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FINAL — WHO’S THE DOGGIEST OF THEM ALL? 🐾
WHO’S A GOOD DOGGIE? 🐾
Javert (Les Misérables)
Alexis Ness (Blue Lock)
Rules:
No unnecessary trash-talking about characters or shows. Generic things like 'kill that guy' are fine; things like 'other character/show is terrible because xyz' are not
No trash-talking of other voters
If I see the word cop that's a strike
Each character gets three strikes. On the third strike, that character will lose the poll
Propaganda:
Took a few days trying to do animation, from the energy I saw my inspiration again. I heart Bradley Javert, because he have the brick like intimidate energy.
We found the oldest post-seine fic, dated between 1875 and 1898 (there are two versions so far) this Spanish theatre adaptation of les mis is a wild ride
Below, I translate the scene in which Javert tells the truth about Valjuan (Valjean) to Marius, after arresting Thenardier
Javert: take him away! Monsieur baron, excuse my impertinence and permit me say a few words
Marius: speak, Monsieur inspector
Javert: I know what this scoundrel has come here to do. And my conscience dictates I make some clarifications
Marius: Speak!
Javert: There's in your family a man with a extremely mysterious side. Nevertheless his mystery doesn't hide a reality of infamy and crime, but in expiation, redemption and honor
Marius: and in what are you based to say it, Monsieur inspector?
Javert: In what! I'm going to tell you. I met that man in a nefarious age for him, when he was judged and convicted for the first time. I met him again twenty years later, when I was inspector in pontardier and him Monsieur le maire. I did my duty and had him convicted again as parole breaker and thief. But with everything, he went to the court to denounced himself! He was then convicted in toulon,from where he escaped once more as you know how. At last , Monsieur, the day you saw him at the barricades, I was due to die and he saved my life. He saved you through the sewers, exposing himself to dying or being rearrested! I apprehend him then....but I don't know why....for the first time I felt that inside my chest mercy weighted more than justice. So not only I allowed him to escape, but now I chase ruthlessly an idea: to save him! Because it is true that Valjean is an exconvict, but I, who has been following his life step by step, I can assure you that his touch doesn't stain, doesn't demean. On the contrary, it honors, Monsieur baron, it honors and elevates!
It is also extremely funny how they do the pardon thing too
Marius: You are right! But, who will erase the stigma from him? Who will rehabilitate him?
Javert: The pardon!
Marius: And how to acquire it?
Javert: Me, rightious inspector Javert. Me, who I have sacrificed my whole existence guarding the State, I have asked as my only reward Valjean’s pardon. And I’m awaiting to be given it any moment now
Marius: What are you saying? Is that possible?
Javert: Yes… But I warn you that I doubt that it arrives on time, Valjean is dying
Marius: What?! Grandfather! Cosette! Go, my good friend, hurry your attempt!
Javert: See you soon, monsieur baron. God wishes I could pay Valjean what I owe him. He gave me life, now I will save his honor!
i forgot you have a main account
Look away
Gay rights n all but Grantaire's obsession with Enjolras doesn't have to be romantic or sexual, you all just don't know what it's like to worship an ideal
.
We've reached Chapter 1.5.5, "Vague Flashes on the Horizon," of Les Mis, and you know what that means?
It's Hot Manga Javert time!
Pages 363–373 of the first English omnibus of Arai's manga introduce Javert and his suspicions of Madeleine (aided, in this case, by a seed planted by Fauchelevant), but it isn't until much, much later, in Volume 7 of the Japanese manga (presumably part of the 4th English omnibus eventually), on pages 6–11, that we see where he came from: "As he grew up, he thought that he was outside the pale of society, and he despaired of ever re-entering it. He observed that society unpardoningly excludes two classes of men,—those who attack it and those who guard it." This page below is where he made the choice whether to attack or to guard the society he was excluded from. (also featured: Javert's dogsona, as associated with him in the manga much in the same way that Valjean is shadowed by a lion)
Les Mis Hidden Name Meanings: Jean Valjean
Every Les Mis character’s name is either a pun or has some deep symbolic meaning– or both at once! Jean Valjean’s name has a ton of layers so let’s dive in.
When we’re first introduced to him, Hugo tells us that his name is quote “a contraction of voilà Jean, or “here is Jean.”” We’re told that he was named after his father, and that his family name probably began as a nickname.
The word “Jean” in french sounds like the word “gens,” which means “people.” So his last name is a pun meant to make you think “viola les gens”/ “here are people.”
