#it's an old song- an old tale it's a tragedy

[crescentmoons-and-stardust]

Musical Aesthetics: Hadestown

It's a sad song, it's an old tale...it's a tragedy

[katerinaaqu]

You are very kind!

Not at all. As I said one does not need to use long and fancy words to make a point. And you certainly make yours.

You are very kind for saying that and also that you are open to the material. Of course Odysseus is a huge chapter. He was shown from the hero we know in Homer till the anti-hero of texts like Greek tragedies to the villain of roman sources. Either way the sources that study him are absolutely fascinating to compare and see.

I am glad you see the potential here. Arguably this Vengeance Saga (which apparently was "vengeance against Poseidon"? for some reason and I was like wtf?!) it was arguably the least favorite saga for many people even for some of the loyal fans and one that actually broke many of them from it because it was honestly the top of "how can I screw the plot up to the max?" and actually do it because arguably nothing of that saga was anywhere NEAR to the Odyssey. The closest I could find was Calypso releasing Odysseus and even that is not much close to the original. Hermes giving Odysseus that sack for some reason, Charybdis in the wrong place and totally NOT what the Odyssey was about with this creature, Poseidon talking to Odysseus instead of doing the ACTUAL storm that straight out DESTROYED the last raft he had, no Leucothea but instead whatever the hell we got with that 600 strikes and all. Like you know me by now probably I just lost it at Circe saga and I just flipped the table there, from that blasted "I can't" but that saga was arguably what broke many fans even because it was indeed ridiculous plot-wise. I mean in the essence that it didn't make sense plotwise or lore-wise especially 600 strikes.

Yup! You get it! Of course for me the ideal would be a loyal transfer and perhaps add one or two-creative liberties to the gaps in-between or to the interpretation section but if someone did such a good job culturally, visually and of course for most part of the plot I wouldn't mind one or two inaccuracies! But nope. We just can't have that ever since Rossi, that AMAZING DUDE made his Odyssey mini-series in 1968. The 1997 was really pretty too but much more inaccurate compared to 1968 version but at least they were loyal to most part of the script and their liberties were not hurting the story.

Yeah and somehow I have no idea how it passed to the fandom that he is "more loyal" while Odysseus spends half their duet of "Other Ways" literally falling for her charms! Lol like she begins to aggressively seduce him and he goes like "oh I am to make a mistake" or "I am just a man forgive me" so we spend half the song seeing Circe seduce him (without her have any actual interest in him) and Odysseus falling for it...? and I am like "How on earth is that portraying one stronger or kinder and the other one more loyal!?" Because in the Odyssey indeed there was a power imbalance. Odysseus already knew he had to bed her so it was not a matter of seduction, Circe indeed develops an interest in him (now that interest being actual love, sexual curiosity or simply curiosity is up for the reader to decide) and so her sleeping with him is not just the whole "fairy tale logic on how to take the witch" but it seems it is a conscious choice of hers because she genuinely wants it eventually. Even if we do start from the basis of seduction as a form of weapon, we still do not see that through and through in the Odyssey given how Circe too knew on the arrival of Odysseus from a prophecy transferred by Hermes. So yes I was disappointed there already. Which is why I had written that old post of mine on how much better this song would seem to me if that was the song of their intercourse. Odysseus would be lamenting "I'm just a man" in the essence he cannot do anything else but sleep with her and Circe talk about persuasion in so many levels.

Exactly the whole essence of his men being hostage in her hands seems more like a minor inconvenience in the musical like yeah sure no problem! No price needs to be paid from the part of Odysseus just cute puppy eyes and sad story is enough. Circe's magic is instantly forgotten (none of the men ever really mentions it again except for two seconds in "Monster"! Like in the Odyssey the distrust between the men and Odysseus BECAUSE of Circe made Eurylochus openly defy Odysseus even bringing up Polyphemus and Odysseus nearly losing it and killing him if it weren't for his men to hold him). Like the way Circe was treated reminded me the last saga on how the challenge of the 12 axes and the whole thing was treated. Both Circe and the Challenge seemed more like obligation than real plot. We didn't have the whole Circe thing because Odysseus would lose one more piece of his by selling his body (arguably like any slave woman-price of the Iliad aka a king is reduced almost to the same level as a slave) we do it because it would be silly not to add such a famous part of the Odyssey in the musical. The Challenge didn't happen because Penelope was pushed against a wall, her trick was revealed, her psychology was broken, she had her son away for too long too and she realized she could lose him at any moment or the fact that she spoke to that old man who introduced himself as Aetion and yet acted and spoke exactly like her husband once did so she had the feeling that something might or might not change and let it all be damned. We had the challenge there because it is arguably the most iconic part of the Odyssey and we just needed to have it! The way that the whole return plotting did not happen quite frankly the challenge was not needed to bring the bow out! The way Odysseus randomly grabbed the bow off screen and all... You could easily have made Odysseus sneak like a shadow, grab the bow from the armory, string it in silence and begin shooting. The reason the challenge was there was because it was what most Odyssey fans and non-fans knew.

Sorry I know I am being a bit too harsh again it is just that always I am being reminded of that especially the way plots like Poseidon, Circe or Sirens were treated. Given how one of the most iconic parts of the Odyssey, the Sirens, were twisted to that part then what did he need the challenge for? He could have made Odysseus just find the bow himself and shoot the suitors since obviously he needed no real help from any of the other factors (Eumeus, Philoetius, Telemachus even and Euryclea) to do the deed then why bother with that song? The answer is that it IS what part of the Odyssey even people who never opened the book have heard about. That part it was impossible not to be there in the first place. I would argue the same would be for the sirens or even Argos at this point. Like why not add Argos there? Argos would be the ultimate show how kindness is the greatest thing in the world.

Why not sneak in the infamous song of Polites in Argos? Argos who DEFINITELY showed the world CAN be seen with open arms. How Odysseus HAS some kindness inside him enough for his dog to recognize and love him. How not make Odysseus sing without any music while crying, the last words of "open arms" as if lulling Argos to sleep? The mourning he doesn't have the chance to do in the Odyssey could be visualized in a music-less reprise (spoken or thought) and actually show SOMETHING of Odysseus's transformation instead of just Penelope go like "Bullshit! You are the same person!" and Odysseus be like "Ah yeah! True!" and "boom!" let's forget about the whole "monster saga" we built in this musical which was not really the point of the Odyssey in the first place but I respect the narrative at least. Of course also we wanted to pass the message of love of Penelope for her husband can be transforming which of course did pass up to one point, not gonna lie which in the end shows how Odysseus "was just a man" and every up and down he got to his journey was because he was just a mortal man but somehow that seemed...too fast, you know? The last saga just felt rushed after the disaster of Vengeance one. Like "oh yeah we need to have that to end the Odyssey" and just leave it there.

As I said at that point I would have preferred it if he ended it in a cliffhanger. Let your musical be exclusively about Odysseus journey. Let it be the first Odyssey project (because I cannot call it adaptation sorry...^^;) that doesn't end with his return. Make him remain hanging there! Possibly have an idea for a sequel where we hear a summery of his adventures in the Phaeakes island in one or two songs and then go and make the whole thing about his return, add the characters properly, take your time, explore them all! What happened to that last saga as I said felt more like an obligation to close it than anything else.

