I was waiting for the scream people were complaining about and a guy said “nice” and I’m like oh that’s not that bad but then the girl screamed and I was like “oh yeah you definitely killed the mood”
Since hearing the sample, I've been dying to hear this song. I hope to be able to see this musical. I adore this song and I hope there is album soundtrack so I can listen to it whenever.
Lauren H I kinda find the male-leading songs to be very flat character-wise, and whilst that may work on an Emilie Autumn book/concert, I’m really hoping she doesn’t think you can have a musical that way. Literally even the worst musicals have some depth to the villain/antagonist. Even the Disney ones (which are amazing, but you get the point, targeted at a family audience). . . I was hoping to see a more complicated Dr. Stockill, etc. Thus far, the most musically interesting character seems to be Mrs. Mournington. Everyone else is painfully one-dimensional, and while I get that’s fine for an amateur writing a book that was in varying format highly personal to her (thus the bias), for a musical, you really do need to separate yourself from the story and provide the characters a bit of depth. It is possible and even understandable if EA is not able to do this due to the hospitalisation experience being so personal, but then she should’ve honestly left the musical idea alone until such a time as she could do so without bias, because every male except Thomson comes off entirely villainous (which I realise is true to the book, but it’s more like Saturday morning cartoon villainy, where motives and people aren’t clearly laid out), and every female (and Thomson) with the exception of Mrs. Mournington is, I’m not even gonna mince it, worse than villainous. . . /boring./ I really hope the other songs from the musical and the adapted story prove me wrong, because it’s been a long time since I’ve seen anything EA live, but I don’t think that’s going to be the case for a few choice reasons. One, the “highlights” were already released, and aside from the cover looking as tacky as one could expect (should’ve been simple, like a single spoon, the cover works fine for a regular CD, but a musical has to have a “logo” - hopefully that’ll change), the songs again are the ones I mentioned. Which means those are what she considers the best of the bunch, and if Emilie knows one thing, it’s music, so they likely are. Second, I think she’s got a bit of an ego (I get that she’s extremely talented, but c’mon, now.) So, the female characters aren’t good due to this being some sort of feminist musical - it’s because it’s literally Emilie and her friends, as far as the main cast. I think Mrs. Mournington comes off the most genuine because she may well be a personification of the feelings Emilie experienced post-abortion, so it’s the one thing that’s not focused on her in this entire musical and that’s probably why it’s interesting and complex. Everything/everyone else is essentially subjective portrayals of people Emilie does/doesn’t like, which tbh by now she should honestly be over. I was hospitalised against my will for two days and I didn’t even do anything wrong, but they can keep you for 72 hours just to make sure you’re not a danger to yourself/others. Those were easily some of the scariest days of my life, and they were just two. . . However, the medical staff wasn’t the scary part. It was the other patients, who are painted here in a sympathetic light (again, because it’s Emilie and her friends, the other “inmates” are clearly not based on real people, but the characters Veronica, Capt. Maggot, etc. usually play on stage, and they weren’t even hospitalised lmao.) The medical staff was actually caring and friendly - if they cared about money, they would’ve kept me there as long as possible, and made up a reason to, but they let me go because clearly it’d been inappropriate and the person who put me there was trying to manipulate that situation. As I said, though, it’d be fun if the characters had /more/ depth and it wasn’t just yet another “the world through EA’s eyes.” Because tbh, this whole asylum thing’s gotten kinda tired and should’ve stopped with FLAG. The cringey forced feminism (I have literally not heard the words “you fight like a girl” come out of someone’s mouth since literally the mid-90s) is something every somewhat intellectual girl/woman goes through but eventually grows out of (or at least refines to be more realistic/fair/helpful to /someone/ and not just incidentally) when they realise wanton polarisation is pointless. But it seems from her history that EA has a victim complex, from accusing Lady Gaga of copying her (Lady Gaga copies /copiously,/ but EA is not the first person to drag themselves on stage using a wheelchair, nor is she relevant enough to the mainstream for Gaga to care about her), to lashing out at her own fans on her website (I suspect this is why comments are disabled in literally all her videos, and she doesn’t really seem to use CZcams to release anything, and whilst this place can be a complete cesspit at times, her fans aren’t going to knock her for no reason.) I consider EA one of the most musically/lyrically talented artists I’ve ever heard of, and it’s a crime she isn’t more recognised, but she is far from the only very gifted artist who isn’t given their due. Others, with honestly equal or even superior talent (Vienna Teng comes to mind) know how to be humble, though, and Emilie needs to seriously learn the meaning of that word, because her diva complex is wearing out the fans. Not even in the mainstream do singers (male or female) get to be rude to their fans and have no backlash, as Justin Bieber found out. Except he was a young boy at the time and EA’s hitting 40 pretty soon, so that’s decades of experience that should have someone at least know better. The bipolar isn’t an excuse, either. I’ve met and lived with bipolar people, and narcissism isn’t usually a trait/marker. In fact, this whole Asylum story sounds outright defamatory to whichever hospital she was sent to /entirely appropriately,/ since she tried to commit suicide and that’s what happens. . . And they just can’t sue because we technically don’t know where she went, I guess. But I digress - for a musical, you’ve got to have more depth than this, even if your musical is aimed at children (even Frollo and Scar were given depth in Disney’s adaptations of such, and Jafar was given his own musical a la ‘Wicked,’ lol. I think the only shallow Disney Broadway villain is Gaston, and he was given /one/ comic relief song for a reason - BatB is also just a barely decent musical that’d be shitty if it didn’t rely so much on nostalgia - although even here, the Beast was more fleshed-out and reminiscent of Erik from PoTO) She should take notes (more than musical, since I heard a few) from Phantom and Les Mis - even Javert was given depth and humanity. Anastasia also got rid of Rasputin because cartoony villains don’t make for good broadway, so they made Gleb, a Stalin-era Soviet Communist, the antagonist - but he had depth to him and amazing characterisation despite his devotion to duty. And here, the closest Dr. Stockill comes to any sort of depth is saying “Emilie is the closest thing he has to a companion” (which, of course /she/ is, none of the other inmates were important or hot enough, despite Veronica Varlow. 🙄) But that’s as deep as the kiddie pool gets in an EA musical.
