a ticket to the underworld .✦ ݁

Origami Around
Fai_Ryy

@theartofmadeline

PR's Tumblrdome
Noah Kahan
"I'm Dorothy Gale from Kansas"
h

★
sheepfilms

ellievsbear

bliss lane

Discoholic 🪩
EXPECTATIONS
Mike Driver
PUT YOUR BEARD IN MY MOUTH
untitled

roma★
RMH
Misplaced Lens Cap

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@bleezebrew
a ticket to the underworld .✦ ݁

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Hey, don’t cry. Free online database of Japanese folk lore
Might I add, free database of mostly European folklore and myths
A Book of Creatures by @a-book-of-creatures doesn't update these days but is another thing along these lines, really huge, fully illustrated all by the author and cites all sources
love the trope where an authoritative side character pointedly pretends not to help the hero they’re not supposed to be helping by saying shit like “well I can’t just let you wander around up to the THIRD FLOOR where you could just FIND THE THING YOU NEED in the FIRST ROOM ON THE LEFT. And under no circumstances should you USE THE KEY FROM UNDER THE MAT. I wish I could help you, but I CAN’T. Now excuse me, I need to take this phone call for the next 37 minutes EXACTLY.”
My doctor did that for me once. I had to get an expensive brain scan and she was like ‘do you smoke?’ and I was like ‘no’ and she was like “well that’s a pity because the government will pay for this expensive brain scan if you had been a smoker so - do you smoke?” 🤣🤣🤣 I was like ‘yes’ and she’s like ‘oh wow then this scan will be free’
Winter's nigh and summer's o'er Hear that high and lonesome sound Of my husband coming for To bring me home to Hadestown
VHS — permanent marker on paper, 23 × 30 inches, 2010
Website — Instagram

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Beth Riesgraf as Parker LEVERAGE (SEASON 1)
As someone who has overcome substance abuse, I find this decade’s framing of addiction incredibly insulting.
Somewhere along the line, we decided that any repeated behavior, any source of pleasure, any coping mechanism, any habit that isn’t monk-like and productivity-optimized must be labeled an addiction. You like scrolling art before you create? Addiction. You watch comfort shows after work? Addiction. You check your phone in line at the grocery store? Addiction. You drink coffee with breakfast? Addiction. The word has been stretched so thin it barely means anything anymore, except “a behavior I personally disapprove of.”
Addiction is not “I enjoy stimulation.” It is not “I have habits.” It is not “I seek input before I produce output.” Addiction is a specific, devastating pattern of compulsion, harm, loss of control, and often self-destruction. It dismantles relationships. It corrodes trust. It hijacks the reward system so thoroughly that survival itself becomes secondary. It is not equivalent to liking Pinterest boards or needing music to focus.
When everything becomes addiction, nothing is. The language gets diluted, and with it, the gravity of what actual addiction is. People who have clawed their way out of substance abuse know the difference between compulsion and preference, between destructive dependence and deliberate engagement. Collapsing those distinctions into a trendy moral panic about “dopamine” is not enlightened. It’s sloppy. Unserious, even.
There’s also something deeply puritanical about it. The 2020s seem obsessed with pathologizing pleasure. If something feels good, it must be suspect. If it captures your attention, it must be hijacking your brain. If it isn’t explicitly productive, it must be rot. We’ve replaced older moral frameworks with neuroscience-flavored shame, but the tone is the same: you are wrong for enjoying things.
What bothers me most is how casually the word is thrown around in creative spaces. If you gather inspiration through music, images, movement, conversation, suddenly you’re “stimulus addicted.” If you can’t brute-force a novel in a silent white room with no input, you lack discipline. Never mind that many artists throughout history have relied on immersion, community, environment, and cross-media inspiration. Now it’s framed as weakness, as though the only legitimate art is produced under self-imposed sensory austerity.
This framing flattens nuance. There is a difference between avoidance and incubation. There is a difference between doomscrolling to numb out and deliberately engaging with material that fuels your imagination. There is a difference between compulsively chasing a hit and consciously choosing input that enriches your work. But nuance doesn’t trend. Alarmism does.
There’s also a strange individualizing move happening here. Instead of asking why people are exhausted, overstimulated, underpaid, isolated, or burnt out, we zoom in on their coping mechanisms and label them addictions. Instead of examining structural monotony, economic precarity, and social fragmentation, we scold individuals for having “bad dopamine habits.” It’s easier to diagnose people’s scrolling than to confront the conditions that make endless scrolling appealing.
Calling everything an addiction also erases agency. It suggests that people are perpetually hijacked by their brains, incapable of intentional choice unless they purge all sources of easy stimulation. That’s not empowering. It’s infantilizing. Adults are capable of enjoying things without being enslaved by them. Adults can have rituals, comforts, and creative processes without it being pathology.
When I hear the word “addiction” tossed around to describe normal human behavior, it doesn’t sound like insight. It sounds like moral grandstanding dressed up in pop psychology. And for those of us who have actually lived through the wreckage of substance abuse and fought to reclaim control, it feels like watching something serious get turned into a meme.
We deserve better language. We deserve distinctions. We deserve a culture that can tell the difference between compulsion and preference, between harm and habit, between numbing out and nourishing ourselves. Not everything that holds our attention is a disorder. Not everything pleasurable is a vice. And not everything repetitive is an addiction.
it's time for spring. we'll try again next fall.
(happy time loop tragedy musical in movie theaters day to all who celebrate)
I am still/again in awe of how Hadestown's second act simultaneously parallels, builds on, and recontextualizes first act. Every single reprise.
The face journey Patrick Page did around the line, "Then doubt comes...Doubt comes in," was so exciting. I was buzzing in my seat.
The way he starts off the stanza just villain-plotting against Orpheus, and then he looks at Persephone and hears himself and realizes he's talking about his own shortcomings as much as Orpheus's, and he just kind of slackens in some combination of shame, resignation, understanding, and says, "Then doubt comes. Doubt comes in," with this clear subtext of, "Oh, I get it now." Perfectly setting up the "It's time for spring," moment.

