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But I have nothing to fear! For the blue bird is with me.

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If none of them married, how desperate would the Bennett girls actually have been?

Well the only dowry they have is £50 apiece from their mother’s small inheritance, per year; so that’s a total of £250 generated by Mrs. Bennet’s inherited investments per annum.

The Dashwoods (four women) are living on £500 a year when they are forced to live in Barton Cottage (with good-will making the rent presumably ridiculously low thanks to Sir John Middleton’s good nature, to say nothing of all the dinners and outings he invites the ladies to, which will help them economize on housekeeping costs for heavier meals.)

So there would be six Bennet women left to live on half as much as the Dashwoods are barely scraping by on. £250 is roughly considered enough to keep ONE gentleman at a barely-genteel level of leisure (presuming he does not keep a horse or estate or have any major expenses beyond securing his own lodgings/clothes/meals at a level becoming of a gentleman.)

None of the Bennet girls have been educated well enough for them to be governesses to support themselves, so…yes, their situation would heavily rely on mega-charity from others to just help them survive, much less maintain them in the lifestyle they’ve been accustomed to. The Dashwood women have NO social life beyond the outings provided by Sir John and the offer of Mrs. Jennings to host the older girls in London–otherwise they’d be stuck in their cottage, meeting absolutely no eligible men, creating a cycle of being poor and unmarried and too poor to meet anyone with money they could marry.

If the Bennet girls don’t at least have ONE of them marry well enough to help the rest before their father dies, they are really, truly, deeply fucked.

They may joke about beautiful Jane being the saviour of the family, but…it’s true. Mr. Bennet failed his daughters several times over in A) presuming he’d have a son, B) not saving money independently from his income to support his family after his death when it became clear he wasn’t going to have a son, C) not educating them well enough to enable them to support themselves in even in the disagreeable way of being a governess, D) not making any effort to escort his daughters to London or even local assemblies to help their matrimonial chances because he just doesn’t feel like it, E) throwing up his hands and shrugging when faced with the crises of Mr. Collins and Wickham.

Much as we are relieved on a romantic level that Mr. Bennet’s support of Elizabeth saves her from parental pressure to accept Mr. Collins, Mrs. Bennet is NOT A DICK for pushing for the match, because on a material level it very much means they get to KEEP THEIR HOUSE and gain a connection to the powerful patron Lady Catherine de Bourgh, which could be VERY advantageous for the other unmarried girls.

And the scandal of Wickham very nearly scuppers the chances of ANY of the other girls, and Wickham is a further DRAIN on the family finances, not a man who is going to substantially be able to support them. It is SUCH a disaster, and of course there’s not much Mr. Bennet can do until they are found, but he’s away in London and doing…what, exactly? Mr. Gardiner takes over and manages everything and Mr. Bennet seems happy to just let him.

Mr. Bennet does the ABSOLUTE LEAST, and actively damages his children’s futures by his inaction AND by his one action to support Lizzie’s individual needs being prioritized over the collective gain, which…I mean, Lizzie is going to be JUST as homeless and destitute as her sisters when he dies, so much good being Dad’s Favourite is going to do her. :/

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snowy owl with pristine white feathers, ordering a hotdog with extra mustard. onlookers observe first in horror at the imagined inevitable mustard stains, and then in awe as it opens its mouth and the entire hotdog goes down in one go with perfect precision like it was eating a vole.

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Wunk is NOT trapped

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“Hello, one and all!”

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I want to make something really clear that I think Anti-Choice people have failed to understand that Pro Choicers definitely saw coming.

An exception for Rape, Life of the Mother, and Incest mean nothing when you have to prove it in a court of law, or get a team of lawyers and judges to sign off on it which can take weeks or even months.

Weeks a person dying hasn't got. Women are now dying. Actually dying. Because hospitals legally could not save their lives until they could wake up a judge and get their lawyers, and another sides lawyers awake and up and figured out if it was actually necessary or not. All people with no understanding of medicine, and no attatchment to the person suffering who simply doesn't want to die.