I honestly expected better from someone I /know/ is both musically literate and cultured enough to know and reference prime Broadway (4 o’clock and PoTO share certain notes) and bloody Shakespeare for Christ’s sake. This musical’s going to flop if she plans to release it to an audience that isn’t just Plague Rats unless there’s some improvement in the script/main musical numbers. Literally the only way this could get good reviews is if she gets away with a mediocre delivery simply because it’s “feminist,” and corporate/rich white feminism (Emilie isn’t poor, agreed?) is very “in” right now. If Trump gets a second term, it’ll probably be sold out, despite the fact women [especially white women who can afford brunch and expensive champagne] aren’t the demographic he’s hurting most (immigrants are), but white women, especially rich ones, have a weird victim fetish in a world that, if I’m honest, actually favours them (unless they’re up against a rich white guy who happens to be ugly or hot, but more Machiavellian, but then it’s just a petty power play between two awful people, isn’t it? [see: 2016 general election.] They get oppression points despite being the demographic that is graduating at higher rates - so when people [or, more frequently, tee shirts] say ‘the future is female,’ what they’re /really/ saying is ‘the future is whiter than an alt-right rally in mid-February, just with Lady Parts.’) Given the climate, this musical’s sole chance for ill-gotten acclaim would be now, so she better write quickly or hope Trump gets another four years (unlikely, since his approval rating’s dismal and he’s done nothing to help the meth addict potato farmer demographic he primarily caters to, however, ‘miracles’ happen - by which I mean, Democrats are stupid and will try to run Hillary again, or ‘Hillary, but black now!’ (Kamala Harris), or ‘Hillary, but Jewish now - just like Bernie!’ (Joe Biden), or ‘Hillary, but a white male now!’ (Drooling Kennedy no one gives a fig about), or ‘Hillary, but pretending she’s Jill Stein, now with 0.0% more Cherokee!’ (Elizabeth Warren), or ‘Hillary, but half-Hispanic, now with 30% more Republican!’ (Beto O’Rourke.) And, since there unfortunately is a high crossover rate between people who can afford Broadway shows and people who unironically wear pussy hats and refuse to scrape off that frayed, yet timelessly idiotic “nevertheless, she persisted” sticker off their BMW, this complete stinker of a story may be given a pass simply for “political relevance” to this class of people, whom, I remind, are the same to enjoy Oliver! and Les Miserables, because the only poor people they can stand are fictional and preferably dead when all’s said and done. Emilie seems to be no different, since she is from a very privileged background and has clearly never financially struggled in her life, not due to her own hard work (although her work ethic’s very impressive), but due to a handsome head start in life compared to most people (not everyone can afford to take violin lessons at 4, or literally ever. Most people, even when talented, don’t have the privilege to develop their art due to hobbies generally costing time and money, things poor people don’t have a lot of.) This may explain the self-centered tendencies she has, and, since being a politically polarised self-centered asshole is in vogue right now, the musical might actually be incidentally relatable despite going out of its way not to be (at least to a sane audience.) So, we’ll see, but if she hopes to have something that’s timeless and genuinely of quality, I hope and seriously pray this isn’t as one-dimensional as the book (since the book’s a pseudo-memoir, that works, but memoirs generally come off vain in visual media.) You may ask why I’m being so harsh with Emilie, and tbh it’s because I really admire her musical skill and songwriting talent. I also know she puts a /ton/ of effort into her stage settings and has what it takes to make worthwhile theatre. But she has to take things one step up from her usual Plague Rat concert antics/stage characters and actually make real ones. And yes, that includes the bad ones, if nothing else to learn how they became that way (as an audience.) And “it’s explained in the book” doesn’t fly here - she has to assume the audience’s got zero familiarity with her book (which describes most people, even her fans, since for years the book was expensive as all Hell.) Hell, even PoTO and Les Mis don’t gloss over character backstories because “it’s explained in the book.” You learn why Javert hates Jean Valjean and why he’s got such a boner for the law in the musical, and Javert is a cop - giving a cop humanity is /hard./ (And somewhat justifiably not in vogue these days.) With Erik, you more than learn why he’s so bitter and why Christine is so important to him. Same with all the other examples I mentioned, they all get backstories from /their/ POV that paint them as people, not cartoon villains (despite some of them literally being based on such.) So there’s no excuse for Emilie to fail to deliver depth to her characters. And if she can’t, she should stick to songwriting and let the mock rock opera concept die back in 2012 with FLAG. As I said, most EA fans are way over the whole asylum thing anyway, and the only way this could be made interesting again is if she said something on it that hasn’t already been said before.
@@fatuusdottore There's few things I don't really agree, I'll be quick: - You have no idea what hospital she went to, not all medical teams are caring. The people I know were actually more afraid of the doctors than the other people. You can't compare everything to your own experience. - She may be a rich white woman, but you said she's bipolar and has been suicidal. Mental illness is also a way people are discriminated against, as privileged as she is, we shouldn't forget that. For the rest, I don't know her and her art enough to agree or disagree. These things were just bothering me.
