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Perfume Genius’s Unknowable Ecstasy

Camille Vivier By Matt Mitchell “To be gorgeous, even from the day you’re born to the day you die, is to be gorgeous only briefly,” Vietnamese-American poet Ocean Vuong wrote in his novel, On Earth We’re Briefly Gorgeous. Perfume Genius, the performer born Mike Hadreas, evokes that same emotion onstage. Since his debut, 2010’s Learning,…

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Perfume Genius’s Unknowable Ecstasy

Camille Vivier

By Matt Mitchell

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“To be gorgeous, even from the day you’re born to the day you die, is to be gorgeous only briefly,” Vietnamese-American poet Ocean Vuong wrote in his novel, On Earth We’re Briefly Gorgeous. Perfume Genius, the performer born Mike Hadreas, evokes that same emotion onstage. Since his debut, 2010’s Learning, Hadreas has deconstructed the banalities of attraction and attractiveness through human movement, and his catalog is an exclamation on how our bodily prisons can become delicate and powerful. Hadreas’s new album, Ugly Season, which he lovingly refers to as “the dance record,” was written and recorded just before 2020’s Set My Heart on Fire Immediately, but it is much more akin to the melodrama of a ballet or concerto than that project’s fluttering, beguiling grandeur. Despite the two-year gap between them, the records were originally slated to be released within a year of each other — and the pop alchemy of Immediately was fashioned in response to the process of composing Ugly Season.

“The way we made Ugly Season was a little more free,” Hadreas tells MTV News. “I didn’t have any limits or any ideas about process other than I had an energetic place I wanted the songs to go to and I needed them to be a certain amount of time and I wanted them to feel a certain way. I wanted them to be, you know, kind of operatic, but I didn’t care how that was executed.” Hadreas says a lot of the album resulted from improvising with his collaborators, producer/multi-instrumentalist Blake Mills and pianist Alan Wyffels. “But with Set My Heart on Fire Immediately, I wanted to make something a lot more songy and a lot more pared back. I tried to do everything with the least amount of elements possible, which is not something I thought about when I was making Ugly Season.”

Where Immediately was Hadreas’s most straight-forward record, incorporating country and disco influences into his pop vernacular, Ugly Season is much more experimental and worldly. It is as inspired by Bulgarian women’s choirs as it is Irish New Age icon Enya and Lebanese singer Fairuz. There are instrumental stretches of opulent strings harmonizing like intersecting gusts of wind and sermons of chambered vocals pressing against ambient space. Ugly Season was originally attached to “The Sun Still Burns Here,” his collaborative dance recital with artist Kate Wallich that Hadreas calls “a movement language” and a “utopian, sex culty” thing made up of patient, mystifying choreography. The show premiered in October 2019 at The Moore Theatre in Seattle and ran through January 2020 at the Institute of Contemporary Art in Boston. “I love to move in slow motion. I don’t know if it’s always really exciting to watch, but it feels good to me,” he adds, laughing. “The thing I was trying to do the most, or what I thought about the most, was trying to make something spiritual or almost religious.”

Even though Ugly Season and Immediately are dichotomous, they share a character. “Jason,” Hadreas’s catch-all pseudonym for some of the men in his life and imagination, arrives under different disguises. On Immediately, he’s a straight man having one-night stands with gay men; on Ugly Season’s “Hellbent,” he’s a drug dealer. Hadreas doesn’t know how to explain why he keeps talking to different Jasons in his music, attributing that uncertainty to why his Substack newsletter about process and creation didn’t pan out. “I realized I have no idea how to explain it,” he adds. “I can energetically feel all the reasons and I feel very smart and wise and patient when I’m picking words and picking notes, but when I try to explain it, I can’t. I think that’s why I made [Jason], because I don’t know how to explain it in any other way.”

