Justice For Jordan Shaw
@justiceforjordanshaw's comprehensive post on this issue is here: Justice For Jordan Shaw
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@themaincharacteroflesmis
Justice For Jordan Shaw
@justiceforjordanshaw's comprehensive post on this issue is here: Justice For Jordan Shaw
[Image protected with Glaze from the University of Chicago]

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#JusticeForJordanShaw
i’m making a post to talk about this with all the main information i feel is needed, so what’s happening to start? At the end of the month a new Les Misérables album is releasing, this recording is of the 40th Anniversary Cast from the WEST END. The cast listed are all entirely from the west end. Except for Jordan Shaw.
Instead Jordan has been replaced with a white actor, James Gish, now while i don’t want to place this blame onto Gish nor say anything against his performance, it’s INCREDIBLY disappointing and honestly ridiculous he’s the enjolras listed. James was NEVER at any of the 40th shows in the west end, the entire time it was Jordan Shaw playing in the role of Enjolras and he never missed a single day throughout the whole run. Jordan would’ve been there for whenever they decided to record, as even Killian Donnelly (Jean Valjean) said this was recorded live! They have INTENTIONALLY removed and replaced him.
[Cast List, Jordan Shaw’s name is nowhere listed despite the rest of the 40th Anniversary company being here] Cameron Mackintosh (The Producer of the musical) did an interview with WhatsOnStage where he’s said he’s decided to splice the two 40th anniversary shows (the west end and the arena tour) but the ONLY songs that have actually been switched are only songs where Jordan would be singing as enjolras. Doesn’t sound like a coincidence right?
This is clear discrimination against Jordan Shaw. The fact they have chosen to remove one of their black principals KNOWING fully well how much this role has meant to Jordan and many other people who take inspiration from him, as well as the fact Jordan has helped to pave the way for us to get more POC enjolras actors! And not to even mention the fact Shaw won an award! An award in the role of Enjolras! He won “Best Supporting Male Actor” ! And it is so incredibly rare for this role to even be recognised especially in this way! Ap surely this would be something they want to promote right? But no, they have chosen not to and instead replaced him. I can’t even begin to imagine how disappointing this must be for Jordan - to see everyone else you worked so hard with get to be apart of this album and seeing that you’ve been the only person cut.
The fact they believed that no one in the fandom would even notice jordan’s removal is incredibly disrespectful and disappointing to me, the fact they thought we would simply turn a blind eye is disgusting. So please, talk about this. Jordan deserves his talent to be recognised.
So what can we do?
Good question! Sadly there isn’t loads, but i don’t think that should stop or discourage us.
Leave comments on every official les mis post you see - and constantly! they have been consistently deleting comments with any mention of Jordan’s name as well as even turning off the comments which shows they know exactly what they’re doing.
Send emails! Talk about how disappointed you are in seeing Jordan being removed without any explanation as to why! You can email directly to cammack: [email protected] or you can email the distributors themselves: https://www.warnerclassics.com/contact
And if you’re feeling kind, maybe send Jordan a little message over on instagram! i’m sure he’d appreciate knowing we as a fandom support him and love his Enjolras (if you haven’t seen it, i’d recommend watching this performance from west end live!)
Justice for Jordan Shaw!
[Image protected with Glaze from the University of Chicago]
Justice For Jordan Shaw
@justiceforjordanshaw's comprehensive post on this issue is here: Justice For Jordan Shaw
[Image protected with Glaze from the University of Chicago]
Hospital Nurse Sharks! Fantine has a bit of net scarring, but she'll be OK now that she has her cuddle buddy! @lesmisshippingshowdown
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Jehanparnasse nation, I hope this counts for literally anything XD @lesmisshippingshowdown
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Hospital Wives, Insect Edition! The images are under the cut (because insects).
As moths, Fantine is a pale beauty moth (Campaea perlata) and Sister Simplice is a black arches moth (Lymantria monacha), also called a nun moth! As damselflies, Fantine is an azure (Coenagrion puella), and Sister Simplice is a blue-winged helicopter (Megaloprepus caerulatus)!
The real winner of LMSS is me because I get to draw fun bugs* : D
(* neither moths nor damselflies are true bugs)
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@lesmisshippingshowdown
Saint Estelle by infinitespaceferrer
In which Sister Simplice hears the voices of saints, particularly the one that watches over Fantine.