I've admired Emilie Autumn for well over a decade now and I can't believe I'm only now stumbling upon this! I remember hearing her for the first time when I was about 13ish and I just KNEW there was an enormous world inside her head, and I'm so, so, so glad and grateful for all the continuous work she puts into bringing listeners into that world. Good lord, she is a monument of talent. The first version of this song I heard was the one she released a few years ago where she sings both parts, and it's awesome to hear Adam Pascal playing the doctor. Amazing. Amazing. Amazing!
I remember this night! I was there, on sorta the right side toward the back. It felt so special to see two childhood faves of mine debut a song from Emilie's musical together. The reason for the shouting is because this took place during a road show for the Devil's Carnival Alleluia movie, and people like to treat them like Rocky Horror. However to act like that during a live performance was...annoying at best
I finally found some lyrics, enjoy! STOCKILL I look at them, I look at them and I feel nothing. I hear them scream, I hear them scream and I feel nothing. I watch them bleed, I watch them bleed and I feel nothing. Nothing. Nothing. Nothing. For they deserve it. I hold them down, I hold them down and I feel nothing. I stop their mouths, I stop their mouths and I feel nothing I see them die, I make them die and I feel nothing. Nothing. Nothing. Nothing. For they deserve it. I don’t know why… EMILY I don’t know why… STOCKILL I don’t know why I haven’t killed her. EMILY I don’t know why he hasn’t killed me. STOCKILL There is a voice… EMILY There is a voice… STOCKILL …inside me, telling me that I should. EMILY …telling me my time is at its end and… STOCKILL She’s just the same. EMILY …I’m just the same… STOCKILL She’s just the same… EMILY/STOCKILL …as all the others. EMILY Others. I cannot leave them. STOCKILL She’s stronger now, EMILY I’m stronger now. STOCKILL She’s stronger now… EMILY I’m stronger now… EMILY/STOCKILL Than when I/she came. STOCKILL Oh my god, It sickens me to touch her. EMILY If only I could get my hands free. STOCKILL And yet my pulse it quickens as I do. EMILY If only I could do. STOCKILL Let’s play our game. EMILY I’ll try to run. STOCKILL Where would you go? EMILY I’ll tell someone. STOCKILL Who do you know? Come on you’re cleverer than that, I’d find you in five seconds flat. EMILY I’ll use the key. STOCKILL How would you get it? EMILY Someday you’ll see. STOCKILL Whom do you know? Look there she’s finally closed her eyes. I wonder why she never cries. Is this a (??) Something that I can’t bottle up? She should be dead by now with everything I’ve done to her. I’ve given her the strongest dose. Of all these whores she’s had the most. She should be underneath the ground but she’s alive. I am the savior of this world for this I’ve killed a thousand girls and every time I watch one die I think of only the first one. The first one. The first one. The first one. The first one. The first one. The first one. The first one! She is the closest thing that I have to a companion and yet… I look at her, I look at her and I feel nothing.
I saw this amazing performance live as well. I'm interested to learn more about it. Yes, the people yelling in the middle of it ruined the atmosphere...but it was during a Devils Carnival tour...the crowd was kind of riled up. Emilie got a lot of love that night!
I can't be the only one who thinks this fits perfectly into the American McGee's Alice lore, specially Alice: Madness Returns, this could very much be Dr Bumby and Alice talking, his weird obsession with her and why he hasn't killed her yet instead of all that mental abuse. "She should be dead by now with everything I've done to her" the whole game is about Alice's resilience and how she's her own saviour. "Let's play our game" he goes on and on with her 'treatment' to erase her memories, which is pretty much a stupid game he seems to be enjoying when he could just kill her to end the Liddle family tree and his crimes would be safe. "I'll tell someone / who would you know?" Bumby expresses in the game he isn't intimidated by 'some crazy wh*re no one would believe' and straight up says he thought her to be cleverer ("come now, you're cleverer than that"). "I am the saviour of this world, for this I've killed a thousand girls" this part reminds me of the children he's brainwashing into s*x dolls for a 'greater good' as he says, "but every time I watch one die I'm thinking only of the first one" Lizzie Liddle was his first victim, Alice's sister, which is pretty much why he has this weird connection with her and can't bring himself to kill her "she is the closest thing I've had to a companion". I know I'm going nuts over this but seriously, the similarities are insane, I'm in love with this idea
so, yes, the person who yelled was very inconsiderate and should have waited until after the performance to make a loud comment. but i think it's also important to keep in mind two things: 1. the comment was directed towards dr. stockhill, the fictional character, not adam pascal himself. throughout emilie's book, which i have read, stockhill is a portrayed as a very abusive, manipulative, and domineering person, who is not at all meant to be sympathetic. at some points in the book he is shown to have some semblance of fondness towards emily (the protagonist, portrayed by emilie) but it's still very clear that we are not meant to like him, or relate to him. the shouting was very uncalled for, yes, but the comment itself makes sense in context. 2. based on my above comments, the person who shouted was likely an emilie fan who has read her book. i myself am an emilie fan and have attended five of her concerts. at emilie's shows, audience participation is not only commonplace, but is encouraged. many fans call out things that would be considered rude or inappropriate in any other setting, but as long as no personal attacks are made against emilie or any members of her band, they will generally respond positively to these comments and have no problems interacting with fans from the stage, even when in the middle of a speech or skit or whatever else. it's also an easy way to gain the girls' attention, and of course, anyone would gladly take a chance to be acknowledged and interacted with by someone they look up to a lot. emilie is currently attempting to convert her book into a broadway musical, which is where the song in this video comes from. now, broadway musicals and concerts are two VERY different situations. i've rarely ever attended a concert where fans who were singing along to the music, or shouting out declarations of love and admiration for the performers, were told to be quiet as to not disturb other audience members. concerts are high-energy and chaotic. broadway musicals are not. other than politely clapping at the end of a song, or laughing when something funny happens, any sort of behavior that could be considered a distraction to the show is absolutely not allowed unless otherwise stated. i am not a musical fan, and yet i know