Ugly Season is a conduit for Hadreas’s unknowable ecstasy and, despite its title, is his preservation of the eruptive, pirouetting motions that come with it. The record is bold and insular, and there’s something very innate yet otherworldly about the imagery it conjures. Just like his and Wallich’s dance, Hadreas’s album vision involves visually reckoning with his own body and others’, providing deft commentary on how they intertwine and recoil. The sparse, glittering jangle of “Pop Song” chronicles two stretching, breathing bodies becoming one; “Eye in the Wall” fashions a haunted, sprawling arrangement into a cinematic ode to the parts of someone else’s frame, rendering Hadreas as “full of nothing but love.”

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In his live performances, Hadreas is always moving, improvising, and shifting. “[During the dance], I would be rolling around and I would come into contact with some feeling that I’ve been carrying around and I didn’t even know,” he adds. “You just become so used to the stories you tell yourself about yourself. You go to sleep and you wake up with them fully intact. You just don’t even question it, and you really should — because they’re usually lies. Sometimes the songs are like, ‘What if I was really into that? What if that was hot? Whatever darkness I feel, what if I was harnessing it instead of being haunted by it?’”

Stripping down emotionally in his work, Hadreas deconstructs himself to a molecular level artistically, pondering how he can give parts of himself away. It takes shape on his album covers just as much as his songs. Too Bright is a gender-fluid portrait of the singer. No Shape features him missing a pant leg. Set My Heart on Fire Immediately finds him shirtless. Ugly Season is a very naked and surreal rendering of his upper body, an indiscernible, almost “hideous,” image. “It’s heavy,” Hadreas says. “My time is spent thinking really awful things about myself. It’s physical, like I can feel [the] energy.” On his androgynous 2014 anthem “Queen,” he flips that hate and reshapes it into a tough, kaleidoscopic moment of pleasure and ego. On Immediately, he embodies the burdens of his own humanism and of how our bodies covet. On Ugly Season, he’s falling in love with the abstract glamour of being hideous.

That concept was captured in a companion short film by the artist Jacolby Satterwhite, who also created the film accompaniment for Solange’s When I Get Home. The two met over the phone in early 2020 and discovered their shared interest in presenting emotions in media that extend beyond music. The result of their collaboration is a portrait of utopian memory and an attempt at visualizing immense, inarticulable desires through the movement of bodies, a grand emphasis on the sensual story Hadreas tells throughout Ugly Season. “I just really love what [Satterwhite] does and I really trust him,” Hadreas says. “I trusted that he would understand where I’m coming from without really having to explain it.”

Provided by the artist

The day before we spoke, Hadreas spent an afternoon at a photo shoot. Despite being a performer whose live act is so tethered to a contorting body vulnerably laid bare, that openness isn’t second nature to him. Yet the confidence he displays is not so much forced for the camera as it is another extension of his Perfume Genius persona. “It’s not that I feel ready to get my picture taken, or that I even deserve to, or that I’m hot enough to be the focus of a photo shoot,” Hadreas notes. “When I got there, I decided to feel that way. It’s the same when I perform. I’m not super comfortable, sometimes, wearing the things that I wear or doing the things I do or saying the things I say before I go onstage. But when I’m onstage, I have made a decision to be comfortable and try to be more comfortable than anybody else.”

“Bitch, it’s ugly season, and I love it,” Hadreas sings gently on the title track. Narratively, the album is a familiar landscape, as Hadreas transcribes misanthropies laced with joyous spurts of queer euphoria. He tracks his own grief, of both unrequited love and self-doubt, and spirals them into paeans of tender confidence. Perfume Genius is not a monolithic character, but a channel for Hadreas to center and release parts of himself — the parts he writhes away onstage every night. He leaves an opening for his audiences to do the same. It’s a communal embellishment of confidence, a purging of doubts, a ballet reconfigured every night. “It’s a little battle against myself, but I also think of it as a portal for other people,” he adds. “I hope that’s sort of empowering, or that I just want to feel hot for an hour.”

