kitschy-gillyflowers

Latest Posts by kitschy-gillyflowers

actually i am still thinking about dan goodman from next to normal. at some point during the course of the play, you start wondering why he isn't also still grieving his son in some way, since loss like that never really leaves you. when his solution to di's amnesia is to just not tell her about their son and his death, you think, oh, he's probably repressing his own grief and loss, likely because he's had to prioritize supporting his family.

but to get to the end and have him be the one to reveal gabe's name? that gabe's ghost stays with him and flips "i am the one" in such a chilling reprisal, to take the song about support and stability and flip it on the guy who's been trying to be an anchor in his family's life, to make it about gabe being the anchor the same unhealthy way he was for diane--and then to have "light" come back but it's moved onto dan and nat???? and gabe just lightly touching his sister's hand even though he isn't real and they've never met. when you're struggling, your whole support network struggles!!!!!!!

this musical!!!!!!!!!!!!!

A well written character has a pull to them. This pull is sometimes so strong that their writer can't defy it.

Mercedes is such a character. She lived most of her life thinking that Edmond was dead, she made peace with it, she built a new life around her. Her son was the outlet for her love and her reason to live.

She didn't hide her grief, she gave it a form, made a monument to it, and entrusted it to her son, thus letting it go in a way, but never letting it be forgotten.

It was the portrait of a young woman of five or six and twenty, with a dark complexion, and light and lustrous eyes, veiled beneath long lashes. She wore the picturesque costume of the Catalan fisherwomen, a red and black bodice, and golden pins in her hair. She was looking at the sea, and her form was outlined on the blue ocean and sky.

This portrait that hang in Albert's room shows us the Mercedes that still waited, still hoped, and still grieved.

The fact that she externalised her feelings in this way, with Fernand being aware of it, shows the journey that she went through. The journey that was her beginning, but that wasn't her entire life.

As we meet her 24 years after she lost Edmond, she is a sensitive, noble figure, a devoted mother, a good wife, an enviable hostess. She has a life that she built for herself while Fernand was away, making his fortune through his ill-bringing ways.

Maybe she wasn't happy, but she was content.

The Count appearing was for her like seeing a vengeful spirit rising from his grave. She grieved, she mourned him, she revered him, but it wasn't enough. He returned like a vampire cursed by god.

All that she knew was that he didn't see a true friend in her. She tried to appease him, but he didn't budge. Why? The Count didn't know what trust is after being betrayed by humanity.

He befriended her son, but then he wanted to kill him. She thought it was because of her, and when she found out it wasn't the case, she felt like she broke the curse. She stopped the Count from destroying what she loved most - her son - and she gained peace.

Her main motivation from then on was leaving everything that she had because of Fernand behind. Only her son by her side, she was finally forgiven by the heavens and herself.

It's a dignified conclusion for a dignified character.

Why couldn't she return to Edmond? Because he was dead. She grieved, she mourned him, she revered him. The Count was but a ghost of a man she once loved, as distant from Edmond as she was distant from the young woman in her old portrait.

Twenty four years is a long time. She loved Edmond who was open to the world, eager, and full of love himself. Maybe now she could love his opposite version, but for that he would have to show that he himself trusted her. Where there's no will, there's no way.

It's okay to pine for their relationship, but pushing them into it would take too much as they pull their own way. The Count pulls to fulfilling his destiny, while Mercedes wants to find peace. They have no place in which they meet.

two circuses both alike in dignity ??

Romeo and Juliet is great because you can literally just put them into any situation I love it

no you dont understand- that's a load-bearing plothole. if i remove it the whole story collapses

Earl Carpenter as Joe Gillis in the 2001 UK Tour of Sunset Boulevard

TBOSAS if it was from his pov

cudia rik changed me……….. final lair was so……🚬

"This story is a tragedy because it didn't have to end this way."

vs

"This story is a tragedy because it was always going to end this way."

Thinking about how Dan essentially lost his son and his wife on the same day.

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“do you know where you’ll be headed in 5 years?” no. but i do know about themes and motifs. and friendship. and putting garlic on everything

rip to everyone who has to read the count of monte cristo in english and is missing the nuances of when people use the formal vs informal you

i think dan and diana both “love [natalie] as much as [they] can” and dan does a better job of it and is very intentional with giving natalie time and attention but he’s almost too intentional with it, too obvious that “look at us! i’m giving you attention!” she knows she’s getting scraps, she knows her mom comes first, she’s getting what dan has left to give when her mom doesn’t need anything at the moment—she’s a distant second place to gabe in her mom’s mind and a slightly closer second place to her mom in her dad’s mind

