#copenhagen 2001

[eurovision-revisited]

2001 Copenhagen - Number 19 - Arnis Mednis - "Too Much"

I've been dying to write about this one...

The song is almost objectively awful. Lyrically, the English is poor and although not ambiguous, there's enough there to make you wonder exactly what's going on. The character that Arnis Mednis is portraying is not a nice man. Someone has described him as a 'drunk uncle at a wedding', and yes, although he's drunk, and he may be an uncle, it's the events around his own wedding he's describing. There's the strong possibility that he cheated on his wife the night before the wedding. He drags his new wife to a bar when she'd prefer a cup of tea. At least she dumps him in the end.

This version is a glow-up from the version that scraped the win in Eirodziesma 2001 by two points. That was slower-tempo affair with much more restrained vocals and a jolly accordion and a rapped section with Arnis begging to be taken back. Allegedly it's an anti-drugs song, and although he sounds coked up to the eyeballs, it's far too happy a song to be anti-anything. Apart from Arnis and his lyrics, there isn't a dark thing about Too Much at all

Arnis is great at portraying a truly obnoxious man, a terrible human being with barely a sliver of self-awareness. Troublingly I'm not sure how much of this is genuine and how much is an act - however confrontational.

He was in a band called Odis from the end of the 1980s and the early 1990s. Their first album was called Sātana Radītā (Created by Satan) and contains tracks called Black Girls and Portrait No. 2. Woman In Bathing-costume. That this album consists of lounge jazz or possibly lethargic library music might be part of an elaborate joke that I'm not getting, or it might be that there's a huge degree of delusion and misogyny going on.

And yet, here it is at number 19 in my top 26 for 2001. Why on earth would I do this to you?

Well, I like that happy little tune. I admire the backing singer in the final who truly throws herself into her new vocal line with abandon and whe there's nowhere to hide doing that live in front of 38,000 people. There's the guitar that kicks in on the choruses, the call and response, it's rough, it's dirty and it absolutely suits the song. And they got rid of the rap. Without the context of the lyrics, the song itself is an absolute blast.

Arnis the singer clearly does have some self-awareness that Arnis the character in the song is an awful person. There is parody here, even if I can't tell what level that parody is operating at. His usual output is jazz, and as this is about as far from jazz as you could possibly get. As he wrote this, it could be pastiche. I don't think it's trolling Eurovision, but I can't be 100%. That's an enticing, teasing ambiguity.

Mostly though this song is the utter antithesis of the love song. Eurovision is awash with love songs, positively bathing in attachment, passions, desire and happy hormones. It does need contrast. And here is that friction; the sand in the lubricant. It is an excellent representation of someone who is so self-obsessed and far too gone on whatever substances he's taking that his memory is destroyed and his lies fail to last even two days into a marriage. Someone you'd never want to go near once you'd get to know him.

This is a song somewhere on the spectrum between Silvia Knight's Congratulations and Hatari's Hatrið mun sigra. Plus it has an accordion, and I love accordions in Eurovision. Too Much is a song you cannot ignore.

[i12bent]

Vibeke Tøjner (b. March 12, 1961) is an autodidact Danish artist. She studied French and Art History at Danish unis, and debuted as a painter in 1987.

Above: September, 2001 - oil on canvas (Copenhagen Business School)

[operafantomet]

Just saw phantom live at west end and wow! The sets were big! Now I wonder if other replicas had bigger sets.

For a second I read that as "West End Live", AKA the annual concert thingie with led screens... And I was like HUH?

Then I understood what you meant. Heh.

First and foremost, I am so happy you had a good time at POTO. It is a beautiful show. I am a huge fan of Maria Bjørnson's set and costume design, and still today - some 30 years after I became a fan - I can be utterly floored by certain scenes.

As far as set size goes West End is actually one of the smaller. Not SMALL, but smaller. Some of the biggest to date include (in no particular order):

The Las Vegas production 2006-2012, with its especially-built theatre with gigantic stage, dome, and "chandelier in pieces". Huge production, larger-than-life details.

The original Hamburg production 1990-2001. Another theatre built to house Phantom (and today one of the top musical theatre buildings in Germany). Extremely wide stage, to the point where Maria Bjørnson was not entirely happy with the proscenium layout. It didn't blend as well as elsewhere. In some scenes it also felt like the cast literally had to run across stage to get into position in time. Oh Hamburg. Needless to say, they narrowed the stage for the revival 2013-2015.

The Stuttgart production 2002-2004 also featured a big stage. I can't tell if it was bigger than Neue Flora in Hamburg or not, but it was in the same vein.

