first poto post in a while! this is a study of leyendecker's Arrow Collars piece because I think his art is delicious

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@dammit-daroga
first poto post in a while! this is a study of leyendecker's Arrow Collars piece because I think his art is delicious

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I have learned tonight that there are absolutely inconceivable ship wars happening in the Phantom fanbase
Posting that I think Carlotta and Christine should have fucked and the Raoul/Christine diehards and Erik/Christine diehards both take a break from arguing about Freudian overtones and abuse apologism to yell at me instead
Picture: The final scene in the lair. Christine heeds Raoul's instruction not to throw her life away for his and rejects Erik. Erik makes good on his promise and murders Raoul. At this point the angry mob tracking down Erik for Piangi's murder bursts into the lair. All at once Carlotta sees everything in perfect clarity: Christine's lover murdered just as her own lover had been. These horrible events could not have been her doing after all. In fact, she and Christine are one and the same: brilliant musicians constantly subjected to abuse and dismissal from the men with power over them.
Her pride does not allow her to apologize, not in so many words. But, well. The poor girl has been through a horrible ordeal, and Carlotta cannot bear the thought of returning to a home without another living soul. Would it not be wise, then, for the two to find sympathetic company in each other? To support each other through their grief? Carlotta has the space in her home, and, eventually—after time has laid scar tissue upon their wounds—in her bed.
This is my head-canon and has been for a while now. Sorry/you’re welcome in advance:
Carlotta just stormed off the stage after her interrupted rendition of “Think of Me.” She’s about to exit the theater doors when she hears an angel’s voice echoing from the direction of the stage. Cautiously, she sneaks back to spy on the intruder whose voice has raptured her attentions.
Standing in the center of the stage is Mlle Christine Daae, the sad little ballet rat who always has her head in the clouds and not on her artistry. Carlotta thought her pathetic—with a beautiful physique and obvious talent for the ballet, she was throwing away her career in favor of frivolous daydreams. But now, as Carlotta hears that… that VOICE… She knows that she had greatly underestimated Miss Daae, and she did not intend to make that mistake again.
That night Carlotta’s dreams are filled with Christine’s voice. Of course, Christine still had much to learn. Carlotta knew first hand the level of hard work and dedication necessary to become a true prima donna in the cut throat environment of the international stages. To embody the spirits of music, grace, and theater. The leading lady of a tradition rife with history and politics. No, raw skill alone is not enough for the likes of Mlle Daae to ascend the throne. What she needed was strict technical training beyond the meager beginnings of training her voice suggested.
Blah blah blah during Il Muto Carlotta wishes the overdramatized kisses up her arm were real. Christine, shocked at her own thoughts, also wishes that the kisses were real. She has no time to mull on this, however. During AIAOY, all thoughts of Carlotta vanish when for the first time since her father’s death, Christine is offered open, loving arms. She jumps into them without an ounce of forethought. She clings to Raoul for the safety she craves without regard for the consequences.
That night Carlotta is furious. She knows the error in her voice was not her own. This was the phantom’s doing. She didn’t know how he did it, but never in her life had she emitted such a wretched sound of her own accord. She is furious at Christine. That ballet rat who used her connections to ascend the ladder of greatness instead of hard work and talent. Those dreamy, doe eyes lacking any discipline. Those gentle, pink lips… as they brush against Carlotta’s sleeve…
Twisted Every Way. Carlotta sees it now. Christine is not in control. She is not manipulating her way to the top. She is being forced there by men using her and her talent for their own gain without regard for her well-being. Christine is frightened. Vulnerable. That day dreamy stare doesn’t stem from a lack of discipline. It’s the stare of endless terror. Of someone who wants to break out of a carefully gilded cage but is fumbling around in the dark for the key.
Final Lair. Christine does kiss the phantom. She does run off with Raoul. But soon Christine grows tired of the pampered life of the elite. And now that the looming threat is gone, she realizes that her “love” for Raoul was actually just desperation. He is the key that she clung to in the dark and nothing more. She did not love him. She needed his help and he abused her delicate mental state to elicit words of love out of her. He didn’t mean to do it. He has never experienced true trauma and thus had no idea the effect it was having on Christine. But his intentions do not change the outcome.
Christine, missing deeply the routine and knowing the phantom is no longer a threat, returns to the opera and asks the directors for a job. She’ll do anything. She’ll rejoin the ballet corps if she must. She needs something, anything, to ground her back to reality and to give her the space to grieve and grow.
The managers scoff at the idea of Christine returning to the corps. They tell her that she must sing. She needs lessons of course but she must sing.
It is then that Carlotta’s otherworldly soprano voice announces itself from the doorway.
“I will teach her.”
back on my phantom shit!!! this is a study from a few weeks back that i forgot to finish BUT. they're done now
bitches hate me because of my.... bad personality.... paranoid nature... addictive tendencies......the torture basement.
I made a Poto iceberg
Can I just express my genuine gratitude that you thought to include me? That’s hilarious and so sweet and I can’t tell you how much that means to me. Honored to be a part of everyone’s lifelong obsession/affliction.

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I am fully aware that Phantom of the Opera is a very weird inspiration to suddenly pop up in book 2 of a sci-fi take on China's only female emperor but listen...I imprinted hard on Phantom when I was little and connected a lot with Christine's struggle to break free from manipulation by a man who's alluring in some ways but deep down you know you gotta leave him. You also can't write a Wu Zetian retelling without a middle part where she plays mind games with a shady manipulative emperor obsessed with her. The Phantom parallels weren't intentional when I started writing the book (I swear, not even the half mask at the end of book 1 was an intentional reference), but once I realized them I was like OH SNAP here we go. Instead of teaching her singing he teaches her dialectical materialism.
(Stitched video is from AnaisElysium on TT)
I've always associated erik with owl especially barn owls because their faces are kinda uncanny and they look like they're wearing masks so...OWL ERIK????
The angel in the mirror
They're back!
my roman empire is the suspense that must have existed when Phantom of the Opera was being published as a serial in Le Gaulois back in 1909-1910. crazy. i would be yearning for updates.
the sheer rage i would feel picking up my copy of le gaulois only to see that this week's chapter is 'the safety-pin again'

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“If I am the Phantom, it is because man's hatred has made me so. If I shall be saved, it will be because your love redeems me.”
Phantom of the Operas
Stranger than you dreamt it
Can you even dare to look or bear to think of me
This loathsome gargoyle who burns in Hell
But secretly yearns for Heaven
Secretly, secretly
Quick night sketch with my fav brushes

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Duality of the man
tumblr's favourite phantom of the opera version ?? :3
phantom of the opera (2004) dir. joel schumacher
phantom of the opera (1925) / phantom of the opera (1910)
phantom of the opera: at the royal albert hall (2011)
phantom of the opera mini series (1990)
phantom of the opera (1943)
phantom of the opera (1962)
phantom of the paradise (1972) dir. brian de palma
phantom of the opera (1989) dir. dwight h. little
love never dies (2012)
not listed here (leave in tags) / im bald