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Korean Elisabeth pro-shot

More hints about the forthcoming Korean Elisabeth pro-shot in this podcast interview with Art Seen Films' Eddie Aronoff: https://www.filmedlivemusicals.com/blog/ep-79-art-seen-films

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Hello, love the blog. I've seen a couple of hints online about a Korean 'Elisabeth' pro-shot being in the works (I can't post the links into this webform, but they're available on my own tumblr). I'm hopeful, but I don't speak/read Korean, so I was wondering if you know anything more about this? Thanks!

Oh this is really funny, I just saw some excitement on twitter about this earlier tonight. It's only rumours though, there's no official announcement from the production company. Just gonna dump some photos from twit I saw. Apparently the entry also disappeared for a little and then reappeared again?

But it's kind of been like an open secret amongst fans that Elisabeth has been filmed and for some unknown reason EMK just won't release?? Like how they did Lives for Monte Cristo in cinema. They released two of the three possible pairings and everyone knows they've got the last one filmed but idk EMK is just a jerk like that (it's most likely a licensing issue or a paying the actors issue considering how high profile that last pair was).

But yeah, from the screenshots I saw, the release date looks like it's going to be September 9th, 2024. The first one is when you search it up on naver, and the second one is from a ratings company that determines like if its PG or MA etc. (a lot of knowledge of if a livestream/pre-recorded video is going to be released is leaked by checking a ratings company lol).

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Another hint of a Korean 'Elisabeth' musical pro-shot?

First we got a Korean Elisabeth pro-shot teased by Art Seen Films, now there's this Wys-En-Scene page that also indicates it's on the way... I'm living in hope here but I would like stronger confirmation! Does anyone have more intel on this?

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The part about Der Tod's conquests being dumped on the floor is so important.

Every time i look at 1992 uwe tod i come away thinking that tod just..... should be weird. We can't be having normie tods running around... I want him to be this completely inhuman figure who tries to get close to humanity (because how do you personify death??) but deeply misunderstands some things, especially things like human behaviour and emotions. Máté is good at this too, he just did it in a different way, but after those two the effect is never really potent enough again. I mean, there is something to say for prods with humanized or gentle etc tods, at least theyre doing something else than mrak seiber, but it's not quite it for me at least. He needs to be weird because Elisabeth is weird and, dissatisfied with her life, craves a poem in the flesh.

And for me personally (this is not me saying gender non conformity is weird or inhuman btw, it's not, it's just hot and looks good) i want back the mayerling dress and all that, and the actors should be styled accordingly, if he's not going to put on eyeshadow and blush and get dolled up to kill rudolf then don't fucking cast him?? There are enough musical actors out there who like straying from the mold, the overlap between drag performers and musical artists is not insignificant. Hell, if despite your best attempts macho guys are still the only guys you can find, then cast a woman (trans or cis - for a trans woman the role might be easier/not require rewrites, because of vocal range), cast a nonbinary performer. You don't really have to change stuff in the script, someone who's not a man can still be a "prince" if the styling is androgynous. It really is that simple...

also this should maybe be a separate post but 1992 is so iconic for portraying mayerling as a romance, rudolf running to embrace tod, twirly dancing, Big Damn Kiss (rudolf barely notices the actual act of shooting himself, he's so busy making out) - up until the very end, when rudolf is dumped unceremoniously on the floor. symbolism. It's such a better deeper way to tackle the subject. Suicidal ideation doesn't just beat you over the head violently, mental illness/depression lures you in with promises of a "solution" but actually only offers a miserable nothing.

This is also why it's so important for Elisabeth to get dumped on the floor as well - there's more care in that than in how Rudolf is treated, Tod is obviously distraught, but that's the point and the tragedy of the show!!!! Freedom is fleeting, dreams are fleeting, emotion is fleeting, but yearning for them is what makes us human!!

If he carries her away the moral of the story becomes "if you die you get a hot supernatural partner that's obsessed with you!!!" No!!!!!!! The romance narrative is a big lie, suicidal ideation is a big lie, history is a big lie, it's all connected, but we always cover shit up with kitsch because some people prefer a simple romantic reading to the degree that they warp the rest of the story around it. I stg people have just replaced sissi movie trilogy fairytale prince FJ (1950s) with elisabethdasmusical fairytale prince modern peugeot king mark seibert leather tod (2020s) or insert whatever other boyfriend death you prefer

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Art Seen Films are teasing possible Korean Elisabeth screenings for next year :)

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(Content warning: suicide) I agree with this post, although to me there is an element of the ending which is "happy" or at least emotionally satisfying: in the end, Elisabeth dies by assassination rather than by suicide. That in a sense is her triumph, albeit a grim one: she never succumbs willingly to Death's seduction attempts throughout her entire life. She manages to mentally keep the wolf from the door, again and again and again. Death wins the final battle, as he inevitably will for us all; but she only goes to him when she has won the long war for her own soul. That doesn't mean she lived a good, or even happy, life, but for this particular fight, she fought to the end.

(I'm new to this tumblr thing, is there a way to comment on a post without reblogging it? I'm too old for this.)

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)