The most obvious layer to his name is that Jean Valjean is basically John Doe. He is the anonymous Everyman. His sister’s name is Jeanne, so she’s basically Jane Doe. They aren’t special or exceptional or unusual; they’re just behold! The regular people.
In fact his name is so common-sounding that it's a plot point. Champmathieu, the man who is mistaken for Jean Valjean, has a name that the police connect with his. Javert theorizes that "Champ" is a version of "Jean" in a specific accent, while Mathieu was actually Jean Valjean's sister's maiden name. ("Champ" is also the French word for "field.") The fact that Jean Valjean is a peasant everyman makes it easy for others in his position to be conflated with him.
But the other layer is that this is all an elaborate pun biblical reference!
When Pontius Pilate presents a bound Jesus Christ to the crowd before his crucifixion, he says the words “ecce homo” or “Here is the man!”/”behold the man!”
“Voila Jean” or “here is Jean!”/”behold Jean!” is meant to be a reference to that.
During his death scene Jean Voila-Jean even references the “Ecce homo” line explicitly, gesturing at a crucifix and saying:
“Voilà le grand martyr.”
Which Isabel Hapgood translates as “behold the great martyr.”
At another point in the same scene Marius says to Cosette:
“He has sacrificed himself. Viola l’Homme. Behold the man.”
But more references to that biblical moment appear throughout the novel; Jean Valjean is associated with it constantly, all the time. It’s one of his defining biblical allusions. He’ll be trying to live anonymously, or under an alias– and then suddenly his true name and criminal past will be revealed, he’ll be revealed to be ‘the man,’ and some great horrible act of martyrdom will follow.
Sometimes Jean Valjean is the one revealing his own identity, but sometimes Inspector Javert is put into the role of Pontius Pilate. Javert himself explicitly makes that comparison– Jean Valjean as Jesus, Javert as Pontius Pilate– when he’s contemplating suicide.
And this ties into one of the largest differences between the book and the stage musical.
In the musical, “prisoner 24601” is the name that represents Jean Valjean’s dehumanization–while “Jean Valjean” is the name he uses while standing up for his own humanity. He will be called 24601, and proudly declare that “my name is Jean Valjean” to assert he’s still a person.
And while this is a great storytelling choice, it’s almost the opposite of how the name “Jean Valjean” is handled in the book.
Because in the book…. Jean Valjean IS the name that dehumanizes him. Jean Valjean is the name that he’s running from. The name that Javert uses when he’s insulting him, the name that bigots use when they’re threatening him, the name that ignorant people use when they’re mocking him – it’s not 24601, it’s Jean Valjean.
And there’s a special kind of agony to that.
The name that is being used to torture, humiliate, and dehumanize him isn’t 24601– it’s his name.
He thinks of it as a “fatal name,” as a punishment. Living under that name is living in hell. When Jean Valjean is living under one of his aliases, concealing his identity, he thinks:
That which he had always feared most of all in his hours of self-communion, during his sleepless nights, was to ever hear that name {jean Valjean] pronounced; he had said to himself, that that would be the end of all things for him; that on the day when that name made its reappearance it would cause his new life to vanish from about him, and—who knows?—perhaps even his new soul from within him.
It’s no wonder that he ends up internalizing the way society views him, and developing so much fear and hatred of himself. He’s grown to see his name as just….well, ecce homo, behold the man. His name is just the two words people say before they violently punish him.
Names and namelessness are a major theme in Les Mis, and he’s the character who has the most complex relationship with his own names. He has a legal name, but it’s used to torture him, and he has a series of false names he uses to escape torture.
If I were to describe Jean Valjean– one of the most complex characters in all of literature, in one word, that word would be “grief.”
The criminal justice system takes everything from him, including things he wasn’t aware he was able to lose. His name, the last connection he had to his family and his old identity, gets warped into this thing needs to view with fear and horror. The thing society despises isn’t 24601, isn’t a number they’ve placed on him – the thing they despise is Jean Valjean, some intrinsic inherent part of himself. He isn’t hated for what he did, he’s hated for what he is, and that is something he can never escape.
{But speaking of complexity we’ve actually barely scratched the surface of how Jean Valjean reacts to names, because he spends most of the novel living under a series of nicknames aliases. And guess what! Each of these names also has some elaborate symbolic meaning! If you’re interested in more posts covering his different aliases, feel free to leave a comment in the replies!}
[thanks for reading! For more in-depth analysis, check out the @lesmisletters readalong or join our discord server!]
