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@gryffindorsmckinnon

Miroslav knew he had to do this. 

This is what was necessary.

He messed things up. He was the one to let his mind get the better of him, allow it to loudly overthink and drown out what he knew he wanted. And as usual, the sensible boy he was, Miro listened to his head, his mind, instead of his heart or body. Because the latter two didn’t make sense, they weren’t rational. But things with Marlene weren’t rational, he was realizing. And that was…exciting, to him. Different. And new. And he wanted that - if speaking with both Lily and Sirius didn’t make that clearer. Causing him to realize, sitting around letting her avoid him wasn’t going to get him anywhere.

Arriving at her flat with the tricky door, a soft smile came to his lips, remembering how surprised he was when she opened it the first time with a series of kicks and bangs to let him in. He hoped - truly hoped - that she would be on the other side, to let him in again.

So, raising his hand to knock on her door, he knew - this was necessary. Inhaling deeply, he held the breath when he heard steps padding to the door, only releasing it when he was face to face with her. 

“…Can I talk to you?”

2

8/23/16
First long run back at college and it felt so good: I felt strong, capable, and powerful. After a couple of rough runs I feel confident about running a half marathon in October and that my time goal is attainable. Yay for running & all the cool things bodies can do :)))

anonymous asked:

Do you think it's weird that at the end of Point of No Return when the Phantom gives Christine the ring that in some performances Christine puts the ring on herself. I have always found that weird. If Christine was scared that the Phantom would get her, why would she take the ring? Does it depend on the Christine and the Phantom?

Eh, sometimes, but not really? I guess because I can usually think of several possibilities for this, and most actresses try to play it off in a way that makes some logical sense:

  1. One is that Christine is just playing along as the Phantom proposes - she’s scared but can’t get off the stage, and I would guess that she feels she has to keep the Phantom from escaping or doing anything dangerous for as long as possible. As a result, she goes along with everything he seems to want her to do until it becomes too much for her.
  2. It’s also possible that she still is a little entranced by the Phantom’s voice, or is moved enough by his proposal, desperate as it is, that she stays and does what he wants, out of pity or some similar emotion. But the conflicting emotions eventually overwhelm her, which is why she tears off the mask.
  3. “The show must go on.” Christine is performing in front of an audience and don’t want anything to seem off, so she goes along with everything the Phantom does and pretends it’s all part of the plan. (To be honest, this is probably not a motivating factor, but it just amuses me a bit to think of Christine panicking slightly but still going, “Okay, the Phantom is here, but I’ll just run offstage and pretend this is all part of the show - no, wait, he’s dragging me out. This is fine. I’ll just struggle, but try not to look like I’m struggling. Struggle casually. Now take off his hood - that’s something Aminta would do, right? She figured out it’s not Passarino there? We’re good, audience, everything’s good. Oh no look, he’s still staying even though I took off his hood. That’s cool. He’s still singing - I don’t know these lyrics. Going to stay silent. Nothing weird going on here. Oh, he’s taking off a ring. And giving it to me. What do I do with it? No, it’s all cool. Put it on your hand - look, nothing out of the ordinary. Just an ordinary proposal in an ordinary opera from an ordinary man…”)

It’s interesting in that, from what I’m reading of the libretto, that Christine putting on the ring is what is described in the original blocking (”He takes from his finger a ring and holds it out to her. Slowly she takes it and puts it on her finger.”). It wasn’t until later that it was changed to the Phantom pushing it on himself. I wondered if the move was done so that the ring could be placed securely on the actress’s hand - it might be hard to hold the ring, unmask the Phantom, and then get rushed offstage, without dropping it at some point.

But anyway, I don’t think it quite depends on the Phantom or Christine - watching my bootlegs, this move was prevalent across multiple productions for the first few years, and only started changing around the year 2000 or so.

In 50 million years, there could be kangaroos hopping around Shanghai. The entire continent of Australia moves toward Asia by about 2.8 inches each year and will eventually collide with China and form a new supercontinent, Pangea Ultima. There’s already been enough of a shift to cause GPS problems, so Australia’s coordinates will hop north 5.9 feet on January 1, 2017, to make up the difference. Source

anonymous asked:

Do you know any cool/interesting facts about the 2004 movie?

