seems strange to me

anonymous asked:

(First of all, I hope this doesn't sound like a loaded question. I do mean it sincerely.) Do you know why thinner ballerinas are preferred nowadays? I've been looking at photos of Vaganova when she was teaching, and her students didn't look as lean as the current students at the academy. It seems strange to me, because Agrippina Vaganova's standards seem to be otherwise worshipped.

I think it’s a great question! I have a theory on why the standards have changed so much but, as always, I welcome other input. Here’s what I think happened:

Beauty standards have changed

What we consider beautiful has changed a great deal in the past 100 years. At the turn of the 19th century, when consumption was laying waste to the European population, thinness was associated with sickness. It was an undesirable trait, and women were often criticised for it. For example, the great Sarah Bernhardt was the target of many terrible insults because she was slim.

If I’m not mistaken, Anna Pavlova almost wasn’t accepted into the Imperial Theatre School (now Vaganova Ballet Academy) because she was very skinny. You can see how different she looks compared to her classmates in this photo (taken in the 1890s):

The ballet of the olden days favoured a more sturdy (and therefore, healthy) physique. Whereas now we find long, thin limbs, high arches, flat torsos more aesthetically pleasing. Think of the way your eye glides over Svetlana Zakharova’s body.

Genetics have changed

Humans as a species are in an evolutionary fast-lane. This means that we’re changing at an incredible pace. Even now, whenever Tsiskaridze recalls what ballet kids looked like (physically) in his day compared to what they’re like now, the difference is staggering. And the generations he’s comparing are only 30-ish years apart! By the way, according to Nikolai, the health of Russian children is rapidly deteriorating from generation to generation. I’m going to do a separate post about it later.

Ballet itself has changed

As you said, the standards set by Agrippina Vaganova are still very highly regarded. However, some elements of her teaching have been (and continue to be) discarded because they have become obsolete. For instance, according to Vaganova, the ballerina mustn’t raise her leg above 45 degrees. Clearly, no one’s going to follow that rule anymore. Both the technique and the overall aesthetic have become more… streamlined, I guess.

Additionally, men have a much harder job now than they had one hundred years ago. Partnering has become a lot trickier. The lifts are more difficult and there are far more of them. This means that the ballerina needs to be smaller and slimmer, otherwise the feat becomes physically impossible.

d i s c l a i m e r

shizukateal  asked:

1 and 9, whatever fandom comes to mind

Mmkay, so I guess I’ll go with KHR, because it’s my main bae and I don’t get to talk about it nearly enough <3

1) What OTPs in your fandom(s) do you just not get?*

8059. Like I mean, I understand it I guess? Fandoms do seem to have a strange obsession with hateships. But like, it kinda grosses me out since I see their relationship as more of a sibling relationship. It’s definitely my number one notp in the series.

9)  Most disliked character(s)? Why?

SAWADA FUCKING IEMITSU. He can go die in a ditch somewhere. Like, there are so many fucking things wrong with this man, I can not even BEGIN to list them. But for those who aren’t in the fandom, this should be sufficient explanation to explain my burning hatred of this man:

(That’s his 15 year old son btw)

it seems so strange to me that the only people it is socially acceptable to live with (once you reach a certain stage in life) are sexual partners? like why can’t i live with my best friend? why can’t i raise a child with them? why do i need to have sex with someone in order to live with them? why do we put certain relationships on a pedestal? why don’t we value non-sexual relationships enough? why do life partners always have to be sexual partners?

at long last-- the small translation difference I noticed!

Disclaimer: I’m not perfectly fluent in german! But I’ve been studying it for many years and I can definitely call myself proficient. Sorry if there are small mistakes; if anyone is fluent let me know if anything’s a bit off! 

SO! During the battle against Vah Ruta, Sidon will explain the strategy to you and then tell you to climb on his back. There are two text options: 

If you pick the second one, as you can see, Sidon basically reassures you that yes, indeed, the two of you together can defeat Vah Ruta. 