As for Calypso, I have seen that deleted song whatever the name was "Apetite" I think...in which Odysseus tries to...seduce Calypso for some reason? Dunno what the heck that was supposed to be about. Manipulate her into give him a boat? Dunno and I do not really care much given how I just cannot see it happening and I am actually glad they cut it. Love in Paradise was the only song for a long time that gave me SOME vibes of Odyssey especially that last cry for help to Athena but as you said it didn't show much more on his psychological world and again that is because the whole matter of sexual abuse against Odysseus was hushed up (while for some reason the suitors had to be even more evil and so the subject of rape was added for Penelope for some reason but yeah Odysseus nope we cannot have that part) Which is why I suspect we do not even elaborate even further to Odysseus and how he was treated in Ogygia. The whole song was about him being prisoner and then we have him want to commit suicide which yes was very powerful moment and I am glad we had it and PERHAPS can be taken as a sign of the abuse off screen but then we have the "not sorry that I love you" song where we just cannot be seeing that because also we didn't have the true length of power imbalance between the goddesses he faced and himself.

Ah yeah that AU. Started off as a joke I remember. And I admit even I laughed a bit because I have dark humor and yeah okay the idea came out of nowhere and so because of timing it could be almost seen as dark humor thing amidst another saga that just added some stuff like that to the story so I guess I just giggled a bit when I read it because I was trying to distract myself from the plot itself But yeah then it got too much attention and somehow made it into a thing. Now of course is not the majority of fandom that supports it but yeah we see a lot of it out there.

As to why such subjects get popular in the first place? I believe we talk about the "rape fantasy" so to speak. There are some studies done on it and even King made a mention of it in his analysis on horror movies and he placed that to the vampire narrative with how the bite of the vampire in classical literature has such intense erotic elements exactly because it highlights the rape fantasy The way the dark man enters your room, violates your personal space and claims you in an intimate way. That subject is not new to see and honestly we can talk about how we can make someone "like it eventually" as part of this fantasy in a way but I definitely see how you mean it and I agree it is not a subject to be taken lightly. Sure it exists and arguably half the things about erotic material has this subject in them but yes it is not for everyone Also as I said before ironically the subject of Odysseus selling himself was already part of the Odyssey to begin with, just with the case of Circe. And ironically the subject of "enjoyment" or "forced enjoyment" or whatever one can call it, might as well be hinted in the Odyssey to the day Calypso lets Odysseus go when they "enjoy closeness resting by each other's side" and the word "closeness" in the text was also used as "lovemaking" in the Iliad between Hera and Zeus so could it be that Odysseus was "willing" in the essence that after so long he had to somehow alter his way of thinking to save part of his sanity? Could it be it was an affair after all? Honestly that is up for the reader to decide. People who know me know exactly what my opinion is to it, which is the first option aka Odysseus simply be under the abuse for so long like almost a decade. That is way too much and someone can get a lot of trauma response like this but that is just my interpretation

Oh yes I definitely imagine it made a full turn now. It started with the classical misinformation of retelling fan-lore somehow invading the talk of the actual canon material (usually followed by someone telling you that "there is no canon material anyways and all this stuff is equivalent to any ancient version") but yes I can imagine the thing might make a full turn and have people to even add some random stuff about the musical that not even the creator himself said. Yeah it usually does a full turn like that. And I am sorry also how this sometimes gets out of hand and there were of course even attacks to the voice actors like the one playing Antinous for some reason, or so I heard, which is straight out disgusting mob behavior send hate to the voice actors who ironically have it because they do their job very well! Yes especially people who not always know how to see or read the sources or who do not really feel like reading (which is sad of course but okay people have different interests so yeah I respect it even if I disagree) so yes the way that so many times a false piece of information spreads all over the place and people take it as fact does too much damage indeed

Dude...as you see is super dangerous to tell me to keep going! Lol! I am so sorry once again I got a long message.

That is to be said I am not expecting you or anyone to agree with these thoughts of mine in regards to the musical plot. I understand they are negative and yes I understand it is not likable to someone who likes it. I am not expecting anyone to have the same opinion as me and I respect if you disagree with any of these but I will still continue to defend my thoughts as such but as I said that is my opinion on it. And as I said that is because I CAN SEE how TALENTED these fellows are and what a good job they did with their material in the first place.

Oh shush! As you see I am doing the same then

Hello! I just stumbled upon your blog when I joined The Odyssey community! If it isn't too much a bother to ask, what things, reccuring themes and characterizations do you feel are most important and iconic within The Odyssey?

I am asking this mostly because I really do like your rants and opinions, I find myself agreeing to a lot of what you say, which sorta surprises me because of your clear dislike of Epic, whereas I personally adore Epic: The Musical. (I stayed away from it for a while -I was wary of retellings, adaptions and what-not- until I finally got into it like, a month ago and since, I have been listening non-stop)

So, when I came onto your posts, I was immediately drawn towards your Epic based rants and your translations. Point for point, you hit all the parts I disliked about the musical, albeit, my dislike is obviously much milder, since I still love it. I also completely understoond your stance on source material over so-called retellings since I have felt and still do feel the same about other (unrelated to The Odyssey) medias and fandoms.

If you'd like to talk, I love to hear more of your thoughts! Tell me all of what you loved about The Odyssey. Refresh my knowledge and give me your insight! I'm getting back into reading it, since I read it only once before a long time ago. I have always been more of a casual enjoyer, but now I'm really trying to dip my toes in.

(You don't have to say anything about the musical either, I just really liked your rants on it and the corrections you made on the misinformation rampant in the fandom due to preconceived notions... Sorry, I talk a lot-)

Why hello and I am quite honored you discovered me hahahahaha oh my, my once again being known for my runts huh? Hahaha XD I can see why though! I am really honored you decided to ask me such intriguing question! Hahaha how dare you! You know I am a yapper about this book! Hehehe!

I would say one reoccurring theme in the Odyssey that I rarely ever see in adaptations is the theme of seeking of knowledge. I find it so disappointing how it is literally one of the main themes of the Odyssey and yet I rarely ever see it happening. It is literally at the first lyrics of the poem:

πολλῶν δ᾽ ἀνθρώπων ἴδεν ἄστεα καὶ νόον ἔγνω

He saw many cities of men and gained knowledge from them

(Translation by me)

Odysseus was not just experiencing his homecoming. It was a cognitive trip; a trip where he learnt things and he achieved things on his way.

He didn't stop at the cave of Cyclops because he had nothing else to do or no food to go by. It is clearly stated in the Odyssey that the island of the Cyclops was extremely fertile and had many wild goats and other animals they could hunt and feed on. Odysseus entered the cave because he wanted to meet the people that lived there. He ignored the signs that showed the residents were non-human because he wanted to give a chance to whoever lived in that cave to show that they were more than what met the eye.

He met the land of Aeolia next. His stay in that land for one month was share knowledge with Aeolus. He told them his story, they also told him their own experiences, thus Odysseus knows about how Aeolus arranged the marriage of his children and all

He sent scouts to the land of the Laestrigonians and their city, he was though more prudent this time and assured a safe passage even if his comrades didn't follow his prudent stance this is what costed them their lives but one ship.

