Mrs. Pots snapped
Mrs. Pots sick of the shit!!!
“Listen Karen I don’t care.” love it

#extradirty

⁂
Jules of Nature
KIROKAZE

Product Placement

oozey mess
cherry valley forever

@theartofmadeline
tumblr dot com
Xuebing Du
sheepfilms
Peter Solarz

pixel skylines
Today's Document
let's talk about Bridgerton tea, my ask is open
Game of Thrones Daily

JVL
styofa doing anything

ellievsbear

if i look back, i am lost

seen from Sweden

seen from United States
seen from United States

seen from Ireland

seen from Indonesia
seen from United States
seen from United States

seen from United Kingdom

seen from Malaysia

seen from Germany
seen from United States
seen from United States

seen from Australia

seen from Italy

seen from Germany
seen from United States

seen from United States
seen from Ukraine

seen from Ireland

seen from South Korea
@screamer-owl
Mrs. Pots snapped
Mrs. Pots sick of the shit!!!
“Listen Karen I don’t care.” love it
I know tumblr really loves Persephone and Hades, which I get, but my favorite Greek Mythical figure has to be Ariadne. Until this year I had pretty much only ever heard of her in the context of the Theseus and the Minotaur myth, but her story actually continues past that and I love it. (Disclaimer, as with any Greek myth there’s a billion versions, but my favorite goes like this)
Ariadne helped Theseus kill the Minotaur. She had to betray her family, but she knew she had to in order to stop the yearly sacrifices. Theseus promised her he would marry her as thanks for her help.
Theseus and Ariadne left Crete together, but since Theseus didn’t trust Ariadne to be a good wife, he left her behind on Naxos while she was napping. Why didn’t he trust her to be a good wife? She had betrayed her family.
While on Naxos, Dionysus, god of wine, fertility, madness, theater, and celebration, happens to stop by. He meets Ariadne and the two fall in love.
Dionysus marries Ariadne. Note: There are plenty of retellings of this myth, but almost all of them emphasize how happy Dionysus and Ariadne’s marriage was.
Ariadne is killed and goes to Hades.
Dionysus descends into Hades to get his wife back. Ariadne gets to join the gods in Olympus, become immortal, and takes her place as the goddess of the labyrinth, mazes, paths, fertility, wine, and passion.
Meanwhile, Theseus dies after being thrown off a cliff by Lycomedes.
Ariadne is practically the personification of “the best revenge is living well” and I think that’s great.
this is good shit.
you want my hot take for the evening? people who dont like complainers just havent been exposed to good complaining, and will never know if they themselves have an inborn talent for the art of kvetching
good complaining is some combination of a) funny, b) animated and theatrical, c) insightful re: human foibles, d) inquiry into social trends and norms.it must ALWAYS involve at least a small degree of self awareness, and is often used to build camaraderie and maintain relationships.
source: im jewish
Mary and Kitty Bennet alone at home after their sisters get married.
“Why aren’t we allowed on the wall?”
“BECAUSE WE’RE NOT BETROTHED TO MEN!”
the delivery on these lines, the music in the background..... I had to watch this several times
~ বাংলা চলচ্চিত্র ~
(Bengali Film Industry)
While exhibition of films in Calcutta can be dated back to 1896, when one Professor Stevens screened the Lumiere programmes at Star Theatre, it was only in the first decade of the twentieth century that Bengal had its first indigenous film-maker—Hiralal Sen. Calcutta at the time had a strong tradition of professional theatre, and theatre houses served as outlets for films. The earliest screenings were held in theatre houses where films appeared as a double bill attraction alongside the plays.
Influential theatre owners, like for example Amarendra Nath Dutta of Classic Theatre, encouraged the production of films by allowing Hiralal Sen to photograph his stage productions, which were then advertised as ‘superfine pictures from our world-renowned plays’ and exhibited.
Hiralal Sen himself went around Calcutta and shot scenes of everyday life: a moving tram, the bathing ghats, a cock fight, the temple at Kalighat.
The 1940s was remarkable for the influx of writers from the Progressive Writers Association and artists from the Indian People’s Theatre Association (IPTA) to the film scene.
Among IPTA’s idealist members who dreamed of changing the way films were made were two young men, Mrinal Sen and Ritwik Ghatak, who would play influential roles in giving Bengali and Indian cinema a new form.