Oh! But also the original Los Angeles production (1989-1993). Massive proscenium and stage. And yet I don't have a single good photo showing the proscenium or its scale. Hmpf.

I would also mention the World Tour, which has toured in at times huge arenas. It didn't necessarily make the proscenium bigger, but they sometimes did the extended side sculpture look, where there is a drape structure under the sculptures. This was the case when I saw the show in the fairly brand new Zorlu Theatre in Istanbul 2015:

This could even be considered one of the smaller World Tour stages. In other cases they've been in huge operas or also arenas. Again, it doesn't necessarily mean the set-up on stage is bigger, but it does something with the overall scale. Here's Hong Kong 2014:

Compared to these Her Majesty's Theatre is way more intimate, both in Maria Bjørnson's original proscenium design and chandelier:

And the new wider and angel-less design for the revival:

Just to continue showing the range of set-ups... I suspect one of the smallest stages they've performed the show has been in Copenhagen. The stage is tall, but narrow, and quite cramped backstage. They were originally told no when they wanted to do the show, due to the backstage and understage space. But they came up with lots of methods to make sets foldable, collapable or deconstructable, and hoisting furniture and set pieces up in the air. And they made it work. Very well! But this production didn't feature any side sculptures, just like the riginal Stockholm production where they got the sets from, to not obstruct side view of the already narrow stage.

Now compare those proportions (and especially the Golden Angel, which I don't think differ a lot in size between productions) to the Las Vegas stage... quite the difference, both with and without the side boxes in the auditorium.

...and that has been today's proscenium and stage nerding... Hah!

[night-unfurls-its-splendour]

The Final Lair is truly the greatest horny girl moment for any heroine in fiction.

Period.

Its the spin, I think.

"Hey, you! Give me those fucked-up lips!"

1. Kristi Holden & Anthony Crivello (Las Vegas, 2008)

2. Olivia Safe & Ian Jon Bourg (Hamburg, 2001)

3. Susan Owen & Tim Martin Gleeson (Broadway)

4. Lisa Vroman & Brad Little (US Tour)

5. Sandra Joseph & Thomas James O'Leary (Broadway, 1996)

6. Elizabeth Southard x Gary Mauer (US Tour, Dallas 2006)

7. Sybille Glosted & Thomas Ambt Kofod (Copenhagen, 2019)

[fallonash]

Sophie Deveraux - timeline

Is anyone else confused by the timeline suggested by Sophie and Astrid claiming they haven’t seen each other in 20 years? That’s only 5 years before the pilot of the original series. Wouldn’t 30 years have made much more sense? Or at least 25. I’ve gone back and collected a handful of canon dates for the timeline from previous eps and come up with the following:

1989 – Jean Mettier dies (so the painting of Sophie from ”The Frame-Up Job” must have been made mid-80s, suggesting Sophie is born late 60s at the latest)

1997 – Beaten to stealing the Vermeer at the Louvre by the Jackal (The Jackal)

1997 – The Copenhagen job with Stark (Two Live Crew Job)

1998 – The Berlin Politic Job with Stark (Two Live Crew job)

1999 – Steals the David from the Vatican (”10 years ago” according to the First David Job in 2009)

2001 – Sophie and Nate meet for the first time (”Paris 7 years ago” according to the pilot in 2008)

2002 – The Duke DIES (”dear William gone these 8 years” in ”King George Job” 2010)

2003 – Sophie sees Astrid for the last time (”20 years ago” according to Redemption 2x12+13) and escapes Ramsey

2004 – Matevan fraud (mentioned in Harry Wilson Job)

So not only does that technically mean the Duke died BEFORE Sophie left him, that can be fudged with rounding a bit up or down, but:

Are we to believe that while she was married to the Duke, she was simultaneously running around Europe, stealing paintings and doing long cons, and flirting with Nate Ford? Would Ramsey really let her work with other crews like Stark so much? And when would she have time to amass all those caches of treasure? I mean, if she stole the David on Ramsey's order, would he really let her keep it??

I feel like it would make much more sense for the Ramsey time to have been late 80s/early 90s, give it a few extra years for the marriage to the Duke, and then she makes her break for it in say ~95 or so, and spends the next 10 years establishing herself as a grifter extraordinaire on her own terms, while the Duke slowly dies of a broken heart and drinking over a period of several years, rather than it being a quick process of a few months at most.