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8 Remakes That Give Me Hope For The Future Of Filmmaking, And 8 That Prove Hollywood’s Out Of Ideas

Father of the Bride was just released on HBO Max last week. HBO Max This is the third film adaptation of the 1949 novel of the same name written by Edward Streeter. In 1950, the novel was adapted into a film starring Spencer Tracy and Elizabeth Taylor. Then, in 1991, it was remade with Steve…

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8 Remakes That Give Me Hope For The Future Of Filmmaking, And 8 That Prove Hollywood’s Out Of Ideas

Father of the Bride was just released on HBO Max last week.


HBO Max

This is the third film adaptation of the 1949 novel of the same name written by Edward Streeter. In 1950, the novel was adapted into a film starring Spencer Tracy and Elizabeth Taylor. Then, in 1991, it was remade with Steve Martin.


Touchstone Pictures

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The newest iteration of the film is a fresh new take on the story, with a Cuban-American family at the helm.


HBO Max

Sometimes, we get lucky and Hollywood will give us a remake that brings something new to the story. But, more often than not, we’re just watching a carbon copy of a movie that brought film execs financial success in the past.


Fox

So let’s take a look at 8 remakes that actually had something new to say, and 8 that seem a little TOO familiar if you ask me:

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1.

TOO SIMILAR — Little Women (2019)


Sony Pictures Releasing

This movie’s great, and it was nominated for tons of awards, BUT this is the SEVENTH film version of Little Women. There’s also been a miniseries, TV adaptations, musicals, and even an opera. That’s too many things, especially when the basic story is left relatively unchanged. Did Hollywood need to remake this, really? Or did they need to showcase the current who’s who of white millennial and Gen Z Hollywood for profit?

2.

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ADDED SOMETHING NEW — Annie (2014)


Columbia Pictures

This remake didn’t get the best reviews, but at least the filmmakers gave us something different. Annie had been made twice before this, with a pretty similar-looking cast both times. This 2014 Annie was the first version to be set in the present-day instead of the Great Depression. And, it was also the first version to cast Black actors as the two leads. (Jamie Foxx as Daddy Warbucks and Quvenzhané Wallis as Annie).

3.

TOO SIMILAR — Carrie (2013)

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Sony Pictures

The 2013 version of Carrie was supposed to be more of an adaptation of the original book rather than a remake of the 1976 De Palma classic, but it pretty much follows the original beat-for-beat.

There were definitely some stylistic differences, but this new version didn’t seem to update the look of Carrie’s mother and their house, or any of the creepy old-fashioned religious stuff either. It was so similar to the original that, at certain points, I forgot this was set in modern day.

Kimberly Peirce, the remake’s director, is an incredible filmmaker, and I think this was a case of the movie studio having too much input. They wanted to update Carrie, but instead of doing so in a meaningful way, they gave us the same old story but *now with cell phones!*

4.

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ADDED SOMETHING NEW — West Side Story (2021)


20th Century Studios

2021’s West Side Story was a hit with both audiences and critics. It followed the same storyline as the original from 1961, but incorporated a couple of changes. One major change was the role of Anybodys. In the original movie, Anybodys was a tomboy, but in the 2021 version, he is a trans man. This, along with casting actual Latinx actors to play characters that are Puerto Rican, gives the movie and its characters much more depth.

5.

TOO SIMILAR — Psycho (1998)

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Universal Pictures

There’s no doubt in my mind that this near shot-for-shot remake of Alfred Hitchcock’s 1960 classic Psycho should never have been made. Vince Vaughn? As Norman Bates? He wishes. 

I love Gus Van Sant, the director who made this, but like, if you have the go-ahead to remake one of the most beloved horror movies of all time, at least do something different. And I’m not talking about making it in color or adding a scene where Vince Vaughn’s Norman is jerking off to Marion Crane because those weren’t enough. Give me something different, something weirder! People are gonna compare your version to the original anyway, so if you do something completely out of left field, maybe they’d at least respect that. 

6.

