Hey. So. Anyone is free to answer this because it’s actually confusing me to no end. Fountain pens were invented in 1827 (according to Google) so why do so many people draw/write about Les Amis & co. (Bc they are pretty much the only ones explicitly introduced after 1827) in the canon era using ink and quell? Aesthetics? Because they just don’t know? I’m I uninformed on some fact? I don’t know.
Jason: yes, you love Stephanie, we know, you love Stephanie so much, she’s the light of your life, you love her so much, you just love Stephanie we KNOW, you love Stephanie you fucking love Stephanie okay we know, we get it, YOU LOVE STEPHANIE FUCKING PATRICK. WE GET IT.
so I’ve always sort of liked the idea that within the communion of saints there the Heavy Hitters, the Career Saints who are invoked widely and in situations of grave need—I’m talking your Catherines and Francises and Theresas, the Twelve Disciples and Michael; the Big Time Major League saints who intercede on behalf of so many, and so are always in conversation with the divine, case managers for the sick and dying and hurting and faithful of the world.
but that also means that there’s a bunch of saints hanging around who are just—minor holy women, lesser martyrs, incidental virgins, doctors of the church who never managed to find a publisher. They’re not prayed to very often, and rarely called on to manage the difficult cases; they have a lot of free time.
so what do you do, if you’re a saint with some free time on your hands? You answer all the not-quite-prayers, the “jesus, don’t turn red don’t turn red’ muttered by cab drivers and the “christ, can you just try it to see this from my point of view?” spat out by a furious girlfriend and all the “oh god please let me make this meeting in time” “please don’t let me fail” “I’m so tired I hope I can get home”
or maybe I just like the idea that every time you mutter “god, let me be okay” there’s some girl killed in 9th century for refusing to marry who falls into step beside you—and though no book or chronicle or living person remembers her name, she squints up at you and says with holy authority, “yeah, you’re going to be fine.”
One fanfic idea from a headcanon I have running around in my head is Kars being actually responsible for the existence of more ‘mythological creatures’ other than vampires, due to his constant experiments.
do you think the fact that juno made it through school with 0 computer literacy is indicative of that endemic capitalism problem in hyperion? like, he went to school in oldtown, a place the city decided to basically give up on, and i imagine that’s a recipe for some Not Great educational funding
i worry so much about whether i’m making the right life decisions, long term. is the way that i’m managing my chronic illness the best way? am i not pushing myself enough? could i have done more? is my treatment optimal?
I guess the answer is: does it really matter that i pick the most optimal path if i find a good life and i’m happy along the way? does it even make sense to compare outcomes this way? It’s not like there is a numerical way to measure how good a life is.
And, crucially, it’s not as set in stone as I worry. if my decisions start looking bad, i can make changes at any point. if i start feeling suffocated i can do more. if i find better treatments, i can switch. hell, i can go back to school at any time if i feel i’m able to whether that’s at 25 or 35. i’ve been in terrible places & clawed myself back before, built everything from scratch. even if things go horribly wrong, i know i can recover. and if not & i am mostly happy along the way will i really care looking back if i missed a few opportunities? I don’t think so.
it’s not possible to live perfectly. but it is possible to find a life i can be happy with, and to adapt as things change. and that is what i will strive for
Aria and Days in the Sun roughly follow the same tune and that means something.
I realized it a few days ago, when I was humming the Aria before a class one day. I was only a few bars into it before I realized that I was humming Days in the Sun.
I don’t know how I didn’t notice it before, but I think this means that there’s a very distinct connection between the two. So! I guess this means we have to break down the lyrics and stuff…
The Aria is in the key of A major (three sharps), which is good, as major keys with sharps always symbolize some kind of positive emotion. And it’s a positive scene. Everything is glowing, and the main theme of the song is celebration, every young girl in the room is vying for the attention of the prince, and it’s a party, which was probably one of the best things in the world back then.
But what I really found interesting was that Days in the Sun is in the key of B-flat major (which has two flats). And usually–though I am often surprised–I associate flats with sadness and depth. A piece with flats is one with melancholy, strength, and is usually not as fast as other pieces. Which works with Days in the Sun, because the main emotions are yearning, wistfulness, remembering the days of old when things were beautiful.
They’re only one key apart, one has flats and one has sharps, and yet they both follow the same tune. I think Menken is trying to tell us something.
He wrote both songs specifically for this version of the story, and he reused the same notes for them. Out of the four new songs in this version–no, out of all the songs, period–these two are the only ones that have this connection.
I think Days in the Sun is actually a call-back to the Aria. Aside from Adam being dark of heart, those days were beautiful, and the melody of the Aria mirrored that to perfection…though that’s probably just thanks to Audra’s voice (she’s a goddess and that song was written for her). So it represents the days before the curse, where everything was all gold and dresses and parties with storms raging outside, but there was no need to worry.
Then we have a song that’s after the Aria (both in time and in key) that echoes it ever so slightly. The entire staff is living in the same castle that hosted all these wonderful parties and these amazing memories, but now it’s merely a shadow of what it used to be. So the song they sing echoes the night that was supposed to be glorious.
And even when Belle sings her part, she’s echoing the song her father used to sing to her (in my head-canon, the lullaby that belonged to her mother, hinting at happier times when her father wasn’t lost in reminiscing).
But the good thing about Days in the Sun is that it ends on a hopeful note; it hopes that those wonderful nights with the festivities and the laughter will come back, but better, because the curse will be broken.
[And honestly, it was better. Which ball would you have rather been at, the one at the beginning or the one at the end?]
I think I need to remind myself that I literally have my entire life to study languages and I don’t need to be fluent in everything right now or worry about my growing list of languages that I want to study cause I do have time.
Saw Thor: Ragnarok last night and let me tell you, the only thing more fun than the movie itself is going with your two bi best friends and getting to watch them absolutely Lose It ™ for two hours and ten minutes.