#Philip Kingsley

[rachaelstray]

Unboxing May spring awakening Glossybox

I couldn’t wait to unbox my May spring awakening Glossybox with the chaos of decorating taking over my whole life! For the May Glossybox it’s a throwback to either an iconic pink box or a special design. I received a special design. What was inside the May Glossybox? Eclat Skin micellar water (deluxe size RRP £29.90) This micellar water is infused with rosemary extract to help soothe and is…

[thatblondeinfluence]

Christmas Gift Guide for her - Luxury Edition

Christmas Gift Guide for her – Luxury Edition

This year I feel it’s important to think about what classes as luxury and alter our view. For some luxury is a designer bag or some expensive shoes however for some luxury is just a pair of hair straighteners or some skincare. With the cost of living crisis impacting all of our lives, Christmas may look a little bit different for some this year but it doesn’t mean we all don’t deserve a bit of…

[denimbex1986]

'Is Tom Ripley gay? For nearly 70 years, the answer has bedeviled readers of Patricia Highsmith’s 1955 thriller The Talented Mr. Ripley, the story of a diffident but ambitious young man who slides into and then brutally ends the life of a wealthy American expatriate, as well as the four sequels she produced fitfully over the following 36 years. It has challenged the directors — French, British, German, Italian, Canadian, American — who have tried to bring Ripley to the screen, including in the latest adaptation by Steven Zaillian, now on Netflix. And it appears even to have flummoxed Ripley’s creator, a lesbian with a complicated relationship to queer sexuality. In a 1988 interview, shortly before she undertook writing the final installment of the series, Ripley Under Water, Highsmith seemed determined to dismiss the possibility. “I don’t think Ripley is gay,” she said — “adamantly,” in the characterization of her interviewer. “He appreciates good looks in other men, that’s true. But he’s married in later books. I’m not saying he’s very strong in the sex department. But he makes it in bed with his wife.”

The question isn’t a minor one. Ripley’s killing of Dickie Greenleaf — the most complicated, and because it’s so murkily motivated, the most deeply rattling of the many murders the character eventually commits — has always felt intertwined with his sexuality. Does Tom kill Dickie because he wants to be Dickie, because he wants what Dickie has, because he loves Dickie, because he knows what Dickie thinks of him, or because he can’t bear the fact that Dickie doesn’t love him? Ordinarily, I’m not a big fan of completely ignoring authorial intent, and I’m inclined to let novelists have the last word on factual information about their own creations. But Highsmith, a cantankerous alcoholic misanthrope who was long past her best days when she made that statement, may have forgotten, or wanted to disown, her own initial portrait of Tom Ripley, which is — especially considering the time in which it was written — perfumed with unmistakable implication.

Consider the case that Highsmith puts forward in The Talented Mr. Ripley. Tom, a single man, lives a hand-to-mouth existence in New York with a male roommate who is, ahem, a window dresser. Before that, he lived with an older man with some money and a controlling streak, a sugar daddy he contemptuously describes as “an old maid”; Tom still has the key to his apartment. Most of his social circle — the names he tosses around when introducing himself to Dickie — are gay men. The aunt who raised him, he bitterly recalls, once said of him, “Sissy! He’s a sissy from the ground up. Just like his father!” Tom, who compulsively rehearses his public interactions and just as compulsively relives his public humiliations, recalls a particularly stinging moment when he was shamed by a friend for a practiced line he liked to use repeatedly at parties: “I can’t make up my mind whether I like men or women, so I’m thinking of giving them both up.” It has “always been good for a laugh, the way he delivered it,” he thinks, while admitting to himself that “there was a lot of truth in it.” Fortunately, Tom has another go-to party trick. Still nurturing vague fantasies of becoming an actor, he knows how to delight a small room with a set of monologues he’s contrived. All of his signature characters are, by the way, women.

This was an extremely specific set of ornamentations for a male character in 1955, a time when homosexuality was beginning to show up with some frequency in novels but almost always as a central problem, menace, or tragedy rather than an incidental characteristic. And it culminates in a gruesome scene that Zaillian’s Ripley replicates to the last detail in the second of its eight episodes: The moment when Dickie, the louche playboy whose luxe permanent-vacation life in the Italian coastal town of Atrani with his girlfriend, Marge, has been infiltrated by Tom, discovers Tom alone in his bedroom, imitating him while dressed in his clothes. It is, in both Highsmith’s and Zaillian’s tellings, as mortifying for Tom as being caught in drag, because essentially it is drag but drag without exaggeration or wit, drag that is simply suffused with a desire either to become or to possess the object of one’s envy and adoration. It repulses Dickie, who takes it as a sexual threat and warns Tom, “I’m not queer,” then adds, lashingly, “Marge thinks you are.” In the novel, Tom reacts by going pale. He hotly denies it but not before feeling faint. “Nobody had ever said it outright to him,” Highsmith writes, “not in this way.” Not a single gay reader in the mid-1950s would have failed to recognize this as the dread of being found out, quickly disguised as the indignity of being misunderstood.

And it seemed to frighten Highsmith herself. In the second novel, Ripley Under Ground, published 15 years later, she backed away from her conception of Tom, leaping several years forward and turning him into a soigné country gentleman living a placid, idyllic life in France with an oblivious wife. None of the sequels approach the cold, challenging terror of the first novel — a challenge that has been met in different ways, each appropriate to their era, by the three filmmakers who have taken on The Talented Mr. Ripley. Zaillian’s ice-cold, diamond-hard Ripley just happens to be the first to deliver a full and uncompromising depiction of one of the most unnerving characters in American crime fiction.

The first Ripley adaptation, René Clément’s French-language drama Purple Noon, is much beloved for its sun-saturated atmosphere of endless indolence and for the tone of alienated ennui that anticipated much of the decade to come; the movie was also a showcase for its Ripley, the preposterously sexy, maddeningly aloof Alain Delon. And therein lies the problem: A Ripley who is preposterously sexy is not a Ripley who has ever had to deal with soul-deep humiliation, and a Ripley who is maddeningly aloof is not going to be able to worm his way into anyone’s life. Purple Noon is not especially willing (or able — it was released in 1960) to explore Ripley’s possible homosexuality. Though the movie itself suggests that no man or woman could fail to find him alluring, what we get with Delon is, in a way, a less complex character type, a gorgeous and magnetic smooth criminal who, as if even France had to succumb to the hoariest dictates of the Hollywood Production Code, gets the punishment due to him by the closing credits. It’s delectable daylit noir, but nothing unsettling lingers.