this. so when/if emilie's musical is ever realized and comes to stages, it will be a VERY different atmosphere than her concerts. singing along or making loud remarks could possibly even have fans forcibly removed from the theatre, if enough audience members complain. in no context would it be okay to loudly declare "YOU DON'T DESERVE HER, YOU JERK!" in the middle of a song, but i'm gonna take a guess and say that the person who did so probably has never attended a play or musical and probably wasn't aware of the etiquette surrounding these types of shows. coupled with that, if they are in fact an emilie fan, they probably figured "i've been to her shows/seen videos of her shows before and she has no problem when people call out to her, so because it's her, it's okay if i do it!" which, obviously, it isn't okay, but it's understandable how they would come to that conclusion. again, it was a very insensitive thing to do, but i do believe that it came more from a place of ignorance and not realizing that different situations follow different protocols, rather than intentionally being rude and trying to disrupt the performance. in any case, i'm sure the person feels horrible and embarrassed about it now, and the last thing you'd want is to do something you regret and then go on the internet and see a bunch of strangers calling you a horrible person because of it. so let's maybe forgive and forget. :>
this song will be in the new album and I CANNOT wait to listen to it loud and bright! the ability of Emilie to compose for me is so... GREAT, I don't know how to explain! love Em and her creativity
Omg is this one of her new songs? I heard she was writing more she never fails to pull me in and i actually cried it was so good chills and all the last one of hers I cried to was save you lol
When the heck was this going on? This is from five years ago and I apparently missed it. I love Dr. Stock. He's such a good cheesy villain. Also hey, the lady who yelled in the middle of the performance ruined it to be listened to properly. Is there a studio version of this with them both? I know theres one with just Emilie but it's not the same. Anyone know if she's begun casting yet?
Love Emilie Autumn and everything she has done 🌹💀🌹💀🐁🍰🐀🍭 I would've killed to be in this audience! Lol love her book, asylum for wayward Victorian girls. Loved the 1st Devils Carnival and of course all her bloody beautiful amazing talents in music, song writing, singing, her violin skills and piano just to name a few! Love ya 💋💋💋my wayward Victorian sister. I wish we could meet lol. Bc I went through the same stuff at the same age as your trip to the Looney bin. But my Asylum was in Florida 😝
I'm confused. What chapter/ part of the book would this be for? The only part I could imagine it would be for is when he's playing their "game". Also, I first heard this song before reading the book and got the impression that he was the most terrible person in the book (personally I thought it was Dr.Greavesly) with no opinion or care for the girls whatsoever(He does exhibit some just very little) and was a complete emotionless socio/phsycopath. Is he one in the musical and not the book or something? I'm very curious.
Would make the dynamic much more interesting too since 'jaded psychopathic killer captivated by victim because shes different™️' has been done so many times with m/f pairings
People need to lighten up Emilie and that man thought it was funny. By the looks of it anyway. I don’t know how I feel about this though. I miss the old Emilie shows this is kinda boring.
I’m sorry who in their right mind would shout during a song more than that duet where both singers are killing it anyways what a great song
I GOT SO MAD WHAT 😭
So late for a reply but AGREED. Especially a song that’s so serious and dark.
I was waiting for the scream people were complaining about and a guy said “nice” and I’m like oh that’s not that bad but then the girl screamed and I was like “oh yeah you definitely killed the mood”
This is more or less the voice I imagined for Stockill. I'm dying here, this is too beautiful...
I’m kind of the same way. Adam is a great choice for Stockill (he’s close enough to Tony Jay, who was the first person I thought of).
I was front row toward the left. The woman who yelled that was sitting right behind me. It pissed me off so much.
+jdk0517 was she the person who yelled "LIGHT MY CANDLE" when Adam came on?
+Jehan Prouvaire I don't think so. I'm pretty sure that person was to my right and a row or two back.
+Jehan Prouvaire I'm pretty sure that was a guy if I remember correctly
I’m sorry about that.
Ma’am this isn't a screening of The Rocky Horror Picture Show you can't just do that
Adam Pascal was definitely NOT what I imagined for Stockill, but I'm here for it.
Same, I don't like his voice but he's cool
These two are on another level. I'm blown away by their performance.
Since hearing the sample, I've been dying to hear this song. I hope to be able to see this musical. I adore this song and I hope there is album soundtrack so I can listen to it whenever.
Lauren H I kinda find the male-leading songs to be very flat character-wise, and whilst that may work on an Emilie Autumn book/concert, I’m really hoping she doesn’t think you can have a musical that way.
Literally even the worst musicals have some depth to the villain/antagonist. Even the Disney ones (which are amazing, but you get the point, targeted at a family audience). . .
I was hoping to see a more complicated Dr. Stockill, etc. Thus far, the most musically interesting character seems to be Mrs. Mournington. Everyone else is painfully one-dimensional, and while I get that’s fine for an amateur writing a book that was in varying format highly personal to her (thus the bias), for a musical, you really do need to separate yourself from the story and provide the characters a bit of depth. It is possible and even understandable if EA is not able to do this due to the hospitalisation experience being so personal, but then she should’ve honestly left the musical idea alone until such a time as she could do so without bias, because every male except Thomson comes off entirely villainous (which I realise is true to the book, but it’s more like Saturday morning cartoon villainy, where motives and people aren’t clearly laid out), and every female (and Thomson) with the exception of Mrs. Mournington is, I’m not even gonna mince it, worse than villainous. . . /boring./
I really hope the other songs from the musical and the adapted story prove me wrong, because it’s been a long time since I’ve seen anything EA live, but I don’t think that’s going to be the case for a few choice reasons. One, the “highlights” were already released, and aside from the cover looking as tacky as one could expect (should’ve been simple, like a single spoon, the cover works fine for a regular CD, but a musical has to have a “logo” - hopefully that’ll change), the songs again are the ones I mentioned. Which means those are what she considers the best of the bunch, and if Emilie knows one thing, it’s music, so they likely are.