Hospital Wives steal for @lesmisshippingshowdown
Happy Star Wars Day! Have a Hospital Wives Jedi AU (Fantine's fit is hanbok-inspired because of the person that I am; Simplice's robes have the cross in place of the Jedi crest)
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@lesmisshippingshowdown
Counterpoint by infinitespaceferrer
Summary: An attempt at something of a Riot World poetry collection
Bahorel/Feuilly steal for @lesmisshippingshowdown
A third poem has been added since initial posting!
Hanbok? Hanbok. SUPER last minute Riot World (Bahorel/Feuilly) steal for @lesmisshippingshowdown (mods I am sorry)

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Naptime with your local skinchangers. Based on my Werewolf Bahorel/Selkie Feuilly fic Versipellis
Riot World (Bahorel/Feuilly) steal work for @lesmisshippingshowdown
Counterpoint by infinitespaceferrer
Summary: An attempt at something of a Riot World poetry collection
Bahorel/Feuilly steal for @lesmisshippingshowdown
THE RIOT WORLD SUITE A Suite of Folk Dances
Written for the Les Mis Shipping Showdown 2026 @lesmisshippingshowdown
Download and print in PDF or MIDI free sheet music for Violin, Viola, Drum group, Strings group (Mixed Ensemble)
Download and print in PDF or MIDI free sheet music for Piano (Solo)
The Riot World Suite takes its name from Bahorel and Feuilly, two of the Friends of the ABC whose lives, though shaped by vastly different circumstances, find common ground in solidarity and purpose. The suite is conceived as a sequence of folk dances, a form chosen with deliberate intent: this is music that belongs to the people, that carries within it the memory of collective life, of bodies in motion together, of tradition passed from hand to hand across generations. It is, in that sense, the natural idiom for these two characters.
The suite was planned to be a set of five or six folk dances, but only two are written for now. Throughout the suite, the notes B and F (and their chromatic neighbors, B-flat and F-sharp) serve as the work's twin centers of gravity, one initial for each character. These notes and keys were chosen deliberately as a way of weaving the two names into the fabric of the music itself. The two movements also speak to each other in their time signatures; Bahorel's movement is in 2, reflecting the two syllables of Feuilly's name; Feuilly's is in 3, reflecting the three of Bahorel's.
I. Branle String orchestra with violin and viola solos and percussion, B major
The branle is among the oldest of the surviving European folk dance forms, with roots reaching back at least to sixteenth-century France. It is, at its heart, a group dance in which movement is transmitted from one dancer to the next, each participant simultaneously following and leading, the collective momentum greater than any individual contribution. (For examples, you may listen to the Branle de l'Official or the Branle des Chevaux from the Historical Dance Society on Youtube!)
In its most essential character, the branle is a dance about connection: the way energy passes between people, the way a community finds and sustains its own rhythm. Its very name carries an edge of roughness, deriving from a word meaning, roughly, to brawl, to jostle, or to shake; it is difficult, knowing Bahorel's fondness for a revolution (or a riot), not to find it fitting.
This movement takes its principal inspiration from the Jig of Gustav Holst's St. Paul Suite, which you may find performed by the Novosibirsk Philharmonic Chamber Orchestra here. Like the Jig, the Branle starts in unison and then breaks apart into constituent parts. The scoring is for string orchestra, with prominent solos for violin and viola and the punctuation of percussion. This is a combination that keeps the texture lean and kinetic, never allowing the music to settle into mere prettiness. B major, the movement's home key, is associated with brilliance and extroversion, qualities that suit its subject. Bahorel is a man of peasant origins who has made himself at home in every stratum of Parisian life, and something of that background is legible in the directness and vigor of the musical material.
The movement's most characteristic feature is a call-and-response motif that recurs throughout: a musical enactment of the way Bahorel moves through the city, encountering different groups and factions, drawing them into conversation with one another, serving as the connective tissue of a broader revolutionary community. The dance form itself embodies this: no one in the group moves alone.
