What Is Dorian Saying To Klaus? Wrong Answers Only

What is Dorian saying to Klaus? Wrong answers only

This is why I quit the comic the moment they wrote Shawn Tsang out. You are not doing my girl dirty like that 🤡

🔥 + Dick Grayson's love interests (excluding Kory & Babs)

im so sorry in advance this is going to be a long one and a Heated one at that. obviously the unpopular opinion here is just me caring about love interests that aren't kory or babs in general

first of all. i am so fucking tired of writers creating cool and interesting characters that get pushed aside and completely forgotten once it's time for dick to think about getting back together with babs or kory

like i love babs and i love kory and i don't even hate the concept of dick dating someone and then realizing, no, it's this person, it's always been this person, and i don't care if who that person is changes over time. but babs and kory still get to exist outside of dick grayson

the fact that dick seemingly never stays in contact with exes that arent babs or kory, that they completely disappear from his life, is actively out of character. the fact that these love interests in recent years have been stronger characters, and generally women of colour, makes this worse.

i've seen people complain about shawn and i've seen people complain about bea but people don't seem to register that it's not one character getting done dirty, it's a pattern happening over and over again. WOC get to be one off romances, but they don't get to be forever

i do think this especially sucked with shawn, with the whole pregnancy scare plot where dick said he was in love with her, that he wanted to raise a kid with her, where damian and jason and bruce all knew about her and knew he was serious about her, and then he didn't even fight for her. it's out of character, it makes dick look like an asshole, and also these women are really cool and i want to see them Past the breakups

i don't know how much of this is editorial versus individual writers but my guess is it skews editorial, which sucks, because it's not like they're doing it for babs or kory to benefit anyways!

this has been my rant about dick grayson's love interests in general yes i also have more specific opinions on each one but i'm excersing a modicum of self control here <3

im going to end on a positive note actually. 80% of the women dick has dated look like lesbians and i think that's allyship at its finest

I agree with everything you said and I demand more.

One additional thought. The Takarazuka Revue didn’t choose to cast all female, they chose to adapt this musical into their all-female cast company. But to me the problem isn’t in the cast, it’s in the way the writers REWROTE AND DESTROYED ONE OF THE BEST MUSICALS OF ALL TIME. No internal consistency, characters are bland, Death is the protagonist now btw, and worst of all, they made the show KITSCHY.

2005 Vienne is the most intense and spectacular imo

rating elisabeth productions i’ve seen because why not!

1992 in Wien: fae king is concerned how into it random girl in the woods is after repeatedly telling him her name. blue! it’s so blue and the little pause at her wedding is the greatest bit. pia’s dress!!!! oh goodness, she radiates sisi for me, both story wise and history wise. she brings such respect to a woman i love and hopefully is resting in peace. also uwe and pia are literally bffs it’s beautiful i have never seen a gay man kiss a woman with as much love and respect as i do when these two play death and sisi. like even in concerts he *still* does the final act bridal carry. only downside is i need more physicality! 

2002 in Essen: pia’s last performance of sisi and i just-it’s bittersweet but the way she brings everything to the role. the literal screams and cheers of the audience with her final note in ich gehör nur mir gives me chills every single time. i wish they kept in the blocking with her and rudolf when he comes to her in the garden (the poor boy, or rather, young man at this point buries his face into her stomach and i literally cannot-) and the heartbreak of her saying “i never beg. i won’t even do it for you.” like it hurts so bad but so good. she also does a cartwheel. barefoot. petticoats and all! (also pia did a revival in i think…2018? in concert. she’s 60 something and she can still hit the g5 at the end of ich gehör nur mir. i literally teared up when i saw the clip. she will always embody sisi for me. forever. 

2005 in Wien: two feral idiots have an argument for two hours.literally the greatest of all time, i will be taking no other thoughts. was the first production i watched and i fell head over heels in love. went to school the next day, screaming about it to my friends (who didn’t care) and the promptly went to scream about it my history teacher (who did care). mate and maya are the most psychological and historical for me. the interwoven bliss of the tumbling, complicated relationship between death and sisi directly contrasted with the fall of the haspburg empire, the choice between yourself or what you have to do in this life, everything about it. serkan kaya is literally the greatest lucheni and i want to simultaneously wring his neck for killing sisi but also lowkey adopt him for his freaking runs and literally hitting the same note of a freaking trumpet. the physicality between mate and maya makes me melt, because it’s rough and feral and then soft and longing. the almost nose brush! the complete amusement from death followed by confusion and then fascination and then all of that is literally mirrored in the slowed down moment at her wedding when they circle each other cate please i’m going to combust- 

takarazuka: it’s a no for me. japan has beautiful sets and costumes, but the choice to make the entire cast female was terrible. i’m watching bad performances of women pretending to be men and singing parts way too low for their ranges. also death is just…weird? it’s unsettling. also the show doesn’t sound good in japanese compared to other languages like german, dutch, and korean. 

