by the danger of it all.
A personal favourite "oh oops I'm supposed to be Italian" moment from a Phantom actor in this song I've gotta admit is actually from Jon Robyns' recent west end run, I just find it so funny:
But yeah I'm pretty sure Hugh did it for a good chunk of his time on broadway too.
Endless combinations indeed!!!
final lair raoul my beloved
Watching Phantom of the Opera (2004) with friends who haven't seen it and-

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another excerpt from The Hang With Ramin Karimloo where Sierra talks about regretting her choice at the end
Sergei Lodygin 'Искушение' (Temptation), 1920