Anthony Minghella’s The Talented Mr. Ripley, released in 1999, is far better; it couldn’t be more different from the current Ripley, but it’s a legitimate reading that proves that Highsmith’s novel is complex and elastic enough to accommodate wildly varying interpretations. A committed Matt Damon makes a startlingly fine Tom Ripley, ingratiating and appealing but always just slightly inept or needy or wrong; Jude Law — peak Jude Law — is such an effortless golden boy that he manages the necessary task of making Damon’s Tom seem a bit dim and dull; and acting-era Gwyneth Paltrow is a spirited and touchingly vulnerable Marge.

Minghella grapples with Tom’s sexual orientation in an intelligently progressive-circa-1999 way; he assumes that Highsmith would have made Tom overtly gay if the culture of 1955 had allowed it, and he runs all the way with the idea. He gives us a Tom Ripley who is clearly, if not in love with Dickie, wildly destabilized by his attraction to him. And in a giant departure from the novel, he elevates a character Highsmith had barely developed, Peter Smith-Kingsley (played by Jack Davenport) into a major one, a man with whom we’re given to understand that Ripley, with two murders behind him and now embarking on a comfortable and well-funded European life, has fallen in love. It doesn’t end well for either of them. A heartsick Tom eventually kills Peter, too, rather than risk discovery — it’s his third murder, one more than in the novel — and we’re meant to take this as the tragedy of his life: That, having come into the one identity that could have made him truly happy (gay man), he will always have to subsume it to the identity he chose in order to get there (murderer). This is nowhere that Highsmith ever would have gone — and that’s fine, since all of these movies are not transcriptions but interpretations. It’s as if Minghella, wandering around inside the palace of the novel, decided to open doors Highsmith had left closed to see what might be behind them. The result is the most touching and sympathetic of Ripleys — and, as a result, far from the most frightening.

Zaillian is not especially interested in courting our sympathy. Working with the magnificent cinematographer Robert Elswit, who makes every black-and-white shot a stunning, tense, precise duel between light and shadow, he turns coastal Italy not into an azure utopia but into a daunting vertical maze, alternately paradise, purgatory, and inferno, in which Tom Ripley is forever struggling; no matter where he turns, he always seems to be at the bottom of yet another flight of stairs.

It’s part of the genius of this Ripley — and a measure of how deeply Zaillian has absorbed the book — that the biggest departures he makes from Highsmith somehow manage to bring his work closer to her scariest implications. There are a number of minor changes, but I want to talk about the big ones, the most striking of which is the aging of both Tom and Dickie. In the novel, they’re both clearly in their 20s — Tom is a young striver patching together an existence as a minor scam artist who steals mail and impersonates a collection agent, bilking guileless suckers out of just enough odd sums for him to get by, and Dickie is a rich man’s son whose father worries that he has extended his post-college jaunt to Europe well past its sowing-wild-oats expiration date. Those plot points all remain in place in the miniseries, but Andrew Scott, who plays Ripley, is 47, and Johnny Flynn, who plays Dickie, is 41; onscreen, they register, respectively, as about 40 and 35.

This changes everything we think we know about the characters from the first moments of episode one. As we watch Ripley in New York, dourly plying his miserable, penny-ante con from a tiny, barren shoe-box apartment that barely has room for a bed as wide as a prison cot (this is not a place to which Ripley has ever brought guests), we learn a lot: This Ripley is not a struggler but a loser. He’s been at this a very long time, and this is as far as he’s gotten. We can see, in an early scene set in a bank, that he’s wearily familiar with almost getting caught. If he ever had dreams, he probably buried them years earlier. And Dickie, as a golden boy, is pretty tarnished himself — he isn’t a wild young man but an already-past-his-prime disappointment, a dilettante living off of Daddy’s money while dabbling in painting (he’s not good at it) and stringing along a girlfriend who’s stuck on him but probably, in her heart, knows he isn’t likely to amount to much.

Making Tom older also allows Zaillian to mount a persuasive argument about his sexuality that hews closely to Highsmith’s vision (if not to her subsequent denial). If the Ripley of 1999 was gay, the Ripley of 2024 is something else: queer, in both the newest and the oldest senses of the word. Scott’s impeccable performance finds a thousand shades of moon-faced blankness in Ripley’s sociopathy, and Elswit’s endlessly inventive lighting of his minimal expressions, his small, ambivalent mouth and high, smooth forehead, often makes him look slightly uncanny, like a Daniel Clowes or Charles Burns drawing. Scott’s Ripley is a man who has to practice every vocal intonation, every smile or quizzical look, every interaction. If he ever had any sexual desire, he seems to have doused it long ago. “Is he queer? I don’t know,” Marge writes in a letter to Dickie (actually to Tom, now impersonating his murder victim). “I don’t think he’s normal enough to have any kind of sex life.” This, too, is from the novel, almost word for word, and Zaillian uses it as a north star. The Ripley he and Scott give us is indeed queer — he’s off, amiss, not quite right, and Marge knows it. (In the novel, she adds, “All right, he may not be queer [meaning gay]. He’s just a nothing, which is worse.”) Ripley’s possible asexuality — or more accurately, his revulsion at any kind of expressed sexuality — makes his killing of Dickie even more horrific because it robs us of lust as a possible explanation. This is the first adaptation of The Talented Mr. Ripley I’ve seen in which even Ripley may not know why he murders Dickie.

When I heard that Zaillian (who both wrote and directed all of the episodes) was working on a Ripley adaptation, I wondered if he might replace sexual identity, the great unequalizer of 1999, with economic inequity, a more of-the-moment choice. Minghella’s version played with the idea; every person and object and room and vista Damon’s Ripley encountered was so lush and beautiful and gleaming that it became, in some scenes, the story of a man driven mad by having his nose pressed up against the glass that separated him from a world of privilege (and from the people in that world who were openly contemptuous of his gaucheries). Zaillian doesn’t do that — a lucky thing, since the heavily Ripley-influenced film Saltburn played with those very tropes recently and effectively. Whether intentional or not, one side effect of his decision to shoot Ripley in black and white is that it slightly tamps down any temptation to turn Italy into an occasion for wealth porn and in turn to make Tom an eat-the-rich surrogate. This Italy looks gorgeous in its own way, but it’s also a world in which even the most beautiful treasures appear threatened by encroaching dampness or decay or rot. Zaillian gives us a Ripley who wants Dickie’s life of money and nice things and art (though what he’s thinking when he stares at all those Caravaggios is anybody’s guess). But he resists the temptation to make Dickie and Marge disdainful about Tom’s poverty, or mean to the servants, or anything that might make his killing more palatable. This Tom is not a class warrior any more than he’s a victim of the closet or anything else that would make him more explicable in contemporary terms. He’s his own thing — a universe of one.

