#and concise

[nuatthebeach]

eternal sunshine has better lyricism than the majority of tortured poets there i said it

[theterriblepoll]

Rejection Sickness should glow up Omegas and crash out Alphas

Or

Intersexuality as the norm is a new (good) thing in omegaverse fic

Or

Stop overlooking glaring social/gender impacts

Or

Non-Puritan-Protestant Omegaverse society

[noramachwitz]

also as always druck did what they always do pretty well: let background stories happen without taking away from matteo

we had that little abdi/sam conversation, we saw hanna watching jonas as a continuation to what they’ve been doing all season and none of that felt as if it was distracting from matteo’s story

[kaneshiro-takeshi]

i’ve been practicing my writing again both in my mother tongue and in english for this job i’m applying. it’s much harder to write in my mother tongue tbh.

[helshades]

Please stop trying to make movies out of Madame Bovary. I really don’t know why so many filmmakers have this obviously irresistible attraction towards the well-known 1856 French classic but it has to cease, and cease now.

I’ve just been subjected to—alright, by myself, but this has nothing to do with the subject that occupies us—to the latest adaptation to date, mysteriously shot in English with British and American actors and an even more puzzling French one, though written and filmed by a Frenchperson.

This being the fifth film in which Mia Wasikowska is posturing an anachronistic 19th-century waif with no facial expression whatsoever—I’m told this is called “underplaying” and very chic indeed—until Crimson Peak comes out, I’m led to the logical conclusion that Hollywood has finally found a replacement for Keira Knightley. Yes, I like Keira Knightley. No, I don’t think Keira Knightley is a bad actress. Don’t make me say what I didn’t.

A good reason to stop the disastrous attempts at adapting this classic story of a cretinous airhead who wished to live inside insipid novels for ignorant convent flowers would be that filmmakers have a risible tendency to forego completely Flaubert’s trademark ironie, which is absolutely fundamental to his style, and therefore a proper reading of his characters.

Emma Bovary is at once pathetic and ridiculous, and that’s the essence of the novel: she suffers genuinely, but it’s entirely her fault, because she’s stuffed herself with silly, egotistical ideas about the world that already are the luxury of an idle woman. It’s crucial not to forget that Flaubert defined his heroine as “a woman of false poetry and of false sentiments” and that he wrote into his novel this amazing sentence:

“She wanted to die, but she also wanted to live in Paris.”

Emma, as everybody knows, ends up topping herself, and if Flaubert famously describes the agony at length, it’s only to show what a waste of a life this has been, and how the reality can only crush Emma’s delusions of grandeur.

On the other hand, what he doesn’t show is the wedding night, which won’t be the case of Flaubert’s disciple Maupassant in his 1883 homage Une Vie, an actual indictment of unhappy marriage for which a feminist reading wouldn’t go amiss. Madame Bovary isn’t the poignant story of a woman who was forced to marry a brute but one of a selfish little provincial with superficial aspirations to a life of bling and luxury, and destroys three lives in the process. It would take a certain dose of courage to adapt this character without compromising.

[eatle]

serious question time

what should i name my leafeon?