There's a lot more I could cover, like the increase in illegal abortion, abortion tourism, the massive increase in infant abandonment... but I'm going to leave it here.

People are dying. People who should be alive. Who would be alive if abortion was legal and the hospital could have simply treated their patient without waiting for a dozen men with no medical experience in another building to decide if their patient actually needs treatment or not. And yes they do have to wait. Because if they don't they get charged with murder for trying to save a life.

Your policies are killing people. Not theoretical people. Not fetuses with no conscious thought or pain. Adults with lives. Teenagers with a whole life ahead of them. Mothers with children who need them. Real people with conscious thought, with fear, with pain. People who meet every definition of personhood.

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I've made a post about great lesser-known noirs, but it occurs to me that some of you might not be familiar with the classics, and might want to know where to start. This is a ridiculously short list- I have a million more to talk about- but here are some of the big stars of the genre.

The Maltese Falcon: Sam Spade, a clever but callous private detective, gets wrapped up in intrigue relating to an artifact that is functionally cursed. If he's an unscrupulous character, just wait until you meet everyone else. The whole damn cast is electrifying, lending charm and cruelty in equal measure.

The Big Sleep: Philip Marlowe, a kinder and more poetic detective for Humphrey Bogart to play than Spade, is called upon to deal with a wealthy, dysfunctional family, and it keeps on getting weirder from there. Is the sharp-tongued Vivian Sternwood the femme fatale she seems, or is she just another person trying to find the right thing to do in desperate circumstances? And will she and Marlowe keep their hands off each other until the plot has had its last twist?

Double Indemnity: Rich housewife Phyllis Dietrichson and sleazy insurance agent Walter Neff are, by their own admission, rotten people. It's only natural that they should plot a murder together, and that they should turn on each other the very second things go wrong. Every single domestic murder movie since 1944 has ripped this off.

Kiss Me Deadly: This is nominally an adaptation of a Mike Hammer story. Screenwriter Bezzerides hated Mike Hammer. As depicted here, he is one of the worst people in the world. Depending on the cut of the film you see, he may inadvertently cause the nuclear apocalypse. (For once, the theatrical cut is darker.)

Sweet Smell of Success: Cruel, all-powerful columnist JJ Hunsecker wants his sister's boyfriend out of the way (for reasons that are, um, ambiguous.) To accomplish this, he enlists the biggest weasel in New York, Sidney Falco, and the two completely deserve each other as they spend the rest of the movie trading elaborate insults. Popular on tumblr for its dialogue and chemistry between the leads.

Sunset Boulevard: Broke screenwriter Joe Gillis thinks he can con a has-been into hiring him as a script doctor, and that's the last free decision he ever gets to make. From then on, his life is in the hands of Norma Desmond, silent film starlet turned crazed recluse, terrifying yet intensely pitiable. This is as much gothic horror as noir.

Ace in the Hole: The story of a man trapped in a cave is turning out to be a big hit in the newspaper, and if the publicity will make a reporter's career, then what's the harm in delaying rescue just for a little while? This is as vicious as noir gets, but damn it, you've just got to see what happens next. (Watch Jacob Geller's video Fear of the Depths after this.)

Sorry Wrong Number: Of all the films on this list, this is the one that really scared me. In the days of switchboards, a rich hypocondriac woman is connected to the wrong phone line and overhears a murder being planned. It doesn't take her long to figure out she's the intended victim, and each call she makes or recieves makes the situation darker. But how can she escape her fate if she can't- or won't leave her bed?

The Asphalt Jungle: The heist movie. Maybe the only heist movie ever made. Every line is quotable. Every member of the team is an unforgettable personality. When things go wrong, they go horribly wrong. One minute you're laughing, and the next minute you think you'll never laugh again.

Gun Crazy: Laurie and Bart, two practiced sharpshooters, are perhaps the most perfect match in all of noir- and that's a bad thing. When one half of the duo gets a criminal idea in their head, the other can't say no. When the opportunity to ditch her man like a sap comes up, the femme fatale throws it away to be doomed at his side. He fell in love with her when she first aimed a gun at him. Quentin Tarantino kissed star Peggy Cummins's feet at a showing of the film, and I hope she kicked him in the head.

