Paul's names and titles, Dune Part Two from start to finish
Methodology and notes:
Had to be addressing or referencing Paul specifically, so general discussions of prophecy (ie. "the mother of the Lisan al-Gaib will be a Reverend Mother") were not included
I didn't include things that weren't proper nouns like "cousin" BUT if I had, the last name Paul would have been called on screen is "your brother"
That one Kwisatz Haderach is from the line "Kwisatz Haderach, climb up, arise," which I treated as a direct command
The Atreides name carries its own connotations, so "Atreides" and "Paul Atreides" were treated as separate from just "Paul"
Gurney calls Paul "Paul" several times when they first reunite, but after Paul snaps and gives him a direct order ("Go south, protect my mother") he immediately course corrects to "my Lord" and only addresses him that way for the rest of the movie
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Elle est belle, belle à mourir
Belle à choisir, un jour, de mourir pour elle
I haven't made any Roméo et Juliette fanart since 2016, but I am back to remind you that Damien Sargue and Cecilia Cara still have a chokehold on my heart
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the directing of this scene is outstanding because despite being surrounded by darkness and crying, sanji is the one bathed in the sunlight of luffy's hopeful and loving words. his brothers are the ones laughing but they're covered in gloom and their narcissistic, evil selves. while sanji is acting in the most selfless and self-sabotaging way, wanting to go into the dark so his crew doesn't get hurt by the past he's been running away from for so long. he feels like he deserves this and luffy will not let him drown in his self-harm and the despair his family is. luffy literally is sanji's light, sun, hopes and dreams personified.
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In England until the late sixteenth century, individual identity had been imagined not so much as the result of autonomous, personal growth in consciousness but rather as a function of social station, an individual's place in a network of social and kinship structures. Furthermore, traditional culture distinguished sharply between the nature of identity between men and women. A woman's identity was conceived almost exclusively in relation to male authority and marital status. She was less an autonomous, desiring self than any male was; she was a daughter, wife, or widow expected to be chaste, silent, and, above all, obedient. It is a profound and necessary act of historical imagination, then, to recognize innovation in the moment when Juliet impatiently invokes the coming of night and the husband she has disobediently married: "Come, gentle night; come, loving black-browed night, / Give me my Romeo" (3.2.21-23).
Recognizing that the nature of desire and identity is subject to historical change and cultural innovation can provide the basis for rereading Romeo and Juliet. Instead of an uncomplicated, if lyrically beautiful, contest between young love and "ancient grudge," the play becomes a narrative that expresses an historical conflict between old forms of identity and new modes of desire, between authority and freedom, between parental will and romantic individualism. Furthermore, though the Chorus initially sets the lovers as a pair against the background of familial hatred, the reader attentive to social detail will be struck instead by Shakespeare's care in distinguishing the circumstances between male and female lovers: "she as much in love, her means much less / To meet her new beloved anywhere" (2. Chorus 11-12, italics added). The story of "Juliet and her Romeo" may be a single narrative, but its clear internal division is drawn along the traditionally unequal lines of gender.
Because of such traditional notions of identity and gender, Elizabethan theatergoers might have recognized a paradox in the play's lyrical celebration of the beauty of awakened sexual desire in the adolescent boy and girl. By causing us to identify with Romeo and Juliet's desire for one another, the play affirms their love even while presenting it as a problem in social management. This is true not because Romeo and Juliet fall in love with forbidden or otherwise unavailable sexual partners; such is the usual state of affairs at the beginning of Shakespearian comedy, but those comedies end happily. Rather Romeo and Juliet's love is a social problem, unresolvable except by their deaths, because they dare to marry secretly in an age when legal, consummated marriage was irreversible. Secret marriage is the narrative device by which Shakespeare brings into conflict the new privilege claimed by individual desire and the traditional authority granted fathers to arrange their daughters' marriages. Secret marriage is the testing ground, in other words, of the new kind of importance being claimed by individual desire. Shakespeare's representation of the narrative outcome of this desire as tragic -- here, as later in the secret marriage that opens Othello -- may suggest something of Elizabethan society's anxiety about the social cost of romantic individualism.
gail kern paster, "romeo and juliet: a modern perspective," accompanying essay to the folger edition of romeo and juliet; emphasis mine at the parts that made me most wanna scream & shout
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who needs romance when friendship is literally the most powerful thing ever to grace this mortal plain
allos please get with the program?? have you never seen a children’s cartoon. ever. the power of friendship can level a fucking city
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