In the german version, the same thing happens: Sidon explains the plan, then tells you to get on his back. But my curiosity was piqued when I saw the two text options, because the second option in german reads differently than the english version. Here, Link uses “darf”, which is a conjugation of the verb “dürfen”, which means “may”. So, Link is asking “may I really?”. I thought this was a bit strange, because it seemed to me that it would’ve made more sense to have Link ask “can I really?” if he was concerned about whether or not him and Sidon could really defeat Vah Ruta, and that no one would really ask for permission to try to stop an evil beast terrorizing a city.  

However, once you click the second option, Sidon essentially says “When I say that [you can climb on my back], naturally you may! Now come!”

So, in short, in the english version, Link is concerned about whether or not they can defeat Vah Ruta, and Sidon reassures him and is certain that together they will defeat the divine beast. However, in german, Link is instead concerned about whether or not he’s really allowed to climb on Sidon’s back, and Sidon reassures him that yes, Link may indeed climb on his back. 


It’s very difficult for me to talk about myself. You feel strange, self-aware, very foolish. Your third eye clicks on, just to try to maintain a healthy sense of perspective, and you think, “What am I doing here? I’m just making a movie, and people want all these things from me.” It seems strange to have so much fuss over a film.

Code Lyoko | favourite platonic - odd + aelita

i have memories of absolutely adoring these two’s moments when i was small! and i still find them adorable. my guess is that as they grow up, their relationship will only become more and more comfortable, with more banter, more playfulness, and more complicity. i want to see these two innocently poking fun at jeremie together as college students

We live in a small, musty dorm room
but it’s perfect because it is the first place
we’ve ever lived alone.
We put plastic bottles of vodka
in our tiny refrigerator and laugh.
We watch reruns of our favorite childhood shows
and sleep until noon.
The boy I love never visits.
The boy you love visits
until you break his heart.

We live in a four-bedroom apartment
just the two of us. And even with all that space,
we’re usually in the same room.
We throw parties more often than we should.
There is a designated place that I go when I’m drunk
to cry. You always know where to find me.
The boy I love comes over and ignores me.
The boy I love comes over and kisses me.
The boy you love comes over and you break his heart
again. The boys stop coming.
It’s just us.

I live in my parents’ house but my parents are gone.
It’s strange, this open space, this haunting.
A boy loves me but I don’t love him back.
He stays on Skype while I fall asleep.
I don’t know how long he waits to hang up
but when I wake up, everything is new again.
I stop answering his calls when I fall in love
with someone else. Soon, I know him
and his apartment as well as my own.
Soon, I don’t know what I did before him.
I show him my childhood bedroom and smile.

We live in a house a mile away from campus.
The boy I love helps us move in. He’ll be gone
before we move out but we don’t know that yet.
I would have screamed if someone had told me.
We lose things slowly that year, incrementally,
one piece at a time. We don’t notice until everything is gone.
This house, this time, is the last of the golden time.
We would have screamed if someone had told us
what was coming.

We live in a two-bedroom apartment with no natural light.
It’s our last year of living together so we make a small effort
to decorate, but end up leaning a picture against a wall
for six months before mounting it.
Things are getting bad and my mother is calling you
to make sure I’m breathing in my room.
Things are getting bad and we’re hiding in our apartment
sealed against it all, watching bad TV shows and eating
Chinese food. In this apartment, we feel lucky.
We feel protected. It is the last of these moments.
At the end of our lease, I fall in love again.
This one sticks.

I am back at my parents’ house
and you are in an apartment across town.
The first time I visit, it seems so strange
that you have to give me directions to where you live
after so many years of living down the hall from you.
This year, it’s your turn for things to get bad.
This year, it’s my turn to comfort you.
I try my best. It’s not enough.
I try harder.

I am still at my parents’ house
and you are still in the apartment across town.
Now, we are both mourning and both comforting.
You are watching someone you love die
and I’m trying to come to terms with the fact that
my own body is trying to kill itself.
Neither of these things are easy.
We look back at the early years and laugh
at what we thought we knew of grief then.
We do our best. It’s not enough.
We do worse.

We drive two hours away to look at a new house
in a new city. We sleep in the same bed
in a mid-priced hotel room and eat breakfast burritos.
We drive to the new house and meet my new roommate.
I have never lived with anyone other than you
but we like her, so I sign the lease.
You go back to your apartment.