(Auntie from the King George Job says ”he never blamed you” and ”the drink helped” - I recruited someone unfamiliar with the show to watch that scene and give me a rough interpreted timeline, and they said 'it sounds like the blame thing was something they talked about many times over a longer period of time, so that he had ample opportunity to change his mind if he wanted, and that he was drinking but also had periods when he was doing better, so I would guess 4-8 years from the time Sophie left him until he died'. That was pretty much my initial interpretation of that scene as well, as far as I remember it.)

I am very interested to hear people’s takes on this, but unless someone has a very compelling argument I think I’ll headcanon that they meant 25-30 years instead. (Couldn’t they just have said ‘we haven’t see each other since Astrid was 10′ and left it vague instead???)

(Also, if anyone can add canon dates to this, please let me know and I’ll add them in! This was just off the top of my head times when I remembered them mentioning specific years for things.)

[charlotte-of-wales]

Happy 19th wedding anniversary to Crown Prince Frederik and Crown Princess Mary of Denmark!

The couple got married at Copenhagen Cathedral on May 14th 2004.

They met during the 2000 Summer Olympics in Sydney. Frederik was at the bar with his brother Prince Joachim, his cousin Prince Nikolaos of Greece and Denmark as well as the then Prince of Asturias and Princess Märtha Louise of Norway. Mary did not know he was the future King of Denmark when they met. They conducted a long-distance relationship until December of 2001 when Mary moved from Australia to Denmark.

Frederik and Mary became engaged on October 8th 2003, with Frederik having proposed with an engagement ring featuring an emerald-cut diamond and two emerald-cut ruby baguettes, which are similar to the colour of Denmark's flag.

The couple have four children: Prince Christian (17), Princess Isabella (16), Prince Vincent (12) and Princess Josephine (12). The family resides at Frederik VIII's Palace, one of the four palaces that make up the Amalienborg Palace complex and at the Chancellery House, a building in the park at Fredensborg Palace, during the summer months.

[eurovision-facts]

Eurovision Fact #569:

Dave Benton was the first Black person to win the Eurovision Song Contest. He and Tanel Padar won in 2001 for Estonia with the song "Everybody."

[Sources]

Copenhagen 2001, Eurovision.tv.

"Editorial: Black lives matter — and so do black artists at Eurovision," Wiwibloggs.com.

[howardhawkshollywoodannex]

Writer director Nikolaj Arcel directing Mads Mikkelsen on the set of A Royal Affair (2012). Nick was born in Copenhagen and has seven director credits from a 2001 short to The Promised Land (2023, also with Mads Mikkelsen).

Nick's 24 writing credits includes The Girl with the Dragon Tattoo and The Promised Land.

[manitat]

American group Ramones, Copenhagen, June 1977... Dee Dee Ramone (1951-2002), Tommy Ramone (1949-2014), Joey Ramone (1951-2001), Johnny Ramone (1948-2004)... Photo by Jan Persson/Getty Images...

[speedbird1987]

Headcanon about my two OCs seen here.

Angela Finnegan (Maiden name: Richards) was born and raised in the City of London in May of 1989 and Landon Finnegan was born and raised in Dublin, Ireland in April of 1977 before moving to Fulham in the Greater London Area. They first met in January of 2020 before the Global Pandemic of COVID-19.

Angela is a Customer Service Manager at Heathrow Airport Terminal 5 for British Airways and has been on the job for over 10 years after joining in 2008 when Terminal 5 first opened. She has been known for her kindness towards other passengers and her colleagues at British Airways. She worked at Airports across the UK and the US from London Heathrow to Phoenix Sky Harbor. In 2020, she first met Landon while assisting the crew of a British Airways Flight that was bound for Newark, New Jersey and had to return to Heathrow. She kept him safe and took care of him with the help of her best friend Ellie Phillips of the Pontypandy Fire Service and NHS Wales until the London Ambulance Service arrived. She was always there for him before, during, and after the Pandemic. In 2022, She got engaged with Landon and then in December of 2022, they got Married and at the end of 2022 now have their first child. Now, Angela works close to home with Landon in Nearby Hillingdon which is in proximity of Heathrow Airport.