A thousand times yes! This gave me so much to think about. Specifically, your point about how his name represents his old self/identity is very interesting to me, given what we see from him with Cosette towards the end of the novel.
I find it striking that Valjean tells Cosette to refer to him as "Monsieur Jean," out of all things. It makes sense that, because of his conversation with Marius and their belief that he must be cut out of Cosette's life, he wouldn't allow her to call him "Father." And, even though he literally has a full, sobbing breakdown in front of Marius when it seems like Cosette will find out about his past (the only time we see him cry in front of someone else, I'm pretty sure?), he doesn't go by Fauchelevent to her. Cosette likely would've found that less unusual, since we see her refer to him as "my father Fauchelevent" quite naturally, and it would make sense that Valjean would want to minimize her suspicions. But his great denied desire, as he expresses to Marius, is to be a part of a family; that's exactly what he felt he couldn't do as Fauchelevent. Keeping that name would mean he would always be worried that "the mask would suddenly be torn away," and he would be driven out as a monster. He wants to be accepted and loved for who he truly is, and while this isn't by any means complete honesty, in confessing to Marius and dropping the alias with Cosette, maybe he feels a little closer to what he's longed for.
There's also the social and metatextual significance of having Cosette call him "Monsieur Jean." First, in dropping his alias (which supplied Cosette's maiden name), he further severs any perceptible social tie between the two of them. "Jean," as you mentioned above, is a homonym of gens, which is fitting, since JVJ views himself as having become "just another person" to Cosette. And yet, calling him by his first name indicates some level of familiarity; social norms at the time meant that formal address used the last name. "Monsieur Jean" is oddly straddling the line between distant and personal (as Valjean himself is attempting to do).
Maybe most interesting of all is that, as many have noticed, Hugo almost exclusively refers to JVJ by his full name, Jean Valjean. This is one of the only instances in which the last name is dropped, which is part of why it stood out so much on my readthrough. It feels noticably more intimate, but also incomplete. And I think it ties into what (as you mentioned above) his last name means: "voilà Jean/gens": "behold the man." He's not ready for Cosette to know the full truth about who he is, so narratively, it's fitting that the withheld last name (which would allow her to learn about his past) is one which itself references a full and raw perception. It was first used of the suffering Christ, naked and humiliated and condemned and innocent; Valjean, in his fear and self-loathing, does not allow that revelation of himself.
!!!!!!!!! This is an excellent addition.
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tbh really sad when the narrator is like "anyone who knew javert well would notice that [x subtle characteristic trait] was off indicating he was feeling [y]" (<- e.g. when he goes to arrest madeleine & his stock is askew or when he's suicidal & holding his hands behind his back) but like. there is no such person right. no one knows him that well. none of the other characters really understand or are aware of his motivations or character arc or even the context of his death. & like a lot of that Is his fault! but like I keep thinking. at least his musical self tells valjean about his backstory, I don't think book valjean or almost anyone else (except in an impersonal record keeping capacity maybe) is aware of that despite it being a Major element of his character & why he is the way he is. or like the entire chapter of javert derailed he goes through this whole incredible shift in viewpoint & no one ever knows about it & even his note he leaves which is genuinely a serious moment for him is just completely dismissed out of hand as his being insane by just abt everyone who knew him in life. I think the only little moment we get is when he says he'll wait outside for valjean & valjean pauses before he goes in like "this seems uncharacteristic of him" & that's it! his moment of being known & understood! which like again some of this is his own doing in that the way he lived his life prevented it -- I'm not saying the universe owed him intimacy or understanding or whatever & tbh he probably would have rejected it for a lot of the book if it were extended to him due to his own issues (<- which I'm sympathetic to also!!), but it's just so. idk. devastating that here's this whole guy we've spent so much time with that nobody in-book really knows or remembers correctly
Old Man Yaoi Tournament Round 1
Aziraphale/Crowley (Good Omens) Vs. Javert/Jean Valjean (Les Miserables)
Aziraphale/Crowley
Javert/Jean Valjean
Jean Valjean's Canon Toxic Unhealthiness around Romantic Love
( alternate titles: “Does Jean Valjean is Gay?”, or “Does Jean Valjean is Asexual?” Or: “Why is it so difficult to slap an identity/sexuality label onto Jean Valjean?” Or “LGBTPTSD+”)
I was looking at the responses to this poll about whether people interpret Jean Valjean as gay/asexual/straight or something else….and it got me thinking again about Jean Valjean’s canonical intense, complex, awful, toxic, and overwrought emotions around identity/ romantic love. I want to talk about that for a bit because I think it often gets overlooked in fandom!
