this show hits home like no other show

I had a therapy session yesterday, and I showed my therapist both Here Comes a Thought and a clip of the last few minutes of the episode. She loved them, and she said she might even show the song to other clients because it’s such an important message about dealing with those thoughts that overwhelm you. 

And she also said ,“and this show is on Cartoon Network? That’s wonderful that kids are getting to see stuff like this.”

I said it before, but this episode really hit home with me and i’m so glad that Steven Universe exists.

Each era, of course, has it own share of box office juggernauts. The new millennium gave us “”The Producers,” “Wicked,” “The Book of Mormon” “Jersey Boys” and, God forgive us, “Mamma Mia!” The ’90s were dominated by “Miss Saigon,” “The Lion King” (other Disney family hits escape me) and “Rent.” The Brits colonized the ’80s with “Cats,” “Phantom of the Opera” and “Les Miserables.” And the recessionary ’70s coughed up “A Chorus Line.”

But none of these shows shifted the zeitgeist quite like “Hamilton.” A confluence of factors has helped create this phenomenon. Chiefly, the artistry of Miranda, 36, a prodigy whose first Broadway show (“In the Heights”) took home the Tony for best musical in 2008.

A prolific presence on Twitter, Miranda favors variations of the phrase “secret sauce” in his high-spirited 140-character pronouncements, and it’s clear that the secret sauce of his musical is the score, which brings to Broadway the sound millennials are streaming directly into their ears. The cast recording of “Hamilton” isn’t just one of the biggest-selling Broadway albums in history — it also gave Drake a run for his money on the rap charts.

By reconnecting popular music with the contemporary stage — a link that had been lost long before Stephen Sondheim — “Hamilton” has won the favor of a whole raft of contemporary hip-hop and R&B recording artists. Prince, who saw the show in March a few weeks before he died, tweeted: “THE BEST HISTORY CLASS EVER!” Beyonce and Jay Z took backstage pictures, which wouldn’t you know, went viral.

All of this cooler-than-usual fanfare (boosted by a performance by the cast of “Hamilton” on the Grammy Awards telecast) has helped bring a new audience to the show. But the most powerful endorsement, no doubt, came from the White House, where Miranda keeps getting invited back to perform. President Obama has seen the musical more than once, and Michelle Obama, also a return customer, didn’t couch her praise in the least, calling the show “the best piece of art in any form that I have ever seen.”

Usually, this kind of sensational acclaim provokes a backlash, but that hasn’t really happened for “Hamilton,” despite a few scholars raising questions about biographical accuracy and some uproar about the skyrocketing price of virtually unobtainable tickets.

The high-octane camaraderie of the cast, which received an astonishing seven acting nominations (a credit to Thomas Kail, a shoo-in for the directing award), has been infectious. These performers are having a quintessential New York moment. But it’s bigger than that. A path has been broken for all of us.

Broadway is still a ruthless marketplace, catering to upper-income brackets. But something is changing before our eyes. Producers are taking risks on innovative directors (European auteur Ivo van Hove’s deconstructions of Arthur Miller’s “A View From the Bridge” and “The Crucible” weren’t forgotten by the Tony nominating committee) and intrepid playwrights (David Harrower’s psychologically brutal “Blackbird” was nominated for best play revival, along with lead actor and actress nominations for Jeff Daniels and Michelle Williams).

But what’s even more encouraging, the stage is holding the mirror up to nature, as Hamlet centuries ago said that it should. The front-runner for best play, “The Humans” by Stephen Karam, offers an unflinching look at how we live in this post-American-dream era. And all across Broadway, characters from different ethnic, racial and economic backgrounds are better reflecting the composite of our country and the wider world.

There’s still a long way to go, but history, thanks to “Hamilton,” is moving to a bouncier rhythm. I’ll bet even the peerless McDonald is celebrating.

Can we talk about how they addressed that your distress is still valid if it’s something small or large - it can be overwhelming no matter the size.

They showed that so beautifully in Steven Universe today with Ruby’s singular butterfly and Sapphire’s swarm.

It was overwhelming for both.
I think that’s so important since some feel like their distress is trivial or invalid if it isn’t “big enough” in comparison to others

This hit so damn close to home.
I love this show.
I do.