Landon is an In-flight Business Manager who oversees the cabin crew on all British Airways flights. He first joined British Airways in June of 1996. His first flight outside of the UK was in July when British Airways began flights from London Gatwick Airport to Phoenix Sky Harbor before the flight was moved to Heathrow Airport in 2002. He was the flight attendant who saw the news of September 11th 2001 while on a flight from London to New York, American Airlines flight 587 when he was in the air from London to Copenhagen, British Airways flight 38 when he was on the Ground after a Flight from Phoenix to London on Flight 288, and British Airways 2276 while on flight BA275 to Las Vegas. He served as a Flight Attendant for British Airways and has been on the job for over 20 years. He was there when Concorde retired in 2003 and both him and Angela watched as the British Airways 747-400 was retired in 2020. Now, Landon is overseeing the services on other aircraft such as the Boeing 777-200, Boeing 777-300ER, Boeing 787-8, Boeing 787-9, Boeing 787-10, Airbus A319-100, Airbus A320-200, Airbus A320neo, Airbus A321-200, Airbus A321neo, Airbus A350-XWB (A350-1000), and the Airbus A380-800. In 2020, he met Angela after he was injured on BA185 heading to Newark Liberty International Airport in New Jersey. He was taken to Hospital and he was released the same day. They spent time together during the pandemic, Landon got Engaged with Angela in 2022 and then he Married her in December of 2022. He now has a new daughter with His wife.

[megabif]

Piero Golia

Manifest Destiny, 2008

16 foot jump off the Tsien and Williams ramp onto a 3 x 12 x12 foot red foam mattress

On January 8, 2008 during my visit to Santa Fe, I was informed that the exhibition design for the Biennial would contain a large elevated ramp circulating throughout the show, creating a directed path for the visitors. When invited to create a site-specific work, I chose to intervene by proposing to cut the ramp at the point it reached the height of sixteen feet and set at the bottom a 3’12’12′ red foam mattress. This will generate a situation where, if the Biennial visitors desire, midway through the exhibition they can jump from the platform onto the red foam mattress or just go back.*This gesture arose from pure instinct upon first encountering the ramp. The response will be equally instinctive on the part of the visitors  they can jump or they cannot jump. The ramp forces an experience and logic onto the space by interrupting its circularity. I replace this imposition with a physical experience, different from that which was intended.I remember hearing the Beastie Boys singing, “Ride with me, I’ll take you to the border.” Well, here I take you to the border and I want you to jump. Part shaman and part showman, and, in a way, completely both. The regularly scheduled experience is replaced with a concrete, emotional experience. There is an issue of trust on all sides, and the work is shaped by trust from all involved.*This text was dictated by artist Piero Golia to art critic Andrew Berardini on April 25, 2008 at 11.37 p.m. GMT.After having signed waivers, museum patrons will be permitted to jump from Golia’s work. The crash pad is located in the northwest corner of Gallery 4. The actual jump will be approximately five, not sixteen, feet.Piero Golia’s work addresses issues of identity and the role of the artist through the powerful tools of humor and irony. Although Golia calls himself a ‘small artist’ – referring to his physical sizehis self-deprecation stands in stark contrast to the sometimes Herculean endeavors the artist pursues in order to make something of a legend of himself.For one of his first works, he successfully spent six months convincing a woman he had met to have his portrait and the words “Piero My Idol” tattooed on her back. In 2005, he vanished in New York and reappeared three weeks later at the Royal Academy of Arts in Copenhagen. Within that period of time, he left no trace of himself at all, crossing borders illegally, leaving no proof of payment and pretty much living the life of a fugitive. Typical of Golia’s taste for creating works that are as much talked about as they are looked at, his adventurous journey was reconstructed by a filmmaker with the help of the head of the Italian Police cyber-investigation unit and a criminal psychologist.Golia’s gestures are often as grand as they are futile, as illustrated in the work It Takes a Nation of Millions to Hold Us Back (2003), where he had the entire facade of a building removed from its original position in Amsterdam and installed in a gallery space in Paris. The humor in his work is catalyzed by paradoxical situations  the imbalance between means and aims, and the way things sometimes never turn out the way we expect them to.In 2001, following an invitation to the Tirana Biennale, he rowed across the Adriatic Sea in the opposite direction to migratory movement, thus becoming the first illegal Italian immigrant in Albania, but also playing with the cliches of the emerging artist striving for notoriety on the platform for large-scale exhibitions. Golia turns himself into his biblical counterpart, David, when he fights against the art system and its rules in On the edge (on the crest of the wave) (2000) – a performance he did for the Artissima art fair in Turin – by climbing a 7 meter high palm tree and threatening to come down only if a collector would buy the photo of the work.He now lives in Los Angeles, a place that blurs the boundaries between reality and fiction, making it the perfect setting for his exploration into the process of myth-making and his ironic outlook on contemporary society. In 2005, Piero Golia and Eric Wesley founded The Mountain School of Arts, an educational institution that aims to become a new spot on the cultural map of the city of L.A.

