Has Juice Newton Angel Of The Morning Appeared In Film Or TV?

Hunting for morning glory doodles prints is one of my favorite little quests — it’s like following a trail of charming sketches across the internet. The most reliable places I’ve scored prints are the artist’s own shop (often linked from their Instagram or Twitter), Etsy, and Big Cartel stores. Artists often run limited-run prints or signed variants on their personal storefronts, so if you want something unique or numbered, that’s where to look first. I also keep an eye on print-on-demand platforms like Society6 and Redbubble for more affordable options, though those are usually reproductions rather than hand-signed editions. If I’m honest, conventions and local zine fairs are where the best surprises happen — I’ve found small-run morning glory doodles prints tucked into zine stacks or sold at tables with funky pins and stickers. When buying online, I always check for clear photos of the print, paper type notes (archival matte, giclée, etc.), and whether the artist mentions color profiles or print lab partners. Shipping and international customs can add up, so I calculate total costs before committing. Also, if an artist has a Patreon or Ko-fi, they sometimes offer print bundles or backer-only designs that never hit open shops. I tend to favor supporting artists directly when possible; it feels better and usually means faster customer service. Still, for quick, budget-friendly decor, POD platforms do the job. Either way, I’m always thrilled to find a fresh morning glory doodle to tuck into my art wall — they brighten up any corner in a way that makes me smile every time I pass by.

Tracing tags and sketchbook posts over the years made me realize 'morning glory doodles' didn’t spring from one celebrity artist but from a handful of sleepy, motivated people building a habit together. I used to wake up and scroll through feeds where artists posted tiny, ten-minute drawings under vague hashtags—they were light, quick, often of plants, mugs, or sleepy faces. The name likely comes from the morning glory flower, which opens with the dawn, and the term stuck because these sketches bloom fast and fleeting. People started doing them as a warm-up to art practice, a mental-health anchor, or a way to capture a mood before the day scrambles them. On Tumblr and early Instagram threads, I watched the trend spread: one person posts a tiny sunflower scribble, another replies with a sleepy cat, and suddenly there’s a communal rhythm. For me the appeal is simple: they’re forgiving, portable, and honest. Over time I’ve seen them turn into little zine sections, tiny prints, and collaborative sketchbook swaps. I still make one every morning when coffee’s brewing — they feel like a small, private ritual that somehow connects me to a lot of other people waking up and drawing, too.

Silent snow has always felt like an honest kind of stage to me — minimal props, no hiding places. When a character in a book or a film makes a snow angel, it’s rarely just child’s play; it’s a tiny, human protest against erasure. In literature it often signals innocence or a frozen moment of memory: the angel is an imprint of the self, a declaration that someone was here, however briefly. Writers use that image to mark vulnerability, nostalgia, or the thin boundary between life and loss. In some novels the angel becomes a mnemonic anchor, a sensory trigger that pulls a narrator back to a summer of small traumas or a single winter that shaped their life. On screen the effect is cinematic — the wide, white canvas makes the figure readable from above, emotionally resonant. Directors use snow angels to contrast purity and violence, or to dramatize absence: the angel remains while the person moves on, or disappears, or becomes evidence in a crime story. I think of movies where the silent snowfall and the soft crunch underfoot build intimacy, and then a close-up on a flattened coat or a child's mitten turns that intimacy toward unease. The angel can be a memorial, a playful rite, a sign of grief, or a child's attempt to sanctify a cold world. Personally, whenever I see one now I read a dozen mixed signals — wonder and fragility, play and elegy. It’s a quiet, stubborn human mark, the kind of small, hopeful gesture that haunts me long after the credits roll.

