the way i see it, colin has three options for handling the repercussions of kissing michael on the pitch in front of everyone:
gatekeep: by some miracle no one caught the kiss on camera so colin's sexuality is kept between him and any fans who happened to be on the pitch near him. the safest option.
girlboss: keeley gets the pr challenge of a lifetime handling the story of the first active premier league player to come out as gay. rebecca is tall and powerful and intimidating in the press room making it clear that richmond stands behind colin one thousand percent. the most realistic option.
gaslight: straight-up blatantly lying. not because he's ashamed or because he thinks he can actually convince anyone that the kiss didn't happen, but just because he refuses to let it be a big deal. acts like he has no idea what anyone is talking about if asked anything related to his sexuality. he doesn't claim to be straight, mind you, he just pretends to be extremely confused about why they're asking because he never kissed anyone in the middle of a football pitch at the end of an internationally-televised game? when presented with photo and video proof of the kiss he says that was some other richmond player named hughes who wears a number 12 jersey. you don't know him, he goes to another school. the funniest option.
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as a big les mis fan, i have loved your blog for ages but recently you have especially piqued my interest - in your recent explanatory amis post, you referenced historical metacontext around jehan's death being first. i have a theory about what that metacontext is, but i am FAR from certain and hoping you could offer me some clarification
(also do you have any other pieces of interesting historical metacontext to share with the class)
OK you gotta tell me your Theory too!!! if it lines up or it was something totally different , I wanna hear it alllll
anyway! it's pretty solid that Prouvaire as he finally appears is largely an homage to Hugo's old friend Gérard de Nerval, who had died in 1855; a LOT about Prouvaire's description overlaps with how people talk about Gérard, and the conversation where he's arguing with everyone about the old gods still existing lines up EXTREMELY with conversations that other people remembered having with him ; there's THIS :
Jean Prouvaire was in love; he cultivated a pot of flowers, played on the flute, made verses, loved the people, pitied woman, wept over the child, confounded God and the future in the same confidence (LM 3.4.1, Hapgood)
“God is dead, perhaps,” said Gerard de Nerval one day to the writer of these lines, confounding progress with God and taking the interruption of movement for the death of Being.(LM 5.1.20)
(Hugo still trying to still have this conversation with his friend via novel guts me more than a little!! People are people and we never stop wanting to find the right thing to say oh geez I'm crying for real)
Bahorel , who dies in the same first-charge attack that takes Prouvaire, is also a (even more obvious) homage to a friend; Petrus Borel , who had died in 1859.
They're considered pretty minor figures today, but they were both really noteable names in their day, which is to say...about the late 1820s/early 1830s; they were two of Hugo's most trusted lieutenants in the battle of Hernani, held in French Romantic memory as a breakout event for the movement. And, importantly, they were the first of that core group of more radical Romantics to die.
So while i think there is a lot going on character- and symbol-wise with them being the first two Amis down, I also think there's definitely an Acknowledgement in them being the first of the named group to go; they get the sort of heroic deaths they'd have liked, and maybe the closest thing to Good deaths on the barricade until OFPD? and agh I'm emotional, QUICK tell me your theories before I start crying harder
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At the bus stop one time there was a gaggle of preschoolers waiting to catch the bus for a field trip day, and someone walked past with a couple of friendly little dogs, to great general delight.
But after a little bit, the dogs were getting overwhelmed, and the preschoolers were gently coaxed to back off so the person with the dogs could continue on. Specifically, one of the preschool teachers said, "Sometimes, when you're small, being surrounded by big people can be a bit scary and overwhelming. Even if they are friendly."
This was recieved as great wisdom: after all, the preschoolers were also small, and understood how scary and overwhelming big people could be! And the dogs were indeed even smaller than the preschoolers, so it made sense.
What was funny and charming was that, upon absorbing and reflecting on this wisdom, they all felt the need to tell it to one another. In tones of great insight, they turned to one another and said, "Did you know? Sometimes when you are small, being surrounded by big people can be scary and overwhelming! Even if they are friendly!" Back and forth, without any particular concern that they were all saying the same thing. Have reached comprehension of an insight, it must be shared!
I must say that this behavior is less charming in tumblr users than in preschoolers. Not least because tumblr users, having gained a little analytical skill to misuse, insist on Summarizing and Generalizing and Unifying the insights they repeat, quickly turning any interesting new information into formulaic dogmatic mush.
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As I was talking about the Demeter today, I decided to make a graph for anyone else who has been having trouble visualizing just how bad these attacks are.
Not only is the time between attacks getting shorter each time, but the number of crew available to actually sail the ship is getting drastically smaller.
