If Klaus Wasnt So Hot, Aint No Way Anybody Wouldve Tolerated That Personality. With That Said, I Love

If Klaus wasn’t so hot, ain’t no way anybody would’ve tolerated that personality. With that said, I love him and I especially love it when he’s pushed to the brink of insanity by the chaos that is Dorian Red Gloria.

keeping up with the longstanding tumblr tradition, heres a guide to troubled birds + from eroica with love

I just know Jason is so fed up with the rest of the Batfam not knowing how much of a shitbag Dick was when he was a teenager. I know this man looks like a complete nutcase when he tries to convince Tim or Damian that Dick had his asshole phase, too. Don’t believe his fucking golden boy, depressed, running on fumes, burnt out, “I’d give everything and then some for the good of the world” act. He’s a lying liar that lies. It’s ALL lies.

Mr. Professional Older Brother was a goddamn menace to society, and Jason Todd is gonna PROVE IT, DAMNIT.

“I know what you are,” says Jason.

“Lol,” says Dick. “Lmao.”

And to beat a dead horse, one of the points that I stressed in my video essay is that: the existence of a “happy ever after” for Elisabeth and Death RIDICULES Elisabeth’s refusal to succumb to her suicidal thoughts.

If there exist a happy ending, then logically, Elisabeth should have no fear in accepting Death’s invitation (to kill herself). And when she does, she is framed as foolish and stubborn. Which is NOT a good look.

I can’t say original Viennese production is avidly anti-suicide, but you are meant to root for Elisabeth when she does refuse Death. It’s portrayed as triumphant moments. Because Elisabeth and the audience share an unspoken understanding that there is no “after.” Death is NOT a solution to problems, just an end.

By making Death’s “happy ever after” a SOLUTION to Elisabeth’s life problems, it is sending an extremely problematic message, one that shamelessly glamorizes suicide.

Society has moved past the need for "together in the afterlife<33" endings to Elisabeth. Like, if that's your takeaway, why would you produce the show oabfösbgödlf

It's not a story about love, it's a twisted mockery of a love story. Lucheni's narration - because it was always supposed to be that and only that!!!! He is not an objective source of information and that is 900% the point!! - uses the conventions of a love story to make a point. Seeing what happens should horrify the audience, and if it doesnt horrify the audience, the audience should think about it a bit and be horrified upon realising that they've been made to root for something horrible (a relationship that kills and destroys) and possibly even find it sweet or comforting. Goes for Elisatod and Todolf both. Lucheni makes a big old romance or seduction narrative - something we're societally wired to enjoy and root for - stand for a lifelong fascination with death. He's the OG romanticiser. But, at the end, it doesn't work if the audience isn't shown the tangible effects and end results of that narrative, which to me are

Elisabeth's cruelty, bitterness and brokenness throughout act 2 and how she TANGIBLY harms other people in the course of her pursuit of freedom (this could also start in act 1 already, with Milch). In this we can root for her, but the audience should never forget the price paid. It's not that she's evil - far from it - we should almost see her selfishness as the only coping mechanism she has in her situation and be drawn to deeply understand and care for her and hope against hope that she'll reach happiness somehow. Which makes it even more tragic that it does still harm others, and EVEN MORE tragic, awful and uncomfortable that happiness slips from her grasp and she's literally joyful that she's DYING

Elisabeth's death as a "ruined" ending to the show. There's a kiss and the music swells triumphantly, still in keeping with Lucheni's pretense that this is a grand love story, but the audience should be left feeling empty and horrified after it ends. I don't care if it's bad for marketing ajfkdkkf. Tod should PUT HER ON THE FLOOR or otherwise show that after the charade is over, she's dead and her imaginary boyfriend can't save her or accompany her because he's an empty husk that doesn't exist unless she's there to imagine him - or, if Tod is a more real figure, that he doesn't care, or can't care. He cares during her life because she pertains to his fate-assigned task, but afterwards, there's literally no way for him to and no reason to. She's gone to a place he can never know about or follow her to. Or he's just done. I think it's a very grave mistake when the show is directed to have a genuinely triumphant-seeming ending. Death is not REALLY happiness, death is not really freedom, even though Lucheni spends the entire show gaslighting us to think that. If Elisabeth has a happy ending, it becomes a show that legit encourages suicide in a way that no amount of todolf flirting or Mayerling kissing can. (I see people wonder about whether todolf romanticises suicide, but in staged productions, it literally never does. It can't, because Tod never is outright tender with Rudolf, or is implied to stay with Rudolf after Mayerling. At least in European prods - idk if this happens in some of the Asian prods, I don't watch them because I don't like what I've seen of the way zuka, toho or koreabeth are directed ajdkkdkf. I can't believe homophobia is protecting todolf from the romanticisation treatment but I think it is 💀).

Overall.......... like, vbw please, less KKOG and more alle fragen sind gestellt. If you want a sparkly elegant princess love story with lots of drama, banger music and don't mind if there's no actual criticism or metacommentary, just go watch Anastasia 💀 (i mean that one does also have historical criticism, but it's just COMMUNISM BAD, aristocracy GOOD lol. Ajdkkdfb if Elisabeth was written by Lucheni, Anastasia was written by dowager empress Maria Feodorovna lmao)

A short opinion piece on the commodification of The Rose of Versailles 🌹

My obsession with profoundly indescribable relationships, whether it be friendship, romance, queerplatonicism or symbolic, can be traced back to my early fascination in the Robin x Raven ship in OG Teen Titans cartoon. In other words, Robin x Raven is why I’m so into Elisabeth das Musical. In this essay, I will-

One of THE most iconic scenes from one of THE most iconic manga ever! Absolutely the BALLSIEST thing Dorian has ever done and the change in Klaus’s face from “ugh what is it now 🙄” to straight up sweating BULLETS while everyone else panics is PRICELESS (don’t think anybody’s ever pushed Klaus to such emotional extreme again)

And Dorian is so fascinating!! It’s like he operates on his own logic, in his own world, free of convention or rules, that makes sense only to him. When they ask “what are you thinking?” He just … says what he was thinking 🤣

It was a character-defining moment

It was a genre-defining moment

It was a moment

the full, infamous, genre-defining, pope stealing scene in from eroica with love, where dorian red gloria snatches pope john paul II from the vatican. unforgettable