Anyway, sexuality gives any Ripley adapter more to toy with than money does, and the way Zaillian uses it also plays effectively into another of his intuitive leaps — his decision to present Dickie’s friend and Tom’s instant nemesis Freddie Miles not as an obnoxious loudmouth pest (in Minghella’s movie, he was played superbly by a loutish Philip Seymour Hoffman) but as a frosty, sexually ambiguous, gender-fluid-before-it-was-a-term threat to Tom’s stability, excellently portrayed by Eliot Sumner (Sting’s kid), a nonbinary actor who brings perceptive to-the-manor-born disdain to Freddie’s interactions with Tom. They loathe each other on sight: Freddie instantly clocks Tom as a pathetic poser and possible closet case, and Tom, seeing in Freddie a man who seems to wear androgyny with entitlement and no self-consciousness, registers him as a danger, someone who can see too much, too clearly. This leads, of course, to murder and to a grisly flourish in the scene in which Tom, attempting to get rid of Freddie’s body, walks his upright corpse, his bloodied head hidden under a hat, along a street at night, pretending he’s holding up a drunken friend. When someone approaches, Tom, needing to make his possible alibi work, turns away, slamming his own body into Freddie’s up against a wall and kissing him passionately on the lips. That’s not in Highsmith’s novel, but I imagine it would have gotten at least a dry smile out of her; in Ripley’s eight hours, this necrophiliac interlude is Tom’s sole sexual interaction.

No adaptation of The Talented Mr. Ripley would work without a couple of macabre jokes like that, and Zaillian serves up some zesty ones, including an appearance by John Malkovich, the reigning king/queen of sexual ambiguity (and himself a past Ripley, in 2002’s Ripley’s Game), nodding to Tom’s future by playing a character who doesn’t show up until book two. He also gives us a witty final twist that suggests that Ripley may not even make it to that sequel, one that reminds us how fragile and easily upended his whole scheme has been. Because Ripley, in this conception, is no mastermind; Zaillian’s most daring and thoughtful move may have been the excision of the word “talented” from the title. In the course of the show, we see him toy with being an editor, a writer (all those letters!), a painter, an art appreciator, and a wealthy man, often convincingly — but always as an impersonation. He gives us a Tom who is fiercely determined but so drained of human affect when he’s not being watched that we come to realize that his only real skill is a knack for concentrating on one thing to the exclusion of everything else. What we watch him get away with may be the first thing in his life he’s really good at (and the last moment of the show suggests that really good may not be good enough). This is not a Tom with a brilliant plan but a Tom who just barely gets away with it, a Tom who can never relax.

Tom’s sexuality is ultimately an enigma that Zaillian chooses to leave unsolved — as it remains at the end of the novel. Highsmith’s decision to turn Tom into a roguish heterosexual with a taste for art fraud before the start of the second novel has never felt entirely persuasive, and it’s clearly a resolution in which Zaillian couldn’t be less interested. Toward the end of Ripley, Tom is asked by a detective to describe the kind of man Dickie was. He transforms Dickie’s suspicion about his queerness into a new narrative, telling the private investigator that Dickie was in love with him: “I told him I found him pathetic and that I wanted nothing more to do with him.” But it’s the crushing verdict he delivers just before that line that will stay with me, a moment in which Tom, almost in a reverie, might well be describing himself: “Everything about him was an act. He knew he was supremely untalented.” In the end, Scott and Zaillian give us a Ripley for an era in which evil is so often meted out by human automatons with even tempers and bland self-justification: He is methodical, ordinary, mild, and terrifying.'

[milolov3nutella]

Aeternum crew

Hehe, some love for them.

[thequietabsolute]

:: back on my shit again, etc., … ridiculously indulgent and my third listen. yet there’s only so much of high-beam joycean hyper-erudite dazzle a man can take in a day … and so revisiting philip larkin’s youthful lesbian phase while cooking your supper sometimes is the only antidote. friends, i could not recommend this more highly 🧶

[pupsmailbox]

ROYALTY︰FANCY ID PACK

NAMES︰ adalinda. adam. adela. adelaide. adelio. adrienne. agnes. aladdin. alaric. alasdair. albert. alexander. alexandra. alexandria. alice. allegra. alyssa. amadeo. amelia. anais. anastasia. andrew. angelica. anita. annabelle. anne. anneliese. anthony. antoinette. ara. arabella. archibald. archie. aricia. ariel. armel. artemis. astrid. athena. augustus. aurelia. aurora. aymeric. balder. baldr. baldur. bano. basil. beatrice. belle. benjamin. blanche. blanchesse. blanchette. bonnette. bonnie. bowesse. bowette. brendan. briar. brioc. camilla. carl. caroline. caspian. catharina. catherine. cecilia. celeste. chainesse. chainette. chainne. charles. charlotte. chelidonis. christian. claude. clemente. clementine. cleopatra. corsette. crosse. crossette. crownesse. crownette. cynfael. damita. damyanti. darius. delphine. deoch. diana. duke. duncan. eadlin. edward. eleanor. eleanora. eleanore. elisabeth. eliza. elizabeth. elsa. emmanuel. erendira. eric. esperanza. estelle. eugene. eugenie. evelyn. fang. fangesse. fangette. farsiris. felix. frederick. frederik. frille. frillesse. frillette. gabriel. gabriella. gabrielle. gearesse. gearette. george. gladys. gormlaith. grace. griffith. haakon. harry. hector. henrik. henry. ingrid. isabella. isadora. izella. james. jasmine. joachim. josephine. julia. julien. kiana. kingsley. lacesse. lacette. lacey. laurent. leonore. lilibet. louis. louise. lucas. lucienne. mabel. madeleine. mael. maelie. maelle. maelys. magnus. mailys. margaret. maria. marie. marina. martha. michael. montgomery. nicolas. nikolai. nina. noire. noiresse. noirette. orla. oscar. palesse. palette. pari. paris. pearlesse. pearlette. philip. primrose. prince. princer. princessa. princesse. princette. princey. princie. prinze. prinzess. prinzessa. prynce. pryncess. quille. reagan. regina. regulus. ribbonesse. ribbonette. ribbonne. richard. robin. rognvaldr. rosalina. rose. rosette. rufflesse. rufflette. sabrina. sadie. saina. sara. sarah. sarai. sebastian. sharai. sofia. sophie. soraya. steven. sverre. theodora. tzeitel. vampesse. vampette. vampie. victoria. victorianne. vincent. watchesse. watchette. william. yseult. zadie.

