Desired self-care level: Frank Perconte, brushing his teeth in the middle of the forest while sat in a dirt hole
Actual self-care level: Lewis Nixon sans Vat 69, stubble pronounced and shirt unbuttoned, probably yawning
the entire hbo war fandom after learning that two (2) entire episodes were supposedly cut from band of brothers and the deleted scenes were filmed but never released
bruh………………..if the writers seriously came up with the idea to make a gas leak cause Alison or Emily to have a nightmare thus giving us the Mrs. Rollins scene all because they didn’t plan the scene out fully when they gave it to us in 6x10………………………………
“I’m not going to let you do that to my FRIENDS.”-Mona Vanderwaal defending the people who have never given her a second chance
they deadass hyped us up with that classroom scene two years ago…..just to give us that bullshit we just witnessed
alright truth time
whose crush on Chris Pine in The Princess Diaries: Royal Engagement was brought back from the grave by Wonder Woman
Time is a slippery thing: lose hold of it once, and its string might sail out of your hands forever.
All the Light We Cannot See, Anthony Doerr (via readingwhentheworldends)
To describe Anne Boleyn as a feminist would be an anachronism - and not nearly as appropriate an anachronism as in the case of Marguerite de Navarre and others who openly championed female equality. Marguerite did not have the word, but she was conscious of a women’s “cause.” There’s no evidence that Anne felt similarly. But she had learned to value her body and her ideas, and she ultimately recognized that there was something unsettling about this for Henry and understood that this played a role in her downfall. “I do not say I have always shown him that humility,” she said at her trial, insistent even then on speaking what she believed. Anne wasn’t a feminist. But she did step over the ever-moving line that marked the boundary of the comfort zone for men of her era, and for all the unease and backlash she inspired, she may as well have been one.
Susan Bordo, “The Creation of Anne Boleyn” (via annaboleyne)
Big Little Lies just schooled everyone on how to write realistic female friendships. No, we don’t all secretly hate each other. No, we don’t want our girlfriends to fail. Yes, we call each other beautiful and smart and mean it. Yes, we are supportive. Yes, we love and root for each other.
This show gets it.
when jane saw perry
and madeline saw jane’s face
and celeste saw jane and madeline’s faces
and they UNDERSTOOD
without even saying a word
CAN YOU HEAR ME CRYING HERE STELLAR ACTING, BRILLIANT, 10/10
From Reese Witherspoon on Instagram: #TBT to filming the final episode of #BigLittleLies with these wonderful ladies 💖🎬 #ElvisAndAudreyParty#BehindTheScenes #OnSet ❦
Zoë Kravitz, Laura Dern, Alexander Skarsgård, Nicole Kidman, Reese Witherspoon and Shailene Woodley BLL 07 finale “You Get What You Need”
I cannot stop thinking about the last ~15 minutes of Big Little Lies, and how it was about communication between women and deliberately cutting men out. For one thing, it is almost completely silent– sound only returns at the request of the female detective, who is also the one who picked up on the inconsistencies (or rather consistencies) of their stories. For another thing, major reveals happen without any dialogue at all. We see Bonnie piecing together the danger oozing from Perry, we see Jane’s horror at discovering her rapist, and then we see Celeste and Madeline put the whole thing together. Even Renata–the woman most excluded from their group– picks up that something’s wrong.
All without a single word.
It’s silly, but it reminded me of being in sixth grade. The boys in our class noticed that the girls had a tendency to look at each other when one of them said something dumb, and pretty soon any sort of sideways-look between girls got a loud round of Mr. S they’re talking with their eyebrows again! accusations. The boys were annoyed (playfully annoyed, but annoyed nonetheless) that the girls had figured out a way to talk in class without actually talking. We told them they could do it too, but they all stubbornly insisted that wasn’t possible.
Thinking back on that, it strikes me how much of female communication is nonverbal, largely because it has to be. Women are socialized not to make a fuss, to be quiet, to not take up too much unnecessary space. This pressure (along with the emphasis on the importance of women taking care of feelings and emotions) creates a quiet sub-language, a code that is not exactly hard to break unless you insist on seeing women as other. It’s in the look women share when a man catcalls one of us on the street, when we shift to make space for a woman to sit down on the bus because there’s a guy standing just a little too close to her. This isn’t some innate ability unique to ciswomen– and again, the code is not at all hard to crack unless you are convinced that women are inherently unknowable– but rather a form of communication female-identified people developed to protect each other.
I saw way too many reviewers say that they didn’t buy Bonnie knowing Perry was dangerous without having her book backstory to inform her (where she’s apparently a child of an abusive father), or arguing that Celeste and Madeline just knowing Perry was Jane’s rapist was a bridge too far, but to me, that was the most organic moment of the series. Not because women have natural intuition about these things, but because nonverbal communication is a skill women have developed to protect themselves and each other from men like Perry and so having them communicate without ever speaking a word was incredibly powerful. Without the audience ever once hearing them, these women instantly banded together to protect one of their own– and it was one of their own who noticed. The male detective basically throws his hands up and writes them off as unknowable, but the female detective is the one who knows the code and thus she’s the one with questions.
Even the last scene was a silent, female-centric haven. The bad guy is gone but the good guys aren’t there either, relegated to mere sidekicks in a story about female friendship and love. The audience is left out of their circle too, unable to hear their conversations but able to see their compassion for one another. They’re talking without words, but we still know what they’re saying.
Who knew that moms having a beach and wine day after murdering an abusive man together was my peak aesthetic.
