it’ll pass

anna, 18, uk why don’t you watch fleabag for the 1000th fucking time and maybe you’ll calm down likes and follows from annaskareninas!!

[thisisal0vestory]

I am. so sad

[thisisal0vestory]

guys he watches hannibal. he’s the one

[thisisal0vestory]

guys I just watched a screening of the stage show of fleabag and I am absolutely utterly emotionally destroyed. would definitely recommend

[annaskareninas]

i just finished the haunting of bly manor (literally, just finished it) so i’m going to write up some of my #thoughts on it. major spoiler alert for, like, the entire series.

ok so firstly this show literally broke me in a way that i was not expecting. hill house was one of the best things i have ever watched and i doubted a show could move me like that again but bly manor came close. the ending was absolutely devastating but so beautiful.

in my opinion it wasn’t as good as hill house. i felt that there wasn’t as much structure to the plot and it didn’t tie up as satisfyingly as i would have liked. specifically the scene at the beginning of episode nine, when dani rescues flora from the lady of the lake - to me that felt much too rushed and too fast, especially given the build up to the scene (being forced to wait during ep. 8). other parts felt too long: i absolutely adored episode eight and it was probably my favourite episode of the show (love you kate siegel) but honestly it could have been condensed down into half that time or interspersed with present day scenes. also the majority of episode nine, with jamie and dani’s life, was beautiful but again felt too long. it felt like two or three episodes were spent building up to a scene which lasted for like five minutes, and then the rest of the episode was a little disappointing in terms of that. 

the actual ending itself with the grown-up wedding scene confused me and i actually had to look up what was going on afterwards to understand it. although a nice idea there is not much resemblance between jamie and the narrator and since we don’t tend to literally shapeshift when we get old i wasn’t a fan of that decision. also replacing flora’s accent entirely seemed tenuous to me but that’s just a small detail. the very last scene though, once i realised who the narrator was, i thought was beautiful. the fact that dani was staying with jamie in a gentle way, only appearing when she slept, sparing her the haunting she had received from edmund, i really liked that detail and i thought it was the perfect ending. unfortunately, i didn’t feel that enough closure was given to the rebecca+peter storyline. they were the main focus of the show for like seven episodes and it seemed random to suddenly shift the focus to viola and then not give them a proper ending past them just sort of disappearing. that to me felt less satisfying.

for me, the stand-out star of the show was t’nia miller as hannah, and episode five probably the best. i spent much of it deeply confused as to what was going on (in a good way), until the realisation partway through that she was dead all along hit and i thought that was such an incredible twist. by far that episode was the best, twisting together hers and rebeccas and peters storyline - i thought it was cleverly made and close on a masterpiece.

the acting was obviously incredible. as well as t’nia, victoria pedretti was as incredible and beautiful as ever, and i also felt deeply touched by katie siegel’s viola. the child actors were amazing, especially miles when possessed by peter quint i found to be quite frightening. unfortunately the accents were a bit hit or miss, especially the narrator’s. i know they were casting people who had already appeared in hill house but carla just did not body that role, and i think an actual brit would have done a better job of such a voice-heavy role. also minor complaints as a brit it felt very much written by americans with americanisms in the dialogue etc. but thats really a minor point. other than that the writing and acting was really very good and convincing.

in terms of the horror, i was let down. after the true fear hill house’s bent-neck lady inspired in me, i was hoping for something just as good from bly, but i just did not find it scary at all. maybe the faceless ghosts were a little creepy, but definitely not scary. i found that as emotional as it was, without the fear to balance it out the feelings didn’t hit quite as hard as they did in hill house. 

overall, like hill house, the whole show seemed to be about letting go, of grief and loss. i also think it’s about forgetting: good forgetting, like forgetting the pain of losing a loved one and moving on, and bad forgetting, like what happened to the ghosts of bly. i felt that this theme shone through in the second half of the show, introduced by the death of owen’s mother to dementia. again like hill house, memory is a big theme, with the flashbacks and forwards, which in bly manor were sometimes so extreme i couldn’t quite tell where in the timeline we were. i think it represents a slower kind of grief than hill house does - not the sudden, awful, traumatic kind, but the slow, painful loss, such as that of jamie and dani, living their lives but always knowing that it wouldn’t last, and that of owen losing his mother to dementia. and in the ghosts: the loss of forgetting and the loss of being forgotten. who cares about the lack of jumpscares, when that, in itself, is terrifying.

[thisisal0vestory]

this is just me on my other blog oops anyway i have way more followers on here sooooo if u have watched bly manor send me an ask and tell me what u thought i want to #discuss

[thisisal0vestory]

someone recommend me good horror movies!!! I will <3 you forever

[nessa007]

#two iconic queens breaking the fourth wall Fleabag (2016 - 2019) Enola Holmes (2020)

[annaskareninas]

https://gf.me/u/ykjcmz

uk people please donate here to help fund the british blm protests!! they need donations more than ever now that most people have stopped sharing on social media. if you can’t donate, please reblog and boost this? <3 thanks x

All Black Lives UK - Protests, organized by All Black Lives UK

Injustice and inequality has plagued the lives of black people for over hundreds of y… All Black Lives UK needs your support for All Black L

[thisisal0vestory]

hello!! its been like 4 months since I first watched fleabag and yet I still rewatch it like once a week?? help meee!!! does the urge to rewatch it ever stop lol

no i can say it does not ever stop :,) honestly it’s just such a good show like not only is it so sweet and sad but it’s so freaking funny i can practically quote whole episodes at this point. it’s just my comfort show i love it so much <3 but once you go fleabag you never go back and you know what that’s not a bad thing!