(via Piero Golia - Artist - PLAY Kortrijk - City circuit for contemporary art) 

Via + Via

[eurovision-revisited]

2001 Copenhagen - Number 23 - Antique - "Die For You"

It's 2001. Greece have never won Eurovision. They had a number of well-received and now loved entries in the 1990s placing consistently in the lower half of the top 10, but no winners. Where better to turn to try and break that duck than Sweden - if not the spiritual home of Eurovision, then certainly its engine room.

Antique comprised Helena Paparizou and Nikos Panagiotidis, both first-generation Swedes born to Greek parents, part of the Greek diaspora and infused with both ethnic Greek and Swedish pop/schlager sensibilities. Brought up with Melfest and Abba, and put together by Swedish producers looking to market Greek songs to the diaspora in Sweden.

As part of that push, they were entered into Ellinikós Telikós as part of Greece's re-entry into Eurovision after two years out with financial troubles at ERT. The voting in the final was 50/50 jury televote with only four acts. Believe it or not for this eternal Eurovision fan favourite, they nearly didn't make it - tying for the win and only going through because Antique won the televote.

Heading into Eurovision, they weren't quite the betting odds favourites, but they were hotly tipped to do well with their song appealing to two different ideas of what a Eurovision song should sound like. Die For You starts with a bouzouki riff before transforming rapidly into disco-schlager. And despite having an English chorus and title, the verses are in Greek. Helena is looks like a pop queen wearing Greek white and given the title, sells that dramatic commitment with authenticity.

Of course, this did very well - third place and is firmly cemented as perhaps the fan favourite from 2001. Helena, went on to do even better later and I'm sure she will reappear in this blog in four years time. In between these two years, Antique moved to Greece and became very popular there, bringing summer Scandi-pop to the Eastern Mediterranean. The group split up in 2003 with Helena continuing to have a spectacular singing career.

[thepastisalreadywritten]

They both left their lives as 'commoners'  to marry into a foreign royal family.

Yet the Duchess of Sussex Meghan Markle, 41, and Princess Mary of Denmark, 50, couldn't be more different.

While Australian-born Mary, formerly Mary Donaldson, embraced her new royal title after relocating to Denmark, Meghan has burned all bridges with Britain's monarchy for good. 

As Meghan continues to throw barbs at The Firm in her latest Netflix docuseries, we take a look at how Mary set the gold standard for life as a modern princess.

Born in Tasmania, Mary met Frederik of Denmark by chance at a Sydney pub in 2000.

They maintained a long-distance relationship for a year, with Frederik making secret trips Down Under before Mary moved to Denmark to study the Danish language at Copenhagen's Studieskolen in 2001.

The couple married in 2004 and now have four children. 

Mary's decision to marry a Danish royal came with its own challenges - she had to relinquish her Australian citizenship and change religion from Presbyterianism to the Evangelical Lutheran Church of Denmark.

Mary also had to learn a new language and familiarise herself with Danish history and culture, as well as cope with the challenges of going from a nobody to one of the most talked-about and photographed women in the world. 

Yet Mary did so without a word of complaint to the media - something Meghan has failed to achieve.

Mary, who will one day become the Queen of Denmark, has always steered clear of scandal. 

Over the years, she has refused to speak negatively about others to the media and maintained a dignified silence amid controversies such as Queen Margrethe II of Denmark's recent royal title scandal.    

Earlier this year, it was announced that four children of Queen Margrethe's youngest son, Prince Joachim, would be stripped of their royal titles and would no longer be known as His or Her Royal Highness.  

As of January 1, Prince Nikolai, 23, Prince Felix, 20, Prince Henrik, 13, and Princess Athena, 10, will become Counts and Countesses, and will be known as Their Excellencies.

Frederick and Mary's four children - Prince Christian, 16, Princess Isabella, 15, and twins Princess Josephine and Prince Vincent, 11 - remain unaffected as they are direct descendants of the future King.  

However, Princess Mary suggested that might not always be the case.

'We will look at our children's titles when the time comes,' she said in an interview with Ekstra Bladet in Copenhagen. 

'Today we cannot see what the royal house will look like when it is Christian's time, or when Christian's time begins to approach.'

She also defended her mother-in-law's decision, saying:

'Change can be extremely difficult and can really hurt. I think most people have tried it. But this does not mean that the decision is not the right one.'

'I can understand that it is a very difficult decision to have to make, and also a very difficult decision to receive.'   

Meghan, on the other hand, was reluctant to accept the expectations that come with marrying a prince.