Immediately after independence and partition in 1947, a group of young intellectuals in Calcutta, Satyajit Ray and Chidananda Das Gupta among them, founded the Calcutta Film Society and set off the film society movement in India which has gone down in history for its role in fostering public taste for an alternative realist and meaningful cinema.
In the ‘50s, Bengali cinema also produced its most iconic star duo, Uttam Kumar and Suchitra Sen. Uttam Kumar remained Bengali cinema’s top hero for over two decades .
The best-known ‘event’ of the ‘50s Bengali cinema is nonetheless Satyajit Ray’s Pather Panchali which released in 1955 and won “Best Human Document” at the 1956 Cannes Film Festival.
Pather Panchali was appreciated by filmgoers and critics alike, as was Apur Sansar, the third film of Ray’s Apu trilogy, which had a ‘silver jubilee’ in Calcutta.
Ray’s contemporary Ritwik Ghatak who also was an influential member of the IPTA, and spearheaded the more political avant-garde cinema.
In the ‘70s, Mrinal Sen’s films depicted the contemporary social unrest and the rise of a radical politics in Bengal. Sen’s Akaler Sandhane-a film within a film- where a film crew recreates the 1943 Bengal famine, won the Silver Bear at Berlin in 1981 .
In the same year, Aparna Sen made her first film 36 Chowringhee Lane, becoming best known as a feminist filmmaker with Paroma (1985).
Satyajit Ray received an Oscar for his lifetime’s work days before his death on 23 April 1992.
It marked the end of an era, but the ‘90s also saw the rise of a young director in the Ray mould- Rituparno Ghosh, whose films returned urban middle-class audiences to Bengali cinema. Ghosh,who was already a National Award winning director, made a splash nationally with Chokher Bali (2003) where he cast Aishwarya Rai as Tagore’s Binodini.
Bengali cinema isn't about larger-than-life films. It has always been real in that sense.
♡Some of favourite Bengali films :-
RELEASE DATE: 17th April,1964
Director: Satyajit Ray
Screenplay: Satyajit Ray
Story by : Rabindranath Tagore
The film "Charulata" starred Madhabi Mukherjee(as Charulata), Soumitra Chatterjee(as Amal),and Shailen Mukherjee(as Bhupati Dutta)in lead roles.
Charulata follows the story of Charu, a bored and neglected housewife in late nineteenth-century Bengal. Her husband Bhupati is a upper-class Bengali intellectual (ভদ্রলোক). and the editor of a newspaper, who is interested in the freedom movement and social reform but has no time for his lonely wife. Charu is beautiful and intelligent, but she cannot do enough to fill her time. Sensing her loneliness, Bhupati invites her brother Umapada and sister-in-law, Manda to stay with them. However, Umapada begins helping Bhupati with the printing press, and Manda’s crude nature does not compliment Charu’s intelligent and creative nature. One day Bhupati’s cousin Amal visits, and Bhupati asks him to engage and encourage Charu with her literary and cultural ambitions.
Both Charu and Amal bond over their mutual interests and fill the void of time in each other’s life. Amal realises Charu’s love for him but does not reciprocate out of guilt and duty. Umapada and Manda flee after scamming Bhupati of his money, destroying the prospects for the newspaper. Bhupati confides in Amal as the only one he can trust. Overcome by guilt and shame, Amal goes to England for higher studies and to marry, leaving behind a letter for Charu who is left heartbroken. Bhupati, shocked and also heartbroken upon realising the truth when he sees Charu crying leaves the house.When he returns, Charu and Bhupati attempt to extend their hands towards each other but the film ends before their hands meet.
Release date: 26th August,1955
Director: Satyajit Ray
Screenplay: Satyajit Ray
Story by: Bibhutibhushan Bandyopadhyay.
'Pather Panchali’ (A Song of the Little Road) marked Satyajit Ray’s debut as a director. This masterpiece from Ray is a social drama inspired by a famous novel of the same name by Bibhutibhushan Bandyopadhyay. ‘Pather Panchali’ plots a young boy Apu from a poor family and his daily life in a rural Indian village. The film was produced by the then Bengal government as the legendary filmmaker ran out of money after only shooting half of the movie.The sibling love between Apu and his elder sister Durga is the heart of the film, their scenes of everyday intimacy encapsulate the sweet bonding between a brother and sister.
Release Date: 6th May,1966
Director: Satyajit Ray
Screenplay: Satyajit Ray
Stort by: Satyajit Ray
The film "NAYAK" starred Uttam Kumar(as Arindam Mukherjee), and Sharmila Tagore(as Aditi) in lead roles.
A superstar from the movies gets on a train and sees his life unravel.
