r/CynthiaErivoLove

In the city where I live, there is a genuine anti-hero who is almost legendary. My daughter was at one of those open mic events and someone read this from the podium.

I'm willing to say it's genuine because the guy hasn't been heard from in at least a year. He was active here for 30b years and, then, nothing.

If you have a moment and are a Cynthia Erivo fan please read it. I'm not moved easily. This did it. Sorry it's so long:

What follows is not a movie review. It isn’t an ode to an actress. It isn’t a confession of fandom or late-in-life softening. It is the account of a dam breaking.

For nearly fifty years, I did not cry.

Not when my father chose me out of four boys to take the brunt of his rage. Not when a hairbrush whistled through the air and found my backside over a missing piece of candy I did not take. Not when I screamed so hard, my throat burned and my grandfather sat in the next room pretending not to hear. That was the last time tears came easily. I learned something that day, wrongly, but thoroughly that tears are dangerous. They invited more blows. They proved weakness. They accomplished nothing.

So, I locked them away.

I did not cry when I was shot for standing up for a man who loved differently than their neighbors thought they should. I did not cry when I was stabbed for standing up to a bully who had made a sport of humiliation. I did not cry when my father drank himself into a smaller and more violent version of a man. I did not cry in a prison cell after taking the fall to protect someone who I thought loved me but would later walk out of my life without a backward glance.

And I did not cry when a drunk driver stole my wife and two little girls.

There are sentences that should not exist in any language. That is one of them. I did not cry. I organized. I built walls so high that even grief could not scale them. I told myself that I was forged in fire, that I was immune to sentimentality, that tears were for people who had the luxury of being safe.

I became a man with a misguided Robin Hood complex, robbing from villains as I defined them, redistributing in ways that made sense only to me. I justified it all as balance. I convinced myself that anger was cleaner than sorrow. Anger moves. Sorrow collapses.

I had no interest in collapsing.

And then, through a set of coincidences so improbable they feel almost scripted, I found myself alone in a room watching two movies on consecutive nights.

The first was “Wicked” (weird because I was never interested in musicals), with the character of Elphaba portrayed by an unrecognizable Cynthia Erivo. The bullying in the film is relentless. The categories of “good” and “wicked” are dismantled and rearranged. A green skinned girl, marked from birth as other, is emotionally abandoned by her father and publicly diminished by those who fear what they do not understand. She is set up for humiliation (by a hat no less) by someone who has been handed the title of “good”. She absorbs it. She stands anyway.

There is a moment if you have seen it; you know the world expects her to shrink. Instead, she refuses. She dances. She claims space. And when acceptance finally cracks the facade of mockery, something in her face shifts. Relief. Dignity. The terrifying hope of being seen coupled with that Erivo smile and tears.

For the first time in decades, something caught in my chest. My breath shortened. My eyes burned. A sound escaped me...a small involuntary sob, like a child startled by thunder. It embarrassed me, even though I was alone. I finished the film unsettled, irritated with myself, as though I had broken a long-standing vow.

The next night I watched Harriet, the film about Harriet Tubman, again portrayed by Erivo, but I did not realize that.

What struck me in Harriet was not heroism at first. It was the loss. Before the legend, before the myth, there is a woman whose body bears scars and whose heart carries names. When she breaks, when the enormity of what has been taken from her (her sisters, her husband, her freedom) presses in, I did not see performance. I saw a human being trying to breathe through the unbearable.

I know that feeling. I know what it is to lose “my person”, to have the world tilt so violently that gravity itself feels unreliable.

That was when the dam broke.

It was not graceful. It was not cinematic. Fifty years of sealed compartments blew open at once. My body convulsed with sobs that seemed to come from somewhere beneath bone. I cried for the boy with the hairbrush welts. I cried for the husband who never got to say goodbye. I cried for the father who memorized the weight of his daughters in his arms and then had to learn the unbearable lightness of their absence. I cried for the man who mistook vengeance for justice and motion for healing.

I cried for Harriet. I cried for Elphaba. I cried for myself.

Only after watching Harriet did I look up who played these women and discover it was the same person. That fact startled me, but it is not the point. This is not about celebrity. It is not about admiration (although I do). It is about the mysterious, almost sacred exchange that can happen when one human being reaches the depths of grief and, through art, holds up a mirror for another.

Whether Erivo drew on her own well of sorrow or simply possesses a rare ability to inhabit another’s, she did something I could not do alone: she made grief safe.

For half a century, I believed that if I allowed myself to feel the full measure of my losses, I would disintegrate. The tears would never stop. I would drown in them. But grief, I learned, is not an ocean without shore. It is a tide. It rises; it crashes, and if you let it, it recedes.

Those two performances did not save me. That language is too grand and too strange. They did something quieter and perhaps more important; they gave me permission. Permission to be the wounded child and the broken husband and the grieving father without surrendering the parts of me that still fight for others. Permission to understand that strength is not the absence of tears but the willingness to survive them.

For a man who built an identity on never crying, that permission was revolutionary.

In the aftermath, something shifted. The self-destructive edges dulled. The need to tilt at every windmill softened. I began to see that my so-called Robin Hood impulses were often grief in disguise a way to battle the unfairness of a universe that had taken too much. I could not resurrect my wife. I could no longer tuck my little girls into bed. But I could, at last, mourn them without feeling that I was betraying their memory by collapsing.

Tears did not make me smaller. They made me honest.

If there is a lesson in any of this, it is not about film or performance. It is about the thin, invisible threads that connect us. A woman playing a legendary formerly enslaved abolitionist who refused to accept the chains placed upon her. The same woman portraying a misunderstood woman with immense powers who refused to accept the label of wicked. And somewhere in the dark, a middle-aged man wo had accepted too many labels: criminal, hard hearted, vigilante and who had mistaken emotional paralysis for resilience.

In their defiance, I found my surrender.

Not surrender to despair but surrender to truth. The truth that grief does not negate strength. The truth that love, once given, never fully disappears, even its object is gone. The truth that a heart locked for fifty years can still open.

I do not know what I believe about God on my darker days. I have seen too much cruelty, too much randomness, and too much pain inflicted by human hands. But I know this: in a world capable of profound ugliness, it is also capable of astonishing grace. Sometimes that grace comes disguised as a film chosen at random. Sometimes it arrives in the form of a story about a runaway slave or a green-skinned girl. Sometimes it arrives as a tear you thought you had forgotten to shed.

I began this life as a boy who cried under the sting of a brush too many times to count and swore never to do so again.

I end this chapter as a man who finally did and lived.

If there is redemption for me, it is not in the myths I built around my own misdeeds or my misguided crusades. It is here, in this simple humbling truth: I loved deeply. I lost devastatingly. I grieved too late. And at last, I grieved.

That is not hero worship. It is gratitude for art, for humanity, for the strange alchemy that can turn performance into permission.

Fifty years of tears were waiting.

And when they came, they did not destroy me.

They set me free.

Ms. Erivo will never read these words, but I hope that she senses that the wish inside her song “Hero” came true. She broke someone of those chains.

Bad Fairies was previewed at the Annecy Animation Festival along with the rest of WB's animated movies that will be coming out from now until 2028.

https://preview.redd.it/o9fqkm7k9y8h1.jpg?width=1707&format=pjpg&auto=webp&s=dd67958f3307e3ae4f6c468997d8a9c62cddc18b

What's everyone's initial thoughts on character design? Or anything else?