Had a nightmare where Caine talked like ChatGPT. It was so terrifying that I woke up crying and panicking and started stabbing random people on the street.
I have a theory that the moon IS a trans woman cause she’s always associated with feminine things but when we saw the craters that look like a face we called it “The Man In The Moon”. She’s a woman with a face that people may perceive as male. She’s a beautiful trans woman
the moon is a beautiful trans woman who hates terfs and shows her face every night to remind other trans women they are beautiful and strong and loved and important and wonderful and that terfs and their opinions dont matter
I wanna add to this if it’s ok?? In Hindu mythology, Chandra, the moon, was originally thought of as a male deity. However, as time went on, symbolism involving the moon and the name “Chandra” itself became identified with femininity, with beautiful girls being described as having “moon-like faces,” with their dark, long hair reminding lovers of the midnight sky, and names like “Nilaa” (”moon” in Tamil) and “Indu” (in Sanskrit) are now pretty much now completely girl names!
AlsO Chandra is married to 27 wives, who are all stars. The moon is a trans lesbian and is gay for all the stars in the sky.
So N2N is kind of known for being insane musically? That's it's whole thing. But it is so diabolical how they use mixed meters as part of the storytelling. It's done quite a bit in Song of Forgetting (7/8 and 4/4. Fun fact this is my most listened to song while writing Solla) and to a frankly insane degree in Wish I Were Here (7 time signatures in one song??? HELLO??). But the one I'm most enamoured by is in Superboy and the Invisible Girl. I'm gonna include sounds in this post so yall can hear what I'm spinning out about. Also under the cut lol
A lot of people correctly point out how devastating it is that Gabe hijacks the melody away from Natalie in the final chorus, forcing her onto the harmony line, forcing her to play second fiddle in her own song. And all the ways to interpret that, like, is Diana trying to drown Natalie out through Gabe's voice? Is she grafting the words onto him so she can hear her daughter? If Gabe is more ghost than memory, is he helping her or trying to steal the chorus? Is Natalie getting louder or quieter? AHHH I'm unwell already.
B U T. Idgaf about that rn. I am so obsessed with how this song uses mixed meters. What a way to use your medium. Refresher: mixed meters refers to using multiple time signatures in a single piece. The time signature dictates the beats-per-measure and the value of the notes counted in the beat. Ex: 4/4, four beats per measure received by quarter notes. its the classic one two three four count you can feel in most songs.
Superboy and the Invisible Girl is constantly switching between 6/8 and 5/8, so 6 beats received by 8th note, 5 beats received by 8th note. Important that 5/8 literally has less time, it has less space for the notes. This is a matter of math and time and music can't really be divorced from time since its a temporal medium.
Guys. I am gripping you by the shoulders. When Natalie talks about Gabe, the song is in 6/8 and when she tries to talk about herself it switches to 5/8. It starts to rush her.
I am shaking you back and forth. Natalie literally gets less time for herself. She is being given fewer counts. Even in her own song, HER song, the fabric of the story is prioritizing Gabe. The medium through which she is screaming her heartache can't be fucked to give her the time it gives him. "She's not there! She's not there! She's not there!" that is in 5/8! It is forcing her to frontphrase!
The two times she isn't being cut off by the music is when she is talking to Henry who actually is listening to her! "I wish I could fly" and "here she is clear as the day" that stays in 6/8!
But the rest of the song is betraying her, cutting her off! This is probably because so much of the show is filtered through Diana but good LORD. And yes you can def say this is me extrapolating a lot, that the counts don't match, that she gets through the words referring to herself mid-meter switch, but to me it so very much sounds like those sections are urging her to hurry up. To go faster and she cannot slow down it's pushing her. Those cymbals and the guitar cues telling her to speed up when she dares take his memory out of her mouth.
anyways. this is the longest winded way ever of saying next to normal writers when I catch you...
glinda's character arc makes me fucking sick because she spends all this time shedding her biases and layers of privilege and the things she internalized as a child and it's all building up to her finally getting to pop her bubble for good and be the person she was too scared and insecure to be sooner and save the woman she loves but when the moment comes she can't. all that build up and she can't. not because she's not ready or able, but because the plot and elphaba don't allow that. so she's shut back in the closet
it's such a crazy narrative punishment. you've been forever changed by this woman because you love her that deeply. you weren't ready to get on the broom with her before but she's changed you and you're ready to save her now. but you can't. your punishment for not saving her before is that you have to watch her die, knowing full-well that you can't save her. you have to go back into the life you've grown to hate. and no matter how much good you do after it'll always be tainted by the fact that your goodness is built on her death and you couldn't save her. like what a punishment it is to be denied the complete growth you've been propelling toward this whole time
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