He shared knowledge with Circe, not only on the part of his trip that he needed to move on but also gained knowledge from her. One example is the mention of a cunning knot he learnt from her which he used later in his adventures. Small details like that.

He gained knowledge from Tiresias not only on how to break his curse but also on what happened the years he was away from his home.

He had no reason to hear the sirens! The sirens is exactly the manifestation of his trip being of cognitive nature. He wanted to hear them. He NEEDED the knowledge they provided! Removing that concept from his trip in any shape or form shows to me someone who does not understand the Odyssey (I know it is harsh to say but I feel like there is one part of the Odyssey that is so iconic like the 12 axes challenge and that is the sirens passage)

Odysseus learns in every part of his trip and uses that knowledge to future adventures. But what I also fail to see is how CONSCIOUS this knowledge-gain is. Of course he learns things accidentally too but most part of it is knowledge he chooses to acquire for himself.

Another theme that I do not see much is theme of fate and destiny. Odysseus is not some idiot who doxxed himself as most people use the overused joke. In fact his trip is so thick of plot that one way or another something would have happened to cause this wandering.

Troy was destined to stand 10 years (from the Iliad),

Odysseus was destined to go home in 20 (hence he needed extra persuasion to go to the war).

Polyphemus was prophesized before that he would have been blinded by a man named Odysseus (he just didn't know who that Odysseus would be)

but we also know that Odysseus was destined to meet Circe (Circe mentions how Hermes had warned her for the prophesized man coming to her isle. She probably was unaware on the identity of the man or how that man would arrive at her doors)

Odysseus was also cursed by Polyphemus that he would either never return or return alone without his companions and find misery at his home

The true line between fate and destiny and human will is very thin in greek mythology. However we also see that Odysseus tries repeatedly to change fate even if it is inevitable (see my analysis here). It is this human part of his that is so relatable! Also the fact that oftentimes in the joke people forget that Odysseus experienced the absolute horror in the cave of Polyphemus for days. Exhaustion and anger took the best of him as well as of course his ego being inflated that he had managed to take down such a powerful opponent. And of course the reoccurring misunderstanding that Odysseus never cared for anyone else but as I have also analyzed there that is simply not true. It is even stated in the Odyssey:

πολλὰ δ᾽ ὅ γ᾽ ἐν πόντῳ πάθεν ἄλγεα ὃν κατὰ θυμόν, ἀρνύμενος ἥν τε ψυχὴν καὶ νόστον ἑταίρων.

He suffered many torments in his heart out at the sea, seeking to win his own life/soul and the return of his companions

(Translation by me)

The whole trip was always about Odysseus wishing to return them all safely home. Which is also part of his tragedy and shows why he went in so many lengths to save them etc.

I am honored that someone that likes this piece of media can still understand and even liking some of these opinions. I understand that for someone that genuinely like it might be a bit annoying or tiring but yeah I guess I love the original way too much! Hahaha! And okay I understand the songs are really catchy so it can be getting into someone's head easily but I am really delighted to hear you say that! And of course to be fair there are many things one can like about the musical for example the talent of the people related to it and their passion

However ironically that was the source of my dislike as well hehe I know it is paradoxical but when I see someone with obvious knowledge of the sources and passion for something, twist the original material to THAT degree...dunno I feel it even harder. I mean of course one does not expect it to be accurate but when I hear that and yet someone claim to adapt material I would expect of course these small details changing here and there for example adding dialogs with Poseidon (that is like a must in every adaptation minus the 1968 version I noticed...like Poseidon never interacted with Odysseus but that is something every adaptation adds!) or extra scenes with Hermes or whatever or even some of the details added. The problem is that the whole plot was twisted beyond repair, basic parts of the plot that made the plot unique and beloved were thrown out the window And BECAUSE I recognize the talent of the people involved AND seeing they had the chance as they did to make not only the Odyssey available to public but also influence more people to see it and they could do it by staying respectful to the material and yet they chose not to which increased as I said my disappointment. I was also very warm when I watched the first two sagas even if they were also inaccurate because they had exactly what I describe. So yes of course I absolutely understand why people would like it. Dang I absolutely do at least on the artistic department but the way as you brilliantly stated not only the plot but also the fandom of it has been at times it really got to me more than many things

So it is really a good change to see more people see this point of view too and I respect the fact that some people like it and yet do try to see the other view too. You are very kind for saying that!

Hahahaha dude you are asking a dangerous question! Hahahaha! I can talk about it forever! Hahaha Honestly what is there to me not to love about the Odyssey? For starters the fact that it is an ancient Greek poem, something linked to my country and my history and being loved in such a great degree and continue to inspire even almost 3000 years later, fills me with so much pride! Makes me inspired to do something similar! Like not caring if I will be a celebrity but someone see my work and admire it even if they do not know who I am...someone that can see this and continue to speak on it for generations to come... Of course many writers do the same as well like classical literature and all but for the specific one I feel so much pride!

The Odyssey arguably has everything! Romance, friendship and companionship, horror and peace, war and bloodshed and also tenderness of a family, drama and comedy, adventure and domestic life even daresay sci-fi details with the Phaeakes island that have literal robotic dogs created by Hephaestus for them. Odysseus is one of the most complicated personas in all literature history and earned that position in the hall of fame. Arguably even ancient Greeks and Romans could not handle the guy with so many different opinions that paint him from hero till villain. The same guy that held back from the battle till the proper moment and then abandoned his last escape to save Diomedes in the Iliad is now sailing to the seas. The same man that took Ismarus and slay the men and took women of it as his property and mentioning it as casually as he could was also crying his eyes out in guilt upon hearing a song about Troy and the way the city fell. The same guy that tenderly held his son and cried like a baby holding him and kissing him was also the same person that slaughtered 108 men in his palace and executed their allies in less than a day. The same guy who reigned the kingdom like a father; who embraced and kissed his slaves like equals, was also undoubtedly a strong leader and king who defended his authority with iron hand and he was ready to even slay his own brother-in-law when he defied him. The same man that held back from volunteering to face Hector in the Iliad and made sure he would be the last to be chosen, in the Odyssey he armed himself ready to face an immortal 6-headed monster all by himself. The man known for his mind and cunning and indirect ways is also known for being one of the greatest warriors known. Arguably even his age being one of the oldest kings in the Iliad and yet as Antilochus said he was also one of the fastest and more agile and one of the best in spear. The most pious and religious people to the gods, favored by one of the greatest goddesses of all, Athena, and loved by Zeus was also one of those who suffered a great deal from his hubris.