PRONOUNS︰ blu/blush. bonnet/bonnet. bow/bow. chain/chain. che/cher. corset/corset. count/count. cro/crown. cro/own. cross/crosses. crown/crown. crown/crowned. crowned/prince. crowned/princess. dear/dear. dress/dress. dress/dress.apple/apple. dress/dresse. elegant/elegant. eth/ethel. fluff/fluff. frill/frill. frill/frilly, frill/frilly. frilly/frilly. gear/gear. gem/gem. gold/gold. grace/grace. he/heir. he/heiress. he/hir. he/ir. heart/heart. heir/ess. heir/heir. heir/heiress. heiress/heiress. jewel/jewel. king/king. lace/lace. lo/love. lord/lord. lord/lordship. love/love. luv/luv. melody/melodie. mirror/mirror. mon/arch. night/night. no/nobili. no/noble. pale/pale. pearl/pearl. pillow/pillow. pink/pink. polish/polish. pretty/pretty. pri/ince. pri/prince. pri/princess. prin/cess. prince/prince. princess/princess. princess/princesse. princess/princesses. queen/queen. rib/ribbon. ribbon/ribbon. ro/rose. ro/royal. robe/robe. rose/rose. roy/royal. royal/royal. royal/royalty, royal/royalty. royalty/royaltie. royalty/royalty, royalty/royalty. ruffle/ruffle. shine/shine. shy/hyr. silk/silk. silver/silver. sleep/sleep. snore/snore. suit/suit. tea/tea. throne/throne. ti/ara. ti/tiara. tiara/tiara. victorian/victorian. watch/watche. yawn/yawn. zzz/zzz. ⚔. ⚜. 🏰. 👑. 💎.

[fishareglorious]

Oh that's cool I've been checking the wiki because my ass is procrastinating and several characters already have their ENG va's listed in there!

I should be doing something important, but I'll list them here. They don't call me a master procrastinator for nuthin.

disclaimer: some of the va's here might be incorrect. info sites like the wiki and imdb can be easily edited with false info.

Druvis: Anna Rust

Lilya: Elina Alminas

A Knight: Philip Desmeules

Sotheby: Harriet Kershaw

Regulus: Carina Reeves

Centurion: Sam Yeows

Ms. Newbabel: Alex J. Cairns

Tooth Fairy: Alexandra Boyadjieff

Jessica: Lia Luz

Shamane: Indy Saluja

Kaalaa Baunaa: Gunja Chakraborty

37: Emily Stranges

6: Zak Morris

X: Hyoie O'Grady

Charlie: Macy Drouin

Bkornblume: Emily Stranges

Sonetto: Rae Lim

Balloon Party: Camille Blott

Schneider: Sara Alexander

Satsuki: Nao Toyama (also her japanese va)

Click: Dalmar Abuzeid

Diggers: Colin Doyle

Blonney: Addison Holley

Pavia: Alex Marchi

Oliver Fog: Kingsley Marshall

Mondlicht: Macy Drouin

APPLe: Elliot Hardman

La Source: Isabella Astbury

Leilani: Haze Zahara Adcock

John Titor: Andrea Pavlovic

Ms. Radio: Andrea Houssin

NPCS:

Forget Me Not: Joshua Collins

Vertin: Scarlet Grace

Madam Z: Janedope (also her chinese va. also do you know tennant's cn va is also her. damn)

[obrother1976]

top 10 favorite academic papers pretty please!!!!

love u anon <33 here u go:

"Taste and see that the Lord is sweet" (Ps. 33:9): The Flavor of God in the Monastic West by Rachel Fulton (this fully was a work of art. from the discussion at the beginning of what it means to taste to the fictional interlude of the reader talking to rupert von deutz.. im forever in love w this one)

WOUNDING, SEALING, AND KISSING: BRIDAL IMAGERY AND THE IMAGE OF CHRIST by Lieke Smits (didnt talk about anything else for like a week after reading this. this ones less on here for the way its written and more for what its about bc im obsessed w devotional literature and recountings of visions of christ)

Wilde's "Salomé" and the Ambiguous Fetish by Amanda Fernbach (the only thing u'll ever need to read on salome. kidding ofc but this was by far the most interesting discussion about salome that i've ever read)

Masochism and Piety by Robert M. Pierce (a classic for this blog. i've literally posted about this one time and time again and for good reason tbh. only thing that im still mad about is that i cant find the cited prayer tracts anywhere online </3)

Erotic Martyrdom: Kingsley's Sexuality beyond Sex by Charles Barker (i'll never get tired of reading about kingsley. and every time u hear the words "erotic" in a theological context trust i will be there lmao)

Praying the Rosary: The Anal-Erotic Origins of a Popular Catholic Devotion by Michael P. Carroll (this ones rlly just here bc it was so balls to the wall. personally i dont think theres much actual academic value here but i love it anyway)

Rolle's Eroticized Language in The Fire of Love by Brad Peters (could talk about richard rolle for days. & this paper is exactly about what i find so interesting about him & devotional lit in general - the reader/writer dynamic and which role the writer assigns each of them)

Sociology and the Problem of Eroticism by Chris Shilling and Philip A. Mellor (the one sociological paper in here lmao. i prommy thats not on purpose, im just more of a book reader when it comes to sociology)

Touching and Not Touching: The Indirections of Desire by Naomi Segal (esp the part about getting inside the body of the other. originally only started reading this for dead ringers related reasons but its so dear to me now. i just love discussions about the senses in general)

Totalitarian Lust: From "Salò" to "Abu Ghraib" by Eduardo Subirats, Christopher Britt Arredondo (was trying to get more into film studies and such so i just randomly typed in a few of my favourite movies to see if something popped up and then i found this masterpiece)

[weakherodiaries]

Wishful Thinking: Weak Hero Characters Edition (My Imagination of Their Careers)

Edited for typo (Nobel)

I hope that Sieun (Gray) and Baekjin (Donald) will be the future mathematicians of Korea, solve new math problems and publish them academically. Maybe they will get a joint Nobel prize one day...and I hope Sieun will still ride a motorcycle!