In the film Aditi interviews Arindam, with her deep-rooted indignation for the celebrities. But she uncovers a lonely man with shades of guilt, agony, and insecurity embedded under the perfectly maintained glamorous image. A journalist from a renowned female magazine plays the catalyst in the narration and leaves the 'Nayak' with no other choice but to pour his heart out.
Initial Release: 25th May, 2012
Director: Rituparno Ghosh
Screenplay: Rituparno Ghosh
The film has Rituparno Ghosh(as Rudra),Anjan Dutt(as Subho),Jisshu Sengupta(as Partho)and Raima Sen(as Kasturi) as main characters.
The film "Chitrangada: the crowning wish" revolves around the premise that same-sex couples cannot adopt children in India, which is why Rudra decides to undergo sex reassignment surgery to be a woman, so as to be eligible to adopt a child with Partho. The tragedy in Rudra’s life is that while he’s willing to undergo six months of pain and suffering for Partho, the latter breaks it off with him by saying, “If I have to have a woman, I’d rather have a real one, not this half-thing”.
The film beautifully portrays the daily struggles of a queer man, his relationship with his parents and the society around him. It does a brilliant job of highlighting his loneliness and selflessness and at the same time and educates the audience about the several difficulties faced by members of the LGBTQ community.
The film also incorporates bits from Rabindranath Tagore’s story about Chitrangada,who was brought up as a man and warrior because it was her father’s wish to do so, and juxtaposes Chitrangada’s desire to be a woman when she falls in love with Arjun during a hunt, along with Rudra’s desire of the same.
In the film , Rudra's life is similarly transformed after meeting the much younger Partho a heroin-addicted and highly irresponsible drummer.
The film also explores how Rudra's mother and father respond to their son's predicament, offering insights into how gender expression can affect families. It's a universal story and they, along with an understated counsellor.
P.S. The ending of the film with the line "Be What You Wish To Be" gave me goosebumps and it was the first time in my life that I cried after watching a film.
Initial Release: 18th July,2019
Director: Aparna Sen
The film has Tuhina Das(as Brinda),Anirban Bhattacharya(as Nikhilesh), Jisshu Sengupta(as Sandip Jha) and Rwitobroto Mukherjee (as Amulyo Dutta) as main characters.
'Ghawre Bairey Aaj' is a modern day adaptation of Rabindranath Tagore’s iconic novel Ghare Baire. It’s a modern retelling of Tagore`s classic novel, and chronicles a triangular love story which is as much a story of passionate romance as it is of clashing ideologies.
Release Date: 23rd November, 2018
Director: Mainak Bhaumik
Screenplay: Mainak Bhaumik
The film has Rwitibroto Mukherjee(as Apu/ Arunava Bose),Sauraseni Maitra(as Durga)in lead roles.
The story of the film revolves around Apu, a tenth standard student in Kolkata, and his cousin sister Durga, visiting from Delhi. Apu’s parents put a lot of pressure on him to study, perform well in his board exams, join the science stream, and clear the Joint Entrance Exam (JEE). His parents disciplined him excessively and gave him little freedom to do as he liked. As a result, he felt as if he had not quite grown up. He loved to write music, play guitar, and sing, but was harshly discouraged from doing so.
While Apu’s parents worried about him too much, Durga’s parents completely washed their hands of her. They turned a blind eye to her struggles, pretending her depression had nothing to do with them. They sent her to Kolkata, because word had gotten around that she was receiving psychiatric treatment. Whenever she called them, they would hastily hang up. Her mother would say she was busy, while her father would say that the network was bad. When she said her maternal uncle had molested her, her mother refused to believe it.
Durga and Apu had been brought in considerably different households. She impressed Apu by talking back to his mother, and her aunt at the dinner table, something he would have never dared to do. It seemed she could act exactly as she liked. An unlikely friendship blossomed between them, as Apu was the only person who asked Durga why she tried to kill herself once. Soon, Apu was breaking away from the obedient, submissive son he was accustomed to being. He started breaking the rules set out by his parents. By encouraging him to talk to his crush Piya and to play at his school’s open-mic music festival, Durga helped Apu find his voice. On her birthday, on the pretext of buying herself a present, she bought him a guitar. She urged him to get a piercing.
Durga was undergoing treatment for clinical depression in Delhi, while she was sent to Kolkata. She refrained from taking her prescribed pills as the side effects were quite difficult. She also stopped going for counseling. Her condition worsened. Her boyfriend Sourav refrained from speaking to her on the phone. When she decided to call him and confess her love, his wife picked up the phone. Remembering Apu’s mother’s words, Durga called her parents, who for one last time evaded her calls. She decided to end her life by jumping off a building, and this time succeeded.
Apu’s father felt that Durga’s suicide was an act of selfishness, and that she acted irresponsibly. This sparked a confrontational exchange between Apu and his father. Apu accused his father of caring about IIT, only for the sake of the family’s image. In response, his father says that all he wants is that Apu does not end up struggling for money as he is. Apu asserted his right to pursue music if he chooses. He disobeyed his father, and decides to perform at the "Gaanwala".
The movie ends with a sequence from a year later, when Apu ties a letter to Durga to a set of balloons, and releases it into the sky. He had grown up, taken the science stream, and decided to write the JEE, while also pursuing music seriously.
The movie offers a nuanced exploration of the psychosocial factors contributing to depression.
Generation Aami casually exposes the hypocrisy implicit in the stigmas imposed by society.
Well, the list of favourite Bengali films especially for a Filmophile like me is never ending I guess. One movie comes up after another and so on !
CONTENT AND IMAGE SOURCE : GOOGLE
@bongboyblog @banglanotebook
And @sonecta
P.S : As the Content and Images are taken from various websites so, it is not possible to attach their sources.
Whoa that's quite a long but interesting post. 😲😅
FIRS LOOK!!!!!
I’M CRYING!
I wasn’t even a half second in and I started laughing.
the number of different levels this joke plays out on here is genuinely impressive and this is amazing
ngl, I am sitting in tears of joy. My childhood is back and it is being done right
oh my god this is awesome. also PLEASE BRING BACK FREAKAZOID NEXT :D
my notion of time while quarantined is like this. I can’t believe it’s october already
You ever invite your coworker to watch you give birth just to spite a racist
Okay howmst the fuck has a ship doctor in the far future never handled a birth without the father present? Are sperm donors and gay couples and trans women no longer a thing in the bajillionth century CE?? :/
I while understand the frustration with erasure sometimes it helps to look at things through the cultural context of when something was made. Star Trek the Next Generation was made in 1987, this particular episode I believe aired in 1988 a time when a future where the husband was always present for the birth would have been amazing to many of the people watching the show as men had only been allowed to be present for the birth of their children for 10/15ish years at that point in the US.
Women (and many men) fought for decades with hospitals to even have men allowed in the delivery room during the early stages of labor, which can last for several hours, and hospitals only began to give in to their requests in the 1960s but even then they would be kicked out of the room by hospital staff before the actual birth took place. So many of the couples watching the show would have had to go through labor without having/being allowed to support their spouse regardless of their wishes. Having the child’s father present for the birth only began to happen in the 1970s and 1980s. Which means most people watching this show either went through birth without the support of their spouse, were not allowed to support their spouse during the birth of their child, or their own mother’s went through that during their birth.
A future where the husbands were always present for the birth was still a little crazy to consider in the late 1980s. A good kind of crazy for the people living in that time, it showed a future where the wishes of the couple were finally consistently listened to by medical professionals as a result of the actions of people during their or their parent’s lifetimes. And it does that by also subverting it in allowing Data to step into the role of the father when the father was unknown and/or unwilling/unable to fill that role (I’ll be honest my knowledge of Next Gen is a bit spotty and I have not seen this whole episode, just a piece of it at family Thanksgiving). The woman’s desires as to how she would give birth are listened to and respected, something that still doesn’t happen in many hospitals now and would have been seen as even more revolutionary then. So while it isn’t perfect I think this scene was actually fairly impressive for its time and cultural context and shows a future that many people of that time would have seen as ideal.