Second, I think she’s got a bit of an ego (I get that she’s extremely talented, but c’mon, now.) So, the female characters aren’t good due to this being some sort of feminist musical - it’s because it’s literally Emilie and her friends, as far as the main cast. I think Mrs. Mournington comes off the most genuine because she may well be a personification of the feelings Emilie experienced post-abortion, so it’s the one thing that’s not focused on her in this entire musical and that’s probably why it’s interesting and complex. Everything/everyone else is essentially subjective portrayals of people Emilie does/doesn’t like, which tbh by now she should honestly be over.
I was hospitalised against my will for two days and I didn’t even do anything wrong, but they can keep you for 72 hours just to make sure you’re not a danger to yourself/others. Those were easily some of the scariest days of my life, and they were just two. . .
However, the medical staff wasn’t the scary part. It was the other patients, who are painted here in a sympathetic light (again, because it’s Emilie and her friends, the other “inmates” are clearly not based on real people, but the characters Veronica, Capt. Maggot, etc. usually play on stage, and they weren’t even hospitalised lmao.) The medical staff was actually caring and friendly - if they cared about money, they would’ve kept me there as long as possible, and made up a reason to, but they let me go because clearly it’d been inappropriate and the person who put me there was trying to manipulate that situation.
As I said, though, it’d be fun if the characters had /more/ depth and it wasn’t just yet another “the world through EA’s eyes.” Because tbh, this whole asylum thing’s gotten kinda tired and should’ve stopped with FLAG. The cringey forced feminism (I have literally not heard the words “you fight like a girl” come out of someone’s mouth since literally the mid-90s) is something every somewhat intellectual girl/woman goes through but eventually grows out of (or at least refines to be more realistic/fair/helpful to /someone/ and not just incidentally) when they realise wanton polarisation is pointless.
But it seems from her history that EA has a victim complex, from accusing Lady Gaga of copying her (Lady Gaga copies /copiously,/ but EA is not the first person to drag themselves on stage using a wheelchair, nor is she relevant enough to the mainstream for Gaga to care about her), to lashing out at her own fans on her website (I suspect this is why comments are disabled in literally all her videos, and she doesn’t really seem to use CZcams to release anything, and whilst this place can be a complete cesspit at times, her fans aren’t going to knock her for no reason.)
I consider EA one of the most musically/lyrically talented artists I’ve ever heard of, and it’s a crime she isn’t more recognised, but she is far from the only very gifted artist who isn’t given their due. Others, with honestly equal or even superior talent (Vienna Teng comes to mind) know how to be humble, though, and Emilie needs to seriously learn the meaning of that word, because her diva complex is wearing out the fans.
Not even in the mainstream do singers (male or female) get to be rude to their fans and have no backlash, as Justin Bieber found out. Except he was a young boy at the time and EA’s hitting 40 pretty soon, so that’s decades of experience that should have someone at least know better. The bipolar isn’t an excuse, either. I’ve met and lived with bipolar people, and narcissism isn’t usually a trait/marker. In fact, this whole Asylum story sounds outright defamatory to whichever hospital she was sent to /entirely appropriately,/ since she tried to commit suicide and that’s what happens. . . And they just can’t sue because we technically don’t know where she went, I guess.
But I digress - for a musical, you’ve got to have more depth than this, even if your musical is aimed at children (even Frollo and Scar were given depth in Disney’s adaptations of such, and Jafar was given his own musical a la ‘Wicked,’ lol. I think the only shallow Disney Broadway villain is Gaston, and he was given /one/ comic relief song for a reason - BatB is also just a barely decent musical that’d be shitty if it didn’t rely so much on nostalgia - although even here, the Beast was more fleshed-out and reminiscent of Erik from PoTO) She should take notes (more than musical, since I heard a few) from Phantom and Les Mis - even Javert was given depth and humanity. Anastasia also got rid of Rasputin because cartoony villains don’t make for good broadway, so they made Gleb, a Stalin-era Soviet Communist, the antagonist - but he had depth to him and amazing characterisation despite his devotion to duty.
And here, the closest Dr. Stockill comes to any sort of depth is saying “Emilie is the closest thing he has to a companion” (which, of course /she/ is, none of the other inmates were important or hot enough, despite Veronica Varlow. 🙄) But that’s as deep as the kiddie pool gets in an EA musical.
I honestly expected better from someone I /know/ is both musically literate and cultured enough to know and reference prime Broadway (4 o’clock and PoTO share certain notes) and bloody Shakespeare for Christ’s sake. This musical’s going to flop if she plans to release it to an audience that isn’t just Plague Rats unless there’s some improvement in the script/main musical numbers. Literally the only way this could get good reviews is if she gets away with a mediocre delivery simply because it’s “feminist,” and corporate/rich white feminism (Emilie isn’t poor, agreed?) is very “in” right now. If Trump gets a second term, it’ll probably be sold out, despite the fact women [especially white women who can afford brunch and expensive champagne] aren’t the demographic he’s hurting most (immigrants are), but white women, especially rich ones, have a weird victim fetish in a world that, if I’m honest, actually favours them (unless they’re up against a rich white guy who happens to be ugly or hot, but more Machiavellian, but then it’s just a petty power play between two awful people, isn’t it? [see: 2016 general election.] They get oppression points despite being the demographic that is graduating at higher rates - so when people [or, more frequently, tee shirts] say ‘the future is female,’ what they’re /really/ saying is ‘the future is whiter than an alt-right rally in mid-February, just with Lady Parts.’)