II. Polonaise Solo piano, F minor
The polonaise is a dance of considerable gravitas and ceremonial weight. Of Polish origin, it is a processional form in triple meter, its characteristic dotted rhythms lending it a quality that is at once stately and urgent, dignified and volatile. By the nineteenth century it had become inseparable from questions of national identity, particularly in the work of Frédéric Chopin, for whom the form was a vehicle of profound political and emotional significance. (If you have seen my other Riot World steal, Perfect Fourth, you will already know of my fondness for Chopin!) His Polonaises in F-sharp minor (Op. 44) and A-flat major (Op. 53) are the direct influences of this movement in tone, harmony, and rhythm.
The choice of the polonaise for Feuilly is not incidental. He strongly identifies with a people fighting for sovereignty and self-determination against overwhelming force, which is one of his most distinctive traits in Les Mis. In the Polonaise, it is treated here as a frivolous curiosity but as a serious political and moral commitment. The time that Chopin was in Paris coincides with the years of the June Rebellion, following the November Uprising in Poland. To compose and perform a polonaise was a political statement. The movement honors this by taking the form on its own terms, neither exoticizing it nor treating it as mere stylistic color.
The piano is the sole instrument, and this is another deliberate choice. The polonaise as Chopin conceived it is already a self-accompanying form — melody and accompaniment, bass and inner voices, all contained within the span of two hands — and this quality of self-sufficiency is deeply resonant with what we know of Feuilly. He is a man who has educated himself entirely through his own effort and determination, who has come to everything he knows without the benefit of teachers or institutions. The demanding technical requirements of the writing reflect that achievement: this is not music that makes things easy for itself (nor for the composer, who would also like to perform this someday!).
The opening measures of the movement are chromatic in character, the harmonies shifting and layered, the melodic lines ornamented with a degree of intricacy that rewards close attention. This is a deliberate evocation of Feuilly's craft; he is a fan painter, a maker of objects that are at once decorative and painstaking, where beauty is inseparable from precision of execution. There is also a second motif that the Polonaise returns to, starting in measure 19. It is a two-note phrase consisting of the notes B and A, an abbreviation of Bahorel, because where else would one find Bahorel?
Versipellis by infinitespaceferrer
Summary: versipellis, e adj. That which changes its shape or form, that alters its appearance, that transforms itself.
Selkie Feuilly / Werewolf Bahorel steal for @lesmisshippingshowdown
A pair of steals for Bahorel/Feuilly (whom I have decided to call Riot World) for the @lesmisshippingshowdown, honoring the ongoing fight against the atrocities currently being committed in Palestine and Ukraine. If you would like to learn more about either or both of these, here is a short list of resources:
The BDS Movement
Palestine Children's Relief Fund
Doctors Without Borders work in Palestine and Ukraine
Stand for Ukraine
"How you can help Ukraine" (Ukrainian Research Institute at Harvard University)

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Perfect Fourth by infinitespaceferrer
Summary: Bahorel takes Feuilly to a concert in February of 1832.
Bahorel/Feuilly steal for @lesmisshippingshowdown
The lives of the Marriedcade household's armchairs! The household has three tricolor armchairs that see a variety of visitors throughout the day. (inspired by a couch-sitting alignment chart by eyesofenigma) From left to right, top to bottom: Joly with his cane and knee brace, Combeferre with all his books (research saves lives!), Courfeyrac with a comfy cushion, Prouvaire with his blanket, Feuilly with his throw, Bahorel with himself, Enjolras staring into the middle distance but politely taking off his shoes before he does, Bossuet who has been Betrayed by the armchair, Grantaire with a bottle of soju practically dead to the world. Each of them is matching with at least two others on a visual detail!
Joly has the same colors as Bossuet and is cane brothers with Combeferre
Combeferre also shares tattoos with Bahorel
Courfeyrac shares pink with Bahorel and a wrist accessory with Enjolras
Prouvaire shares a blanket with Feuilly and the cloud pattern with Grantaire
Feuilly shares a collared short-sleeve with Courfeyrac
Bahorel shares light-dyed hair with Enjolras
Enjolras shares shoelessness with Grantaire and a yellow ribbon with Combeferre's cane
Bossuet shares everything with Joly, need I say more?
Grantaire has already been spoken for
(This image was protected by Glaze from the University of Chicago)
[Marriedcade steal for @lesmisshippingshowdown]
Original couch-sitting alignment chart: