All panic and no disco.

[hedonisticacademia-deactivated2]

library book return dates

[lettersfromthelighthouse]

I had decided to not study history, but historians. I suppose my interest came from the sense of groundlessness I’d felt since learning about the Holocaust and the civil rights movement – since realizing that what a person knows about the past is limited, and will always be limited, to what they are told by others. I knew what it was to have a misconception corrected – a misconception of such magnitude that shifting it shifted the world. Now I needed to understand how the great gatekeepers of history had come to terms with their own ignorance and partiality. I thought if I could accept that what they had written was not absolute but was the result of a biased process of conversation and revision, maybe I could reconcile myself with the fact that the history most people agreed upon was not the history I had been taught. Dad could be wrong, and the great historians Carlyle and Macaulay and Trevelyan could be wrong, but from the ashes of their dispute I could construct a world to live in. In knowing the ground was not ground at all, I hoped I could stand on it.

Tara Westover, Educated (2018)

[seashellronan]

half of me is a hopeless romantic and the other half is just hopeless

[stanleykubricky-deactivated2026]

me when i’m in a goddamn bitch of an unsatisfactory situation:

[whyearth]

“I just need to rest my eyes” *falls asleep for 11 hours*

[gaysquaredwrites]

That scene from the Fleabag pilot where she and her sister are at a feminist seminar and the main speaker is on stage and asks “who here would trade 5 years of their life to have the ‘perfect’ body?”

And Fleabag and her sister immediately raise their hands, only to realize they’re the only ones who have amidst a sea of audience members, and just slowly put their hands back down, while Fleabag says, “we’re bad feminists...”

And you just....

Yeah. Yeah.

[megairea]

“Lips that Shakespeare taught to speak have whispered their secret in my ear. I have had the arms of Rosalind around me, and kissed Juliet on the mouth.”

— Oscar Wilde, The Picture of Dorian Gray, 1890.

[ruzekburgess]

But now you know there was a man named Jack Dawson and that he saved me, in every way that a person can be saved. I don’t even have a picture of him. He exists now only in my memory. Titanic (1997) dir. James Cameron

[stream]

Titanic (1997) dir. James Cameron

[mikewheely]

Iconic moments.

Fleabag, Series 2.

[neonprotagonist]

the story of orpheus and eurydice has been such potent and heartbreaking myth of tragedy for the past 2000 years and it has never lost even an iota of its impact and sense of loss. the very concept of orpheus literally going to the depths of hell and back to bring eurydice with him, only to be fearful of losing her in those final moments before they reach the surface and turning around and truly lose her, is a beautiful story. one of temptation, faith, love, and desperation. 

but with the newest popular retelling of the myth, hadestown, the whole story is put through an entirely new lens, and not only that, it offers some new, compelling elements to the myth. from the parallels between hades and persephone and orpheus and eurydice, to the relationship of the second couple, to the (mostly) modern setting, it sings the same old story again, and hits hard.

in some versions of the myth, eurydice dies before their marriage from anything to a snake bite to just illness, and in some she dies after theyre married, wandering around the woods. but in hadestown, she chooses to “die” (go to hadestown), out of desperation and fear of starvation. not only does this agency and choice give light to eurydice’s character, but it changes up the dynamic of orpheus and eurydice: orpheus is so lost in his music that he cant pay attention to the world around him, including eurydice, who tries her best to be patient and have faith, but is struggling because all those pretty songs he sings wont save them from the hellish winter to come. 

the modern setting changes (but still keeps the same in many ways) the underworld to a mining town, and the great depression era as the time period, while still holding onto the divine aspects of the story. this changes the story from one of simple lost love, to a tragedy caused by the punishing, merciless laws of capitalism. the absolutely uncanny coincidence of the song “why we build the wall” brings a layer that anais mitchell never meant to bring, but the effect is still the same.

i dont really know where i was going with this post, but i just wanted to talk about some stuff i had on my mind about this musical. i just love it a lot.

[hanari502]

I’m a simple woman. I find a song I like, I listen to it for three weeks uninterrupted until I find another one.

[rothko-stan]

[wreaths-of-myrtle-and-rose]

an incomplete list of things i will never forget from fleabag (2019)

-the priest’s face when he rips open the curtain of the confessional

-the symbolism of the golden statue and the way fleabag puts her chin on it in 2x06

-when the priest can’t reach the hidden alcohol and calls on god to help him and then it falls into his hands

-the priest laughing delightedly when the painting falls off the wall after fleabag says she’s an atheist vs. the pure terror on his face when the painting falls in the church

-when jake walks up to fleabag and very intensely says “tell her to leave him”

-when fleabag mixes up talking to us and talking to the priest and says “his beautiful neck” out loud

-the eye contact the priest makes with fleabag before he says “we’re going to have sex, aren’t we”

-THE FACT THAT THE PRIEST IS THE ONLY PERSON WHO CAN SEE THE FOURTH WALL BREAKS I WILL NEVER BE OVER THIS

-“where did you go?” “what?” “you just...went somewhere” (SCREAMS)

-when fleabag finds the priest drunk in the church and she glances toward us and he follows her gaze without saying anything (he says something every other time he catches her)

-“no one’s asked me a question in forty-five min-“ “so what do you do?”

-the entire scene with belinda at the bar

-when fleabag leaves her cafe in the care of the businessman and she comes back and he’s wearing the apron and then takes it with him

-“the only person i’d run through an airport for is you”

-“i love you.” “it’ll pass.”

-when she waves to us as she leaves

[evilovesyou]

ao3 // art

[meddlsome]

Me: I'm 17

Millenials: cool cool no doubt

Me: I was born in 2002

Millenials:

[hoziergf-deactivated20181219]

I always get so fucking mad when I remember that it’s actually a 16-year-old Algerian girl who influenced BOTH Picasso and Matisse. and. No one gives a rat’s ass about her work which was very focused on women and nature. History -or people dare I say- didn’t bother to remember her name because she was a young Algerian woman and no one cares about Maghrebi/Arab women. unlike P*casso & M*tisse who both became legends, almost gods both during their lives and after their deaths, no one knows her.

Her name was Baya Mahieddine.

[sapphic-giraffic]

This is some good stuff 👌🏻

[strawberreli]

Her name is Baya Mahieddine

[mtheghost-deactivated20200629]

Her name is Baya Mahieddine