Given the climate, this musical’s sole chance for ill-gotten acclaim would be now, so she better write quickly or hope Trump gets another four years (unlikely, since his approval rating’s dismal and he’s done nothing to help the meth addict potato farmer demographic he primarily caters to, however, ‘miracles’ happen - by which I mean, Democrats are stupid and will try to run Hillary again, or ‘Hillary, but black now!’ (Kamala Harris), or ‘Hillary, but Jewish now - just like Bernie!’ (Joe Biden), or ‘Hillary, but a white male now!’ (Drooling Kennedy no one gives a fig about), or ‘Hillary, but pretending she’s Jill Stein, now with 0.0% more Cherokee!’ (Elizabeth Warren), or ‘Hillary, but half-Hispanic, now with 30% more Republican!’ (Beto O’Rourke.) And, since there unfortunately is a high crossover rate between people who can afford Broadway shows and people who unironically wear pussy hats and refuse to scrape off that frayed, yet timelessly idiotic “nevertheless, she persisted” sticker off their BMW, this complete stinker of a story may be given a pass simply for “political relevance” to this class of people, whom, I remind, are the same to enjoy Oliver! and Les Miserables, because the only poor people they can stand are fictional and preferably dead when all’s said and done.
Emilie seems to be no different, since she is from a very privileged background and has clearly never financially struggled in her life, not due to her own hard work (although her work ethic’s very impressive), but due to a handsome head start in life compared to most people (not everyone can afford to take violin lessons at 4, or literally ever. Most people, even when talented, don’t have the privilege to develop their art due to hobbies generally costing time and money, things poor people don’t have a lot of.) This may explain the self-centered tendencies she has, and, since being a politically polarised self-centered asshole is in vogue right now, the musical might actually be incidentally relatable despite going out of its way not to be (at least to a sane audience.)
So, we’ll see, but if she hopes to have something that’s timeless and genuinely of quality, I hope and seriously pray this isn’t as one-dimensional as the book (since the book’s a pseudo-memoir, that works, but memoirs generally come off vain in visual media.)
You may ask why I’m being so harsh with Emilie, and tbh it’s because I really admire her musical skill and songwriting talent. I also know she puts a /ton/ of effort into her stage settings and has what it takes to make worthwhile theatre. But she has to take things one step up from her usual Plague Rat concert antics/stage characters and actually make real ones. And yes, that includes the bad ones, if nothing else to learn how they became that way (as an audience.) And “it’s explained in the book” doesn’t fly here - she has to assume the audience’s got zero familiarity with her book (which describes most people, even her fans, since for years the book was expensive as all Hell.) Hell, even PoTO and Les Mis don’t gloss over character backstories because “it’s explained in the book.” You learn why Javert hates Jean Valjean and why he’s got such a boner for the law in the musical, and Javert is a cop - giving a cop humanity is /hard./ (And somewhat justifiably not in vogue these days.) With Erik, you more than learn why he’s so bitter and why Christine is so important to him. Same with all the other examples I mentioned, they all get backstories from /their/ POV that paint them as people, not cartoon villains (despite some of them literally being based on such.) So there’s no excuse for Emilie to fail to deliver depth to her characters. And if she can’t, she should stick to songwriting and let the mock rock opera concept die back in 2012 with FLAG.
As I said, most EA fans are way over the whole asylum thing anyway, and the only way this could be made interesting again is if she said something on it that hasn’t already been said before.
Sneasel This is a bad take, hon. You could have said it in a few sentences, even. Also you don’t speak for all fans. This song is beautiful. :)
@@fatuusdottore There's few things I don't really agree, I'll be quick:
- You have no idea what hospital she went to, not all medical teams are caring. The people I know were actually more afraid of the doctors than the other people. You can't compare everything to your own experience.
- She may be a rich white woman, but you said she's bipolar and has been suicidal. Mental illness is also a way people are discriminated against, as privileged as she is, we shouldn't forget that.
For the rest, I don't know her and her art enough to agree or disagree. These things were just bothering me.
I've admired Emilie Autumn for well over a decade now and I can't believe I'm only now stumbling upon this! I remember hearing her for the first time when I was about 13ish and I just KNEW there was an enormous world inside her head, and I'm so, so, so glad and grateful for all the continuous work she puts into bringing listeners into that world. Good lord, she is a monument of talent. The first version of this song I heard was the one she released a few years ago where she sings both parts, and it's awesome to hear Adam Pascal playing the doctor. Amazing. Amazing. Amazing!
I remember this night! I was there, on sorta the right side toward the back. It felt so special to see two childhood faves of mine debut a song from Emilie's musical together. The reason for the shouting is because this took place during a road show for the Devil's Carnival Alleluia movie, and people like to treat them like Rocky Horror. However to act like that during a live performance was...annoying at best
I finally found some lyrics, enjoy!
STOCKILL
I look at them,
I look at them
and I feel nothing.
I hear them scream,
I hear them scream
and I feel nothing.
I watch them bleed,
I watch them bleed
and I feel nothing.
Nothing.
Nothing.
Nothing.
For they deserve it.
I hold them down,
I hold them down
and I feel nothing.
I stop their mouths,
I stop their mouths
and I feel nothing
I see them die,
I make them die
and I feel nothing.
Nothing.
Nothing.
Nothing.
For they deserve it.
I don’t know why…
EMILY
I don’t know why…
STOCKILL
I don’t know why I haven’t killed her.