I love that the seeds of the count are already in edmond long before the château d'if. edmond wasn't a sweet, innocent, naive boy. he was a hothead who challenged danglars to a duel over a disagreement on their journey, he's catty with carderousse who he knows is a greedy liar and he is angry and mean towards fernand whose feelings for mercédès he immediately recognises. the only thing that saves him is his love and unwavering belief in that love being returned. without the love of his father and mercédès, without the goodwill of morrel, edmond would already be a different person, a meaner person. edmond wasn't fundamentally changed during his time in prison- the foundation of the count was long there. but only once he was truly, undeniably wronged by these people, once he lost the love he had, only with the tools he was given by abbé faria, only then did he build the count on that foundation. but the foundation was already there.

it's always love that saves in tcomc, and a lack of love that destroys. valentine is saved through maximilen's love, albert through his mother's, haydée through the count's and the count through haydée's. it's a lack of love, an absence of loved ones, a failure to love that kills fernand, that drives villefort to madness, that nearly kills danglars, that kills caderousse.

beautiful princess uwe…

Thinking about Romeo killing himself through poison (more passive, "woman's weapon) Vs Juliet having to kill herself with a knife (more active, images of falling on your sword, typically masculine concepts)

"to get out of a reading slump you gotta start small with short books, something easy and quick to read" WRONG read the count of monte cristo and remember what joy feels like. read a thick-ass novel that makes you forget television is even a thing at all because you can't fathom anything could possibly be as entertaining as the 500k-word journey you're currently on. get addicted to reading again with a book that is the reading equivalent of crack, and fortuitously will continue feeding that addiction for the foreseeable future.

Rómeó és Júlia Textposts

i love you awful quality elisabeth 1992 backstage photos

Marjan Shaki, my beloved as Helene von Wittelsbach

Marjan only played in Elisabeth's Japan tour in Osaka (March to May 2007)

I finished The Count of Monte Cristo and all I can think about is the Eugénie Danglares and Louise D'armilly romance. What do you mean? Can someone tell me, is there already a fandom for this ship?

[p.s: spoilers] Furthermore, Dumas makes several references to Eugénie, the fact that she doesn't like men, that she is always paying attention to the beauty of other women in the plot (Haydée, for example), among several other conversations about women in the plot that are revealing. Let's be honest, she is compared to the Greco-Roman goddesses Diana (Artemis) and Minerva (Athena), she is compared to an Amazon too if I remember correctly.

They say she is very beautiful, but has something that is not at all feminine and acts in a way that is unusual for her "sex" to be. Her closeness to Louise is revealing. Eugénie is described as strong too (the opposite of Louise, who is described as being "very feminine" and "delicate").

But nothing could have prepared me for the ending, I thought it would remain just subtext, but it wasn't. I almost couldn't believe it when they have their happy ending. Like, Eugénie dresses "in men's clothes", looks even better in them than before, and jokes with Louise as if their complicit escape was similar to a very well-consummated "bride kidnapping"? Really?

I swear, I didn't expect that. And I loved it. And they are caught in the same hotel room, people gossip and talk badly about it (homophobia), and Eugénie despises the inconvenience of the gossip. But the important thing is that she and her beloved have a happy ending together.

And I was like: really? It's a book from 1846! They should be something like a queer icon, but I've never heard of them why??????

Their romance and that of Valentine and Maximilien were the only ones I liked in this book.

this is killing me sjdhdkjs the visual of just sitting around watching fountains while singing abt how elisabeth is gonna die one day and he’s gonna take her… just so perfect

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AITA for throwing my houseguest's shaving glass out the window?

For context I (don't worry about my age M) have a solicitor (22 M) currently staying at my home for business purposes. For for the purpose of this post I will call my solicitor J.

J arrived a few days ago now and has been very well behaved staying in a small section of my home and being more then willing to answer any of my questions about the purchase and his fascinating home country (England).

This morning I went to visit him in his quarters to let him know breakfast was ready when I walked on him shaving. Now for personal medical reasons I will not discuss here have banned all mirrors and reflective objects from my home. It appeared through Johnathan brought his own mirror though. I accidentally startled him when I entered and he cut himself while shaving which set off my prior mentioned medical issues. This resulted in my lunching at him but I didn't actually touch him so it is no matter.

Now here is where I may be the asshole. Once I had collected my self I throw his mirror out the window and down a cliff face into the forest below. It was pure impulse. I played it off as taking revenge on it for making him cut him self and called it "a foul bauble of man's vanity". We moved on from the incident quickly but now J looks a bit uncomfortable around me.

I feel it should have been obvious from the lack of reflective surfaces in my home that mirrors are not allowed, but I technically never said it. I only told him not to go into locked rooms or fall asleep outside of his room. But who even brings a mirror with them when they travel? Anyway what do you all think, was I am asshole but tossing him mirror or just taking care of my self because of my medical issues?