Gonna leave it here too, just in case someone stumbles on it someday... 🎻💔
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taylor price
NASA
Peter Solarz
Misplaced Lens Cap
Sade Olutola
Today's Document
Monterey Bay Aquarium
he wasn't even looking at me and he found me
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2025 on Tumblr: Trends That Defined the Year

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Stranger Things
Sweet Seals For You, Always
Game of Thrones Daily
trying on a metaphor
todays bird
"I'm Dorothy Gale from Kansas"

@theartofmadeline
let's talk about Bridgerton tea, my ask is open
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@lil-dormouse
Gonna leave it here too, just in case someone stumbles on it someday... 🎻💔
Some thoughts, light analysis mayhaps, about Primavera (2025)... because that movie makes my heart hurt and my whole being feel heavy in such a bittersweet way, and I want to find words for some of that feeling.
I doubt this post will be a big hit because there seem to be approx. five other people on this entire beloved hellsite who've seen the film... and all of them seem to have a different, much more romantically/erotically charged take of the central relationship than I do. Which is completely fine, of course, it's just not how I view the characters personally.
But I want to write about the way I interpreted this story because ever since I saw the movie for the first time, I've been wishing that someone'd post some sleep-deprived analysis about it that'd make my brain sparkle when I read it. So, you know, be the change you want to see in the world.
So, Primavera tells the story of Cecilia, a teenage violinist in a 18th century Venetian orphanage/conservatory, and Antonio Vivaldi, her new music teacher. There's a war going on out there somewhere and Cecilia's arranged fiancé isn't here... but one day, the war will be over, and after Cecilia marries, she won't be allowed to play the violin anymore. Despite this, Antonio (let's call him that, because this isn't a Vivaldi biopic, whatever the real person was or wasn't like is 100% irrelevant to what happens in the movie) makes her the first chair of the orphanage orchestra, and they go on to enchant Venice with their music, for as long as destiny allows them to.
To me, this is a story about soulmates, and how finding yours doesn't necessarily mean you'll become any happier for it, nor does it guarantee you'll be the person your soulmate needs or deserves. And yet, it's still worth it, somehow, perhaps.
I think there is an immense... not even necessarily love, not like that word is usually understood, but connection between Cecilia and Antonio. Each approaches their art in a way that complements the other, and when they play music together, it's just the two of them and the rest of the world fades into the background for a bit. When they play together, it's not playing for external validation, nor is it art for art's sake or because it's fun or satisfying to the person playing the music themself, it's a secret third thing where two souls touch on a level that neither words nor other kinds of actions can reach.
I don't see this relationship as romantic or sexual, but I don't think it's necessarily wholly platonic either – I think it's a deep connection that exists outside or beyond the rigid little boxes we try so hard to shove all our relationships and experiences into. And I guess that nebulousness is at the heart of what makes this story feel so tragic to me. There is no way for these two characters to love each other in a way that they could explain to themselves, or to each other, let alone the rest of the world.
I think they see each other, all the way into each other's soul, apart from one thing: Antonio doesn't understand, or perhaps doesn't allow himself to understand, just how much Cecilia does not want to get married. To be able to cope with both his own choices and the society they live in, and also because he's a product of that society, he chooses to look the other way. Besides, whatever they have is not that, and even if it was that or whatever it now might be, he couldn't make a counteroffer for her hand... so it's useless to think about it too much.
Both characters are trapped inside a system with no room for nonconformity. Cecilia is near the bottom of the ladder, and Antonio is on the rung above her – but above him, there's the director of the orphanage, and above him, there are the nobles that actually pay for their entire operation. Cecilia is right when she says she's powerless to change her own life and that Antonio isn't – but the orphanage director is also right when he says that in their society, it's not a good look for a priest to step in and prevent an orphan's marriage to a nobleman, and that if word gets out, it'll reflect on the entire institution's reputation. But of course, both men also have greedy and selfish motives here: Antonio doesn't drop the issue just because he feels powerless but because the director promises him new instruments if he doesn't meddle, and the director isn't worried about his orphan girls' reputations remaining spotless because protecting them is the right thing to do but because they'll be harder to profit from if they don't appear perfectly chaste.
And then Antonio grows a couple of inches of spine, but it's too little, too late. The love is still there, but the soul connection via music has been taken away from them, and there is no way to salvage the situation. Even if there was a way for Cecilia to remain in the orchestra for now, it wouldn't last. There aren't any older women amongst the musicians, after all.
In any case, the ending is very depressing to me, especially if I look at it on a wholly literal level (and tbh, I'm having a hard time coming up with an interpretation that doesn't also include the literal.) I get that Cecilia needs to free herself from the institution, but where will she go? At that point in history, patriarchy is absolutely everywhere. If you're a woman and/or poor, you don't have rights. Cecilia has left one oppressive structure behind her, but how will she evade getting trapped in another?