I think this kind of contextual understanding and analysis is really important because things that look antiquated now were revolutionary then. I remember reading that the mini skirts in Star Trek TOS were legot just in fashion (about 64’ ish), one of the actresses (the one that played Rand) requested they be in the show and both her and Nichelle Nichols said they didn’t see them as demeaning but liberating in that time and context. Where as NOW it looks like ‘sexy male gaze’ but then it wasn’t.
Miniskirts are comfortable and easy to move in - unlike longer bulkier skirts, which had previously been required for “modesty.” And unlike the approach of “we’ll just put them in pants,” miniskirts made a statement that women crew-members weren’t being treated like men. Miniskirts were a way to say “I can be an attractive woman, wear comfortable clothes, and still look professional and do a serious job.”
The clothing for that message today would be different.
I think one thing that a lot of Addams Family fans forget is that for the family, goth wasn’t about being gloomy and sad or bitter and cynical at all. Morticia was always gazing out at rainy days and declaring, “how beautiful a day it is!” or saying that “black is so much more cheerful!” because they found joy in their dark aesthetic. Wednesday was curious and sharp-minded and very clearly exercised and expressed her personal sense of power and self through things like her interest in weaponry and true crime - in the original series and comics, she was always dancing and playing with her brother. Edgy Wednesday didn’t happen until the 90s reboot, and well, it was the 90s. Gloomy grunge and artful sadness were in at the time. And let’s not even talk about Gomez, who was so full of life and love for his family that he’d often break into song or dip Morticia in the kitchen for an old-fashioned kiss. The Addams worked so well because they were healthy, happy, loving and goth. They were a perfect example of indulging in an aesthetic without letting it become toxic or consuming their lives.
I will repeat this on every Addams Family post until the day I die:
The central joke of the Addams family isn’t that they’re dark and weird, it’s that everyone else is hung on on how dark and weird they are despite them being the only happy functioning family unit on screen.
Can I get a *snap*snap*?
aang: we have fun, don't we zuko?
zuko: i've never been more stressed out in my entire life.
Episode: s03e13, The Firebending Masters
Literally finishing LOK for the first time, and the one question on my mind is:
Where in the world does Verrick’s wedding take place? There was snow, and it was snowing, but then Korra is looking at Republic City.
This makes no sense. I hate this.
This whole series was a mess, but nothing more than the logistics of this wedding.
air temple island, and are you telling me VARRICK wouldn’t be that guy who’s like “But what if I just import snow and hire some guy to drop it slowly over the whole thing?”
My bigger question is why Varrick, of the water tribe, proposed with a ring instead of a necklace.
And why Zhu Li wears the kind of standard white dress you’d expect to see at a culturally western wedding.
See my recent post about why white wedding clothes in the fire nation make zero sense, and follow-up post on a possible explanation that has absolutely nothing to do with why WE wear white at weddings.
But seriously, people today wear white wedding dresses because queen victoria did and everyone wanted to copy her. So the fact that all these high fantasy/historical fiction/some place that ISN’T our post-1840 post-globalization society tv shows and movies have the bride wearing a white dress makes no real sense.
If anything, red or blue dresses (depending on whether a story is set in a more eastern or more western culture) would be a lot more accurate.
But NO, creators have to make their fictional wedding look like weddings the viewers may have seen, even if it makes no sense in terms of worldbuilding
Like, you know what’d be cool? Watching a wedding in a movie or show that is absolutely nothing like anything i’ve ever seen before. Plenty of books do this.
Creators, we’re not stupid, we can understand that what we’re watching is a wedding even if you don’t do the whole white dress fantasy, okay?
That smile at the end? Priceless...
N I C E
@corixr