ADDED SOMETHING NEW — Freaky Friday (2018)

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Disney

People regard the 2003 Lindsay Lohan/Jamie Lee Curtis Freaky Friday as the best version, and maybe even the only version. But, there have actually been three other adaptations of the movie. The newest one is a Disney Channel Original Movie, and it’s based on a musical of the same name. The movie itself is a bit strange and awkward, but the songs slap. It truly doesn’t feel like a remake. It’s its own thing, which is good, because I feel like Disney knows that if they tried to remake the 2003 one, there would be an uproar.

7.

TOO SIMILAR — A Christmas Carol


Walt Disney Pictures

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Okay, I’m not talking about a specific version of A Christmas Carol here, and more just like, all the versions. There’s just so many, and they keep coming out. Sure, there’ll be an original gem once in a while hidden among all the clones, but they’re pretty few and far between. And like, why even make another version afterThe Muppet Christmas Carol exists?

8.

ADDED SOMETHING NEW (but just barely) — Pet Sematary (2019)


Paramount Pictures Studios

The Pet Sematary remake made some pretty big changes from the original 1989 version. The plot is basically the same: in both films, a family moves into a new house, one of their kids gets hit by a truck, they bury the kid in a cemetery that brings the dead back to life, and the kid comes back wrong and kills people. In the original, the family’s very young son Gage dies, while in the remake, it’s the older sister Ellie that gets run over. 

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By changing which kid dies, the new Pet Sematary tried to do something different, so I’ll give them that. But, I think it actually just made the story super boring. A toddler zombie boy is just always gonna be scarier to me than the overused trope of a creepy little girl. But A for effort!

9.

TOO SIMILAR — The Amazing Spider-Man (2012)


Sony Pictures

In 2002 Sam Raimi gave us the iconic Spider-Man starring Tobey Maguire, which led to the greatest superhero movie of all time, Spider-Man 2, and, of course, the notoriously campy Spider-Man 3. Just five short years after the third entry, Sony gave us The Amazing Spider-Man starring Andrew Garfield. Not only did we have to see the whole spider bite/transformation stuff all over again, but we had to witness Uncle Ben’s death a second time, all while Raimi’s franchise was still pretty fresh in our minds.

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But I guess it was all worth it when both Maguire and Garfield returned in 2021’s Spider-Man: No Way Home to join Tom Holland’s version of Spider-Man for an interdimensional team-up.

10.

ADDED SOMETHING NEW — Ghostbusters (2016)


Columbia Pictures

Many people hated the 2016 remake of Ghostbusters. Some thought it was a gimmick, but we can all agree that it brought something new to the table. It was an all-female team of Ghostbusters this time. And while it wasn’t the greatest movie ever made, it tried something different. 

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The release of the new Ghostbusters and the subsequent backlash it received prompted a lot of discourse regarding gender and fan culture, but nothing really came of it. If Hollywood made a gender-swapped Indiana Jones right now, I’m sure the fans would react the same exact way they responded to Ghostbusters. This is exactly why Hollywood needs to keep taking chances like this. So that, eventually, everyone will be able to see themselves on screen.

11.

TOO SIMILAR — Cinderella (2015)


Walt Disney Studios Motion Pictures

Disney’s recent trend of remaking their animated films into live-action versions seems to me like a HUGE missed opportunity, especially with Cinderella. We’ve seen the animated version from 1950 a hundred times. We’re so familiar with the characters and the storyline, that it’s boring to see the same thing again, even if it’s being done with real live actors. Instead of casting an actor that looks identical to a cartoon character that was drawn over 60 years ago, why not cast someone completely different? Or maybe change the plot slightly, or add a twist ending?

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There are dozens of similar adaptations of Cinderella. Unless someone adds something new to the mix, can we just stop making these movies? I mean, I can only take so many dead dads, big gown reveals, and unexplained musical interludes.

12.