2012: kill it with fire. no, don’t even do that. wait until it’s coming off of a boat and then stab it repeatedly with a file. this is the worst adaptation my eyes have ever had the misfortune to see. the soundtrack itself isn’t terrible, and if anything mark siebert is probably my favorite when it comes to his version of die schatten werden länger [akt 2]. but the production set is legit just….it’s nothing. there’s nothing but a ramp. it’s so ugly. and GOD, death isn’t…he’s not some macho goth man? and then having actresses who play sisi entirely as timid, white, 20 somethings completely takes me out of the character and the story. there’s no strength. there’s no passion. i’m just watching pretty young women who have the worst, high school production old age makeup i have ever seen. i hate it so much. not a production but: there were some choices made to have elisabeth be played by two different actresses and that legitimately made me so upset, i had to go and do something else. it completely strips away sisi as a person and a character and i despise this take. 

2020: maya is too old to play sis but did i cry when she came out in THE dress? yes. everything else is awful. that fucking SWING I’M GONNA MURDER SOMEONE- please get rid of mark as death i’m so tired-

Kittyboy Rudolf is free serotonin 💖

Happy Lunar New Year!!!!!

Here's Der Tod in áo tấc (a Vietnamese traditional costume) and catboy(catman?) Rudolf because it's the year of the cat instead of rabbit in Vietnam

Does anybody have the transcript of the original German lyrics of the ORIGINAL Schwarzer Prinz? The one in 1992? 🥹 Cuz I can’t seem to find it anywhere. The only one I found is the one used in the Viennese Revival which is already changed …

For the past 2 days, the Mononoke team’s decision to recast the Medicine Seller has been living rent free in my head. And today I come to offer another perspective.

Because of the way animation in general does not allow for much appearance of the creators, much of the public credit and acknowledgement go to the only slither of humanity that can be seen or rather … heard. People equate their favorite characters with the providers of their voices. Kaji Yuki is literally Eren Jaeger. Dante Basco is literally Zuko. And Sakurai Takahiro is literally Shirokuma, Osomatsu, Makishima, Rohan, Kusuriuri, etc. Except this is a very reductive view because in truth, the voice actor does not, at all, play any part in the actual creation of a character or vision. They are the missing piece of a puzzle, but the other 99 pieces, the base, the frame, they’re the works of the writers, the designers, artists, animators, and directors. The voice actor simply HELPS bring that vision to life per directed, they are not creators.

In light of the recast decision, I have seen outcries saying that without Sakurai Takahiro, the Medicine Seller is no longer the Medicine Seller, which is a sentiment I can understand. I, too, have deep attachments to the characters voiced by him, and thus, indirectly, to his voice. But while his voice is perfect for such calm, mysterious, almost mystical character, consider this. Would you want a main character of a story that intentionally explores the lived reality of women in history (both pain and gain) through a humanizing lens, whose affiliation is neutral but with subtle acknowledgement and empathy for the victims of each crime (who are mostly women), to be voiced by a man who has, for a very long time, deceived and taken advantage of the women in his life? The compatibility between Sakurai Takahiro and the Medicine Seller is purely superficial, they stand for complete opposite things. And the team, while fully know the risks they are taking, sided with their creation.

With that decision, their creative interest is fully protected. By recasting the Medicine Seller, they are asserting their rightful claim to the credits of creating both the character, AND the series. THEY are the mysterious lines spoken in several intakes of breath, THEY are the glamorous kimono, THEY are the cheeky and mischievous actions that also imply a sense of misanthropy. The Medicine Seller is NOT, and never has been, Sakurai Takahiro. Secondly, with such cruel actions as his reputation, it is difficult for any production to continue working with Sakurai Takahiro, especially in a lead role where he would no doubt be involved in many promotional materials and inevitably be linked with its name. Hence, it is likely that, without any drastic action, upon finishing this movie, the Mononoke team, too, might close its door and try to move on. But by detaching him from the name, they are now able to look forward into the future and continue to conceptualize the universe that we all love and crave, without the weight of such an impactful and disrespectful scandal, that directly contradicts their stance, on their mind.

In all, with the single brave decision to recast one of the most recognizable traits of their central character, the Mononoke team has protected their character, their work, their creation. It is truly commendable.