I grew up with circus people. I wish I found this impressive. I really do wish I still found wonder in juggling. My husband juggles too. My mom juggles. Most people I know juggle. It loses its majesty when you’re trying to watch TV and these clowns out of makeup (literally) are tossing ingredients for dinner around like they’re the dwarves from The Hobbit. Can you pass the salt? No. They can only throw it. You want something, it gets thrown at you. And guess what, it doesn’t matter if you’re a decent contortionist and a great dancer, if you don’t have hand-eye coordination, sorry, you ruin the whole rhythm of the household. But they don’t let you just live. They don’t say oh that’s fine you can walk a tightrope and bend backwards while making a flower with your hands. No. It’s always ‘do your hand like this’ and ‘watch my hand’. Well, guess what Tommy, I have been doing my hand like that since I was three and i still have no chance of getting into clown college. I’m going to become a researcher mom. i’m leaving the circus to go work in a cubicle. now my mom doesn’t speak to me and my husband goes out to do his rollerskate juggling thing without me and that’s just fine. i like computers, mom. i like talking to people without trying to balance things on my face while i do it. and there’s nothing wrong with that.
Idk how we got here but I support you 100 fucking percent
middle-aged white woman who’s entire personality is Liking Harry Potter vs. middle-aged white man who’s entire personality is Liking Star Wars: fight
They’re dating and calling me slurs on Twitter
they also have a tinder where they beg for threesomes
Anna Karenina & Alexei Vronsky in Anna Karenina. Vronsky story (tv mini-series, Russia, 2017)
#men undressing women: [drakeNO.jpg]#men assisting in dressing women: [drakeYES.jpg]#he’s really concentrating in getting those laces sitting right#what a good boy#anna karenina: vronsky’s story#gif harrietvane
On of the things that I learned in high school, which was just one of those facts that was just kind of like, “Yeah?” but is also one of those facts that you rarely see represented, that it does sort of startle into this idea of “wait, is that right.” Men absolutely helped their wives and lovers dress, especially in times when dress had become complicated enough that women could not get dressed alone (ties and buttons that had to fasten in the back for one reason or another, for example). If a woman didn’t have a servant to help her dress, and most women did not, it was the job of her husband once she was married.
This leads to the interesting trope of a husband discovering his wife’s lover’s handiwork, for example in this 1840 illustration from Paris le Soir. The caption reads: “That’s funny! This morning I made a knot in this lace, and tonight there’s a bow!“
I got about 2/3 of the way through an Old Guard rewatch last night and want to give the director, Gina Prince-Bythewood, kudos for something a lot of films fail to do.
Not only are we TOLD characters are “the best” at what they do, she SHOWS us.
Way too often I’ve noticed mainstream movies tell us that a character is good at something and then every time we see them do it, something goes wrong or they suck at it. The most heinous example of this in my recent memory is Guardians of the Galaxy 1, where we’re told over and over that Gamora is this amazing fighter, feared across the galaxy, and then she proceeds to lose. Every. Single. Fight. that she is in during her character introduction.
In contrast, we are told by Copley that the Old Guard are the best in the business, and then we see them absolutely slaughter the men who ambushed them, not just by virtue of their healing super powers to shrug off wounds, but with terrifying skill, switching between weapons, conserving ammo, using blades until they get another gun. They mop the floor with those guys.
Even more so, on the rewatch I got a good reminder of how terrifyingly competent Andy is. It’s heavily implied that she lost her healing power before the fight in the church, since she takes the stab wound early on and it doesn’t heal. That means that entire fight against two dozen heavily armed soldiers with body armor and automatic weapons is without her having any healing powers to give her an advantage, and she just tears through them. When Booker says she has forgotten more ways to kill than armies ever learn, it’s not empty bravado, we don’t rely on him to tell us she’s good and then watch her lose a bunch of fights so we can advance the plot, nope, we are given evidence of this claim.
And this is, btw, an excellent reminder for writers in general, not to fall into the trap of just saying someone is a good fighter, not showing them win a fight, but going immediately to them losing one to advance your story. It undermines your narrative when evidence doesn’t back up grandiose claims made in dialogue.