Brenli the Final Girl

haha nooooo fandom don't sand off all the rough edges and pointy bits off of that character those are the parts I scratch my brain with

I think one of the gentlest things in the world is when a friend just gets your weird little brain. like you say half a sentence and they finish it. you reference something incredibly niche from seven years ago and they’re already nodding. they understand your strange vocabulary for emotions that don’t have real words yet. it’s being seen and known and still loved. maybe especially because you’re known. god. what a gift.

@halorecoil

@halorecoil

A series of fortuitous finds sent me into a rabbit hole of search where I discovered Peleus and Thetis's wedding was a more popular subject for theatre and opera than I'd thought Specifically to me it's super interesting how in XVII and XVIII century a more consensual interpretation had developed (from lost source? Italian composers not caring for sources but only to entertain the rich public?) Here's my finds - Francesco Cavalli's Le nozze di Peleo e Teti, with libretto by Orazio Persiani (1639), a delightful comedy of error where Aeacus considers a dishonour Zeus (or better, Jupiter - as per tradition of the time, the Roman gods are always used) decided to marry Thetis off to Peleus after having supposedly laid with her. He so ask Eris to prevent the wedding. What follows is a series of misunderstandings with even a Thetis in shining armour - William Boys's Peleus and Thetis, a mask, a minor piece within a bigger piece. The interesting part of this (and the following) is the presentation of Peleus and Thetis as previous lovers, where Peleus is rival to Zeus until the prophecy of the son stronger than the father is revealed - Pascal Colasse's Thetis et Peléee, with Libretto by De Fontenelle. A tragedy in 5 act. It reprises the theme of Peleus and Thetis being consensual lovers while both Zeus/Jupiter and Poseidon/Neptune aims to conquer Thetis' heart. The tragedy adds a nymph, Doris (to not be confused with Doris as in Thetis's mother), in love with Peleus too and causing trouble between the lovers - Francesco Uttini's Thetis och Pelee, with libretto by Johan Wellander, the first Swedish grand opera, it follows the same subject of Fontanelle's but double the dramatics - Gioacchino Rossini's Le nozze di Peleo e Teti, an opera in one act, simple, focused only on the wedding. As it was commissione to celebrate a real wedding, Eris' intervention is ignored Then there are some more minor theatrical pieces, songs and poems