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Winter's nigh and summer's o'er Hear that high and lonesome sound Of my husband coming for To bring me home to Hadestown
Obsessed with how eva and reeve portrayed eurydice and orpheus in the proshot. Eurydice's very obviously fragile wall of snark falling apart when she encounters the living embodiment of faith in oneself and the world... and she has nooooo idea how to handle that, and it's so scary and it doesn't make sense but she still wants soooooooo badly for someone to allow her to be gentle it eats her up inside!! And when it's all taken away from her it's even worse cause you understand right? She doesn't! wanna go back! to the lonely life!! The earth-shattering delivery of "Orpheus! I'm hungry..." ohh head in hands. it's also quite beautiful how orpheus doesn't doubt himself at all (in act 1) while never coming off as arrogant. Idk i think a lot of orpheus portrayals fall into making orpheus too saccharine and dopey and puppy-dog like which can be cute but the conviction, the (almost) unshakeable determination, that orpheus had in the proshot is just so gooooooood. You can see it in his eyes and the way he looks upon his makeshift flowers. He doesn't just think things can get better, he knows they can. He has a gift to give and god damn it, he is gonna give. And then you smash that big heart of his to pieces in act 2 🥰 And the way orpheus is so so achingly gentle with eurydice... when their hands come together ouuu.... he just barely lays one finger in her palm, and then eurydice mimicks that movement with herself when in distress (during little songbird? Somewhere in Act 2? I forgor). They hold each other so tightly... sobs forever. My pookies......
Kinda insane just how much the accommodations and consideration for Patrick Page's disability improved the show and gave Hades a whole new layer of depth. Every show should be so good to their disabled actors
Obsessed with how eva and reeve portrayed eurydice and orpheus in the proshot. Eurydice's very obviously fragile wall of snark falling apart when she encounters the living embodiment of faith in oneself and the world... and she has nooooo idea how to handle that, and it's so scary and it doesn't make sense but she still wants soooooooo badly for someone to allow her to be gentle it eats her up inside!! And when it's all taken away from her it's even worse cause you understand right? She doesn't! wanna go back! to the lonely life!! The earth-shattering delivery of "Orpheus! I'm hungry..." ohh head in hands. it's also quite beautiful how orpheus doesn't doubt himself at all (in act 1) while never coming off as arrogant. Idk i think a lot of orpheus portrayals fall into making orpheus too saccharine and dopey and puppy-dog like which can be cute but the conviction, the (almost) unshakeable determination, that orpheus had in the proshot is just so gooooooood. You can see it in his eyes and the way he looks upon his makeshift flowers. He doesn't just think things can get better, he knows they can. He has a gift to give and god damn it, he is gonna give. And then you smash that big heart of his to pieces in act 2 🥰 And the way orpheus is so so achingly gentle with eurydice... when their hands come together ouuu.... he just barely lays one finger in her palm, and then eurydice mimicks that movement with herself when in distress (during little songbird? Somewhere in Act 2? I forgor). They hold each other so tightly... sobs forever. My pookies......
Every time I have seen Hadestown - on stage or in the movie theater - people gasp when Orpheus turns around. I just love how it's so old and yet everyone is still always hoping that this time

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god i love hadestown so much and this recording is next level. oh my god. oh my GOD.
Cannot possibly explain how feral I feel about the Hadestown proshot having so many shots that include the audience. Because they’re as much of a part of the story as Orpheus and Eurydice and Hades and Persephone are. Because they are there watching however they’re powerless to do anything except watch because that’s just the way the story goes but they sing it anyways and and and