This man is the absolute perfection of contradictions in one body and the way he is portrayed by Homer especially in the Odyssey where he is the protagonist is a masterpiece of emotions. Arguably Odysseus is also one of the earliest male rape victims in literature for he was not just attempted to be raped and seduced but he had to literally sell his body once to Circe and then he was being forced by Calypso. A warrior that was absolutely powerless before the gods

The Odyssey is also a great allegory of the spread of Greeks to the Mediterranean sea before the official set of colonies and the way it provides us information on how they moved around. It is also an allegory on the dangers humans faced out in the sea, how they struggled and how the families left behind also struggled with the consequences. How the power of nature can bend someone but also how human with seer will can do incredible things Odysseus survived the impossible not because he had gods as parents or hardly any help from the gods itself with the exception of Leucothea in the last adventure and of course finally Athena to the final stage. Odysseus survived because of his seer will and his need to return home. Odysseus can be any one of us; a person who struggles every day; everything can hold us down and we might have no help or very little help from others but we must keep pushing through. The Odyssey also shows us the importance of companionship and family bonds, loyalty and trust. Odysseus didn't slay the suitors because he was a mary-sue all-powerful person. He had help from three loyal slaves (Euryclea, Eumaeus and Philoetius) and his son Telemachus. He didn't do it alone. He used the help of those who believed in him and quite frankly he faced a much less bad situation at his palace because of his wife's seer will and loyalty to not abandon the throne of Ithaca to anyone till he arrived.

The Odyssey is also about how there are many forms of strength. Penelope was not less strong than Odysseus because she didn't kill anyone with a sword. She was strong for keeping more than 100 men and several parts of the household that were betraying them with her seer will and mind. Telemachus was both a fighter and someone who tried to see the best in people and that saved his life (when he spared Theoklymenos at his return from his trip. Theoklymenos was a man who had committed murder. Telemachus chose to give him a chance and in return he received the prophecy of Theoklymenos that the suitors were planning an ambush) Odysseus also learnt forgiveness in one way when he was ready to start another bloodshed by the end of the Odyssey when the families of the suitors saught revenge but Athena stopped it, making sure both sides stopped the never-ending circle of violence. Nausicaa is an example of loving someone and yet you must respect their wishes and let them go. Telemachus is an example of self-discovery... The very realistic scenario of someone not recognizing the place they left for so long and people not recognizing you back. That you have to work yourself through the very same place you left behind! Even Telemachus as a character not even knowing what to believe anymore about the father he never met, not knowing whom to listen and whom not to etc. like a realistic scenario of absent veteran fathers who disappeared a long time ago...

Honestly...what ISN'T the Odyssey?! It is in my opinion one of the most complete pieces of literature that opens the way in many things! I am really happy you shall decide to look at it more attentively and I hope you shall enjoy it because honestly it's worth it.

(My friend I do not mind at all speaking about it. I am just not a fan so I am just asking the understanding of anyone that I am not gonna be very positive about what I mention and say. However I shall try not to be hater with no reason or logic, that I can promise to try)

[monotonous-minutia]

I spent like a week working on this like it was some kind of school project.

anyway here's a thing I made.

[fanfoolishness]

I like to imagine that in the future, people remember the clones. After Palpatine falls for good on Exegol, imagine an explosion of freedom and knowledge in those days after the final defeat: imagine archaeologists and scholars plumbing the depths of Imperial and First Order records, trying to figure out what had happened so it could never happen again. And through it all they find the clones’ story woven into everything, until a new field emerges of Clone Studies, a loose alliance of military history buffs and research biologists and anthropologists and ethicists.

They catalogue the Kaminoans’ research; they review the clone memorials on Coruscant, on Zeffo, monuments as large as a massive wall or as small as a quiet statue, from people throughout the galaxy who were grateful for what they did. They study the great tragedy and betrayal of the chip, finally understanding the scope of Palpatine’s plans and bringing them out into the open, sharing the truth that the clones never chose to betray the Jedi Order and Republic they had served faithfully. They study old war vids and oral histories from people of long-lived species or whose grandparents remembered the clones; they build, memory by memory, a sense of the culture, the camaraderie, the brotherhood, the loyalty. They collect vids of battle songs and in-jokes and an interior language shared among them, springing up over the years.

They find and list their names, self-chosen or given by their brothers: Rex, Fives, Howzer, Echo, Tup, Gregor, Wolffe, Cody, Boil, Waxer, Cut. They study the clones whose differences defined them and knit them into a family whose ties could not be broken, Hunter, Wrecker, Tech, Crosshair, Omega. They study the discarded who nevertheless still had value - 99, Emerie, the clones who were culled in infancy for being wrong. There are specialists who devote their entire branch of study to the only male unaltered clone and his infamous exploits throughout the galaxy, so alike his father’s. They study the years of the clone rebellion, a fight that paved the way for the next wave of fighters and the next after them.

The clones are gone. That is undisputed. Their kind came for a little while, and then vanished, burning brightly; their tale was a tragedy, but one unique in all its seeming sameness. There are conferences and holovids and books. There are debates and research firing up young scholars about a time only their great-grandparents can remember.

In the future, after all the clones are gone, there are still stories.

[homunculus-argument]

The one of the things about being a latter half millenial is how the Lord of the Rings movie trilogy boom happened right on those developing years that you can remember, when you were old enough to understand things but didn't really know much of the world before that. And now you're an adult and every time you hear a fragment of a familiar melody, you're hit with childhood nostalgia of this tale.

A story of a world in decline, where those who came before you lament of how much better things were in those old glorious days of a more prosperous age that will never come again. Knowing that you'll never quite grasp the tragedy of the ruins you walk past, because they've always been only ruins to you. You only know that the world is growing darker, and the best you can do is find your own hope, and make the best of the time you were given.

You hear a song in Quenya and it hits you all at once how your childhood nostalgia is woven into songs sung in a tongue you don't understand, from a world you've never been to, lamenting the loss of a better age that you never knew.

[ginathethundergoddess]

Sorry i went off in the tags

hermes in hadestown is the exact opposite of an unreliable narrator. a tortured narrator. a little *too* reliable. incredibly aware of exactly what is happening at any given moment, vaguely spoiling it for you in the beginning, despairing every second of it. but ultimately motivated to continue to tell the story over and over and over with a smiling face for the sake of the audience, and for the sake of the characters themselves, singing it again to keep them alive. knowing how it will end, but singing it again so that the cycle may restart and eurydice may come back to life. enduring the misery of it all, over and over, holding the knowledge of what will come to pass but continuing anyway to see orpheus happy just one more time before it all goes down in flames again.

[15-lizards]

Do you guys think that as time passes Robb’s story gets turned into a folk tale…a cautionary story for children…a story rooted in truth but the real details are lost. A boy king marches south looking for justice for his good father but gets betrayed by the people he trusted too much…he gets turned into a beast, half boy and half wolf, forgetting who he is and living among the forest. The riverlanders say that you can hear the wolf king howl when you’ve been lied to, and that he scavenges the woods, pouncing on liars and betrayers. And his mother, so mad with grief, stalks riverbanks at nights, her face torn to bloody ribbons, attacking similar victims, but preferring the ones with blonde hair. Little children hear scary tales of Lady Stoneheart and the Wolf King and are too frightened to ever tell a lie. Men sit in taverns, singing sad drinking songs about a mother and child draped in tragedy. Girls sit about with their needlework, sighing at the true love the Wolf King died for, his fair queen who he put above all others, even himself. Robb Stark is betrayed, and this is true. But time twists the truth. Truth fades into story fades into legend. And he is forgotten, nothing more than a symbol in an old tale.