ADDED SOMETHING NEW — The Mummy (1999)


Universal Pictures

The Mummy remake was a huge success. It led to two sequels and launched The Scorpion King franchise. The film that it was based on was a horror movie, 1932’s The Mummy starring Boris Karloff. The remake, however, was an action-adventure film with Brendan Frasier at the helm.

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I want to say that the reason this remake is not just a carbon copy of the original is because the plot, the characters, and the genre are completely different. But, while that’s true, the “something new” that sets this film apart from the original is, in fact, Brendan Fraser.

Fraser’s Rick O’Connell is a true himbo, an icon of his time, and the whole reason why when someone mentions The Mummy there’s no way you’re thinking of the 1932 version.

13.

TOO SIMILAR — A Star is Born (2018)


Warner Bros. Pictures

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The latest, and fourth, adaption of A Star is Born, was similar to its Barbra Streisand-led 1976 predecessor. Yes, there were several changes, but that wasn’t enough for some people, namely Barbra Streisand who struggled with its originality. She has said that the Lady Gaga and Bradley Cooper film was too close to her version and essentially “the wrong idea.”

She was quoted as saying, “I can’t argue with success, but I don’t care so much about success as I do originality.” 

I love the sentiment, Barbra. Go shake things up in Hollywood.

14.

ADDED SOMETHING NEW — The Great Gatsby (2013)

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Warner Bros. Pictures

Whether you like him or not, Baz Luhrmann always gives us a cinematic extravaganza. Watching one of his movies is an event. 

In his 2013 interpretation of The Great Gatsby, he mixes old eras with modern music, his sets and costumes are over-the-top, and everything you see looks almost surreal. It oozes decadence and opulence and sometimes it’s even too much to look at. And, we already have a straightforward retelling of F. Scott Fitzgerald’s novel in 1979’s The Great Gatsby starring Robert Redford and Mia Farrow. Baz Luhrmann knew that. So he gave us Gatsby through his eyes. He did what a remake should do: update an old story for a modern audience.

15.

TOO SIMILAR — Funny Games (2007)

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Madman Entertainment, Warner Independent

In 1997, director Michael Haneke released his Austrian thriller Funny Games. He had always wanted to set it in America, so ten years later, he made it again with American actors in a shot-for-shot remake.

Because it’s made by the same director, the 2007 version is equally as scary and effective as its ’90s precursor.

These movies aren’t just siblings, they’re identical twins, and you can’t really choose one over the other. It’s like that old “spot the imposter” trope where the villain’s disguised themselves as the hero’s friend and they both try to convince the hero that the other one is the imposter.

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16.

ADDED SOMETHING NEW — Little Shop of Horrors (1986)


Warner Bros. Pictures

1986’s Little Shop of Horrors is based on a musical from 1982, which is based on a horror comedy film from 1960. 

The musical stars America’s sweetheart Rick Moranis as Seymour in a career-defining performance (Spaceballs who?). The music was written and composed by Howard Ashman and EGOT-winner Alan Menken. They would go on to write the music for The Little MermaidBeauty and the Beast, and Aladdin. 

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The film was nominated for two Oscars and is now considered an absolute classic. By turning the original into a musical, the remake, while still keeping its horror-comedy tone, can totally stand on its own.

Let us know which remakes you thought added something new to the source material and which ones were too similar.

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26 Pairs Of Shoes So Comfortable You May Be Tempted To Cry Tears Of Joy

22. Adorable ankle-strap sandals with a chunky heel for extra comfort so you can walk all day looking fa-bu-lous. amazon.com, amazon.com Promising review: “Love love love these shoes!!!!! I don’t normally buy cheap shoes because my feet suffer. But I just wanted a really cute low-heel, open-toe sandal to wear to my sister’s wedding. I…

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26 Pairs Of Shoes So Comfortable You May Be Tempted To Cry Tears Of Joy

22.

Adorable ankle-strap sandals with a chunky heel for extra comfort so you can walk all day looking fa-bu-lous.

