Unmasking the Phantom: Why Most Get the "Murderer" "Stalker" Label Wrong

Phantom of the Opera Little Golden Book

by Christy Webster and Illustrated by Vivien Wu release date Sept. 1, 2026

Recently, I posted a photo of a new Little Golden Book featuring The Phantom of the Opera in a Facebook group dedicated to the show. It’s the first of three upcoming releases and while most fans were genuinely excited, there were some surprisingly negative reactions. The negative reactions ranged from unhappy emojis to unhinged rants and a few sent me DMs telling me I am wrong for writing the book. First of all, back off and reaccess yourself because I am NOT the author of that book, I didn’t write it, nor did I claim to write it, I simply posted a photo of the cover along with the caption that states it will be released in September along with a bunch of other Phantom related books over the next six months. Some people began asking how a story featuring a “murdering stalker” who lies to the girl and kidnaps her could possibly be appropriate for children. Has no one read the original source material from most Disney movies?

It really made me stop and think. It’s clear that to some, this story and these characters are being viewed through a very superficial lens. Over the years, I’ve noticed more and more people framing the Phantom through a modern, diagnostic lens, labeling him a "stalker" or a "murderer," and some have even claimed he’s on the autism spectrum. To be clear: he is a fictional character written over 100 years ago. The "autism" argument doesn't hold water because that wasn't even a medically recognized concept, let alone part of the character's design.

A Little Golden Book can absolutely tell this story effectively without the "villain" label, because the essence of the story isn't malice, it's tragedy. A Little Golden Book, the publishers of The Poky Little Puppy and so many other great books from my own childhood still publishes books appropriate for an audience of 3 to 5 year olds, I see them everyday at work and just as they did with the Wicked series, they will do with The Phantom of the Opera. If you've ever read the original Wicked books, you will know what I'm talking about.

Since I’ve been living with these characters for over 40 years, having seen the show as many times as I have, read every version of the book and spin off story as I have, meeting the actors who played them, not just Christine and Phantom but all of them and listening to their own takes, I realized I have a lot of perspectives to share. I have even been toying with my own spin on the Phantom story for my own book, but being that Under the Lifeguard's Watch is my priority at the moment, that's going to be for a future project. However, regarding my blog for now, I’m going to start with how I see the Phantom and in future posts, I’ll dive into the other characters (and if you think I’m sympathetic to the Phantom, wait until you hear my take on Carlotta!).

When it comes to the "villain" of this story, I honestly don't think the Phantom fits the bill. If you really want a villain, look at Le Fevre. He sold the Opera House to Firmin and André without saying a word about the "Ghost" issue and the moment they found out, he ran off to another country. He’s the one who set the whole disaster in motion!

As for the Phantom himself? I’m Team Phantom all the way, unless Raoul is played by someone that I can't take my eyes off and then I'm usually hoping he ditches Christine for me, just kidding..or am I??? In The Phantom, I don’t see a hero or a villain; I see a misguided, lonely, desperate man who never had a real chance. He wasn’t taught how to interact with people; he learned how to survive. So, he took what he needed in the only ways he understood. His obsession with Christine wasn't calculated stalking—it was part of his survival mindset that just...blurred. If you listen to Christine's words during rooftop scene, you can see that she's torn, at first she's afraid and then she suddenly switches gears just before Raoul distracts her with All I Ask of You. Other scenes to listen closely to is Twisted Every Way as well as Wandering Child. She acknowledges so much regarding his personality between the lines.

I don’t believe he’s intentionally a stalker and the two deaths in the musical aren't just simple acts of malice. He is emotionally illiterate, and to him, violence and threats are the only currency he has to exert power.

Think about Buquet’s death. It fell after he began telling others about what he knew of the man known as the “Ghost” and it really was just a "he saw and said too much" situation. Buquet was talking about the Phantom as if he were a real person and that threatened the fragile safety the Phantom had carved out for himself in the Opera House.

