24601. @thetreesarefullofstarlight - Tumblr Blog

He doesn't say the things he should He acts the way he thinks he should But all the same I'll play this game His way. As long as he needs me I know where I must be I'll cling on steadfastly As long as he needs me As long as life is long I'll love him, right or wrong And somehow I'll be strong As long as he needs me

typewriter-worries

The New York Times did a piece titled 100 Small Acts of Love and these are some of my favorites 💕

cometomecosette

Les Misérables" musical character interpretations: Madame Thénardier

Here are the four main musical characterizations I've seen of a nasty woman we all love to hate.

Whenever I want to shorten her name, I've used "Thénardiess," Charles Wilbour's translation of Hugo's "la Thénardier" ("the Thénardier woman").

The Giantess

This boisterous, imposing Mme. Thénardier embodies Hugo’s description of the character as a “mastodon,” who “swore splendidly” and could crack nuts with her fist. She’s typically a very large, masculine-looking woman, with a gruff, booming voice, but regardless of what she looks or sounds like, her personality is larger-than-life. She’s loud, coarse, money-grubbing, hard-drinking, and fun-loving, yet with a monstrous temper. Her abuse of Cosette is ferocious: while her bellowing might get laughs just for being so over-the-top, they won’t laugh at the way she grabs, shoves, and threatens to beat the little girl. But apart from this, she tends to be the more comical Thénardier spouse compared to her slimier, more sinister husband, and she gleefully hams up all her comic business: faking sobs at the news of Fantine’s death and over her fake baby in “The Robbery,” slapstick at the wedding, etc. Yet broadly funny though she is, she isn’t stupid. It varies whether she comes across as her husband’s equal partner in crime or a the real “brains of the outfit,” but either way, her brutish exterior hides a scheming mind, and though she bickers nonstop with Thénardier, he couldn’t get by without her. At any rate, he won’t dominate her; this Thénardiess is indominable.

The Witch

This Mme. Thénardier is less physically imposing than the Giantess, but she’s arguably more sinister. She tends to be thin, angular, and bony, and she likely has big teeth with a gap or two in them. Physically, she’s all sharp edges, more like a stereotypical witch (hence her name) than like Hugo’s “ogress.” Those sharp edges extend into her personality too. Where the Giantess tends to be the more comical of the Thénardiers while her husband has a darker edge, the Witch is the more serious and blatantly ruthless of the two: the embodiment of the villainy her husband hides behind his amiable façade. Her humor is sarcastic and bitter, and while her abuse of Cosette is probably less loud than other Mme. Thénardiers’, it’s more venomous, without playing any lines for laughs. Whether she comes across as her husband’s equal partner in crime or as the one in charge will depend on the portrayal of her husband, but either way, she’s at least just as cunning as he is and likely more so. It’s also likely that within her sharp, sinister demeanor, there’s a hint of mental instability. If the novel’s version of Éponine were to live to middle age, marry a man she didn’t love, and become much less sympathetic, she would probably resemble this version of her mother.

The Oppressed Oppressor

While still a comic character and still a villain, this Mme. Thénardier is more sympathetic than others. While the Giantess best captures the grotesque and brutal qualities of Hugo’s character, this one captures her pathetic aspects. Like Hugo’s Thénardiess, this one is dominated by her more cunning husband, and he treats her shabbily. Throughout “Master of the House,” he’ll be shown treating her more like a servant than a wife, and when Valjean arrives, Thénardier will direct her every move: when to feign tears, when to stop, when to fish for more money, when to stop so as not to seem greedy, etc. It’s clear that she’s both bitter and utterly exhausted by this life. Yet at the same time, she might convey unrequited love for her husband. (Foreshadowing her daughter’s plight?) During “Master of the House” she might genuinely try to attract him, only for him to repulse her and flirt with younger women. Thus, her string of insults toward him stems from weariness and hurt, and she makes it comical as a coping mechanism. Of course, none of this can excuse her treatment of Cosette (who clearly serves as an outlet for her general frustration), or her willing role in all her husband’s schemes. But whether we like her or not, we understand where she’s coming from.