I hope that Teo (Teddy) will run an animal shelter or pet shop. Not sure but maybe if he studies hard enough he could be a vet! Aja aja, Teo!!

I hope that Juntae (Eugene) will work in an NGO and help solve local social infrastructure problems. Maybe if he studies hard enough he could get a degree in engineering.

I hope that Juyang (Rowan) will use his Australian and Eunjang experiences to run a successful Youtube channel and become a great influencer.

I hope that Humin (Ben) will maybe try for the U-21 soccer team, and if that's too late for him I hope he could do whatever he's happy about (maybe open a popular pizza shop?). Or maybe he could join Juyang's channel.

I hope that Gayool (Gerard) will try singing again professionally, whether as a solo artist or in a band. And that he will be happy about it.

I hope that Hyuntak (Gogo) will try for a career in boxing. I hope he'll never, ever give up on his dreams.

I hope that Pilyoung (Philip) will become a successful businessman, but an ethical one. He's rather good as a political lobbyist too.

Whatever it is that Seongje (Wolf) wants to do I hope it's not criminal. I hope he has a hobby that he could expand into a business.

I hope that Hwangmo will find his own independent way and not just follow Seongje around anymore. I hope he'll stay friends with Jeongyeon (Jack) and Naksung. He's rather good in making friends...another person with a prospect as a lobbyist!

I hope that Hakho (Jake) will be a professional manga critic or maybe cosplayer. And occasionally play basketball or soccer with his friends and maybe Jihoon (Jimmy).

I hope that Jihoon will try to draw again and not afraid to show it to people. Maybe sketch more. Go and take a drawing course, dude. Manhwa artist as a career might be just for you...ehehe.

I hope that Sehan (Forrest) and Seungjin (Myles) will do something else other than gangster stuff.

On that note, I hope that Gongsam (Grape) can eat as many grapes as he wants. Maybe try making grape juice and sell them, or maybe a winery? Hmm.

I hope that Hyukjin (Dean) can eat as many bread as he wants and maybe try a career in modelling. His looks and drip are too good to waste. Or a gamer hehe.

I hope that Taegi (Timothy) will try a career in game development or business analyst. Gotta make use of that statistical analysis skill.

I hope that Seokhyeon (Kingsley) will find whatever he wants to do other than running the Union behind the scenes. I suspect that he might be interested in politics.

I hope that Hyoman (Colton) will find his strengths other than fighting. And this time with a better approach to life and friendships.

I hope that Seongjin will watch Gayool performing on stage again as a fan. And that he will enjoy Gayool's new music as much as he enjoyed his old one.

I hope that Dongha and Seongmok will find a great way to stay friends without hurting each other or other people. Maybe Dongha should model for a shampoo.

I hope that Jeongyeon (Kang) will be able to go to karaoke with Jihoon again, but this time with other people who also love singing! Maybe Gayool, Naksung, Seongjin, people who used to be his enemies. And I hope he will find something peaceful to do ( traveling?).

[froggywritesstuff]

character list

the title is self explanatory. this is a list of the characters i'll write for. it'll probably change over time, and if you see a character you'd like but don't see them on the list, just ask cause i might've forgotten about them

Hamilton

Eliza Schuyler

Angelica Schuyler

Peggy Schuyler

Maria Reynolds

Alexander Hamilton

John Laurens

Philip Hamilton

Lafayette

Hercules Mulligan

James Madison

Thomas Jefferson

Aaron Burr

Umbrella Academy

Viktor Hargreeves

Diego Hargreeves

Klaus Hargreeves

Allison Hargreeves

Luther Hargreeves

Five Hargreeves

Ben Hargreeves (Umbrella or Sparrow)

Sloane Hargreeves

Jayme Hargreeves

Stranger Things

Will Byers (non female readers only)

Mike Wheeler

Lucas Sinclair

Dustin Henderson

Eleven Hopper

Max Mayfield

Robin Buckley (non male readers only)

Nancy Wheeler

Jonathan Byers

Steve Harrington

Eddie Munson

21 Chump Street

Justin Laboy

The Goldfinch

Boris Pavlikovsky

Theodore Decker

Marvel

Peter Parker (any actor)

Steve Rogers

Bucky Barnes

Sam Wilson

Makkari

Sersi

Sprite (platonic only)

Steven Grant

Marc Spector

Layla El-Faouly

America Chavez (non male readers only)

Kate Bishop

Yelena Belova (platonic only)

Shuri

Namor

Riri Williams

X-Men

Mystique

Kitty Pryde

Peter Maximoff

Rogue

Logan Howlette

Wade Wilson/Deadpool

Scott Summers

In The Heights (movie version)

Usnavi de la Vega

Vanessa 

Nina Rosario

Benny

Sonny de la Vega 

Heathers

Veronica Sawyer

JD (Jason Dean)

Heather Chandler

Heather McNamara

Heather Duke

John Doe

John Doe

Ride The Cyclone

Noel Gruber (male or nb readers only)

Ocean O'Connel Rosenburg

Mischa Bachinski

Constance Blackwood

Ricky Potts

Hatchetfieldverse

Paul Matthews

Emma Perkins

Ted Spankoffski

Bill Woodard

Ruth Fleming

Pete Spankoffski

Richie Lipschitz

Max Jagerman

Grace Chasity

Lex Foster

Ethan Green

Hannah Foster (platonic only)

Heartstopper

Charlie Spring (non female readers only)

Nick Nelson

Tara Jones (non male readers only)

Darcy Olsson (non male readers readers only)

Elle Argent

Tao Xu (non male readers only(headcanoning him as bi or pan is disrespectful and transphobic))

Tori Spring

Imogen Heaney

Isaac Henderson (platonic only)

Do Revenge

Eleanor Levetan (non male readers only)