[incomingalbatross]

Something about the genre of fix-it fics fascinates me. Especially in the fix-its of tragedies that were well-made and necessary to the story being told.

There are the ones that tip the scales just a little - these characters didn't have a chance, but what if I gave them one? What if I made the smallest possible opening for them and let them claw their way through?

There are the ones that just want it to be EASY. What if the characters made this choice, or had this epiphany, or walked through that doorway, and found themselves in a world where choosing the right path was easy.

There are the gleefully contrived and self-indulgent ones, where the day is saved either by Everything Going Right At Once or by one incredibly improbable Good Thing happening - what if someone was there to save them. what if wishes were granted. what if time-travel let someone fix all their regrets and have fun doing it?

There are the even more gleefully transparent ones where the Source Of All Evils tripped and broke his neck before having a chance to hurt everyone. Hey. What if I reached my hand directly into the narrative and took this guy out.

And then there are the soft ones, that don't even bother with an explanation - just showing the characters' lives without tragedy, in a world where they never faced those impossible fates and are just okay.

All of these stories, told over and over and over again, add up to a mountain of fix-its - a mountain all written in response to, all trying to drown out, the singular voice of the Original Story.

And you know what? They don't work.

The original is an old tale, an old song, with only one way it was ever going to end, already over with nothing that can be done to change it. The mountain is made of what-ifs and could-have-beens: the entire mass of them falls short of the monolith of What Happened. You can save a character five thousand times and it doesn't make the Original Story any different.

And yet we keep doing this anyway. Unlike Hadestown, we keep telling the story to make it end differently, doing it again and again as if in the hope that this time it will stick. It never does stick past the telling, but we keep doing it.

We keep carving out little spaces with every fix-it. What if they were okay here. or here. in a world where this happened, or that. What if I made another story and another and another where they were saved. What if I increased the stories where they're okay, even though I can't unmake the Story where they're not?

It's a tribute to the original story, both in the strength of the characters and the strength of their fates. We can't let go of the one, and we can't forget the other... so we keep telling ourselves more stories instead.

[starry-bi-sky]

Anon if you’re still here I did a drawing of that fem danny girlie from a while ago so here she is:

ONE OF MY BRAINWORMS WAS ABOUT FEM DANYAL SOUNDING LIKE ERIS!!! Another one was the giant lady "You look lonely, I can fix that", that's just so *screams into the void*

I don't know why, but the idea that Fem Phantom would be giant or small depending on her who she's (platonically? Maybe? I don't know) flirting is just so good!!!!!

I have a type. I'm just ending this here before I go crazy

nah because you and me are on the eXACT FUCKING WAVELENGTH BECAUSE I HAVE THOUGHT THAT EXACT SAME THING like literally two weeks ago. Specifically it was about my fem danny girlie from my amnesia jason excerpt (link at the bottom of my DPxDC masterpost I should totally make a post about her soon honestly) bUT MY POINT STILL STANDS.

Like specifically giantess phantom! Like, 7ft-9ft-10ft however tall frost giant fem Danny Phantom. And she can adjust her size accordingly depending on convenience. She's got a maximum and a minimum height she can go. I'm more specifically imagining older Phantom who would just. Lean down, hair curtaining around whoever she's flirting with, and spit out some flirty line in a lower, slightly raspy voice

[joelswritingmistress]

Camp Crystal Lake: Chapter 1

Requested by @yellowjacketsbuzzbuzz

Joel Miller x f!reader (romance/horror)

Setting: Camp Crystal Lake

The reader is taking on the position of a camp counselor at the infamous Camp Crystal Lake. While she begins to enjoy her summer, even crushing on the camp director Joel, a killer lurks in the woods unbeknownst to anyone. 

Every town in North America has a ghost story. Some are well kept secrets, and others are so notorious that the sins of those tales have spread far and wide, to every dark corner of the earth. Crystal Lake was a sterling example of such a place. It had a typical sounding name, really, for a fresh body of water in the middle of the New England woods. But the stories surrounding the area were anything but typical.

As a young child, I remember hearing his name being said on the playgrounds at school. Jason. It didn’t take me long to insert myself into conversations in an attempt to hear the details of whatever version of the story the older kids were spreading. Back then it didn’t matter if they were fact or fiction. I stayed up late, wide eyed staring at every dark corner of my bedroom after hearing tales of Jason Voorhees. Now, at 22 years old and about to enter the summer as a counselor at Camp Crystal Lake, those distant, childish memories made me grin; though when my rusty, Jeep Wrangler bounced down the uneven road past the wooden Camp Crystal Lake sign, the hairs rose just a bit on the back of my neck.

“I thought you outgrew superstition,” I said quietly to myself as a song ended on my playlist, leaving me in a few extra seconds of silence to take in the wooded surroundings.

Jason Voorhees. The name still creeped everyone out. Yes, there had been a tragedy that happened decades earlier. Jason Voorhees was real; but after several attacks on counselors and residents alike, a boy named Tommy Jarvis managed to put Jason to rest permanently.

I shuddered and reminded myself that that was decades ago. I wasn’t even alive when it all happened. And this new camp wasn’t anywhere near the original location of the attacks on that Friday the 13th back in the 80’s.

I saw a pale yellow VW Bug parked up ahead next to a blue Ford pickup truck. On the opposite side of the truck was a Bronco with about as much rust as my Jeep. I began to wonder what my coworkers would be like. Would they be my age? Younger? Older? Local? I was about to find out.

I parked in the clearing beside the VW and stared out at the lake a few hundred yards away. There was a small beach with a towering, white lifeguard stand in the center and a wooden raft floating too not far from the patch of sand. If nothing else, it would be a great summer gig with a view. The campers wouldn’t be here for several weeks and I knew getting the place ready would call for some physical labor. I never minded hands-on work, and I was sure it would give us all time to bond.

When I exited the vehicle, a breeze hit me from the water and I shuddered, despite the temperatures nearing eighty degrees on the late June afternoon. My eyes scanned the trees on all sides and I suddenly wondered where everyone was. I let farfetched ‘what-ifs’ filter through my mind for a second before smirking to myself.

Grow up, I scolded myself lightheartedly. The imaginative part of me still enjoyed the folklore, no matter how juvenile it felt.

I popped open the back of the Jeep and reached in to grab my suitcase, an oversized gym bag and a backpack that housed the majority of my clothes. I had a few stray boxes with makeup and hair products, among other toiletries, though I decided I’d come back for them later.

Again, I took in my surroundings. For some reason I half-expected to see a group of young people out-and-about in the immediate area upon arrival. The silence was beginning to hit my psyche harder than I’d like to admit, and so I stared up at an oversized cabin with wooden paneling and headed in that direction.

A hammock swung empty on a giant front porch that was littered with chairs and small tables in between. Above them hung metal lighting fixtures, some of which were swinging in the summer breeze.

And then I heard a sound I could only compare to clicking. It was like a clock, almost. Tick. Tick. Tick. Tick.

I set my suitcase down near the bottom step and shrugged the gym bag off my shoulder so it rested beside it, leaving my backpack on. And then I followed the sound.

Tick. Tick. Tick. Tick.

What is that?

I swallowed hard as the noise grew louder. It stopped for a second and then there was a louder noise. A faint bang. And then a pause. Another bang.