I've noticed that Les Mis fandom/analysis often tends to interpret Jean Valjean as being far more content, more "at peace with himself," and more "comfortable in his own skin" than he ever is within the novel. This is also a common change in adaptations. The musical's version of Jean Valjean is great-- but he also seems a lot more self-actualized, more like he's gotten himself completely "figured out" by the end of the story. Other, bad, Les Mis adaptations — the adaptations that generally portray Jean Valjean a worse more violent person — also usually make Jean Valjean more confident in himself, more confident in his own feelings/desires, more certain that he’s entitled to certain things, and more willing to demand or take what he wants.
But one major aspect of book Jean Valjean's personality is that he does not have a healthy relationship with anything about himself. He has a tortured broken relationship with his own identity. He repeatedly thinks about “Jean Valjean” as a person outside of himself, a person who he finds frightening, repulsive, savage, and horrible— like a wild animal he needs to sedate, or beat into submission. He is obsessed with self-denial and self-repression. He is fixated on the idea that he is subhuman, that he is not allowed to want things or to pursue having any kinds of relationships with other people-- and that the most heroic thing he can do is "grab himself by the collar” and violently force himself to stay away from the things he wants. He is desperate to be loved and fixated on being unworthy of love and on denying himself love. He is absolutely not at peace with his identity: to paraphrase Jean Valjean in one of the later chapters, he believes he can only gain inner peace by “eviscerating his own entrails.”
He is never truly content with who he is, what he wants, or what kind of love he wants— and he never learns to be. The novel ends with him cutting himself off from his only family, breaking ties with the only person who loves him, and essentially slowly killing himself out of self-loathing.
There are other characters in Les Mis who seem very content with who they are and what they want. Enjolras is self-assured in his identity, and doesn’t appear to feel like there is any kind of love that is missing from his life. Whether you interpret him as gay or ace or trans or w/e, book!Enjolras is written as someone who is extremely self-assured and has a loving support system that is enough to keep him happy. But I don’t think that’s true for Jean Valjean at all XD.
And that’s why it's hard to apply labels like “aromantic” or “ace” or gay/straight/etc to Jean Valjean, when talking about his canon characterization. Those labels imply the person has a basic level of comfort with acknowledging their own desires/lack of desire/identity. And Jean Valjean never achieves that level of comfort. What “label” do you give to someone whose relationship with their identity is “I do not belong in a family, I have no right to want things, I have no right to be happy, I am outside of life, and I will never be at peace until I eviscerate my own entrails?” Is there a “self-disembowelment" pride flag? XD I've seen a lot of interpretations that go "Jean Valjean never expresses any interest in romance, he's perfectly content just to have his relationship with his daughter" but I honestly don't think that's true. Jean Valjean tries to content himself with having only Cosette. But part of why everything explodes so catastrophically in the end of the novel is because he needs more than just a paternal relationship. He doesn’t try to have a “normal” father-daughter relationship with Cosette, he tries to force his relationship with Cosette to be literally everything and everyone to him, for her to be his entire world: and it doesn’t work.
There’s a passage in the novel that talks about how all the love Valjean is capable of ends up being suppressed/sublimated into his relationship with Cosette. The love of a brother, of a friend, of a father, of a husband, the love of everything he is capable of, gets repressed so that he can throw every part of himself into being a father. There are Bad les mis adaptations that incorrectly misinterpret that passage to mean that Jean Valjean is incestuous/grooming Cosette. But in context, that’s not what the passage means at all.
The passage specifies very explicitly that Jean Valjean “did not love Cosette otherwise than as a father,” that “no marriage was possible between them,” that his feelings for her are absolutely paternal. But the passage does show how Jean Valjean is doing a very different unhealthy thing: he’s relying on Cosette to fill every single emotional void in his life.
He’s relying on parenthood to fill the grief/emptiness left behind by all the other kinds of love that he has wanted, but never been given.