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amazon.com, amazon.com

Promising review: “Love love love these shoes!!!!! I don’t normally buy cheap shoes because my feet suffer. But I just wanted a really cute low-heel, open-toe sandal to wear to my sister’s wedding. I knew I would probably just wear them one time, so I didn’t want to spend a ton of money. These shoes are gorgeous, comfortable, and I just ordered them in two other colors!!! You can dress them up or dress them down, so they are totally versatile!” —Leah

Get them from Amazon for $34.99 (available in sizes 5.5–11 and in 25 colors).

Psst: This item is included in Prime Wardrobe, so you can give it a trial run if you’re a member!

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“The Vampire Diaries” Franchise Has Come To A Close — Here Are The Best And Worst Moments Of The Mikaelson Family

This family needed to book a lifetime of sessions with Cami the therapist. As last week’s episode of Legacies put The Vampire Diaries universe to rest, viewers said goodbye to the Mikaelson family for good. The finale featured a cameo by fan-favorite vamp Klaus, who appeared one last time to bid a final farewell to…

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“The Vampire Diaries” Franchise Has Come To A Close — Here Are The Best And Worst Moments Of The Mikaelson Family

This family needed to book a lifetime of sessions with Cami the therapist.

As last week’s episode of Legacies put The Vampire Diaries universe to rest, viewers said goodbye to the Mikaelson family for good. The finale featured a cameo by fan-favorite vamp Klaus, who appeared one last time to bid a final farewell to his daughter, Hope.

View this video on YouTube


The CW / Via YouTube

Klaus, along with his siblings, make an appearance in all three of the franchise’s TV series (The Vampire Diaries, The Originals, and Legacies) as the world’s very first vampires with centuries’ worth of baggage.

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Seriously. No family is perfect, but the Mikaelsons are one of the most toxic households to grace television. Here are eight examples…

1. When Klaus would dagger his siblings for literal decades.


The CW / Via tenor.com

In this universe, “daggering” is just a term for putting a vampire to sleep with a magical knife (as one does). Klaus keeps his sibling’s coffins at the ready wherever he goes, in the event of a little rivalry. When they disagree with him or betray him, he just pops them in there for a couple of decades. Casual.

2. When Klaus was super controlling of Rebekah’s love life (and also killed a bunch of her boyfriends…).

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The CW / Via tenor.com

When we first meet Rebekah in The Vampire Diaries, she’s got a thing going with Stefan during the prohibition era. Despite being friends with Stefan, Klaus is not approving of the relationship and is super possessive and creepy when it comes to his sister. In The Originals, we learn that Klaus has literally killed a number of Rebekah’s boyfriends over the centuries and, up until the end of the series, denies her any chance at successful love. Toxic, much?

3. When their parents were just super toxic in general.


The CW / Via tenor.com

Mikael and Esther are the primary reason the Mikaelson siblings need therapy. First, they use magic to try to make their children immortal, accidentally turning them into vampires. Disgusted by this, both parents go on multiple benders trying to end their children. Klaus kills them both, but there are multiple times that they return from the grave to wreak havoc.

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4. When Elijah was in love with Klaus’s baby mama.


The CW / Via tenor.com

Strangely, this is the least problematic plotline on this list. Klaus and Hayley primarily grow a platonic co-parenting relationship, and it’s actually Elijah who falls for Hayley once she integrates herself with the family. Oddly enough, this complex dynamic doesn’t send Klaus spiraling. Still, it the makes the list, because it just would happen to the Mikaelsons.

5. When Kol pranked Rebekah by body-swapping her with an evil witch.


The CW / Via gfycat.com

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During a dramatic body-swapping predicament, Kol traps his sister’s soul in the body of a witch who is imprisoned in an insane asylum. Turns out, this particular witch is a sociopathic child murderer, which it seems Kol didn’t know, but still. The savagery of trapping Rebekah in an asylum due to being hurt about something she did back in the 1900s seems a little much.

