ray bradbury
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@masterrobber
ray bradbury
I saw Hadestown recently and... the metanarrative aspects didn't need to go that hard. The entire cyclical structure with the story being acknowledged as an "old tale from way back when" that they tell again and again despite knowing the tragic ending, which is explored as precious proof of the enduring ability to hope? Orpheus and Eurydice falling in love so fast because they feel that they already know each other, they always have, and we know they're right? Hermes fluidly switching between character who emotionally invests in the doomed lovers and omniscient narrator who knows they're doomed, and the revelation in "Road to Hell (Reprise)" that he's genuinely been both from the beginning? The final song, a requiem for the living by the dead, with the cast out of character after the curtain call? When Orpheus toasts to "the world we dream about" but then also "the one we live in now" and everyone on stage looks straight at the audience for a moment of absolutely chilling silence? I was not prepared and I'm not okay.
tbh I can't stop thinking about how i went into Hadestown being like "this is a tragic love story based on a greek myth I enjoy :)" and I came out the other side covered in blood being like "this is a thesis about how capitalism inevitably leads to both personal and global ruin, and so we are duty bound to resist it even as we lose, again and again and again. no matter how impossible it feels or how many times we fail and hit a wall and fall, we try again"
If Hadestown has a moral, she says, then it’s “you have to try, you have to have hope, not because success is a given – it’s not. Orpheus fails. We heroicise” – here she breaks off to apologise that jet lag has led to her making up words – “we heroicise Orpheus not because he succeeds but because he tries, and that endeavour alone is worthwhile. How to live, and not merely survive, is to believe things could change.”
Anaïs Mitchell on her musical Hadestown: 'I worked on it so long I was afraid I'd never make another record'
Sandra Cisneros, from "Tea Dance, Provincetown, 1982", Woman Without Shame
Sandra Cisneros, from "Tea Dance, Provincetown, 1982", Woman Without Shame
You're not mad. You're very hurt, and very frightened, and very desperate, and you feel you have no right to live, to enjoy,
Anaïs Nin, A Spy in The House of Love
They really said, "this character is a FREAK. He sells DRUGS. He holds a KNIFE to Steve's THROAT-" and then he has the biggest, roundest pair of brown eyes on planet and quotes lotr
Do you feel held by him? Does he feel like home to you?
Midsommar 2019, dir. Ari Aster
You know when you clean your face really well and exfoliate and stuff and your face feels ten pounds lighter and clean and kind of raw, that’s how I want my heart to feel
La La Land (2016)