To quote a bit of that passage:
Jean Valjean did not love Cosette otherwise than as a father (…) Let the reader recall the situation of heart which we have already indicated. No marriage was possible between them; not even that of souls; and yet, it is certain that their destinies were wedded. With the exception of Cosette, that is to say, with the exception of a childhood, Jean Valjean had never, in the whole of his long life, known anything of that which may be loved. The passions and loves which succeed each other had not produced in him those successive green growths, tender green or dark green, which can be seen in foliage which passes through the winter and in men who pass fifty. In short, and we have insisted on it more than once, all this interior fusion, all this whole, of which the sum total was a lofty virtue, ended in rendering Jean Valjean a father to Cosette. A strange father, forged from the grandfather, the son, the brother, and the husband, that existed in Jean Valjean; a father in whom there was included even a mother; a father who loved Cosette and adored her, and who held that child as his light, his home, his family, his country, his paradise.
Jean Valjean reminds me of a Failmode I’ve seen in a lot of different real-life parents? There are parents who cope with their own hard lives by telling themselves that parenthood is their sole reason for being alive, and who obsess over their child’s success as their only source of purpose, meaning, love, happiness, community, and validation. But it’s a bad idea to rely on one child to provide the emotional support that should be shared by friends, parents, siblings, every possible loved one, etc etc—- One child can’t actually heal you from your trauma, be a replacement for your broken relationships, pull you out of your grief, save you from your adult loneliness, etc etc etc etc.
When I see the common interpretation that Jean Valjean is perfectly content just to be the father of Cosette, I think of this line:
Thus when he saw that the end had absolutely come, that she was escaping from him, that she was slipping from his hands, that she was gliding from him, like a cloud, like water, when he had before his eyes this crushing proof: “another is the goal of her heart, another is the wish of her life; there is a dearest one, I am no longer anything but her father, I no longer exist”; when he could no longer doubt, when he said to himself: “She is going away from me!” the grief which he felt surpassed the bounds of possibility. To have done all that he had done for the purpose of ending like this! And the very idea of being nothing!
On one hand, the terrible Les mis adaptations that portray Valjean as Incest Creep are incorrect and wrong. On the other hand, though, Jean Valjean IS unhealthy about Cosette— just in a different and actually sympathetic way.
He has made fatherhood his only purpose, to replace every other purpose he could have in life. So he can’t be “just Cosette’s father.” He can’t imagine her becoming an adult and leaving the nest, like children do. What does he have if he’s not taking care of her? What is his purpose in life if she doesn’t need him to be her parent? He's not just being her father, he's relying on her to be his entire reason to exist. He hasn't been allowing himself to have things outside of her.
And speaking of things outside of Cosette: segue time. This post was supposed to be about Jean Valjean and romance, so let's switch gears and talk about his canon 'romantic experiences' more:
We’re told that in his youth he “never had a sweetheart” because he “never had time to be in love.” There is no indication that Jean Valjean never wanted to be in love. The opposite is implied. Hugo frames it as a tragedy that Jean Valjean’s does not experience young love; it’s the horror of poverty taking yet another thing from him.
Within prison, Valjean is “gloomy” and “chaste;” when he traumadumps to Montparnasse about it, he talks about women looking on galley slaves with horror and disgust. Romance, at least “normal” heterosexual romance, is no longer something that is permitted for him. Jean Valjean knows very little about romance/love/sex and it repeatedly messes up his life. He spends 19 years in the all-male environment of prison, then about a decade in the almost-all-female environment of the convent. He has very little experience with how men and women are supposed to interact. The oppression Fantine faces as a sex worker, and Cosette's relationship with Marius, are both two big 'blind spots' that he struggles with.
At one point romantic love is described as “The only misery Jean Valjean had not yet experienced, and the only one that is sweet.”
In his massive confession to Marius, he agonizes over how he is not allowed to be part of a family, and is incapable of being part of a home. He compares himself to someone sick and diseased, that poisons good and normal people with his presence, and cannot be allowed to make himself part of their families.
So Jean Valjean doesn’t frame Romance as “a thing he doesn’t want:” it’s a thing “he is not allowed to want,” it is one of the many things he is banned from wanting. It's impossible to tell what kind of things he would want, if he were allowed to want them.
One of the most interesting things to me, however, is his general attitude towards Marius/Cosette.
Obviously his first reaction to Marius snooping around is fear and resentment— he doesn’t know to interact with romance, having never experienced it, and immediately begins catastrophizing. He views Marius as a privileged booby ruining his life for something as frivolous as a love affair: it reads to me as partially envy, envy of the fact that Marius lives the kind of safe comfortable life that allows him to experience young love.