And Piangi? That’s much more complicated. Don Juan Triumphant was the Phantom’s desperate attempt to show Christine that she could see him as something other than a monster. Think about it: the last three times she saw him, he sent the chandelier hurdling down in her direction on stage where Raoul had to pull her out of the way, he delivered the score to Don Juan with a threat to the managers and the last time he was literally shooting fire at Raoul in the graveyard. Of course he needed to show her he wasn’t a monster. Piangi became the final obstacle standing between the Phantom and the only person who offered him a sliver of connection, so he did the only thing he could to slip into his place. Think about it, what else are you going to do so quickly to a man with a powerful voice that could scream “help” while he is being tied up and gagged in the middle of an opera scene? Silence came with the ultimate price for Piangi to pay.

The Phantom doesn't understand moral choices the way most of us do. He isn't typical; he's a creature shaped by survival, not by healthy human connection. There is so much more to this story than the buzzwords of the internet.

Do you see the Phantom as a victim of circumstance or are you firmly in the camp that sees him as a villain? I’d love to hear your take—let’s get a real conversation going in the comments below!

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Years in the Making: My Journey Through The Phantom of the Opera by Gaston Leroux

It took me over three decades to finish reading The Phantom of the Opera by Gaston Leroux, and honestly, it feels like an accomplishment worth celebrating. For years, I struggled to disconnect my familiarity with Andrew Lloyd Webber’s musical version—which you guys know I adore—from the original book. The characters, the songs and the drama of the stage production are so deeply ingrained that trying to dive into Leroux's story felt like stepping into unfamiliar, murky waters. But in 2024, after starting (and stopping) as far back as in 1992 when I was just 16, I finally turned the last page.

To say I was left conflicted would be an understatement. Is this a love story? A horror story? A mystery? After finishing, I’m still not entirely sure—and that ambiguity is part of what makes it so intriguing. Leroux’s novel doesn’t fit neatly into one genre, instead weaving elements of romance, gothic horror and suspense into an atmospheric tale that feels unlike anything else.

If you’re familiar with the Lloyd Webber musical, you’ll recognize many of the central characters and plot points: the mysterious Phantom (Erik), the young soprano Christine Daaé and the dashing Raoul. But Leroux’s Phantom is far more complex—and far darker—than the romanticized antihero of the musical. His obsession with Christine veers into sinister territory and the gothic horror elements of the novel amplify the sense of dread surrounding his actions.

One thing that struck me was how much more detail and backstory Leroux provides. The Opera House itself feels like a character—its hidden passages, underground lake and haunting presence create a vivid setting that’s rich with mystery. There’s a deeper exploration of the Phantom’s past and his genius as an architect and musician, which adds layers to his character while still leaving plenty of questions unanswered. While Lloyd Webber’s musical streamlines the story for dramatic effect, Leroux’s novel gives you the full picture, including the grittier, more unsettling aspects that don’t always make it to the stage.

At the same time, there are elements of Leroux’s novel that I couldn’t help wishing were incorporated into the musical. Certain details—like the exploration of Erik’s inventive traps and the intense rivalry between him and Raoul—could have added even more tension and complexity to the stage production. But I understand why they weren’t—it would’ve made an already elaborate musical even more complicated and long.

Reading the book also deepened my appreciation for the musical. While Leroux’s story is rooted in darker themes, Lloyd Webber’s adaptation captures the essence of the Phantom’s longing and Christine’s confusion in a way that feels timeless. It’s fascinating to see how the same story can evolve through different mediums, each with its own focus and interpretation.

Looking back, I’m glad I finally gave Leroux’s novel the chance it deserved. It challenged my preconceptions and left me grappling with its layers, which I’d say is the mark of a truly impactful read. Was it worth the decades-long wait? Absolutely. I have owned the Harper Collins mass market with the musical tie in cover for years, since I worked at Borders Books in the 1990's and held onto it for all these years because I hold onto anything related to The Phantom of the Opera because that's my thing.

Have you read The Phantom of the Opera or seen its musical adaptation? How do you feel about the differences between the two—and which version resonates more with you? I’d love to hear your thoughts in the comments. Let’s swap stories about our experiences with this gothic classic and dive into the mysteries of the Phantom together. And if this post gave you a new perspective or rekindled your love for Leroux’s tale, consider supporting the blog. Every contribution helps keep these reviews coming and fuels more literary deep dives. No pressure—your presence and insights mean the world to me. Here’s to stories that keep us wondering, dreaming, and maybe just a little haunted.

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