Drea Torres

Wednesday

Wednesday Addams

Enid Sinclair

Bianca Barclay

Xavier Thorpe

Ajax Petropolus

Eugene Otinger

(young) Morticia Addams

(young) Gomez Addams

Beetlejuice

Lydia Deetz

Tomorrow When The War Began

Ellie Linton

Lee Takkam

Fiona Maxwell

Homer Yannos

Spider-Man: Into the Spider-Verse/Across the Spider-Verse

Miles Morales

Gwen Stacy

Pavitr Prabhakar

Hobie Brown

Margo Kess

Miles G Morales (earth 42)

Miguel O’Hara

Maze Runner

Thomas

Newt (non female readers only)

The Broken Hearts Gallery

Lucy Gulliver

Nadine (non male readers only)

Nick Danielson

Treasure Planet

Jim Hawkins

Enola Holmes

Enola Holmes

Lord Tewkesbury

Turning Red

Mei Mei

Miriam

Abby

Priya

Raising Dion

Nicole Warren

Tevin Wakefield

Dion Warren (platonic only)

Julie and the Phantoms

Julie Molina

Luke Patterson

Reggie Peters

Alex Mercer (non female readers only)

Flynn

Carrie

Abbott Elementary

Janine Teagues

Jacob Hill (non female readers only)

Gregory Eddie

Brooklyn Nine-Nine

Jake Peralta

Amy Santiago

Rosa Diaz

Love Victor

Victor Salazar (non female readers only)

Benji (non female readers only)

Felix Weston

Pilar Salazar

Lake Meriwether

Lucy

Mia Brooks

Andrew

In Treatment

Eladio

Laila

Spree

Kurt Kunkle

Once Upon a Time

Emma Swan

Regina Mills

Killian Jones

Mary Margaret Blanchard

David Nolan

Henry Mills

Mulan (non male readers only)

Graham

Neal Cassidy

Peter Pan

Jefferson

Dash and Lily

Dash

Lily

Boomer

Juno

Juno MacGuff

Paulie Bleeker

Summer Days Summer Nights

Debbie Espinoza

Frankie Espinoza

Scream (1 through 6)

Sidney Prescott

Billy Loomis

Mickey Altieri

Roman Bridger

Jill Roberts

Charlie Walker

Sam Carpenter

Tara Carpenter

Amber Freeman

Chad Meeks-Martin

Mindy Meeks-Martin

Quinn Bailey

Venom

Eddie Brock

Honest Thief

Ramon Hall

Beth Hall

Wild Child

Poppy Moore

Kate

Drippy

Freddie Kingsley

Monsters and Men

Manny Ortega

Marisol Ortega

Ghostbusters: Afterlife

Trevor Spengler

Phoebe Spengler (platonic only)

Error 143

Micah Yujin

Community

Abed Nadir

Troy Barnes

Annie Edison

Jeff Winger

Britta Perry

The Obession

Logan

Delilah

The New Girl

Lia Setiawan

Stacey Hoffman

Mythic Quest

Poppy Li

Brad Bakshi

Adventure Time

Finn

Princess Bubblegum

Marceline

Marshall Lee

Prince Bubblegum

Flame Princess

School Spirits

Madison

Simon

Charley (non female readers only)

Wally

Rhonda

Dungeons and Dragons: Honour Among Thieves

Simon Aumar

Disventure Camp

Aiden (non fem readers only)

James (non fem readers only)

Grease: Rise of the Pink Ladies

Jane Facciano

Olivia Valdovinos

Nancy Nakagawa

Cynthia Zdunowski

Richie Valdovinos

Ted Lasso

Ted Lasso

Roy Kent

Jamie Tartt

Keeley Jones

Sam Obisanya

Transformers: Rise of the Beasts

Noah Diaz

Elena Wallace

Mirage

Helluva Boss

Blitzø

Stolas (non female readers only)

Loona

Millie

Moxxie

Octavia

Verosika Mayday

Fizzarolli

Asmodeus

Hazbin Hotel

Charlie Morningstar

Vaggie (non male readers only)

Angel Dust (non female readers only)

Husk

Alastor (platonic only)

Vox

Lucifer

Teenage Mutant Ninja Turtles (rise + mutant mayhem + tmnt 2007 + tmnt 2012)

Donnie

Mikey

Raph

Leo

April

The After Party

Yasper Lennov

Space Force

Tony Scarapiducci

Renfield

Teddy Lobo

Robert Montague Renfield

Undercovers

Bill Hoyt

Amazing Digital Circus

Jax

Parks and Recreation

Leslie Knope

Ben Wyatt

April Ludgate

Andy Dwyer

Jean-Ralphio Saperstein

Randy Cunningham: 9th Grade Ninja

Randy Cunningham (18+ people DNI unless requesting platonic stories)

The Earliest Show

Josh Bath

House of Lies

Clyde Oberholt

Mean Girls (movie + musical + movie musical)

Cady Heron

Regina George

Gretchen Wieners

Karen Smith/Shetty

Janis Ian/Sarkisian/Imi'ike (non male readers only)

Damian Hubbard (non female readers only)

Warm Bodies

R

Peep World

Nathan Meyerwitz

Your Boyfriend

Peter Dunbar

Invincible

Mark Grayson

Shapesmith

Chilling Adventures of Sabrina

Sabrina Spellman

Harvey Kinkle

Nick Scratch

Rosalind Walker

Theo Putnam

Prudence Blackwood

Ambrose Spellman

High School Musical: the Musical the Series

Gina Porter

EJ Caswell

[breaniebree]

SNEAK PEEK!

Chapter 21 -- The One With the Cognitive

Sirius went with Harry to drop off Mina and Leo at their nursery school.  He introduced himself to the two men who ran the school, Philip and Edward, and then he clenched his hands nervously as he watched his children run off to play.

“They’ll be fine, Uncle Sirius,” Harry said, placing his hand on his shoulder.  “They love it here.”

Sirius nodded.  He knew that the small nursery school in Polperro had been vetted by both Harry and Zee, but the thought of leaving his children there for a whole day after he’d just found them, terrified him.

“Come on,” Harry said, nudging him along.  “Healer Galibrath is waiting for you at the Ministry.”

It had been a week and a half since Sirius had been given back his soul.  In some instances, it felt like no time had passed and in others, he felt like it had been years.  He knew that the Aurors had more questions for him and he knew that Harry had let him put it off as long as he could.  Now, he needed to get a full physical and emotional examination by Healer Galibrath and then he needed to sit down and be interviewed by the Aurors once more.