But perhaps being free from the musical orphan to arranged marriage pipeline gives her the same kind of joy that playing music did: it won't last forever and it may end in pain and sorrow, but it's still worth experiencing.
This movie breaks my heart.
I'm going to read the book the film is based on next, but I wanted to get these thoughts out of my system first, because the way the original author tells the story is probably altogether different from the way I've experienced it so far, and will likely shape the way I interpret the movie going forward.
Anyhow, it's been ages since I've felt this deeply touched by a fictional story. This movie speaks to me on a very personal level, and I'm grateful to whatever force in the universe it was that made me pay attention to the trailer. What a beautiful experience, to find a piece of fiction that truly resonates with you like this.
While I do see their relationship as romantic, I also really resonate with OP’s idea of them being soulmates. Honestly, I think both interpretations can coexist.
I’ve seen many people call Vivaldi a coward, but from a historical perspective, he really was quite powerless in those circumstances. Even if he had tried to intervene more directly, the orphanage’s reputation and the support of the nobility would always matter more than anything he personally wanted.
I was also deeply conflicted about the ending because, realistically, a young woman leaving an institution like that in the 18th century would have very limited chances of survival unless she followed the same path as her mother.
Also, I find it fascinating that Cecilia was inspired by Anna Maria – Vivaldi’s real student, to whom he dedicated 28 violin concertos. From what I’ve read, the director saw Cecilia as an “alter ego” of Anna Maria: someone who chose escape instead of remaining at the orphanage and becoming one of the greatest violinists and teachers of her time.
Also… regardless of interpretation, the emotional and musical connection between them felt incredibly intense to me. The scenes where they play together genuinely felt transcendent 🎻✨
Here's the article and a quote:
Opera director Damiano Michieletto discusses bringing Antonio Vivaldi’s early Venetian years to the screen in Primavera, a film that blends
In Michieletto’s eyes, the fictional Cecilia is a nod to Anna Maria de la Pietà, the violinist that Vivaldi dedicated 28 violin concertos to. “Anna Maria… to me is like an alter ego of Cecilia,” he says.
I just discovered this and I’m emotionally unwell... OMG. Look at them 😭🔥💔
Some thoughts, light analysis mayhaps, about Primavera (2025)... because that movie makes my heart hurt and my whole being feel heavy in such a bittersweet way, and I want to find words for some of that feeling.
I doubt this post will be a big hit because there seem to be approx. five other people on this entire beloved hellsite who've seen the film... and all of them seem to have a different, much more romantically/erotically charged take of the central relationship than I do. Which is completely fine, of course, it's just not how I view the characters personally.
But I want to write about the way I interpreted this story because ever since I saw the movie for the first time, I've been wishing that someone'd post some sleep-deprived analysis about it that'd make my brain sparkle when I read it. So, you know, be the change you want to see in the world.
So, Primavera tells the story of Cecilia, a teenage violinist in a 18th century Venetian orphanage/conservatory, and Antonio Vivaldi, her new music teacher. There's a war going on out there somewhere and Cecilia's arranged fiancé isn't here... but one day, the war will be over, and after Cecilia marries, she won't be allowed to play the violin anymore. Despite this, Antonio (let's call him that, because this isn't a Vivaldi biopic, whatever the real person was or wasn't like is 100% irrelevant to what happens in the movie) makes her the first chair of the orphanage orchestra, and they go on to enchant Venice with their music, for as long as destiny allows them to.
To me, this is a story about soulmates, and how finding yours doesn't necessarily mean you'll become any happier for it, nor does it guarantee you'll be the person your soulmate needs or deserves. And yet, it's still worth it, somehow, perhaps.
I think there is an immense... not even necessarily love, not like that word is usually understood, but connection between Cecilia and Antonio. Each approaches their art in a way that complements the other, and when they play music together, it's just the two of them and the rest of the world fades into the background for a bit. When they play together, it's not playing for external validation, nor is it art for art's sake or because it's fun or satisfying to the person playing the music themself, it's a secret third thing where two souls touch on a level that neither words nor other kinds of actions can reach.
I don't see this relationship as romantic or sexual, but I don't think it's necessarily wholly platonic either – I think it's a deep connection that exists outside or beyond the rigid little boxes we try so hard to shove all our relationships and experiences into. And I guess that nebulousness is at the heart of what makes this story feel so tragic to me. There is no way for these two characters to love each other in a way that they could explain to themselves, or to each other, let alone the rest of the world.
I think they see each other, all the way into each other's soul, apart from one thing: Antonio doesn't understand, or perhaps doesn't allow himself to understand, just how much Cecilia does not want to get married. To be able to cope with both his own choices and the society they live in, and also because he's a product of that society, he chooses to look the other way. Besides, whatever they have is not that, and even if it was that or whatever it now might be, he couldn't make a counteroffer for her hand... so it's useless to think about it too much.