Waking up to the last chapter of 'Good Morning, Midnight' felt like stepping off a long, cold ledge and landing in quiet. The book lets you sit with two solitary people — Augustine, stranded at an Arctic observatory, and Sullivan (Sully), an astronaut returning from deep space — and the ending is more about the emotional resolution than a tidy plot wrap-up. Their voices converge through radio transmissions, confessions, and small human gestures, and the final pages focus on connection: the comfort of being heard and the fragile hope of survivors finding each other again. Practically speaking, Augustine’s arc closes in the Arctic with him accepting his limitations and choosing to prioritize human warmth over heroic rescue. He records messages, sends signals, and ultimately faces the physical consequences of isolation. Sully’s return to Earth is framed as dangerous and uncertain but threaded with the promise that she isn’t entirely alone. The novel leaves some concrete outcomes ambiguous, preferring to leave you with the emotional aftertaste of companionship amid loss. For me, the ending lingers because it privileges tenderness in the face of an unnameable catastrophe — a bittersweet, quietly humane finish.

I fell into 'Good Morning, Midnight' with a weird mix of curiosity and sorrow, and I knew Lily Brooks-Dalton was the voice behind it. She published the novel in 2016, and what she wanted to do—at least to my ear—was strip away spectacle and focus on two very human experiences of loneliness: an older man cut off in the Arctic and an astronaut floating homeward into radio silence. She wrote it to ask what people do when all the usual signals vanish: how do we forgive, how do we confess, and how do we hold on to others when the world you knew becomes unknowable? Her prose is quiet and observant, which makes sense if her aim was intimacy rather than blockbuster thrills. There’s also a moral curiosity in the book: it explores grief, aging, and the small rituals that make people feel alive. I think she deliberately set the story in extreme isolation—the polar night and deep space—to magnify those tiny human gestures, and that’s why the book lingers with me long after I’ve closed it.

There are actually a couple of different works titled 'Good Morning, Midnight', so I like to start by separating them in my head. The newer one, by Lily Brooks‑Dalton, is a near‑future novel about an isolated scientist in the Arctic and an astronaut trying to get home. It’s speculative fiction, not a retelling of a real person's life or a documented event. The movie that most people saw — retitled 'The Midnight Sky' and directed by George Clooney — is an adaptation of Brooks‑Dalton’s book rather than a dramatization of real history. The older 'Good Morning, Midnight' by Jean Rhys (from 1939) is also fictional, although critics often point out autobiographical echoes because Rhys drew on personal heartbreak and exile for the emotional texture. Neither book is a literal true story, but both borrow real feelings, places, and scientific ideas to make their worlds feel lived‑in. Personally, I find that knowing something is fiction frees me to enjoy the themes — isolation, grief, the fragility of human connection — without hunting for a factual backbone. It still hits me in the chest, which is what great fiction should do.

Ken Follett's 'The Evening and the Morning' is a prequel to his epic 'The Pillars of the Earth', and honestly, it’s a gripping dive into Dark Ages England. I tore through it in a weekend because the characters felt so alive—ordinary people wrestling with corruption, love, and survival. The way Follett builds tension around a humble boatbuilder’s family against ruthless nobles is chef’s kiss. It’s slower-paced than modern thrillers, but the payoff is rich. If you enjoy historical fiction with layered politics and visceral details (like cathedral-building or Viking raids), this’ll hook you. That said, some fans of 'Pillars' might miss the grandeur of Kingsbridge at its peak, since this is its origin story. The stakes feel smaller initially, but by the midpoint, the threads weave into something massive. Follett’s knack for making you root for underdogs shines here—Edgar’s struggles hit harder than I expected. Bonus points for the audiobook; the narrator’s voice adds gravelly authenticity to the mead halls and muddy villages.

Bright and a little nerdy, I'll gush a bit: the music world of 'Angel Beats!' is largely the work of Jun Maeda. He composed the series' score and wrote the songs that give the show its emotional punch. The opening theme 'My Soul, Your Beats!' is performed by Lia and was penned by Maeda, while the ending theme 'Brave Song' is sung by Aoi Tada — both tracks carry that bittersweet, swelling energy Maeda is known for. Beyond the OP/ED, the in-universe band 'Girls Dead Monster' supplies many of the rockier insert songs. Those tracks were composed/written by Maeda as well, though the actual recording features dedicated vocalists brought in to play the band's parts. The overall soundtrack mixes piano-driven, melancholic pieces with upbeat rock numbers, so Maeda's fingerprints are all over it. I still get chills when the OST swells in the right scene — it’s classic Maeda magic.