What the hell is that?

I rounded the side of the two-story cabin and peeked my head around to see if I could get a glimpse of whatever, or whoever, was responsible for the sound. Visions of Jason Voorhees and his menacing hockey mask left my mind immediately when the truth revealed itself.

A muscular man in a flannel shirt with the sleeves rolled up past his elbows swung an ax, connecting with a giant log of wood. It split into two, sending little shards flying into the air. He wiped his forehead with his arm and then reached for another.

I wasn’t sure if I should tiptoe back to the front porch or interrupt him, but my mind was made up by default when he slowly turned in my direction. When he smiled beneath a mustache, I blushed and glanced at the open area of his chest where a few buttons were undone.

“Hello.” He gave a wave and wiped sweat off his forehead again before removing a pair of work gloves.

I raised my hand and swallowed hard. “Hi.”

The man approached and extended an arm in my direction. I stared down at his hand for a second before joining mine to his in a handshake. Our eyes met and I felt my eyebrows raise unwillingly.

“I’m Joel Miller,” he introduced himself, slightly out of breath. “I did the phone interview with you back in March and a second one in April. (Y/N), right?”

“Yeah.” I nodded and cleared my throat with a smile.

“I’m the camp director,” he informed me with a nod.

“Nice to meet you.” My hand was still in his and finally they parted.

Joel nodded in agreement. “I’m just finishing up here. I think we have one more person to arrive today before the rest come in the middle of the week. You can get yourself settled in whatever room is still available and I’ll be in in a few minutes.”

“Okay.” I nodded, “Thank you.”

“Thank you.”

When he smiled again I might as well have turned to stone. Who knew my boss for the summer would be such a.. hunk.

Well shit. It’s thirty seconds into the summer and I’m already crushing on my boss. I added, what a lovely predicament.

CLICK HERE FOR CHAPTER

@cattt777 @gissellec1

[holly-mckenzie]

I’m not like any man you’ve met. Oh yeah? What makes you different? You see the world? Of course I do. I’ll make it beautiful for you. For you I’ll change the way it is. With what? [ORPHEUS, holds up guitar] With this!

It’s an old song It’s an old tale from way back when It’s an old song And we’re gonna sing it again and again... It’s a sad song.. It’s a sad tale, it’s a tragedy.

nytw hadestown appreciation  →  The Tragedy of Orpheus

[fuck-you-upmusicbracket]

Doubt Comes In (Hadestown)

Who am I?/Where do I think I'm goin'?/(Doubt comes in)/Who am I?/Why am I all alone?/(Doubt comes in)/Who do I think I am?/Who am I to think that she would follow me into the cold and dark again?

"Hadestown is a retelling of the myth Orpheus and Eurydice and this is the song where Orpheus begins to doubt that Eurydice is behind him and ultimately he turns around. This song fucks me up because it’s like the ultimate climax of Orpheus character arc over the musical, how he has become so jaded by the world, gone from “seeing the world as it could be” to “seeing the world as it is” whereas every other character around him has become less jaded and hopeful and it’s like the epitome of the ultimate tragedy of the musical: that the one character responsible for giving everyone else hope and belief in the world again is the one who has lost his own hope. He feels both that he can’t trust the word of Hades that Eurydice is behind him and also insecurity in himself, he can’t understand why Eurydice would come back with him/follow him when she was the one that left him in the first place because she could not wait for him. And most of all, the lyrics “Who am I?/ Where do I think I'm goin'?…” etc. echo lyrics sung by the Fates earlier in the musical which show the inevitability of this ending, that this is how the story was always going to end: in a tragedy and in loss"

The Old Witch Sleep and the Good Man Grace (The Amazing Devil)

'Cause I've been here so many times before/Don't you think I look pretty/Curled up on this bathroom floor/But where you see weakness I see wit/Sometimes I fall to pieces/Just to see what bits of me don't fit/'Cause when I stand, oh all those folks will run/And tell the tales of what I've become/They'll speak of me in whispered tones/And say my name like it shakes their bones

"GIRL (gender neutral). It’s so unbelievably Hannibal (NBC) coded. Even the bio on genius.com is Hannibal coded. I was making up a dance to this song inspired by Hannibal in my room not even five minutes ago and it’s 10 pm my time. I hope that answers the question I’m just very mentally ill."

"Becoming a demon against your demons ("Cos I’m not trapped / With you you see / You’re the one who’s / Trapped with me"), shaping yourself into something dangerous against what hurt you, grasping with claws and teeth to your freedom and truest self. The pain shaped us but we won't let that stop us."

The Old Witch... submitted by @gay-breakdown-central + @saint-oleander + others

[musetember]

your generation has, like, zero attention span for epic tales

Questies! Welcome to Musetember, our prompt challenge during September based on the Ancient Greek muses and the ways their stories and themes can inspire fanfiction and art. 

We have nine different themed prompts and a special tenth - The Chorus - that invites you to participate through commenting or lists of recommendations.

Unfamiliar with the muses? We’ll take you on a journey through them all. Every muse inspires, but each has a domain that resonates with her the most. Write a story that embodies the muse who speaks to you most strongly, or write something inspired by each one in turn. You can interpret their domains as broadly or as literally as you like; the main thing is to create in whatever way feels best to you. 

Calliope invites you to tell us an epic tale. Whether it’s the final battle between good and evil on Andowyne or a re-telling of an ancient legend from the old gods and heroes of our world, this is your chance to go ageless and big. What’s an epic tale? Classically these were long works like The Odyssey, passed down in stories upon stories. Don’t have the attention span for a tale quite that epic in length? Maybe your tale is epic in scale or ambition, rather than word count.

Melpomene looks deep into your heart and asks you, what is the worst that could happen? The muse of tragedy, she has seen over and over again the ruinous and inescapable paths people create for themselves and the ones they love. How could Sorsha doom her daughter to a loveless marriage? When hope is lost, what survives?

Thalia is here to make you laugh. With her, it’s time to embrace the most ridiculous premises, the silliest goobers and the bawdiest jokes you can imagine. Really revel in the humorous side of Willow, a comedy of errors, even a vaudeville au - just don’t forget that happy ending. 

Erato - more like E-rated! Erato is the muse of erotica, so it’s time to get your smut on. Write a moment of intense passion, of aching desire, of the deepest, horniest bond imaginable. 

Clio is your invitation to look into the past. As the muse of history, she’ll be with you whether you’re exploring the story of the first six fey to be cast out of the Grove, or if you’re deep in the research for a historical au in our world. 

Polyhymnia welcomes you to explore religion and ritual. Speak to us of the Order of the Wyrm, of beliefs that shape the lives of the Bone Reavers… or of Catholic schoolgirls just trying to catch a moment together. 

Euterpe sings. The stage is set and the orchestra is waiting - it’s time to celebrate music. Embrace the inspiration found in song lyrics, in band dynamics, in a brand new video edit, or ask yourself: does Kit really know how to play those instruments in her room?

Terpsichore extends her hand to draw you into a dance. From sexy grinding in a modern au to an aching slow dance in the rain, dance can be about self-expression or tight, rigid control. 