The Fallen Beauty

This Mme. Thénardier is very, very different from Hugo’s character, but within the musical, she can be effective. This Thénardiess is neither a brute nor a frump, but a sensual and reasonably attractive woman. Yes, she’s aging, blowsy, and mean, with a gaudy fashion sense, but she was clearly a beauty in her youth, still has charms, and knows it. She specializes in flirting and seducing men to pick their pockets or manipulate her way out of trouble. We’ll see her do this successfully with at least one inn customer during “Master of the House” and later attempt it, not so successfully, with Valjean and Javert too. And the same erotic hold she has over the drunks at the inn she also has over her husband, enhanced by the fact that she’s smarter than he is. While in front of others she lets him talk more and pretend to be in charge, she’s unquestionably the true “master of the house.” Both she and Thénardier enjoy this arrangement. The insults she aims at him are playful: though his blundering exasperates her, she really is happily married. As for the rest of her demeanor, she sometimes shows a temper, but in general she’s an understated schemer, with a distinctly dry, deadpan sense of humor. Hugo’s Thénardiess she’s not, but she’s an interesting comic character in her own right.

oldbookist

other than that cosette how was your wedding night

tiktoksthataregood-ish

friendraichu

headspace-hotel

I missed the last one entirely because I was too focused on “weak jeans”

hey mom wjat

I ACTUALLY KNOW EXACTLY HOW THIS HAPPENED.

When typing up the instructions, the pharmacist or technician was probably using shorthand in the computer, which automatically translates into text a patient can understand. The shorthand for this would have originally been ‘2 pfs po q4h prn hs’, where ‘prn’ stands for ‘as needed’. And there was a typo, so ‘prn’ became ‘pr’, which stands for ‘per rectum’ (aka rectally). I’ve done this myself on accident with ‘diabetes’ (DIAB) and ‘diarrhea’ (DIA), as well as prn and pr.

…And that was your medical jargon lesson for the day, kiddies.

the-witch-maker-deactivated2021

ubuyo

lizzibennet

wow!!!!!!!!!! WHO could have EVER seen this coming

lizzibennet

Please make the purge happen for like 15 mins so i can have 15 mins of unsupervised unlimited violence with kim kardashian i am SURE it would tilt the world back into place make the stars realign etc and it would also make me very happy

aliitvodeson

#can’t believe I’m defending this#but it’s a dress it’s meant to be worn???#I get it’s historic but 🤷🏽‍♀️🤷🏽‍♀️🤷🏽‍♀️

Sure a dress is meant to be worn, BUT- this dress fundamentally wasn’t meant to be worn by Kim. The dress DID NOT FIT HER. The whole stylization of this dress was about how it was form fitting, skin tight, literally sewed around Marilyn’s body

Kim has a DIFFERENT bodyshape than Marilyn. That’s what those rips and stretched out areas on the dress are from - the dress didn’t fit Kim. It was stretched, it’s been torn, because it fundamentally DIDNT fit her

lizzibennet

also- this isn’t JUST a dress, it’s a piece of history. You don’t see people taking out 18th century garments from museums to go to the grocery store for a simple reason: the garments would fall apart. These are not simply clothes, they are definitely not “meant to be worn”, it is a SIXTY year old irreplaceable part of the canon of western icons. To lose a piece of history to such a stupid vain reason is simply unacceptable. Which is what kim k did: she wore this for 5 mins and damaged it irreparably and then… changed into a replica. Why wear it??? Why not just go with the replica from the get go??? This diminished this dress’s life SIGNIFICANTLY, it’s going to last MANY years less now because of kim k’s vanity project. If this was a mass produced dress, if it was not a delicate, precious literal part of a museum collection, that would be one thing- i myself have garments that are OLDER than 1962 that i wear constantly and within reason they are definitely wearable, but i also have a 70’s dress (so actually quite a bit younger than marilyn’s dress) that has a tear so i never wear it and won’t until i can fix it because it’s an irreplaceable thing that i value very much and i’m not fucking stupid. AND it’s not a super important cultural icon!!! it’s literally just a mass produced dress!! To be SO reckless with a delicate piece for no good reason is to disrespect the tireless work that has gone and goes to keep garments like this and obviously also to disrespect marilyn’s memory seen as she was the last person to wear this dress. She was already so disrespected in life, not even posthumously will people let her fucking rest

oohsnickers

curliestofcrowns

I’ve been thinking about this daily since it crossed my dash

impling

little mans is 100% correct.

animatedamerican

I'm gonna put I AM BRAVE OF THIS MEETING on my cubicle wall at work and never explain it.

vintageblr

AUDREY HEPBURN as ELIZA DOOLITTLE MY FAIR LADY (1964) dir. George Cukor

radiofreederry

ramnamsatyahai-deactivated20210

3itchcraft

She is soggy

transmascmoss

Oh shes so good at that

gotterhag

Riveting performance

daughter-of-sapph0

the little jog in place to get hyped up before drinking! perfection!

ashstfu

“are you sure you want to unsubscribe?” no i just scrolled to the bottom of the email and clicked the link just for the thrill of opening another tab

cutiesncantrips

I’m the polar opposite of anti-maskers, in that no matter how low the risk of transmitting a disease in the future, I will be wearing a mask. It’s just a part of my going out clothes now.

Am I sick? Am I dysphoric? Am I trying to avoid the facial recognition technology of the dystopic modern age? None of your business, keep your distance.