There's also a second graph under the cut with spoilers for the entire journey, if anyone's interested:
(The ship doesn't wash ashore for several more days, so I just set the captain's death the day after his last entry. It's definitely possible he stayed alive a day or two more, though, and just stayed lashed to the wheel and didn't write anything else.)
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The Ones That Got Away (Touchstarved OC Rewrite)
I changed the lyrics to “The One That Got Away” by Katy Perry (I listened to this cover by Brielle Von Hugel), based on my Hound!MC Alon's backstory and their childhood friend's betrayal.
Summer in the city where we grew up.
Running from our troubles and tryin’ our luck,
Searching for a world that’d be big enough for two.
Used to steal Headmaster’s liquor and climb to the roof.
Dreamed about the future like we had a clue.
Never thought that one day, I'd be losing you.
In another life, I’d still be your friend.
We'd keep all those promises, be us until the end.
In another life, you would make me stay,
So I don't have to say you were the one that got away,
The one that got away.
One night on that rooftop, we’d made our pact
To leave these walls together, have each other’s backs.
Sometimes when I miss you, I climb towards the sky.
Summer kept on passing, and we grew up,
Found something in the city much bigger than us.
It’s time to face the music, we had long run out of luck.
But in another life, you’d be by my side.
We'd keep all those promises to take charge of our lives.
In another life, I would fight to stay,
So I don't have to say you were the one that got away,
The one that got away.
The one that got away.
All that money won’t buy back our time for me.
Can't replace you with a million dreams.
I never thought you’d turn our dream on me.
So I guess this is goodbye.
But in another life, I could still believe
That friends would keep their promises…
In another life, we’d make our escape,
And everyone who stayed would say we were the ones that got away.
The ones that got away…
In another life, I would make you stay
So I don't have to say you were the one that got away.
The one that got away…
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Finally watched Goncharov (1973) and while I’m not generally into mafia movies... the Fruit Stand Scene???!!!
THIS LIVES RENT-FREE IN MY MIND NOW.
Katya gives Sofia the apple. Sofia hands Katya the pomegranate. The Eve-Persephone parallels (women whose destinies changed irrevocably after being tricked into eating a piece of fruit) are SPECIFICALLY invoked. But the real question is, which one is which?
The framing of the scene suggests that Sofia is Eve (about to lose her sense of innocence and be inducted into the knowledge of evil), and that Katya is Persephone (trapped by a marriage that binds her forever to the (criminal) underworld). Except, that also makes no sense because we don't see them eat the fruit. How could they reap the consequences for an action they didn't actually take?
I would argue that it's not about the fruits they RECEIVE... it's about the ones they OFFER. The fruits they have already eaten, and been doomed by.
Sofia doesn't need to learn about evil. She lost her whole family. She knows enough about evil already. And Katya doesn't need to be bound to anything, when her own choices have left her so deeply entrenched.
"That’s the first lesson. Always blame the Devil for your crimes." (0:15:24)
Katya is Eve. Katya got roped into this mess a long time ago and has so many regrets now that she understands what it all means. Katya plays her piano in the room next to a murder, not because she doesn't know what's going on, but because she DOES. Katya wishes more than anything that she could turn back the clock to some idyllic time before her daughter died, before she joined the mafia, before she ever had to steal a purse or put a gun to a man's head. She tries so hard to end that cycle of violence... and it doesn't work. It was never going to work. The Apple of Eden isn't part of a cycle; it's just the beginning of the story.
"Don’t you dare speak to me about Cosenza." (1:20:41)
Sofia is Persephone. Sofia is constantly arguing that murder isn't necessary- but she also nearly drowns Katya, and shows a bizarre fascination with death when Katya threatens her with the knife. Sofia is linked to nature (the green dress, the sunset motif, the vase of flowers in her first scene) but in paltry, disconnected ways (her dress has metal buttons, the sunsets are over the city, the flowers are halfway to wilting). Sofia is part of a cycle; moments of happiness and joy, interspersed and defined by recurring instances of death and violence. Her childhood in WW2. The incident where she lost her leg. Whatever happened that made her learn how to use a gun. Her whole bloodied dynamic with Katya now. But Sofia CAN escape... for a time. She can walk away from the violence and have her summer in the sunlight. At least until tragedy strikes again.
Which makes the ending of the movie really bittersweet. Sofia sails away on the boat (Charon's Ferry, making a reverse trip across the River Styx). And the scene closes as the first snowflakes start to fall. Winter comes to Naples, because spring follows Persephone when she leaves.
How long until she comes back?
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