Urania looks far beyond this world and draws your attention to the stars, to the two moons lighting up the sky. The muse of astronomy is as present in the far reaches of the galaxy in a sci-fi au as she is in the constellation of Jade’s freckles.

Finally, we come to the Chorus. In Ancient Greek works, the Chorus often represents a voice speaking to or with the audience, a bridge between the world of the story and the world outside it. The Chorus is vital. Without their commentary, something important is lost from a story. Those who comment on fanfiction as just as important - you readers are part of this challenge too! Tell the writers what you’re thinking, how you’re feeling. Leave a comment on a favourite story that fits the thematic domain of each muse. Write up a rec list for your favourite muse, and share your favourites so that others can discover them and dive in.

Rules and some specific writing challenges below the read more!

Writing Challenges: 

Still needing more inspiration? There are different ways you can approach this. You can write whatever style your heart wants, or you could try your hand at one of these challenges that interpret the muses’ calls in different ways. 

The Fragment Challenge Write a drabble of 100 words, or write multiple drabbles as if they were glimpses into the same story with missing pieces in between. For artists, share a fragment of a work in progress - anything unfinished!

The Epistolary Challenge Write in the form of letters, a diary, newspaper clippings, social media posts… Or how about Nockmaar’s trip advisor?

The Lost Scene Challenge Write or draw a scene we missed out on in canon, or a scene that gives the impression it is part of a longer, unwritten fic.

All of these give you a fun way to explore the things you choose not to tell the audience, and play off the Ancient Greek theme that our muses inspire. 

Rules/FAQ

How long does the challenge last?

From September 1, 2024 until Oct 6, 2024.

How do I share my cool stuff?

If it's a fanwork appropriate for AO3, we'd love it if you added it to the challenge AO3 collection, which will be open until the challenge ends!

What pairings apply? Is this just Tanthamore?

This challenge is open to all Willow fanworks! You can create things for any prompt with any character or characters from Willow, you can write different pairings, you can do whatever you want forever. Just make sure that your fics are tagged appropriately!

Can my work be any rating?

Yes absolutely! Write the most E-rated thing your little heart desires, just tag it as such so readers can decide for themselves what they'd like to engage with.

Can it be any length?

Sure! There is no minimum or maximum word limit.

Does it have to be based in Willow canon?

Nope - it can be canon, canon-divergent, or any kind of AU you would like to write!

Does it have to be finished?

Nope, not at all. If one of the prompts inspires you to start a long fic, you are still totally welcome to add it to the collection during September and carry on working on it after the challenge is over.

[smilesession]

Hey man I've been watching some Wicked and Dune recently, what kind of movies do you like?

Nice I like The Heart of the World, Basket Case, Threads, Altered States, Der Himmel über Berlin, Das Weisse Band, Сталкер, Psychedelic Glue-Sniffin' Hillbillies, Julien Donkey-Boy, Badlands, The Killing of a Sacred Deer, Guyana Tragedy: the Story of Jim Jones, Streets of Fire, Bicycle Thieves, Koyaanisqatsi, Possession, McCabe & Mrs. Miller, The Saddest Music in the World, Fehérlófia, Gothic, The Dark Backward, No No Nooky T.V., Tetsuo the Iron Man, Janet Planet, Dead Man, Septien, They Eat Scum, Possibly in Michigan, Face Like a Frog, Multiple Maniacs, Slacker, Caché, Melancholia, Down by Law, Black Christmas, The Florida Project, The Deer Hunter, Soylent Green, Bar-B-Que Movie, Sweetie, The Texas Chainsaw Massacre 2, Paris Texas, Night on Earth, mother!, Brain Damage, Иди и смотри, Asteroid City, Barnyard, Shredder Orpheus, Reality 86'd, Carnival of Souls, Tales from the Quadead Zone, Old, We're All Going to the World's Fair, Scorpio Rising, Gummo, Waiting for Guffman, Grey Gardens, American Movie, The Devil and Daniel Johnston, The Maestro: King of the Cowboy Artists, Trash Humpers, Turtle Dreams, Perfect Lives, Begotten, À ma sœur!, The Beaver Trilogy, Stranger than Paradise, The Holy Mountain, The Eyes of My Mother, I'm Thinking of Ending Things, Kinds of Kindness, The Piano, The Lighthouse, House, Frailty, Hated, Phantom of the Paradise, Cry-Baby, Popeye, Jeanne Dielman 23 quai du Commerce 1080 Bruxelles, Ali: Fear Eats the Soul, Cruel Story of Youth, Hiroshima mon Amour, Last Year at Marienbad, Memorias del subdesarrollo, Easy Rider, Sunrise: A Song of Two Humans, Pink Flamingos, Κυνόδοντας, Emmet Otter's Jug-Band Christmas, Me and You and Everyone We Know, Hands on a Hard Body, PlayTime, Female Trouble, The Lovely Bones, My Dinner with Andre, What Ever Happened to Baby Jane?, π, Scanners,

[americanssweetheart]

Lana Del Rey and The American Dream

Lana Del Rey is known for her attractive aesthetic and has often been described as Americana, nostalgia, and the American Dream. Lana's ability to blend historical figures and mythic imagery into her music and aesthetic brings depth and complexity to modern pop culture. One of the most prominent figures she references is John F. Kennedy, whose legacy was honored by his presidency, tragic death, and the tale of Camelot- and how it continues to shape the American Dream. Lana Del Rey draws from JFK's symbolic power, combining his image with her version of American mythos, primarily through her use of vintage 1960s Americana. As we analyze Lana's embodiment of JFK, songs containing his legacy, and her work's broader nostalgia-driven aesthetic, we can understand how she includes the American Dream and shapes her audience's perception of history and culture.

Despite the contrasts between JFK's world and Del Rey's, both share a common symbolic representation of America. JFK was born into a privileged family in 1917. He portrayed youthful optimism and progress during his presidency. His assassination transformed him into a lost icon, and the "Camelot" myth surrounding his legacy has eternalized his status as a symbol of idealism and loss. Similarly, Lana Del Rey reinvented herself from Elizabeth Grant into the tragic, nostalgic persona we know today, drawing on her upbringing in Lake Placid and later disillusionment with her life. Both JFK and LDR channel the beauty and tragedy of the American experience, creating modern mythologies through their public images.

Lana Del Rey often references JFK's legacy in her music, combining his image with her version of American culture. In the song "JFK," she talks about his loss, reflecting on his tragic death and the myth that has formed around him. Other songs like "Dangerous Girl" and "National Anthem" explore similar ideas, with "National Anthem" showing the contrast between the glamour of American wealth and its darker side, hinting at the scandals that tainted the Kennedy family's perfect image. The "National Anthem" music video featuring A$AP Rocky references the Kennedy family's elite status. Through her work, Lana shines a light on the darker side of the American Dream, where fame and wealth often come at a cost.

Lana's aesthetic is heavily influenced by 1960s Americana, combining glamour and sadness. Songs like "Blue Velvet" and "Hollywood's Dead" reflect the brief hope of the Kennedy era, while tracks like "Salvatore" and "Million Dollar Man" take inspiration from the beauty, wealth, and tragedy of old Hollywood. These songs criticize how fame is commercialized, even though Lana embraces its allure. She mixes celebration and criticism in her music, reflecting how her generation feels—disillusioned but still longing for an idealized past. By referencing cultural icons like Elvis Presley and Marilyn Monroe, Lana shows how the American Dream was turned into a product and continues to hold a strong pull.

