So it seems an adaptation of Longbourn is in the works.
*settles back in anticipation of a reaction equal to Persuasion 2022*
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I'm re-reading the Discworld series for reasons, and honestly the most relatable part of reading these as an adult is how many of the protagonists start out being tired, used to their little routine and vaguely disgruntled by the interruption of the Plot. Sam Vimes wants to lie drunk in a gutter and absolutely doesn't want to be arresting dragons. Rincewind is yanked into every situation he's ever encountered, though he'd much rather be lying in a gutter too. (Minus the alcohol. Plus regretting everything he's ever done said witnessed or even heard about fourth-hand in his whole life.) Granny Weatherwax is deeply suspicious of foreign parts and that includes the next town over; Nanny has leaned into the armor of "nothing ever happens to jolly grannies who terrorize their daughters-in-law and make Saucy Jokes"
Only the young people don't seem to have picked up on this---and that's fortunate, because someone has to run around making things happen, if only so Vimes and Granny and Rincewind have a reason to get up (complaining bitterly the whole time) and put it all to rights. Without Carrot, Margrat, Eric, etc. these characters don't have that reason; they're likely to stay in the metaphorical gutter and keep wondering where it all went wrong or why anything has to change.
............well, that's not quite true. You get the sense that Vetinari knows how much certain people hate the Plot. And as the person sitting behind the metaphorical lighting board of Ankh-Morpork, he takes no small pleasure in forcing the Plot-haters specifically to stand up, and say some lines.
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It's canon that Spock likes to fuck with people and pretend he doesn't know human sayings just so he can make people explain it to him.
And then Kirk just knows when Spock is serious or is just being difficult and obtuse on purpose. They're married your honour.
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forever obsessed with dynamics between vampires, specifically that of a maker and fledgling, as a way to explore abuse. the creation of a vampire itself can so easily be a literalization of the lasting impacts of trauma and also much more simply the ways a perpetrator might shape their victim’s very identity. the extremes of isolation in the way that the new vampire, in most narratives, must cut all ties to their mortal life, or else go through an elaborate charade to maintain the facade of humanity, while forever still being removed from it. and the sheer dependence and vulnerability of being in an entirely new state of being, wholly uncertain of what it entails, and relying on another person to define… everything.
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The more I think about it, the more I think that Persuasion has my favorite premise of all of Jane Austen's novels
Anne Elliot as a character speaks to my soul. She feels tremendous guilt for a decision she made eight years ago. Her life is lonely, as she doesn't really have anyone she can truly confide in despite being surrounded by people. So she swallows her pain, the yearning she feels deep in her soul, and vows that if nothing else at least she'll be helpful.
And of course she is reunited with Frederick Wentworth (the one that got away) who seems to hate her now, and she just keeps going. She keeps being kind and supporting her loved ones while slowly carving out a life for herself. There's something about her classic heroism that just feels so attainable. I don't have Elizabeth Bennett's wit, or Jane Bennett's unwavering belief in the goodness of everyone, or even Elinor's constant composure. But I can be like Anne and just keep moving forward attempting to be helpful
Of course it all works out in the end, and Anne is finally surrounded by people who truly appreciate her, even if she had to wait an extra eight years. Others have observed the fairy tale quality of the ending, and perhaps that's why it speaks to me. The idea that if you just keep doing your best and being kind, you'll eventually find happiness
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OKAY i will give al content. !!!!!
here you go al enjoyers please stop busting my inbox now /lh /j
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I think it’s fascinating that the original horror of dracula is kinda lost on us because our cultural well has been poisoned. I don’t know any 6-year olds who can’t tell you vampires are EVIL or are unfamiliar with the name dracula. Reading the first chapter and seeing Johnathan, our beloved, think about asking his new friend COUNT DRACULA for help is comedic! Of course he’s walking into danger. We’re genre aware.
However, also while doing dracula daily, there’s a new kind of horror. Both the prolonged no knowing when the next entry will drop but the sadness and horror of having to sit with the characters and wanting so desperately to give our heroes a metaphorical rosaries to protect them. We know this is a sinking ship full of vampires, we know how dangerous the situation is, how woefully unprepared everyone else is.
Which brings me back to how the dynamic has shifted, and I think unexpectedly so. Originally, dracula’s horror comes from the audience being basically London. He is scary because it’s unnerving to discover what new and terrible calamity is coming. What new powers and murderous feeding will come next? Who exactly are we locked in this room with? Will we make it out alive? But now, the horror stems from the audience being the Transylvanians, desperately longing to catch Jonathan before he gets to the carriage, begging him to turn back now. We are condemned to watch the ship as everyone gets picked off one by one. It’s a different but equally visceral kind of horrorshow.
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