I dunno about cool or interesting, but here’s a few:

  • Ramin Karimloo, who was Raoul in the London production at the time and would later go on to play the Phantom, played Christine’s father in the film.
  • The wax dummy of Christine at the end of ‘Music of the Night’ is not a dummy; it’s actually Emmy Rossum, in makeup and costume and holding very still.
  • There are several allusions to Leroux’s original book, such as the horse the Phantom uses (though in Leroux’s book it’s white) and the room full of mirrors Raoul drops into at the end of ‘Why So Silent’.
  • One noticeable goof is that Christine’s stockings are missing between the end of ‘Music of the Night’ and when she wakes up in ‘I Remember’. A popular fan theory said that this indicated the Phantom had sex with her, or something similar, at the end of ‘Music of the Night’, but the real world explanation appears to be that Emmy Rossum had an allergic reaction to the stockings and had to take them off.
  • Though interestingly the original script for the movie did have the Phantom going into bed with Christine as the screen fades to black.
  • Two songs in the 2004 film would later be reused in LND. The song playing over ‘Madame Giry’s Tale’ is later used for ‘The Coney Island Waltz’ in LND, while the song for ‘Journey to the Graveyard’ (an extended version of the one in the stage production) would become ‘Beneath a Moonless Sky’.
  • Gerard Butler apparently had to wear some kind of butt padding.
  • He was also apparently meant to do the ‘Final Lair’ sequence shirtless.
  • Christine is canonically 16 in the film, as her grave says she was born in 1854 and the film takes place in 1870. There’s a theory that her death in 1917 was due to the Spanish influenza pandemic. (Still better than being shot by Meg.)
  • There are no such things as ballet dormitories in opera houses, so God only knows where Christine lived during her childhood.
  • In 1870, France was undergoing the Franco-Prussian War and Paris was under siege, yet somehow, so kudos to the Opera Populaire for being open and somehow attracting audiences during this time.
  • Unlike the stage production, the 2004 film has the Phantom interacting and teaching Christine from a young age. This necessitated a slight change in the lyrics: Meg sings “Who is your great tutor?” instead of “Who is your new tutor” as in the musical (which implies Christine only came to the Phantom’s attention recently).
  • If you watch ‘Think of Me’ closely, you can see that Emmy Rossum has chewing gum in the back of her mouth. If you look at the audiences, you might also notice some dummies sitting in the audience. (Clearly an allusion to the stage production’s use of dummies in ‘Masquerade’.)
  • During ‘Masquerade’, a group of dancers on the steps strikes a famous pose from ALW’s musical Cats.
  • During the section where old Raoul is journeying towards the graveyard, we see a deer hopping along the road. This was definitely not planned by the film crew, but they threw it in anyway, and there was a segment of fans for a while who liked to make theories about its symbolism (knowing full well it was unplanned, so it was very much in the spirit of fun).
  • Margaret Preece dubbed over Minnie Driver’s Carlotta. I have heard, but do not have it confirmed, that Rohan Tickell dubbed over Piangi. Additionally, some well known London musical theatre actors appeared in the ensemble, including Liesl Dowsett, Tess Cunningham, Jackie Marks, and Annalene Beechey. There are probably many more.
  • Christine’s ‘Think of Me’ dress is based off the famous Winterhalter portrait of Empress Elisabeth of Austria.
  • If you listen closely to the long note at the end of ‘Music of the Night’, you can hear Gerard Butler’s last note being looped because it wasn’t long enough.
  • As part of preparation for the role, Emmy Rossum rehearsed with Gary Mauer, a Phantom in the US tour at the time, and also visited the Broadway production backstage to watch Hugh Panaro get his makeup put on.

The cost of cheating in ‘Pokémon GO’ just got way worse

Previously, cheating in Pokémon GO resulted in a “soft” or temporary ban. But Niantic Labs has updated the Pokémon Go terms of service to address cheaters. Now if you’re caught cheating by the following means…

  • falsifying your location
  • using emulators
  • using modified or unofficial software
  • accessing Pokémon GO clients or backends in an unauthorized manner

… you’re basically f***ed.

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