[thisisal0vestory]

i didn’t realise that I’ve actually amassed a fair few followers on this account (somehow) and yet never talked to anyone SO fellow fleabag lovers if you’re seeing this drop me an ask tell me how you’re doing let’s all be friends!! <3

[ava-deb]

8K CELEBRATION ☆ FAVORITE SHOWS (as voted by my followers)

8. FLEABAG— It’s God, isn’t it?

[limitedseries]

1.01 | 2.06

[shangschis]

[chalamet]

This is a love story.

FLEABAG: Series 2, Episode 1 (2019)

[userengy]

FLEABAG — 2.06

[sapphicute]

fleabag icons.

twitter: sapphicute

[wearevillaneve]

Sandra Oh’s Struggle to Be Seen and Heard on Killing Eve (part one)

If you have not read @mini-oddity​‘s post on Sandra Oh and Kerry Washington’s interview for Variety’s “Actors-on-Actors” series, stop whatever you’re doing and GO WATCH THE VIDEO and then READ mini-oddity’s ESSAY.    You will be both educated and entertained.  

But before that, watch the video with Killing Eve executive producer and the real Big Boss, Sally Woodward-Gentle and see if what she says about the all-White writers room doesn’t sound like every CEO of a Fortune 500 company who only just noticed there’s no PoC’s (People of Color) in the boardroom.  

Sally has just now realized, “Hey!  Where’s all the other Asians and Blacks and Latinos and Indians and other PoC’s?  We gotta do somethin’ about this!”    That’s nice, SWG, but it isn’t nice enough. There was a follow-up question begging to be be answered, but the Moderator didn’t ask it.   “Why has it taken so long?  You have been the senior Executive Producer of Killing Eve for three years.  Why did  it take this long for a lack of diversity and inclusion for People of Color in the writer’s room to become an issue?” I would have liked to see how Sally Woodward-Gentle answered that question.  They can find a Black playwright to deliver the official Killing Eve celebration of Juneteenth, but can’t find any Black or Latino or Asians writers for the show?

Hiring a Korean-American lead actress is nice.  So is hiring a few other Asians like The Ghost or a few other Blacks like Elena, Jess, Jaime and Audrey or an Indian actor like Moe.   But if you give them nothing to do or they disappear and are never referred to again or have no impact upon the story, what is the point?  All you’ve done is checked off a box. Sandra Oh is well aware of how this is playing out and for the first time, she’s going public with her isolation. “Being the sole Asian person is a very familiar place for me,” the Canadian-American told Kerry Washington as part of Variety magazine’s Actors on Actors series. “The UK, I’m not afraid to say, is behind. I’m not only the only Asian person on set – sometimes it changes, [it’s] very exciting when someone comes on set.” She continued: “The development of people behind the camera is very slow in the UK. I don’t know about the rest of Europe. Sometimes it would be me and 75 white people and I have not come from that. “I have not come from that in my film career, which has been much more independent, mostly working with women and women of colour. And my relationship with television – and in the United States – hasn’t necessarily been all white.” I’ve got to tell you. Even more than that, I think being the only American on that set [for Killing Eve], in Europe, informed me more than the physicality. I’ve not even really talked about this, but there is something about constantly feeling like the observer or the outsider.”

When the star of your show feels like “the observer or the outsider” on her own show, this is highly problematic, and if Sandra is aware of this, why isn’t Sally?

This is in part because while Sandra is used to working on a production she sees others who look like her and the ones who don’t look like her aren’t all-White.   Sally is used to an entirely different circumstance where everyone is all-White and that looks “normal.”  Go somewhere where you’re the only White person in the room full of Asians or Blacks and you’ll start to figure it out how it feels.  What looks normal to you is abnormal and uncomfortable to someone else, but you can’t even see it.   Not until you’re the one made uncomfortable.

The Killing Eve fandom does not want to consider that race matters even in their casual entertainment, but they are being forced to recognize they can’t avoid it any longer.   As soon as Phoebe Waller-Bridge made the monumental choice to take Luke Jennings’ source material and shift the emphasis from Code Name: Villanelle to Killing Eve and the lead role to an Korean American actress, she opened the door and shoved an elephant in the room. Race.  That’s the proverbial elephant in the room and how monochromatic the making of Killing Eve has been for three whole-ass years.   It wasn’t until the third season where it became undeniable that the emergence of Villanelle, Carolyn and Konstantin’s import came via the reduction Eve’s story and screen time.

Think about how much we learned about Villanelle’s family.  We had an entire episode of it then we got more on Carolyn’s family, and Konstantin’s family.   Even Niko’s triflin ass had a family member show up.

But where’s Eve’s family moment in Season 3?    She doesn’t have any because not one of the writers considered it important enough to give Eve any family. 

Most of the fandom are discovering to their sorrow the same thing Sally Woodward-Gentle is discovering: there are no exceptions from creating a more welcoming and nurturing environment that prioritizes the race make-up of the writers room as much as it does gender and sexuality.     

You don’t get a cookie for doing the right thing.  You do it because it is the right thing to do. Saying you are going to do better is one thing.  Doing better is another, and I am not going to applaud Ms. Woodward-Gentle’s sudden interest in providing opportunities for people who don’t look like her until she actually DOES IT.   James Baldwin said, “I can’t believe what you say because I see what you do.”   Sally says she has seen the light.   Whoopie-damn-do.  Now back up the big words with bigger deeds.  It may not be easy but unless the KE heads do the work to creating a work environment where the Asian lead isn’t talking shit about being the only Asian at all, it’s just talk.   Do the work.  

[svsspiria]

Le Fabuleux Destin d'Amélie Poulain (2001)

Fleabag (2016-2019)