I live in the new house in the new city
and the worst thing happens.
When the worst thing happens,
you tell me in a text message
and I call your mother then pack my car.
I drive two hours to your apartment
and sit with you. We watch TV.
We eat burgers. We do the things that need to be done
when the worst thing happens.
At the end of the weekend, I drive back
and leave you in the apartment.
Even as I turn out of the driveway,
I’m wishing I didn’t have to.
I want to tell my professors that the worst thing
has happened and I can’t be expected to leave you
but that’s not the way the world works so I drive
towards the highway and blink into the sun.

You move a few states away. You live in a house
I’ve never seen in a city I’ve never been to.
I move across the country to an apartment
you’ve never seen in a city you’ve been to twice.
We couldn’t find each other on a map.
It’s absurd, this distance. We don’t know
how to be this far away from each other.
But we learn.
But we find a new way to bring the golden days back.
—  Fortesa Latifi - All The Apartments We Lived In

ok so like 21.21 is ultimately isak’s number and i would be completely fine with that not having an update on even’s pov day (even though they have done the parallel number times all day) and i am very happy with what we’ve got today

BUT are they not going to give the more casual viewers the link to that birthday video? and are we not going to find out if isak ever figured it out? 

I was reacting against all the movies that had been made about same-sex love stories, or at least the ones about two women. They were so negative, and that seemed strange to me—more than strange, it just felt wrong. Because the story of Desert Hearts was so controversial in its time, I thought that it would be best served by having the style be very accessible. I wanted to cloak this film in the garb of a mainstream Hollywood romance. The goal here was to have an audience, because that’s how the Hollywood romance operates, right? I wanted this to be a very accessible movie, not a ghettoized film. So although I used to be an experimental filmmaker, I didn’t want any of that visual language in this film. I didn’t think it suited it.

Breaking Ground: A Conversation with Donna Deitch

Donna Deitch’s Desert Hearts (1986) is now playing in a new 4K restoration at New York’s IFC Center


My desire to return to the Navy is not for want of love for you, but for want of knowing how to live in this world. This place, lovely as it is, now seems alien to me. Accustomed to the cries of wounded men, the quiet appals me. I have slept so long on filthy straw that soft linen seems wanton luxury. Having lived in the shadow of the firing squads, the least noise makes me scream. Every breath I take makes me feel guilt…that I am here, and others are not. You think me ungrateful if I decline an invitation or some delicacy you’ve prepared, but in truth I’ve no appetite for food or society. What I wish is to hide away, until the world no longer seems strange to me.

Is that why Ross sent for Hugh Armitage?

There is a…there is a kind of bond between men who’ve seen atrocities and survived, a need to talk until all the horror is talked away. I’ll not have you hear such things, but till Hugh came I knew not how to be rid of them.

And are you now rid of them?

It’s…it’s a beginning. Can you bear with me?

I can bear anything, now that I know I’ve not lost your love.

There’s this feeling inside of me, a strong pain that knows only to grow. But now I think I’ve outgrown it. The tears just don’t make sense anymore and the isolation feels so strange. The laughter seems to be drawing me into a beautiful world that I had so dearly missed. I think I’m finally ready to shed my old skin and step into the newer one, the cleaner one. Those days that felt cold and rusty on my bare skin weren’t the end, and I can’t thank the lucky stars enough.
—  dreamcatcher-777, I can do it and so can you
people don’t give warren enough credit for his bravery

regardless of whether you consider warren and max platonic or romantic, he stands up for her in front of nathan and beats him up. twice. when he is well aware that nathan is prone to violent episodes and that he carries a gun around. not to mention the fact that nathan’s room is right opposite warren’s - the guy literally sleeps a few feet away from him and despite everything warren still decides to protect max and piss nathan off, at his own risk.

i can definitely see Symmetra, Hanzo, and Widowmaker as the types to all drink tea and talk ish about the other characters in their downtime. like they will spontaneously meet at cafés or whatnot just to gossip and throw shade, especially if a new character is introduced. they also enjoy being shady to one another just because.