I was only part of the Greek Chorus. An echo after the fall preaching to the empty walls that this was the fatal flaw and this was the curtain call but walls do not absorb sound. Rather, they reverberated the plea until the Earth was deafened by the noise of the Greek Chorus. It is always the final body of the tale, lamenting the characters' tribulations which they themselves divined so as to bestow upon the audience the gift of foresight but now there was no audience. There were only walls.
Play idea: perform MacBeth, but when the witches are doing their prophecy thing, they segue into telling the story of Hamlet. Hamlet is chatting with the ghost when it starts telling a Midsummer Night’s Dream. The audience becomes slowly aware that the programs and advertisements did not publish a runtime for the performance. Ushers start handing out new programs, with new actors’ names on them in previously unmentioned roles. Every single known Shakespeare play is nested inside the performance. The theatre doors are locked.
At intermission they play one (1) It’s Not Unusual
…It literally says “President of the Divided States of America” right there on the cover, its not a flattering piece. Maybe if you actually did a little research you’d see that Person of the Year is not about virtue or
positivity, its always been about influence and impact and there is no denying that Trump defined 2016 even if it was in the worst possible way.
The framing of the cover is deliberately arranged so the M appears like devil horns on his head, and the posing is deliberately set to mirror the Time cover from 1941 depicting Hitler. Time also published numerous articles in 2016 heavily criticizing him; the August 22 cover of last year featured Trump’s melting face with the headline MELTDOWN (because he was having another one; I can’t tell you which one at this point, there’s been so many, but I’m sure it’s on Twitter).
it took me 3 times reading this post to realized that (wild) meant living in the wild and wasn’t just a casual remark on the longevity of these organisms
We’ve all seen that Gothel makes Rapunzel come to her for hugs, but today I realized it goes deeper than that. Gothel doesn’t want Rapunzel showing physical affection unless she has been given specific permission. Opening her arms is that unspoken permission.
For example, towards the beginning, when she’s reminding Gothel that it’s her birthday tomorrow, she grabs her arm in exuberance. Gothel is put out and then pries Rapunzel’s hands off her arm, all the while pretending she doesn’t remember (or care) that her birthday - something Rapunzel is extremely excited about - is fast approaching.
She also uses Rapunzel’s need for physical affection, deliberately taunting and “teaching” her with it by pretending to offer it, then taking it away immediately.
The first bazzilionty times I saw this movie, I always assumed Rapunzel was relieved to see Gothel towards the end of Mother Knows Best just because she was scared.
But now I realize it’s not only because she’s scared, but because Gothel is now giving Rapunzel permission to seek the creature comfort of physical contact that she so desperately needs after the gamut of fear she’s run.
Eugene, on the other hand, starts showing physical affection as soon as he starts feeling any affection for Rapunzel at all. He uses it as a comfort. Yet Rapunzel keeps her hands to herself.
It continues when he gives her the little flag, touching the small of her back in an affectionate way. But her hands (and attention) are full at this moment.
In fact, the first time she realizes she’s touching him, and he’s touching her, and there’s affection and enjoyment buzzing between them, she’s the first to pull away.
She’s alarmed at first, then apologetic and sheepish. Sorry I was touching you, Eugene. And he politely takes a step back, tuned in to her discomfort and giving her a little more space.
But that is why the moment on the boat is so important, and why Rapunzel has the reaction she does.
In taking Rapunzel’s hand, out of the blue (as far as she can tell), it’s sending her a clear message that he feels the same about her that she does about him, and that physical affection is both alright and wanted. That he will seek out her attention in a way Gothel never has. And from this moment on, she touches him often, holding hands for the rest of the song, brushing his hair from his face as he lay dying, and never letting go of his head, even after he’d died in her arms. Not to mention kissing him when he lives again, holding hands on the balcony while they wait for her parents and end-of-movie smooching.
Bruh.
ouch my heart
Mother Gothel was such a great villain because she was so realistic
