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. 

can i just take this moment to say that the set design in this show is absolutely spectacular. cause it really is.

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)

I've said it before, but I reread Emma, so I'm saying it again.

George Knightley is THE Austen Hero. He is kind, compassionate, never condescends. He is so nice that not once, but TWICE, he is mistaken for being in love when he's not. He may be strict and rational, but he isn't cold. He plays with his nieces and nephews and helps keep the peace between family members. He calls Emma out, but only because he wants to help her be the best possible version of herself. He moves into Hartfield at the end, something completely unheard of in those days, because he knows Emma would never leave her father and he would never ask her to.

He is just. The Peak.

❝ Now The Kit Kat Klub is proud to present a very beautiful young lady. She is so beautiful, and so talented, so charming... l have only yesterday said, ''l want you for my wife.'' And she said, '' Your wife, what would she want with me ? '' l give you that international sensation. . . Fraulein Sally Bowles ! ❞

Cabaret ( 1972 ) dir. Bob Fosse

THE TERROR ▸ 1.09 the c, the c, the open c

Some of the tensest moments I've ever had with my dad happened because he thinks using treats to train the dog is pushover behavior basically. Don't get me wrong he doesn't use force either. Our dogs when I was growing up basically knew nothing because I guess he believes in magical thinking as a method of dog training. So when I was really working hard to fix some behaviors with Paddington and I would give him a treat my dad would be like "well of course he does it FOR A TREAT!" um?? He is a dog. Good luck explaining to him with therapy speak why it's embarrassing that he screams at passing lawn trailers in such a way that makes people come out of their houses

I love how in pentiment you can have the most vile, nasty, rude squabble with someone, and then the conversation ends with “May the lord bless you and protect you, Andreas maler” but you know they’re hoping an anvil falls out of an eighteenth story window and squishes you flat like in loony tunes

Philadelphia, Photo by Lee Friedlander, 1961

THE TERROR ▸ 1.09 the c, the c, the open c

Marilyn Monroe and Jane Russell on the set of “Gentlemen Prefer Blondes” (1953).

Evening dress, 1898. House Of Worth.

Ball of Fire (Howard Hawks, 1941)