Lana's fans also help shape the mythology around her music. Platforms like Reddit, Discord, and social media trends show how her audience romanticizes the figures she sings about, especially JFK. Del Rey's fans sexualize JFK in her music, which is an example of how they get involved in the longing and nostalgia that Lana's songs explore. It's not just about idolizing figures from the past; it's about creating a space where beauty and tragedy coexist. Lana's music mixes American history with myth, turning the American Dream into something encouraging and unattainable.

Lana's work with JFK's legacy also represents a cultural desire to escape from an idealized past. Her fixation with the glamour of the 1960s reflects how the current world feels, filled with difficulties. While the '60s were a time of social change and righteousness, we now look back at that time with nostalgia for what we could have had. Lana reimagines this time in her music, creating a dreamlike version of the past that feels hopeful and tragic. This mix of nostalgia and reality speaks to a different generation searching for meaning in a broken world.

Finally, Lana's portrayal of JFK perfectly exemplifies how historical figures are turned into symbols. As art and media shape our knowledge of the past, Lana purposely manipulates these stories to create her version of the American Dream. Her music challenges us to think about the idealized version of the American Dream and presents a more complicated, sometimes darker version. In Lana's eyes, the past is immortalized but also flawed, showing that the American Dream will always be out of reach.

In conclusion, Lana Del Rey's music offers her listeners a modern fantasy from the American myths built deeply from the legacy of figures like JFK and the cultural idols of the 1960s. Using nostalgia, Americana, and the tragedy of historical figures, she represents a nation where dreams are intertwined with loss and tragedy. JFK's legacy, much like the aesthetic LDR evokes, embodies the dream lifestyle and the painful reality of America. As LDR continues to create her vision of the American Dream, she reminds us that history is not just remembered by interpretation but constantly evolving through art and culture.

credits to @dollywons for the divider!

[knoepfl]

○~Madness in Mourning~○

Characters:

Jervis Tetch (Mad Hatter)

Reader (you)

Trigger Warnings:

Death

Grief

Mentions of violence

Anger

Masterlist

Words: 932

---

The night hung heavy in the air, a thick shroud of sorrow blanketing Gotham City. Rain fell steadily, each drop echoing like a heartbeat against the pavement. Inside an old, dimly lit apartment, Jervis Tetch sat alone, surrounded by shadows. The flickering light of a lone candle cast eerie shapes on the walls, illuminating his distraught figure.

You stood in the doorway, hesitant to intrude on the somber scene. Jervis was a whirlwind of emotions, and tonight, those emotions had culminated into an abyss of despair. His sister, Alice, was gone, and he was left to grapple with the loss, consumed by grief and anger.

“Jervis?” you called softly, stepping into the room. Your heart ached at the sight of him, his normally vibrant demeanor dulled by the weight of tragedy. He looked up at you, his eyes glassy and haunted.

“Why did this have to happen?” he whispered, his voice trembling. “She didn’t deserve this. None of it makes sense.”

You moved closer, your heart breaking for him. “I know it hurts. I’m so sorry, Jervis. I can’t imagine what you’re going through, but I’m here for you.”

He let out a broken laugh, a sound devoid of joy. “Here? What good is that? I couldn’t save her… I couldn’t protect her.” His hands clenched into fists, and he looked away, trying to push back the tears threatening to spill over.

“No one could have predicted this, Jervis,” you said gently, kneeling beside him. “You loved her fiercely. That counts for something.”

“She was my sister!” he spat, his voice rising, frustration bubbling beneath the surface. “And now I’m left with nothing but madness and rage! I should have done more!”

“Jervis, please—” you started, but he interrupted, his emotions spiraling.

“Once she was here, now she’s a ghost! Gone from this world, lost in the host. Madness consumes, it’s not what I planned, A game of cards played with a devilish hand!”

His voice transformed, a manic rhythm overtaking him as he began to rhyme. You watched, heart aching, as the Mad Hatter emerged from the shadows of Jervis’ grief.

“Why did they take her, oh, why did they dare? I’ll weave a tale, of madness to share! Gordon, you fiend! You’ve taken my joy, Now I’m but a shadow, a broken, lost boy!”

“Jervis!” you called, your heart racing. “You don’t have to do this alone! I’m right here!”

He paused, the intensity of his rhymes shifting as he looked at you, torn between the madness and the man you loved. “But I’m not the same, dear love, can’t you see? This madness consumes all the parts of me!”

“Then let it consume you. Let it out,” you urged gently, moving closer to him. “I accept you as you are, Jervis. I love you—the Mad Hatter and all. I don’t want you to fight it. I’m here to hold you while you embrace the chaos.”

He stared at you, confusion and hurt battling in his eyes. “You… you accept this madness? Even when it drives me to rage?”

“Of course,” you replied, your voice steady. “It’s part of who you are. Your pain is part of your story, and I want to be part of that story, too. Don’t push me away.”

As he absorbed your words, his features softened, but the madness still flickered beneath the surface. “Alice was my light, and now she’s gone! How can I find my way in this dark, twisted game?”

He began to rhyme again, but this time, it felt less frantic, as if he were allowing you in rather than shutting you out.

“A lost little hatter, a mind in disarray, Searching for the pieces, while shadows hold sway. Madness is my dance, my song in the night, But with you beside me, maybe there’s still light.”

You smiled through your tears, your heart swelling with love and determination. “Then let’s wander through Wonderland, through both madness and mirth, We’ll find the white rabbit, and make our own worth. We’ll tiptoe through tea parties, where time has no place, And dance with the mad, in this strange, twisted space.”

Jervis blinked, a flicker of surprise crossing his face. “You can rhyme as well? Oh, what a delight! To share in this madness, to dance in the night!”

“I’m just a girl who wants to weave a dream, To help you find light, even in the dark’s gleam. For in every riddle, and each game we play, We’ll honor dear Alice in our own special way.”

He let out a shaky laugh, a mix of pain and relief. “You’re truly mad, you know that?”

“And you love me for it,” you replied, grinning. “So embrace it, Jervis. Let the madness flow through you, but don’t let it drown you. We’ll navigate this twisted path hand in hand.”

The storm outside began to soften, the rain falling in a gentle rhythm, much like the heartbeat between you two. Jervis leaned into you, his head resting against yours, the rhyme fading into the background as he accepted your presence.

“Thank you for staying, even in my madness,” he murmured. “I’m not sure what I’d do without you.”

“You’ll never have to find out,” you promised, holding him close. “We’ll face whatever comes next together.”

And as the night deepened, you both sat in silence, clinging to each other amidst the remnants of sorrow. In that shared embrace, you found a flicker of hope—one that would guide you through the darkness, reminding you both that love could still exist, even in the face of tragedy.

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Author’s Note: Thank you for reading! This story explores the complexities of grief, anger, and acceptance in a relationship. If you enjoyed this, I’d love to hear your thoughts or feedback!