Nothing will ever convince me that Magnussen wasn’t adding this to John’s file while he was donning those glasses in slo-mo
I love you, Erik, I love you in so many different ways… but my love is the love of a child afraid to grow up. Children run away and hide when they meet a situation they can’t face, when they see the dream is over and a terrifying reality beckons instead. My love is just a shoddy, broken little toy that I’m too ashamed to own.
i gave you my music
made your song take wing
and now, how you’ve repaid me
denied me and betrayed me
hello to everyone who has started following me since the phantom spam started
i don’t know how to greet or thank people properly so here’s erik making a meme-face
Second GIF: Erik’s like, “Whoa, jeez, what did I do? What did I do, what did I do? What—-hey. Hey. Hey, this is sweet.”
Steve desperately trying to high five Bucky in Captain America: The Winter Soldier
the kind that one does not admit even to oneself
My word. Oh, my gosh. I seriously think this is the best final lair I’ve ever seen. Ever. Gina Beck is just amazing. Incredible. I love how furious she gets. I’ve seen several Christines just sort of say the lines and that’s it, or they seem very timid and just generally too repulsed by Erik to bring anything else to the scene, but she’s got such an incredible range of emotion here. This woman absolutely throws herself into the role, with astounding results. I love how she throws herself in front of Raoul and stares at Erik defiantly, and bares her chest. And the final kiss—it’s as if at first, she doesn’t want to do it. She’s doing it for Raoul only. She prays to God to “give her courage” to do something that terrifies her. But then, once she kisses him, you can actually see something change, like she’s realizing that she just may be in love with this man. Watch how, when it ends, they’re both staring at each other, and she moves ever so slightly closer and reaches her hand to his face, like she wants it to continue. And what I love is that she hugs him, as well. It isn’t just a kiss out of pity. I think just a kiss was all that Erik wanted, but she goes further, and she hugs him so desperately and so lovingly, like she’s trying in that short amount of time to right all the wrongs that he’s been dealt in his life.
And then when she returns to give him the ring, it’s almost as if she wants to stay. She just breaks down, and there’s that moment where they’re both clasping each others’ hands, but then she shakes her head, weeping, and breaks away because she knows that it will never work. What an amazing performance.
And of course, John Owen Jones is unbelievable. Wow. Talk about convincing. He’s so emotionally drained by the end of this that you can see it in every ounce of his body: his shoulders sag, his hands go limp, he sinks to his knees, and then to his elbows, and his voice isn’t powerful anymore—it’s tremulous, defeated. Watch when he’s singing “Masquerade.” He looks as if he wants to dissolve and just cease to exist. I also love that JOJ looks to the heavens a few times during this. It’s like he’s simultaneously defying God and enacting his vengeance for the horrors he’s experienced and yet still aware that what he’s doing is wrong. But he’s desperate. That’s what I take away from JOJ’s performance. He is desperate in every sense of the word. By this time in the play, Erik literally has nothing else to lose. He has lost his dignity, his power, Christine’s respect, and the masks that he has worked his entire life to construct. He’s laid completely bare, and is completely emotionally raw. John Owen Jones really brings that to this performance. His Erik is a man who is just done, and no longer imposes any sort of barriers upon himself at all. And I think that is precisely how this scene should be conveyed. Every character is, by this point, stripped of their defenses.
What incredible, inspiring, and masterful performances. This is everything that stage acting should be. I am just blown away.