EMILY
I don’t know why he hasn’t killed me.
STOCKILL
There is a voice…
EMILY
There is a voice…
STOCKILL
…inside me, telling me that I should.
EMILY
…telling me my time is at its end and…
STOCKILL
She’s just the same.
EMILY
…I’m just the same…
STOCKILL
She’s just the same…
EMILY/STOCKILL
…as all the others.
EMILY
Others.
I cannot leave them.
STOCKILL
She’s stronger now,
EMILY
I’m stronger now.
STOCKILL
She’s stronger now…
EMILY
I’m stronger now…
EMILY/STOCKILL
Than when I/she came.
STOCKILL
Oh my god,
It sickens me to touch her.
EMILY
If only I could get my hands free.
STOCKILL
And yet my pulse it quickens as I do.
EMILY
If only I could do.
STOCKILL
Let’s play our game.
EMILY
I’ll try to run.
STOCKILL
Where would you go?
EMILY
I’ll tell someone.
STOCKILL
Who do you know?
Come on you’re cleverer than that,
I’d find you in five seconds flat.
EMILY
I’ll use the key.
STOCKILL
How would you get it?
EMILY
Someday you’ll see.
STOCKILL
Whom do you know?
Look there she’s finally closed her eyes.
I wonder why she never cries.
Is this a (??)
Something that I can’t bottle up?
She should be dead by now
with everything I’ve done to her.
I’ve given her the strongest dose.
Of all these whores she’s had the most.
She should be underneath the ground
but she’s alive.
I am the savior of this world
for this I’ve killed a thousand girls
and every time I watch one die I think of only the first one.
The first one.
The first one.
The first one.
The first one.
The first one.
The first one.
The first one!
She is the closest thing that I have to a companion
and yet…
I look at her,
I look at her
and I feel nothing.
Thanks!
I think he said something along the lines “Is there something keeping her alive”
He also said "is that a threat?" but they forgot
Thx
@@bunny_bunny5210 ye he was supposed to but said "who do you know" instead i think? it's amazing anyways tho
I want this song so bad. Like an actual recording of it that I can buy and download. Hnnng!
@Enna where can I find it?
czcams.com/video/J3lLSmB91uQ/video.html
Impressive supervillain voice
Why would you shout something in the middle of the song?! Some people really have a lack of tact -.-
Anyway, it was such an awesome song.
I saw this amazing performance live as well. I'm interested to learn more about it. Yes, the people yelling in the middle of it ruined the atmosphere...but it was during a Devils Carnival tour...the crowd was kind of riled up. Emilie got a lot of love that night!
I can't be the only one who thinks this fits perfectly into the American McGee's Alice lore, specially Alice: Madness Returns, this could very much be Dr Bumby and Alice talking, his weird obsession with her and why he hasn't killed her yet instead of all that mental abuse. "She should be dead by now with everything I've done to her" the whole game is about Alice's resilience and how she's her own saviour. "Let's play our game" he goes on and on with her 'treatment' to erase her memories, which is pretty much a stupid game he seems to be enjoying when he could just kill her to end the Liddle family tree and his crimes would be safe. "I'll tell someone / who would you know?" Bumby expresses in the game he isn't intimidated by 'some crazy wh*re no one would believe' and straight up says he thought her to be cleverer ("come now, you're cleverer than that"). "I am the saviour of this world, for this I've killed a thousand girls" this part reminds me of the children he's brainwashing into s*x dolls for a 'greater good' as he says, "but every time I watch one die I'm thinking only of the first one" Lizzie Liddle was his first victim, Alice's sister, which is pretty much why he has this weird connection with her and can't bring himself to kill her "she is the closest thing I've had to a companion".
I know I'm going nuts over this but seriously, the similarities are insane, I'm in love with this idea
so, yes, the person who yelled was very inconsiderate and should have waited until after the performance to make a loud comment. but i think it's also important to keep in mind two things:
1. the comment was directed towards dr. stockhill, the fictional character, not adam pascal himself. throughout emilie's book, which i have read, stockhill is a portrayed as a very abusive, manipulative, and domineering person, who is not at all meant to be sympathetic. at some points in the book he is shown to have some semblance of fondness towards emily (the protagonist, portrayed by emilie) but it's still very clear that we are not meant to like him, or relate to him. the shouting was very uncalled for, yes, but the comment itself makes sense in context.
2. based on my above comments, the person who shouted was likely an emilie fan who has read her book. i myself am an emilie fan and have attended five of her concerts. at emilie's shows, audience participation is not only commonplace, but is encouraged. many fans call out things that would be considered rude or inappropriate in any other setting, but as long as no personal attacks are made against emilie or any members of her band, they will generally respond positively to these comments and have no problems interacting with fans from the stage, even when in the middle of a speech or skit or whatever else. it's also an easy way to gain the girls' attention, and of course, anyone would gladly take a chance to be acknowledged and interacted with by someone they look up to a lot.
emilie is currently attempting to convert her book into a broadway musical, which is where the song in this video comes from. now, broadway musicals and concerts are two VERY different situations. i've rarely ever attended a concert where fans who were singing along to the music, or shouting out declarations of love and admiration for the performers, were told to be quiet as to not disturb other audience members. concerts are high-energy and chaotic. broadway musicals are not. other than politely clapping at the end of a song, or laughing when something funny happens, any sort of behavior that could be considered a distraction to the show is absolutely not allowed unless otherwise stated. i am not a musical fan, and yet i know this. so when/if emilie's musical is ever realized and comes to stages, it will be a VERY different atmosphere than her concerts. singing along or making loud remarks could possibly even have fans forcibly removed from the theatre, if enough audience members complain. in no context would it be okay to loudly declare "YOU DON'T DESERVE HER, YOU JERK!" in the middle of a song, but i'm gonna take a guess and say that the person who did so probably has never attended a play or musical and probably wasn't aware of the etiquette surrounding these types of shows. coupled with that, if they are in fact an emilie fan, they probably figured "i've been to her shows/seen videos of her shows before and she has no problem when people call out to her, so because it's her, it's okay if i do it!" which, obviously, it isn't okay, but it's understandable how they would come to that conclusion.