Both characters are trapped inside a system with no room for nonconformity. Cecilia is near the bottom of the ladder, and Antonio is on the rung above her – but above him, there's the director of the orphanage, and above him, there are the nobles that actually pay for their entire operation. Cecilia is right when she says she's powerless to change her own life and that Antonio isn't – but the orphanage director is also right when he says that in their society, it's not a good look for a priest to step in and prevent an orphan's marriage to a nobleman, and that if word gets out, it'll reflect on the entire institution's reputation. But of course, both men also have greedy and selfish motives here: Antonio doesn't drop the issue just because he feels powerless but because the director promises him new instruments if he doesn't meddle, and the director isn't worried about his orphan girls' reputations remaining spotless because protecting them is the right thing to do but because they'll be harder to profit from if they don't appear perfectly chaste.
And then Antonio grows a couple of inches of spine, but it's too little, too late. The love is still there, but the soul connection via music has been taken away from them, and there is no way to salvage the situation. Even if there was a way for Cecilia to remain in the orchestra for now, it wouldn't last. There aren't any older women amongst the musicians, after all.
In any case, the ending is very depressing to me, especially if I look at it on a wholly literal level (and tbh, I'm having a hard time coming up with an interpretation that doesn't also include the literal.) I get that Cecilia needs to free herself from the institution, but where will she go? At that point in history, patriarchy is absolutely everywhere. If you're a woman and/or poor, you don't have rights. Cecilia has left one oppressive structure behind her, but how will she evade getting trapped in another?
But perhaps being free from the musical orphan to arranged marriage pipeline gives her the same kind of joy that playing music did: it won't last forever and it may end in pain and sorrow, but it's still worth experiencing.
This movie breaks my heart.
I'm going to read the book the film is based on next, but I wanted to get these thoughts out of my system first, because the way the original author tells the story is probably altogether different from the way I've experienced it so far, and will likely shape the way I interpret the movie going forward.
Anyhow, it's been ages since I've felt this deeply touched by a fictional story. This movie speaks to me on a very personal level, and I'm grateful to whatever force in the universe it was that made me pay attention to the trailer. What a beautiful experience, to find a piece of fiction that truly resonates with you like this.
While I do see their relationship as romantic, I also really resonate with OP’s idea of them being soulmates. Honestly, I think both interpretations can coexist.
I’ve seen many people call Vivaldi a coward, but from a historical perspective, he really was quite powerless in those circumstances. Even if he had tried to intervene more directly, the orphanage’s reputation and the support of the nobility would always matter more than anything he personally wanted.
I was also deeply conflicted about the ending because, realistically, a young woman leaving an institution like that in the 18th century would have very limited chances of survival unless she followed the same path as her mother.
Also, I find it fascinating that Cecilia was inspired by Anna Maria – Vivaldi’s real student, to whom he dedicated 28 violin concertos. From what I’ve read, the director saw Cecilia as an “alter ego” of Anna Maria: someone who chose escape instead of remaining at the orphanage and becoming one of the greatest violinists and teachers of her time.
Also… regardless of interpretation, the emotional and musical connection between them felt incredibly intense to me. The scenes where they play together genuinely felt transcendent 🎻✨
-yes, you're right, music doesn't have a purpose, but it can do it all.
-all of what?
-everything. it can tell us of the sudden arrival of a thunderstorm. of thunder, lightning that makes the swallows fly away. or a shepherd sleeping, lying on the grass. or a barking dog. men and women who dance during a party.
tecla insolia and michele riondino in primavera (d. michieletto, 2025)
love this tension, i'll take a 100 more
Serious Sol is one of my favorite because it's usually one step away from loosing it Sol which is my ultimate favorite (love the light cast from the red saber on his face)
(dirty puppy sol is up there as well)
*uncomfortable silence noises*
THE ACOLYTE S01E01 - Lost/Found
someone else's survival guide
Chapter 7: Tryst
Full (nsfw) image in the link. What are you doing, Dr Hwang?
Final part for Day 7 of @inhun-age-gap-week - Free Day! Enjoy :)
S1 Gihun with a kitty? 🥺
here you go 🫡
drawing cats is really fun but is it too obvious I've never been close to one irl lol
inhun age gap week day 3 prompt I went for is handcuffs ⛓️💥
surely nothing bad will happen and inho is there for purely good reasons!! right?? full piece here!
highly masking autistic sol, tell me u guys understand
i thought the cat seemed familiar
I found this in my WIP folder, and I'm determined to finally finish everything in it.
This is from my fic Pulse, which I published a year ago today, if anyone wants some inhun fluff featuring awkward flirting and wingman Junho <3
"The Pillars of Creation"
Coloured pencil on A3 pastelmat
Reblogs>likes
This is an example of artwork i was commissioned to do. Please get in contact for a quote 💖