Since stepping down as a senior royal in 2020, Meghan has clung to the spotlight by taking endless public swipes at The Firm and the British press. 

She has also complained at length about dealing with the British press, despite having plenty of experience with fame prior to becoming a Duchess. 

Media was quite the savvy media operator prior to meeting Harry, maintaining friendships with British WAGS and tabloid journalists like Piers Morgan. 

In contrast, Mary had no experience with the press prior to becoming a royal.

'I'm sure Mary looks at what Meghan has done and is horrified by it,' royal expert Phil Dampier told New Idea in 2020.

'Mary is dedicated to her role supporting Queen Margrethe and she must feel Harry and Meghan have let down Queen Elizabeth.

'If Mary had "done a Meghan," it would be like [her] marrying Frederik, and then within two years, luring him back to Australia where they met and taking him away from his family and destiny,' Dampier added.

In Meghan and Harry's new Netflix documentary, for which they were reportedly paid $150million (AUD), the American-born duchess complained at length about what a shock it was to join the Royal Family.

Meghan, who was brought up as a Christian, was baptised into the Church of England before she married Harry but reportedly didn't have to be. 

'Baptism, as we understand it in the church, is a free adult decision and is not required for marriage,' Reverend Ruth Meyers said.

In the series, Meghan claimed she was 'surprised' by the family's formality, noting that she was a 'hugger' - something she did not realise was 'jarring for some Brits'. 

She said that her sister-in-law, the Princess of Wales, was 'formal' behind closed doors and that Kate found her hugging 'jarring'.  

However, an unnamed friend has contradicted Meghan's version of events, telling  PEOPLE that Kate is in fact a 'big hugger'.

'She is warm and friendly and greets everyone with a big hug and kiss. It comes naturally to her to be like that,' they said.

Meghan also appeared to mock royal protocol by performing an exaggerated curtsey while describing her first encounter with the late Queen Elizabeth II.

She said the whole occasion felt like an antiquated banquet at Medieval Times, a family dinner theatre in the U.S. featuring staged medieval-style games, sword-fighting and jousting.

Meghan claimed she had to google the British national anthem and wasn't given a  Princess Diaries-esque crash course on royal etiquette. 

Harry also spoke of his wife's turmoil, claiming his family had asked why Meghan needed more protection than other royals.

He said they had not understood the 'race element' and had displayed a 'huge level of unconscious bias'. 

'What people need to understand is, as far as a lot of the family were concerned, everything that she was being put through, they had been put through as well,' Harry said on the Netflix documentary.

'So it was almost like a rite of passage, and some of the members of the family were like, "My wife had to go through that, so why should your girlfriend be treated any differently? Why should you get special treatment? Why should she be protected?''

'I said "The difference here is the race element".'

[operafantomet]

I'm not sure if this is a hard ask, but do you have any photos of Carlotta and Christine's Elissa dress from the original production in Antwerp (1999)? I remember seeing at least one of Carlotta back in the day - I think on your old costume site.

I don't think I've ever seen one single photo of the Elissa skirt used by Susanne Duwe, Inneke van Klinken or the other Antwerp Christines. Utterly frustrating too!

But CARLOTTA'S Elissa skirt. Oh boy. So many photos. Partly because it was photographed in Belgium, as seen here on principal An Lauwereins 1999-2000:

...and partly because this particular skirt travelled on to Denmark, where it was used 2000-2003 and again in 2009 - which resulted in a gazillion photos. It was first used by Rita Saxmark and Eva Hess Thaysen 2000-2001:

Then by Vera Borisova in 2002:

Then by Eva Malmgren Karin Fridh in 2003:

And again by Eva Malmgren plus Malin Landing in 2009:

And yes, it was also photographed in with the backdrape in the end pose of the Hannibal scene many times:

And in elaborate backstage photos, as her from the Copenhagen Cultural Night costume exhibition:

So yes, a well docomented skirt! As a stark contrast to the Belgian Christine Elissa skirts. And one I missed in the Danish 2018-2019 production. They had retired this skirt and featured a new green West End one instead. It was a nice skirt in all aspects, but the above skirt is one of my favourites with its insane gold decorations.

[night-unfurls-its-splendour]

PotO Gifsets Masterpost Vol. I

A masterlist of gifsets I've made from various performances I've watched.