again, it was a very insensitive thing to do, but i do believe that it came more from a place of ignorance and not realizing that different situations follow different protocols, rather than intentionally being rude and trying to disrupt the performance. in any case, i'm sure the person feels horrible and embarrassed about it now, and the last thing you'd want is to do something you regret and then go on the internet and see a bunch of strangers calling you a horrible person because of it. so let's maybe forgive and forget. :>
tl;dr: "it's still real to me, dammit!" isn't only for wrestling
#PascalforStockhill
Syvelocin yesss
this song will be in the new album and I CANNOT wait to listen to it loud and bright! the ability of Emilie to compose for me is so... GREAT, I don't know how to explain! love Em and her creativity
This is absolutely amazing! They are so good together on stage!
what a beautiful voice he has
MAN I FUCKING LOVED THAT NIGHT IT WAS UNFORGETTABLE thank you for this recording I was using my phone so it was shitty.
This is a wild intersection of my interests
People need to shut up like not just the dude, the woman like no shit lady I HAD NO IDEA!
Now to learn this and sing it with a willing partner...
+Tanith of the Fae I would love so sing it with you..I have been looking for someone to learn "I don't understand" But had failed miserably lmao..
Oh wow that is amazing. It works so beautifully with both voices.
bless you for posting this! gave me chills!
oh my. thank you so much for uploading. truly amazing.
Thanks for uploading this, I went to the Chicago show but still this is so worth a repeat of twenty.
Omg is this one of her new songs? I heard she was writing more she never fails to pull me in and i actually cried it was so good chills and all the last one of hers I cried to was save you lol
+Raven Ried I love "Save you" I dedicated to my boyfriend actually..
Thank you for uploading this!!!!
Whenever I see this man and his talented singing all I can think of is doctor house
Wow this excites me so much.
I must've seen this before as it was in my liked videos. But I watched it now and dammit, I'm actually crying here.
oh god!!! it was amazing
Love coming back to this! I want Adam to play Stockill so fucking bad!
Hermoso!! Bello!! Precioso!!!
I was so transfixed. Then it just gets ruined by that woman.
Kelly Gene Yeah. You can tell she posts on Tumblr frequently because she can’t tell fiction from reality.
I listen to this all the time, I freaking love it, and every time that woman yelling just ruins it.
When the heck was this going on? This is from five years ago and I apparently missed it. I love Dr. Stock. He's such a good cheesy villain. Also hey, the lady who yelled in the middle of the performance ruined it to be listened to properly. Is there a studio version of this with them both? I know theres one with just Emilie but it's not the same. Anyone know if she's begun casting yet?
I've missed SO much since the forum closed ... didn't even know about this...
💜
Thank you so much for uploading this! I love it! What did that rude audience member scream?
"You don't deserve her, you jerk!"
+INMATEW17S Also right when Adam came out, before the vid started, someone yelled "LIGHT MY CANDLE" idk if it was the same person
😶🥰 I may be late to reply.. but I LOVE THIS!
OMG
Love Emilie Autumn and everything she has done 🌹💀🌹💀🐁🍰🐀🍭 I would've killed to be in this audience! Lol love her book, asylum for wayward Victorian girls. Loved the 1st Devils Carnival and of course all her bloody beautiful amazing talents in music, song writing, singing, her violin skills and piano just to name a few! Love ya 💋💋💋my wayward Victorian sister. I wish we could meet lol. Bc I went through the same stuff at the same age as your trip to the Looney bin. But my Asylum was in Florida 😝
I think this musical would have been successful. If not considered one of the greatest of all time.
❤️🌀❤️
Anyone else getting a Jack the Ripper or Frollo vibe from this
If a tree falls in a forest and no one hears it|
does it matter?
I'm confused. What chapter/ part of the book would this be for?
The only part I could imagine it would be for is when he's playing their "game".
Also, I first heard this song before reading the book and got the impression that he was the most terrible person in the book (personally I thought it was Dr.Greavesly) with no opinion or care for the girls whatsoever(He does exhibit some just very little) and was a complete emotionless socio/phsycopath. Is he one in the musical and not the book or something? I'm very curious.
What’s the story about?
can someone -please tell me what this is from? I see the title but all I find is a book?
It’s her screenplay that is still in its early stages akin to her book “The Asylum for Wayward Victorian Girls”
Manuela Chairez thank you
Muy poco de Emilie :'( Me gustaba más cuando escuché la canción solo cantada por Emilie
Is there a studio version of this song?
Unfortunately not, this is part of her musical in the works. There is always more to come with her. :3
now there is!!
She had to scream? 😭
I didn't understand what the interrupted voice said
They were shouting "You don't deserve her, you jerk!"
Did I hear trigglypuff
The agent and the painted doll
I couldn’t hear anyone shouting ?
3:05
I thought they were Boths girls bruh
SAME LMAO-
Would make the dynamic much more interesting too since 'jaded psychopathic killer captivated by victim because shes different™️' has been done so many times with m/f pairings
OOF
Bro who’s shouting shut up bro
People need to lighten up Emilie and that man thought it was funny. By the looks of it anyway. I don’t know how I feel about this though. I miss the old Emilie shows this is kinda boring.
I’m sorry this was just terrible I miss the old smile