Laura: Everyone was in love with Laura Hunt, and somebody killed her- or did they? Did they get the right person? Is the cop on the case in love with a dead woman? Was her columnist mentor just her gay best friend, or was there something darker beneath that facade? And what would Laura think of all this? A big inspiration on Twin Peaks.

In a Lonely Place: Bogart isn't at all heroic here, as a screenwriter with a drinking habit and a violent temper. He's obviously a bad idea to date, but just how bad an idea? He's not the type of guy who'd kill a woman, is he? Bogart and Gloria Holden give perhaps their best performances here, and they'll wound your soul.

Touch of Evil: A Mexican cop (played, unfortunately, by Charlton Heston) finds out a nasty secret about the big hero cop Hank Quinlan: he's framed the culprit in most of his cases. Not because he's crooked, but because his intuition tells him they're guilty. Director Orson Welles as Quinlan is frightening, grotesque, and a little bit tragic in what some consider the last classic noir.

The Killers: The first twenty minutes or so are an adaptation of a Hemingway story, where out of town hitmen gun down a man so depressed he won't even bother to run from them. The rest of the film is an investigation into how he got that way. It had something to do with a radiant gangster's girl, and something to do with a few botched crimes. Sometimes a man can die before the bullets even touch him.

The Third Man: Everybody is lying about the whereabouts of an American expatriate named Harry when his friend comes looking. Did they do something to him? Or, more frightening still, is he the one who's been doing things to other people? Orson Welles is a more charming monster than he was in Touch of Evil the light and shadows on his face cast him as a vampire, while his fingers sticking up through the sewer grate look like something terrifying emerging from the earth.

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writers be like; anyone gonna write this story? and then not wait for an answer. and then not write it either

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wet specimens

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Everytime he shows up on my fyp, I feel comforted that some dudes out there Get It™️.

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One quiet day on the farm, the Little Red Hen found some wheat seeds and decided to make bread.

"Who will help me plant these seeds?" the Little Red Hen asked.

"I would." said the Horse "But I'm a workhorse, and I'm too busy moving carts around."

And so the Little Red Hen planted the seeds by herself. And they grew into bountiful golden crops.

"Who will help me harvest the wheat?" the Little Red Hen asked.

"I would." said the Dog "But I'm a guarddog, and I'm too busy keeping away burglars and predators."

And so the Little Red Hen harvested the wheat herself and made it into flour.

"Who will help me bake the flour?" the Little Red Hen asked.

"I would." said the Pig "But I'm a mother of 5 newborn piglets, and I'm too busy taking care of my young."

And so the Little Red Hen baked the bread herself into twenty beautiful loaves.

"Who will help me eat the bread?" the Little Red Hen asked.

"We would." said the Farm Animals. "But we're ashamed, for we didn't do anything to make the bread."

"Nonsense!" said the Little Red Hen. "You, Horse, helped move around the stones that built my oven. You, Dog, kept me safe while I worked. And you, Pig, are raising a new generation of Farm Animals, who will too contribute to our Farm one day. You've all helped me so much by simply being you."

"Besides," the Little Red Hen added. "I couldn't possibly eat all the loaves on my own, most of them would go to waste. Come, eat with me."

And so the Little Red Hen and the Farm Animals ate the bread together. And all saw their own, and each other's, worth.

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just overheard my wife spelling something on the phone and i shit you not saying the words “E as in Eeyore” i am on my hands and knees wailing screaming crying pleading and begging people to learn the NATO phonetic alphabet

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load-bearing little treat

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"For mature audiences" not as in "legally allowed to see a boob" but "can see a fictional character do a bad thing and not immediately go on a crusade against the author"

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mark ferrari

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arcanowe portrety bo drugi sezon już jest super

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Gertrude and Gerry sketch