This is the view from Charlotte Brontë’s bedroom (now the Brontë Parsonage Museum), Haworth, Yorkshire. Charlotte was an English novelist and poet, the eldest of
the three Brontë sisters whose novels became classics of English literature.
I honestly don’t know if I’ll ever understand why exactly people hate Holden Caulfield from “The Catcher in the Rye”.
I mean, sure, you could defend your dislike with a classic gem such as, “Oh, he’s just a whiny, pretentious f***boy! He’s so boring, all he does is complain!”
But at that I’m just like
okay, wow, I’m sorry the incredibly depressed mentally ill teenager who has no true friends and is constantly being ignored by the people he tries to reach out to and is constantly being told he’s useless and a bad influence by his peers and has alluded to being sexually molested by multiple people as a little kid and has to deal with the pain and hardship of growing up in a world he can’t help but see as superficial and hypocritical and WHOSE CLASSMATE FRICKIN’ COMMITTED SUICIDE IN FRONT OF HIM isn’t a conventionally cheerful or likeable protagonist????
I don’t understand why that’s so hard for people to grasp; it just straight up BAFFLES me. I mean, people eke out all sorts of ways to like downright villains like Alex (DeLarge) or Loki or Ramsay Snow/Bolton, or antiheros like Jaime/Cersei Lannister, Sherlock Holmes, etc.
Why is it so hard to dole out a little sympathy for Holden, who, ultimately, just wants to protect children from the evils of the world—arguably one of the noblest and most heartbreakingly tender aspirations of all?
IDK why we need and darker version of Pride & Prejudice
Apparently the producers of Poldark are developing a new ‘darker’ version of Pride and Prejudice. Like, what even.
I’m sorry, but I don’t want a ‘dark’ version of Pride and Prejudice, whatever the heck that means. If I want dark and tortured, I’ll go and read Wuthering Heights or whatever.
To directly quote Nina Raine who is writing the adaptation
- ‘Pride and Prejudice is actually a very adult book, much less bonnet-y than people assume… I hope to do justice to Austen’s dark intelligence - sparkling, yes, but sparkling like granite.’
I have so many questions - what does she even mean by bonnet-y. It was the freaking Regency Period, everyone wore a bonnet. Idk what she’s actually trying to say… like prim and proper and whatnot???? This question will probably haunt me for all eternity. Does granite sparkle, someone please help me.
Also what darker themes is she planning to pull out, cos I really don’t want to see an extended cut of the pervy Mr W grooming underage girls. Maybe Mr Bingley has a mad wife stashed away in his attic, maybe Mr Collins is filled with lustful thoughts for Lady Catherine de Bourgh… maybe Mr Bennett is shooting up heroin on the sly…who can tell.
Personally I like P&P for its often snarky humor, independent heroine and great characters and I’m not sure a dark and gritty remake would really capture what I love about it.
One of the things that bothers me so much about this Broadway season is that many of Great Comet’ defining aspects were things repeatedly praised in Hamilton only last year, yet they were largely ignored in GC’s production.
Everyone (not just the Broadway tumblr fanbase, I’m also referring to the mainstream media) praised Hamilton for its diversity, and rightfully so. And while Great Comet was not as diverse as Hamilton, its use of racially blind casting should be used as a model for all future productions. Denée Benton, a black woman with natural hair playing a romantic lead of a prominent musical about old Russians, is damn groundbreaking. Oak’s upcoming turn as Pierre proves this commitment to diversity by the show. Yes, Hamilton did this last year, but one show acting in this way does not excuse ignoring others for doing the same.
Everyone praised Hamilton for seamlessly blended together multiple genres of music; again, rightfully so. Great Comet did this to an even greater extent. Dave Malloy’s score beautifully combined seemingly every genre to create a cohesive, genius piece of work. He utilized these different genres to describe his characters so subtly no one realizes he’s doing it. I could take for pages about how his score is a damn masterpiece, but the point lies in that Hamilton was widely praised for doing the very thing Great Comet is being ignored (or even downright criticized) for.
Finally, many praised Lin’s using of an unconventional source material to tell an excellent Broadway musical. But, again, Dave Malloy looking at a tiny sliver of a classic novel and deciding it should be an electropop opera musical? How? He took something so frequently adapted and made it incredibly original in ways many do not realize. It’s quite frustrating to see writers using the War & Peace origins as only an introductory statement instead of the praise it should be.
tl;dr: I’m just really pissed so many people ignore Great Comet’s successes in the very categories they praised Hamilton for okay sorry for the rant