Ian Jon Bourg & Olivia Safe w. Kyle Gonyea (Hamburg, 2001)

Gary Mauer x Beth Southard (Dallas, 2006)

The First Lair

Point of no Return

Final Lair

Earl Carpenter & Rachel Barrell (West End, 2006)

The Phantom of the Opera

Music of the Night

Stranger Than You Dreamt It

Point of no Return

Final Lair Kiss

John Owen Jones & Rachel Barrell (West End, 2005)

Music of the Night

Point of No Return

Final Lair Kiss

John Owen Jones & Gina Beck (West End)

Music of the Night

Anthony Crivello & Kristie Holden (Las Vegas, 2008)

Phantom of the Opera

Music of the Night

Stranger Than You Dreamt It

Point of No Return: Part I

Point of No Return: Part II

The Final Lair: Part I

The Final Lair: Part II

Tomas Ambt Kofod & Sibylle Glosted (Copenhagen, March 2019)

Little Lotte (w. Christian Lund): Part I

Little Lotte: Part II

The Mirror: Part I

The Mirror: Part II

The Phantom of the Opera: Part I

The Phantom of the Opera: Part II

Music of the Night: Part I

Music of the Night: Part II

I Remember...: Part I

I Remember...: Part II

Stranger Than You Dreamt It: Part I

Stranger Than You Dreamt It: Part II

The Rooftop: Part I

The Rooftop: Part II

All I Ask of You: Part I

All I Ask of You: Part II

All I Ask of You: Part III

All I Ask of You: Part IV

Masquerade: Part I

Masquerade: Part II

Masquerade: Part III

Why So Silent?

Point of No Return: Part I

Point of No Return: Part II

Point of No Return: Part III

Point of No Return: Part IV

Point of No Return: Part V

Act II Unmasking

Final Lair: Part I

Final Lair: Part II

Final Lair: Part III

Final Lair: Part IV (The Kiss)

Final Lair: Part V

Final Lair: Part VI

Final Lair: Part VII

Michael Crawford & Dale Kristien (Broadway, 1988)

First Lair

Point of No Return

Michael Crawford & Dale Kristien (LA, 1988)

Music of the Night

Point of No Return

Thomas James O'Leary & Sandra Joseph (Broadway, 1996)

The Phantom of the Opera

Music of the Night

Point of No Return

Final Lair Kiss

Hugh Panaro & Samantha Hill (Broadway, 2011)

The Mirror

Phantom of the Opera

Music of the Night

Point of No Return

Final Lair Kiss

[sarahlancashire]

i'm watching midsomer murders & it's really fucking long

PILOT (1997): (1) the killings at badger's drift

SERIES ONE (1998):

(2) 1.01: written in blood (3) 1.02: death of a hollow man (4) 1.03: faithful unto death(5) 1.04: death in disguise

SERIES TWO (1999):

(6) 2.01: death's shadow (7) 2.02: strangler's wood (8) 2.03: dead man's eleven(9) 2.04: blood will out

SERIES THREE (1999 – 2000):

(10) 3.01: death of a stranger (11) 3.02: blue herrings (12) 3.03: judgement day(13) 3.04: beyond the grave

SERIES FOUR (2000 – 2001):

(14) 4.01: garden of death (15) 4.02: destroying angel (16) 4.03: the electric vendetta (17) 4.04: who killed cock robin? (18) 4.05: dark autumn(19) 4.06: tainted fruit

SERIES FIVE (2002):

(20) 5.01: market for murder (21) 5.02: a worm in the bud (22) 5.03: ring out your dead(23) 5.04: murder on st. malley's day

SERIES SIX (2003):

(24) 6.01: a talent for life (25) 6.02: death and dreams (26) 6.03: painted in blood (27) 6.04: a tale of two hamlets(28) 6.05: birds of prey

SERIES SEVEN (2003 – 2004):

(29) 7.01: the green man (gavin troy leaves!) (30) 7.02: bad tidings (dan scott arrives!) (31) 7.03: the fisher king (32) 7.04: sins of commission (33) 7.05: the maid in splendour (34) 7.06: the straw woman(35) 7.07: ghosts of christmas past

SERIES EIGHT (2004 – 2005):

(36) 8.01: things that go bump in the night (37) 8.02: dead in the water (38) 8.03: orchis fatalis (39) 8.04: bantling boy (40) 8.05: second sight (41) 8.06: hidden depths (42) 8.07: sauce for the goose(43) 8.08: midsomer rhapsody (dan scott leaves!)

