Sade Olutola
roma★
h
untitled
noise dept.
Product Placement
Not today Justin
if i look back, i am lost
hello vonnie
todays bird
macklin celebrini has autism
Interview Vampire Daily
#extradirty
YOU ARE THE REASON
cherry valley forever
ojovivo
taylor price
Keni
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@whatkindofnameisella
everyone’s on fitzchivalry’s case for being weird about sex but i’m going to be honest if all that shit happened to me during my adolescence i would be too. accidentally shared a brain with a wolf during his first sexual encounter accidentally mind spied on his uncle getting it on got bodysnatched by that same uncle (the king) so he could produce an heir. And you want him to be normal?
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average day in 2026
50,320 stitches later 🪡 I finally finished my ode to The Fall (2006) dir. Tarsem
a very loose collection of thoughts because i haven't slept in more than fifty hours, but one element that always gets to me about the homeric epics and a lot of greek mythology overall is the tragic emotional divide between gods and humans. it's like there's a constant insurmountable gap of perception there, most of all in regards to mortality, between the deathless and the bound-to-die: of course the gods are aware that all mortals will eventually die, but they seem on the whole unable to truly understand and sympathize with just how brief mortal lives are or how massively the gods' involvement (and entitlement) can derail and shorten those lifespans.
that tragedy hangs over the entirety of the iliad to me. it's exemplified in how, when achilles is going mad with grief over patroclus, zeus empathizes with and wants to comfort achilles' immortal horses instead. countless human lives have been and will be lost or ruined from this god-driven war, but the perspective zeus understands and feels an emotional connection to is that of animals that can't die. sure the gods mourn their mortal offspring (like sarpedon) when they fall, but the grief comes across as very brief and possessive, like the loss of a favourite doll. (of course, they can just make more demigods later. they have all the time in the world after all)
(thetis is obviously the big outlier here, which might be part of why i've always been obsessed with her. i'd say thetis' preoccupation with her son's finite lifespan is downright extreme among the gods. there are other immortals who can sympathize with her grief, like hephaestus, but not empathize. she is an oddity among them.)
to me it's central to the odyssey too. especially, as elizabeth vandiver points out (as i carefully set my "days since fawning over vandiver" counter to zero) in book 13. odysseus, as gently as he can, tells athena that there were years of his long journey he felt completely abandoned by her and he was weighed down by doubts if he'd ever see his home again, and she pretty much brushes him aside letting him know she never worried because she knew he'd get home eventually. eventually. vandiver makes a point here that 10 extra years to athena can't possibly mean what 10 extra years mean to odysseus. he has missed out on seeing his son growing up, he's longed for his wife and parents and home for a significant chunk of his life. it's a very brief exchange but a tragic moment to me. he tries to explain and she's simply unable to understand the weight of it, and dismisses it with a single line.
but that divide makes sense to me. the gods have eternity to do whatever they want. we know they fear imprisonment and servitude and discomfort and humiliation (all of which makes sense of zeus' sympathy for the immortal horses) -- essentially temporary things to them. not anything as definite and final as death. they can't choose to know what it is to fear death, or how the finite nature of human lives impacts just about everything homeric human character do (kleos anyone?). there's just no bridging that gap.
What if your mom took you to see the girls you play dolls with from down the street get burned alive. And then you go to Paris and finally find love but then you get assaulted and then your assaulter burns themself alive in front of you. And then your first love burns themself in front of you. And then you go to Italy with your mom but then she abandons you and so you bury yourself for 80 years only to be pulled out by a sadist who tells you to watch over this statue so you don’t burn to death. And then the statue attacks you randomly one day and now you feel this evil ancient power inside of you that you have no idea what to do with. So you go to America and fall for this hot guy that reminds you of your first love but you keep fucking it up so you give him a daughter but then you fuck that up too and they kill you. So you wallow and then decide to do the revenge thing but then when it’s too late you realize it isn’t what you actually wanted because once again you’re a little boy in France watching a girl burn alive at a trial BUT ITS YOUR DAUGHTER.
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i was not expecting the dad in the new little house on the prairie adaptation to be so hot. but you know what it helps it all make sense. if i was ma i'd be following pa to the plains of kansas too like godDAMN.
YAAAAASSSSS QUEEN TELL IT LIKE IT IS THE RACE BLIND CASTING IS BAD AND CALYPSO IS A PATHETIC HYPOCRITE YASSSSS
in 30 years there's going to be a production of hadestown with eva noblezada as persephone and reeve carney as hades. and it's going to go the hardest anything has ever gone
the thing about orpheus is that he doesn't turn because he loves eurydice. he turns because paradoxically he is afraid to lose her. hes turned many times and found people have disappeared when he wasn't looking (his mother, persephone in act 1, eurydice in act 1). he loves eurydice, but by act 2 he's seen the way the world is. he has to turn. one last look is better than never seeing her again. hadestown isn't about death, its about self destruction and how grief paints your actions in the present.
orpheus turns around because
doubt comes in
Mr. Hades is a mighty king Must be making some mighty big deals Seems like he owns everything Kind of makes you wonder how it feels
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cause heres the thing to know how it ends & still begin to sing it again as if it might turn out this time
imagine going to your first rehearsal for a musical and the first words your characters say to each other are “come home with me” “who are you” “the man who’s gonna marry you” and your first duet is a song about a wedding and you get to fall in love doing a show about The Tragic Greek Lovers Ever and then years later you get married to each other and you become the version of the lovers who get a happy ending and get to go home together and you get to do the show again together and now the characters have a different meaning
the fact that on my way out of seeing the hadestown proshot with my sibling i was walking to the theater exit and without even thinking about it i turned around to see where they were... yeah. yeah.
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
like the point is eurydice signs the contract so that she can survive. she's hungry and cold. and hades promises food, shelter, safety, even comfort. but she still doesn't get what she's after because it kills her. we submit to the capitalism machine because we need food, we need somewhere to lay our head in order to be people, but it strips away our personhood anyway.
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the musical STARTS with hades looking back btw. “you’re early” “i missed you” is hades looking back. is anybody listening. orpheus is told he can’t look back because hades knows he will because hades can’t stop himself from looking back. and that’s why the world is out of tune.
Thinking about the Hadestown proshot and Orpheus being introduced wiping down a table with his back to the audience. Hermes has to call out to him again to get him to take his opening bow, and for the show to start, Orpheus has to turn around.