The problem was, he didn’t really know what he was supposed to tell them.

His memories of living without a soul were still mostly blank, but the nightmares he’d been having were making him wonder if that was entirely true.  He woke drenched in sweat with the feel of Zee in his arms as he watched her body fall into his own coffin again and again.  He’d have a hot shower and then he’d find himself standing in Mina and Leo’s room, just watching them sleep.  It calmed him and reminded him that he was very much alive.

Now he just needed to figure out how to get Zee back with him.

Sirius visited her every day since that first day, holding her hand and talking to her while she lay in a coma in the private ward of St Mungo’s.  Seeing her calmed him while simultaneously making him feel enraged.  He knew if he ever came face to face with his bitch of a cousin, he would kill her.  

And Merlin help him — it would not be quick.

After knowing that Bellatrix had scarred Zee (and Hermione), he took in the tattoo she had gotten to cover it up, tracing it with his fingers.  Zee was a brave woman and he knew that.  She deserved so much more than what life had dealt her.  He kissed her fingers and told her he loved her, feeling guilty every time he left her there.

He shook the thoughts from his head, focusing on Harry as they arrived at the Ministry of Magic together.  Sirius let out a slow breath as he followed Harry over to the lifts.  A few people looked his way in surprise and he wondered just what the world was being told concerning his reappearance.

“Do they know?”  he asked, suddenly, turning to Harry.

“Does who know what?”

“Does the world know that I’m back?”

Harry shoved his hands into his pockets of his Auror robes.  “We’ve kept it pretty under wraps, only our close family and friends were aware of it, but I imagine that won’t stay that way much longer.  Robards and Kingsley released a story about you being in hiding in America for the last few years; faking your own death.”

“Do people really believe I would go off and hide?”  Sirius demanded.

“Doesn’t matter what they believe,” Harry said.  “We can’t exactly tell them the truth now, can we?”

Sirius nodded.  The idea of him walking into the Ministry now, out in the open, was bound to stir the potion then.  He followed Harry into the Department of Magical Law Enforcement and Harry squeezed his shoulder in reassurance.

“I can’t go any further, Uncle Siri.”

“Yeah,” he said, letting out a slow breath.  He gave his son a reassuring smile before he turned and followed Auror Higgins down the hall and towards one of the interrogation rooms.  Higgins ushered him inside and told him that someone would be with him shortly.

Sirius took a seat at the table, his fingers tapping methodically on the table.  It only took him a few moments for him to realize that he was tapping the beat to “Smoke on the Water” and he snorted, relaxing a bit.  He waited about ten minutes before the door finally opened and in walked Kingsley Shacklebolt and Gawain Robards.

“Wow, bringing out the bigwigs,” Sirius said, leaning back in his chair.  “I must be a big fucking deal or something.”

Kingsley’s lips curved into a smile.  “I don’t know about a big deal, but you sure are a sight, Sirius.”

Sirius stood up to shake Kingsley’s hand and was surprised when the man embraced him.  He patted his back before he pulled away.  “It was a surprise for me too.”

Robards snorted.  “Yeah, I can imagine that.  Sit down, Black.”

Sirius did, watching as Kingsley and Robards took the seats across from him.  “Harry said you’d want to talk to me or well, someone would.  The thing is, I don’t really know what I can tell you.”

Kingsley nodded.  “We understand that.  You’ve already spoken to some of the Aurors running the investigation, but due to the personal nature of this case, Gawain and I thought it was best for the rest of your case to be handled by us.”

“All right,” Sirius said, leaning back in his chair.

Robards cleared his throat.  “Potter has kept us updated on your progress.  I understand that you’ve been getting to know your children and have moved back into your old home?”

“Yes,” Sirius said.  “It’s been great and a bit of an adjustment.  Not to mention I’m warded from entering my own home unless Harry or Remus is with me.”

“That was for for safety,” Robards said.  “When you showed up at your home and threatened Auror Potter, he had no choice but to change everything over.  However, I’m sure that they would be willing to fix the wards now that you’re back.”

“Yes, but I told them not to.  Not yet.  I just… not yet.”

Kingsley frowned.  “Is there a reason why you don’t wish to be given those privileges again?”

Sirius hesitated.  It wasn’t that he didn’t think he should be given access, but part of him was still unclear on everything.  It worried him.  

“I don’t remember things, King.  There are things… I guess maybe part of me doesn’t quite trust that my soul is back for good.”

Kingsley pursed his lips.  “I suppose that’s a fair assumption.  A re-soulling is a rare thing to see and for it to work successfully… that’s even more rare in itself.  But it did work, Sirius.  It worked and you are alive and whole once more, no matter how unbelievable that may be.”

Robards ran over his beard as he spoke.  “It’s about what you can’t remember that we’d like to start off with.”

[distilled-prose]

From Facebook - M. A. Rothman 9/26/24

If the English language made any sense, lackadaisical would have something to do with a shortage of flowers.

- Doug Larson

Writers don’t have lifestyles. They sit in little rooms and write.

- Norman Mailer

Learn to write. Never mind the damn statistics. If you like statistics, become a CPA.

- Jim Murray

The dubious privilege of a freelance writer is he’s given the freedom to starve anywhere.

- S.J. Perelman

Writing is easy. All you do is stare at a blank sheet of paper until drops of blood form on your forehead.

- Gene Fowler

If you can't annoy somebody, there's little point in writing.

- Kingsley Amis

Real seriousness in regard to writing is one of two absolute necessities. The other, unfortunately, is talent.

- Ernest Hemingway

Writing is so difficult that I often feel that writers, having had their hell on earth, will escape all punishment thereafter.

- Jessamyn West

I was sorry to hear my name mentioned as one of the great authors, because they have a sad habit of dying off. Chaucer is dead, so is Milton, so is Shakespeare, and I am not feeling very well myself.

- Mark Twain

All autobiographies are alibi-ographies.

- Clare Booth Luce

The art of writing is the art of applying the seat of the pants to the seat of the chair.

- Mary Heaton Vorse

The world is a hellish place, and bad writing is destroying the quality of our suffering.

- Tom Waits

The average Ph.D. thesis is nothing but a transference of bones from one graveyard to another.

- J. Frank Dobie

An autobiography usually reveals nothing bad about its writer except his memory.

- Franklin P. Jones

Long, hard slog today writing the Great American Tweet.

