And they lived happily ever after.
Here's the final chapter of The Man Who Shot Arthur Morgan
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THE TERROR ▸ 1.09 the c, the c, the open c
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i like to pretend i already died and asked god to send me back to earth so i can swim in lakes again and see mountains and get my heart broken and love my friends and cry so hard in the bathroom and go grocery shopping 1,000 more times. and that i promised i would never forget the miracle of being here
Encyclopedia of an Ordinary Life, Amy Krouse Rosenthal
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A man who ate my bread. A man I raised from nothing. A man I loved. Yes, I loved him. BECKET (1964)
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[[breathes deeply]] I’vejustseenafaceIcan’tforgetthetimeorplacewherewejustmet,she’sjustthegirlformeandIwantalltheworldtosee we’ve met
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Art trade with @lorbalith of some sweet, sweet Bagginshield ~
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I don’t need love. It’s like a superpower.
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the whole "omg i'd be so anxious and embarrassed to eat at a restaurant/go to the movies/go to a concert ALONE" thing is so pathetic to me. like literally what are you doing with your life? just rotting in bed when you don't have a chaperone? i love doing stuff alone....it's genuinely refreshing to just read your book and eat a meal at the bar or go to the movies or a show without worrying whether the person you're with is having a good time....
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watch this. this is literally what love is.
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Snoopadoop the cockapoo, noblest of hounds
“The party from Uppercross passing down by the now deserted and melancholy looking rooms, and still descending, soon found themselves on the sea-shore; and lingering only, as all must linger and gaze on a first return to the sea, who ever deserve to look on it at all …”
- Persuasion, volume 1, chapter 11, Jane Austen
In addition to the excellent writing of this adaptation, the framing of this shot is amazing. Wentworth and Anne are as far apart as they can possibly be while still being in the shot, but they are also the only two figures in darker clothing, with the others blending in more with the rocks in terms of colors. The distance between them starts to erode after this point in the story as well, so this is a visual representation of how they remain connected no matter how much physical space they keep between them.
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In the early 1930s, scholarly studies were done on the impact of screen stars on teenagers, because of fears that the movies were sexualizing them. These studies found that teenage girls learned sex techniques through watching Garbo’s sex scenes, especially those in Flesh and the Devil; they then practiced her techniques at home with their girlfriends. Raymond Daum described Garbo’s many young female fans as having “schoolgirl crushes on her” that “defined a national idolatry.” And knowledge of Garbo’s non-heteronormative sexuality was spread through lesbian networks “from coast to coast.” Moreover, the 1920s was an era of commercial expansion in which the ranks of saleswomen and typists, careers dominated by young women, increased. These women made enough money to see a movie more than once. They identified with female stars and liked to see them in powerful roles. Greta Garbo in Flesh and the Devil (1926)