6. When Freya’s devotion to the family caused consistent turbulence in her dating life.


The CW / Via tenor.com

As the oldest sibling, Freya feels the burden of ensuring her sister and brothers are safe. She often takes this to the extreme and is always cooking up a magical spell to protect family members, which is fine and dandy when you have so many enemies but also has to be exhausting. When she begins to date Keelin, she has a lot of trouble setting boundaries with her family. Fortunately, the two work out their relationship in the end, and she is able to finally invest in herself.

7. When Marcel’s complicated relationship with Klaus caused extreme highs and lows.

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The CW / Via tenor.com

When Marcel is a child, he’s taken under Klaus’s wing and eventually turned into a vampire. Despite their love for one another, the two have a complicated and confusing relationship. I mean very complicated and confusing. They are either threatening to kill the other and squabbling over control of the French Quarter, or they are best friends. Marcel can’t seem to decide if he loves or hates the Mikaelsons, and with all that they put him through, it’s hard to blame him.

8. When the family was cursed so Elijah wiped his memory.


The CW / Via tenor.com

The aftermath of The Hollow — a terrible evil spirit in The Originals — leaves the Mikaelson siblings unable to be in the same room without causing mass destruction. While this is horrible, it’s fortunate that this happens during the 21st century when phones are a thing, rather than decades prior. Since the thought of staying away from his family is too much to bear, Elijah wipes his memory completely free of all loved ones. This causes a lot of drama and, perhaps, could’ve been avoided if he scheduled some daily FaceTimes. 

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OK, these guys are a lot of drama, but they do have some redeeming moments. Here are six times the Mikaelsons siblings were endearing:

1. When all of the siblings put Hope’s well-being before their own.


The CW / Via tenor.com

For a family whose selfishness is unmatched, the birth of Klaus and Hayley’s daughter, Hope, is a major game changer. Not only does Hope help Klaus find what’s left of his humanity, but she makes a big impact on the other immortals as well. The siblings make some pretty big sacrifices to ensure Hope’s safety during The Originals, and this carries into Legacies territory as well.

2. When Hope carried on her family’s legacy.

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The CW / Via tenor.com

Speaking of Legacies, the third installment of the franchise dives into the life of the youngest family member, who now has some serious magic powers. Since she’s a Mikaelson, she’s got trauma, anger, and baggage at the ready, but we also see her fight for the greater good. She may come from one very complicated and ancient family, but she’s carrying on the best parts of their legacy.

3. When they honored their vow of always and forever.


The CW / Via tenor.com

In flashback scenes scattered throughout The Vampire Diaries and The Originals, viewers get a glimpse into what different centuries have been like for this crew. The siblings have been isolated, on the run from enemies, and left to survive only with the company of one another. They vow to be there for each other “always and forever,” which plays a large role in their devotion to family. Even in their worst moments, they try to uphold this vow.

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4. When they made sacrifices for one another.


The CW / Via tenor.com

While the family is certainly riddled with concerning behaviors, we do see glimmers of selflessness throughout various seasons. Klaus, for example, becomes Marcel’s prisoner to keep his siblings safe; and, despite only having each other, the family decides to go separate ways for a time when The Hollow threatens to harm Hope. At the end of the day, they put family above all else.

5. When they finally admitted to their mistakes.


The CW / Via tenor.com

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Unsurprisingly, the Mikaelsons have made a couple of mistakes over the years. As their stories progress, they begin to acknowledge their wrongdoings and attempt to change their ways. Klaus’s redemptive arch is the most distinct, as he begins his journey as a cunning and ruthless villain and becomes a loving father who sacrifices everything for his loved ones.

6. When they realized that they deserve happiness too.


The CW / Via tenor.com

Cami the therapist (RIP) would likely say that much of this family’s turmoil comes from viewing themselves as monsters. After centuries of chaos, they begin to realize that they, too, deserve love and happiness. Each sibling has a different road to finding this, respectively, but in the end it appears they all find peace.

What are your favorite Mikaelson moments? Tell us in the comments below!

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