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Room clutter in studio ghibli films.

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Trailer for Flowers for Mrs Harris, Wermland Opera - 2024

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Dagmar Olrik - September morning in the garden of Haveselskabet (1910)

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~ vertical vintage/nature ~

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Morning Fog - Thomas Sarrantonio, 2024,

American, b. 1954-

Oil on wood panel, 12 x 6 cm.

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Settlements of Middle Earth part 1 part 2

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Following the Sun

(c) gifs by riverwindphotography

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Breton n*2 - Jessica Lisse , 2019.

French , b, 1990 -

Acrylic on paper , 32 x 24 cm.

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SHAMELESS. DELETED SCENES.

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Peder Mørk Mønsted - "Forest landscape"

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"The whole cycle of your life. Time chose you." ↬ DARK | S02E03 GESPENSTER | Directed by Baran Bo Odar

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thinkin about how the opening song in Next To Normal perfectly sets up the characters and their relationships with each other from a purely musical standpoint

Diana is never perfectly in sync with the other family members

Diana, Natalie, and Dan all get their own verse to establish who they are and what they want. The chorus links them all together but doesn’t establish anything new. 

Natalie gets the bridge of the song but is cut off before she can sing the chorus, which is taken over completely by Gabe. This happens again in “Superboy and the Invisible Girl,” which is supposed to be Natalie’s song about how she’s feeling unseen and unheard by her family. Gabe overtakes this song too, and takes control of the melody, forcing Natalie out of her own spotlight. This dynamic sums up the relationship between the characters.

Gabe gets the chorus, and the key changes from minor to major. Out of the three who have sung already, he is the only one who is “perfect.” Natalie is feeling neglected and burnt out, Diana is caught up in a whirlwind of her own mind and her position in the household. Gabe is a very controlling presence here, and forces the others to follow his lead and harmonize with him once he takes control of the music. 

Natalie joins him, harmonizing again as she is shoved out of her original position. She is struggling to be heard. Finally at the end of the chorus, Gabe stays in the major key of the melody, while Natalie shifts back to the minor sound of the verses, which puts the two at a contrast again. 

Dan returns the song to the original sound. He is resistant to change. He is seemingly unaffected by Gabe, both within the music itself and within the story as a whole. He never harmonizes with Gabe, instead Gabe harmonizes with him. This happens again later in his song “I Am,” where no matter how much Gabe tries to break through to his father, Dan is unyielding and stays firmly on the melody. 

Gabe never gets his own verse. Every other family member gets their own verse that establishes their purpose and motivation. Gabe gets the chorus, and he gets a couple lines in the “It only hurts when I ___” that all the other family members have. He has a very real place in the family, he has an effect on the others around him. But he himself doesn’t get to reveal his own motivations at this point in the show. To the audience hearing this for the first time it seems like Gabe is simply a shallow character, full of himself and devoid of any real purpose. He is merely the RESULT of the verses, not the cause of anything. He’s only the chorus.

Anyway I doubt anyone cares about all that but I’ve been thinking about it for a while. This isn’t even the lyrics, it’s JUST the music! which is pretty fucking genius if you ask me. 

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Pomegranate Door of Casa Bellia in Turin, Italy

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Incoming Tide, 1934. Hayley Lever. Oil on canvas

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We really just get to see how far we can push this friendship. There is nuance. There is hurt. There's forgiveness. These two women love each other so much and they truly change each other for the better.

Wicked: For Good (2025) dir. Jon Chu

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Some things in ballet never change.

An Interval at the Opera - Georges Jules Victor Clairin 1843-1919

Photo by Tyler Shields

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Spirited Away 千と千尋の神隠し — 2001 written & directed by Hayao Miyazaki