SERIES NINE (2005 – 2006):

(44) 9.01: the house in the woods (ben jones arrives!) (45) 9.02: dead letters (46) 9.03: vixen's run (47) 9.04: down among the dead men (48) 9.05: four funerals and a wedding (49) 9.06: country matters (50) 9.07: death in chorus(51) 9.08: last year's model

SERIES TEN (2006 – 2008):

(52) 10.01: dance with the dead (53) 10.02: the animal within (54) 10.03: king's crystal (55) 10.04: the axeman cometh (simon dixon arrives!) (56) 10.05: death and dust (57) 10.06: picture of innocence (58) 10.07: they seek him here (59) 10.08: death in a chocolate box

SERIES ELEVEN (2008 – 2010):

(60) 11.01: shot at dawn (61) 11.02: blood wedding (simon dixon leaves!) (62) 11.03: left for dead (63) 11.04: midsomer life (64) 11.05: the magician's nephew (65) 11.06: days of misrule (66) 11.07: talking to the dead (aired between s12 & s13)

SERIES TWELVE (2009 – 2010):

(67) 12.01: the dogleg murders (68) 12.02: secrets and spies (69) 12.03: the black book (70) 12.04: the glitch (71) 12.05: small mercies (72) 12.06: the creeper (73) 12.07: the great and the good

SERIES THIRTEEN (2010 – 2011):

(74) 13.01: the made-to-measure murders (75) 13.02: the sword of guillaume (john barnaby arrives!) (76) 13.03: blood on the saddle (77) 13.04: the silent land (78) 13.05: master class (79) 13.06: the noble art (80) 13.07: not in my back yard (81) 13.08: fit for murder (tom barnaby leaves! also joyce & cully barnaby, gail stephens!)

SERIES FOURTEEN (2011 – 2012):

(82) 14.01: death in the slow lane (sykes the dog arrives!) (83) 14.02: dark secrets (sarah barnaby arrives!) (84) 14.03: echoes of the dead (85) 14.04: the oblong murders (george bullard leaves!) (86) 14.05: the sleeper under the hill (kate wilding arrives!) (87) 14.06: the night of the stag (88) 14.07: a sacred trust (89) 14.08: a rare bird

SERIES FIFTEEN (2012 – 2013):

(90) 15.01: the dark rider (91) 15.02: murder of innocence (92) 15.03: written in the stars (93) 15.04: death and the divas (94) 15.05: the sicilian defence (95) 15.06: schooled in murder (ben jones leaves!)

SERIES SIXTEEN (2013 – 2014):

(96) 16.01: the christmas haunting (charlie nelson arrives!) (97) 16.02: let us prey (98) 16.03: wild harvest (99) 16.04: the flying club (100) 16.05: the killings of copenhagen (betty barnaby arrives!)

SERIES SEVENTEEN (2015):

(101) 17.01: the dagger club (102) 17.02: murder by magic (103) 17.03: the ballad of midsomer county (104) 17.04: a vintage murder (kate wilding leaves!)

SERIES EIGHTEEN (2016):

(105) 18.01: habeas corpus (kam karimore arrives!) (106) 18.02: the incident at cooper hill (107) 18.03: breaking the chain (108) 18.04: a dying art (109) 18.05: saints and sinners (110) 18.06: harvest of souls (charlie nelson & sykes the dog leave!)

SERIES NINETEEN (2016 – 2018):

(111) 19.01: the village that rose from the dead (jamie winter & paddy the dog arrive!) (112) 19.02: crime and punishment (113) 19.03: last man out (114) 19.04: red in tooth & claw (115) 19.05: death by persuasion (116) 19.06: the curse of the ninth (kam karimore leaves!)

SERIES TWENTY (2019 – 2020):

(117) 20.01: the ghost of causton abbey (fleur perkins arrives!) (118) 20.02: death of the small coppers (119) 20.03: drawing dead (120) 20.04: the lions of causton (121) 20.05: till death do us part (122) 20.06: send in the clowns

SERIES TWENTY-ONE (2020 – 2021):

(123) 21.01: the point of balance (124) 21.02: the miniature murders (125) 21.03: the sting of death (126) 21.04: with baited breath

SERIES TWENTY-TWO (2021 – 2023):

(127) 22.01: the wolf hunter of little worthy (128) 22.02: the stitcher society (129) 22.03: happy families (130) 22.04: the scarecrow murders (131) 22.05: for death prepare (132) 22.06: the witches of angel’s rise

SERIES TWENTY-THREE (2024):

(133) 23.01: the blacktrees prophecy (134) 23.02: the debt of lies (135) 23.03: a grain of truth (136) 23.04: dressed to kill

SERIES TWENTY-FOUR (2024):

(137) 24.01: the devil's work (138) 24.02: book of the dead (139) 24.03: claws out (140) 24.04: climate of death