Jean Valjean added: “What does he want? A love affair! A love affair! And I? What! I have been first, the most wretched of men, and then the most unhappy, and I have traversed sixty years of life on my knees, I have suffered everything that man can suffer, I have grown old without having been young, I have lived without a family, without relatives, without friends, without life, without children, I have left my blood on every stone, on every bramble, on every mile-post, along every wall, I have been gentle, though others have been hard to me, and kind, although others have been malicious, I have become an honest man once more, in spite of everything, I have repented of the evil that I have done and have forgiven the evil that has been done to me, and at the moment when I receive my recompense, at the moment when it is all over, at the moment when I am just touching the goal, at the moment when I have what I desire, it is well, it is good, I have paid, I have earned it, all this is to take flight, all this will vanish, and I shall lose Cosette, and I shall lose my life, my joy, my soul, because it has pleased a great booby to come and lounge at the Luxembourg.”
But, even though Jean Valjean views romance as something he isn’t allowed or have or to want, views it as a threat and catastrophizes over how it will ruin his life……he seems to also put heterosexual romance on a pedestal.
The way Jean Valjean idealizes marriage is one of his weirdest character notes for me.
He views marriage as Cosette’s “happy ending.” It’s her “happily ever after” point where she won’t need him anymore, where she won’t need anyone outside of her husband. A Man And a Woman Are Meant to Get Married, It's Fate, and It Means They Will Live Happily Together Forever. Marius is “the goal of her heart, the wish of her life; her dearest one.” Nothing outside of that matters anymore.
He treats her marriage as if romantic love is inherently always more important than any kind of platonic relationships, and always takes priority over them. He later dismisses the unconventional family structure he has with Cosette, saying that despite his love for her he was only a "passerby" and was not actually her real father, because they were not biologically related.
There's a moment where Jean Valjean is described as someone whose ideal is to be angel on the inside and a bourgeois on the outside. Jean Valjean's worship of bourgeois social norms, norms he can never truly be a part of, is one of his character flaws. He has a similar "guard dog" energy as Eponine does when she defends Rue Plumet from her parents.....Eponine and Jean Valjean both become the guard dogs of a kind of romantic relationship they believe they are banned from having. Jean Valjean believes that getting Happily Straight Married in a Middle-Class Home with a Picket Fence(tm) is the ideal path for life....but believes himself broken/incapable of ever following that path. And so he instead throws his entire life into securing that future for Marius and Cosette.
In what manner was Jean Valjean to behave in relation to the happiness of Cosette and Marius? It was he who had willed that happiness, it was he who had brought it about; he had, himself, buried it in his entrails, and at that moment, when he reflected on it, he was able to enjoy the sort of satisfaction which an armorer would experience on recognizing his factory mark on a knife, on withdrawing it, all smoking, from his own breast. Cosette had Marius, Marius possessed Cosette. They had everything, even riches. And this was his doing.
TL: DR:
Jean Valjean's gender/sexuality label is “idk but he’s super fucked up about it.”
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My name is Mohammad, and I’m reaching out in a moment of desperate need. I’m a father of three young children living in Gaza, and we are caught in the midst of a catastrophic war. Our home is no longer a safe haven, and the future here seems increasingly uncertain. 💔
I’ve launched a fundraising campaign with the goal of raising $40,000 to relocate my family to a safer place where my children can grow up in peace and have a chance at a brighter future. 🕊️🇵🇸
Unfortunately, my previous fundraising efforts were abruptly halted when my account was terminated without explanation. However, I remain determined to keep fighting for my family’s safety and well-being. 🫶
If you could take a moment to read our story, consider donating, or simply share our campaign with others, it would make an incredible difference. Every act of kindness, no matter how small, brings us one step closer to safety and a new beginning. 🙏
Thank you for your time, compassion, and support. ❤
https://gofund.me/fd1faea2 🔗
My name is Mohammad Salem Abu Swierh, a husband and father of… Mohammed Abu Swierh needs your support for Help Mohammed's Family From Gaza R
Wishing you all luck❤
Je rêvais que la mort me baisait la main.
"Отверженные" Stage Play (2001)
This is the worst Javert Derailed I've ever seen.
He literally puts a leash around his neck (the same leash he used to catch Valjean in the beginning) and goes into the SEWER DRAIN and slowly falls in while talking the whole time.
Posters for National Theater of Korea's production of Macbeth, designed by Yuni Yoshida and photographed by Noh Juhan. [1][2]
if you want a good laugh i would suggest looking at the letterboxd reviews for the 25th anniversary les mis concert…they are GOLD