(That was it...what do you think? Pulitzer?)

- Greg Tamblyn

A bad review may spoil your breakfast, but you shouldn't allow it to spoil your lunch.

- Kingsley Amis

Unless a reviewer has the courage to give you unqualified praise, I say ignore the bastard.

- John Steinbeck

Asking a working writer what he thinks about critics is like asking a lamppost how it feels about dogs.

- Christopher Hampton

The only time I'll get good reviews is if I kill myself.

- Edward Albee

As far as I'm concerned, "whom" is a word that was invented to make everyone sound like a butler.

- Calvin Trillin

Listen up, Internet: there is no "h" in "wacky." Got that? THERE IS NO "H" IN "WACKY." Thank you.

- Dave Barry

Writing and travel broaden your ass if not your mind and I like to write standing up.

- Ernest Hemingway

About the most originality that any writer can hope to achieve honestly is to steal with good judgment.

- Josh Billings

Alimony is the curse of the writing class.

- Norman Mailer

Autobiography is an unrivaled vehicle for telling the truth about other people.

- Philip Guedalla

An autobiography is an obituary in serial form with the last installment missing.

- Quentin Crisp

Practically everybody in New York has half a mind to write a book, and does.

- Groucho Marx

Having been unpopular in high school is not just cause for book publications.

- Fran Lebowitz

Revising a story down to the bare essentials is always a little like murdering children, but it must be done.

- Stephen King

Never let a bad memory get in the way of a good memoir.

- Joanie Levenson

Everywhere I go I'm asked if I think the university stifles writers. My opinion is that they don't stifle enough of them. There's many a best-seller that could have been prevented by a good teacher.

- Flannery O’Connor

It's splendid to be a great writer, to put men into the frying pan of your imagination and make them pop like chestnuts.

- Gustave Flaubert

Writing is a socially acceptable form of getting naked in public.

- Paulo Coelho

All literature is gossip.

- Truman Capote

Your manuscript is both good and original; but the part that is good is not original, and the part that is original is not good.

- Dr. Samuel Johnson, to an aspiring writer

I can write better than anybody who can write faster, and I can write faster than anybody who can write better.

- A. J. Liebling

There's not much to be said about the period except that most writers don't reach it soon enough.

- William Zinsser

It took me fifteen years to discover I had no talent for writing, but I couldn't give it up because by that time I was too famous.

- Robert Benchley

When I was a little boy, they called me a liar, but now that I am a grown up they call me a writer.

- Isaac Bashevis Singer

Never, ever use repetitive redundancies. Don't use no double negatives. Proofread carefully to see if you any words out.

- William Safire

Only kings, presidents, editors, and people with tapeworms have the right to use the editorial "we."

- Mark Twain

Writing is like prostitution. First you do it for love, and then for a few close friends, and then for money.

- Ashish Chauhan ‏@4shish

Did you hear about the little boy who ended a sentence with 5 prepositions? He said, "What are you bringing that book that I don't want to be read to out of up for?"

Let me see if I can put it in words that even the inebriated might understand.

- Tom Robbins

When Thoreau wrote: "Simplify, simplify, simplify!" shouldn't he have edited it down to "Simplify!"?

- CrankyPappy ‏@CrankyPappy

He does not so much split his infinitives as disembowel them.

- Rebecca West

I am a writer. If I seem cold, it 's because I am surrounded by drafts.

- (Unknown Author)

How many writers does it take to screw in a lightbulb?

Six:

One to screw it in,

One to sharpen all the pencils in the house,

One to make more coffee,

One to call a friend to chat,

And one to complain that there's never time to do any writing.

Wait, that's only five — that's why they need editors.

[denimbex1986]

'New to Netflix on April 4, 2024, Ripley is the third adaptation of Patricia Highsmith's acclaimed 1955 novel The Talented Mr. Ripley. The story concerns Tom Ripley (Andrew Scott), a wily forger and con man who steals the identity of the wealthy European playboy Dickie Greenleaf (Johnny Flynn) and lives a life of luxury. Although it's the first TV translation of the classic crime story, the Netflix original series joins the 1960 French film Purple Noon and the 1999 American movie The Talented Mr. Ripley as fictional adaptations.

However, while each mostly remains faithful to Highsmith's novel, several significant differences regarding the ending can be found. In particular, the final moments of Ripley's grand scheme conclude on a much different note in the 1999 film and the 2024 TV show. For those interested in the chief differences between the two acclaimed adaptations, it's time for a side-by-side comparison between Ripley's criminal endeavors and how faithful they remain to Highsmith's novel.

What is The Talented Mr. Ripley?

Published in November 1955, The Talented Mr. Ripley is a crime novel by Patricia Highsmith. The acclaimed psychological thriller concerns Tom Ripley, a small-time con artist and grifter scraping by in New York City in the late 1950s and early 1960s. Ripley's dead-end life changes for the better when he is hired by shipping tycoon Herbert Greenleaf. Herbert believes Ripley attended school with his son, Dickie Greenleaf, whose whereabouts in Europe are unknown. Herbert hires Ripley to find Dickie, paying for his travel expenses and giving him a salary for his efforts.

Once Ripley locates Dickie and his friend Marge Sherwood in Italy, Ripley slowly ingratiates his way into their lives. Upon witnessing the lap of luxury Dickie lives in, Ripley slowly schemes to steal Dickie's identity and live his lavish lifestyle of wealth and privilege. In Highsmith's novel, the most crucial event occurs off the coast of San Remo, where Ripley murders Dickie in cold blood on a small fishing boat with an oar.

After killing him, Ripley takes Dickie's possessions, throws his anchor-tied body into the water, and deliberately sinks the boat. Ripley continues to live off Dickie's trust fund, enjoys his wealthy lifestyle, and constantly changes his disguise to resemble Dickie. Meanwhile, Ripley communicates with Dickie's friends and family to assure them he's still alive.

In both Anthony Minghella's 1999 film adaptation and Steve Zaillian's 2024 Netflix TV show, Highsmith's story is faithfully told up to this point. The big difference in the TV and film adaptation comes during the final act. While Ripley ultimately gets away with his criminal charade, a few minor story beats have been altered from the text. In addition to Ripley's ambiguous fate, some details regarding Dickie's corpse, the murder weapons, and the boat disposal stand out.

Differences Between Ripley and The Talented Mr. Ripley

Although Ripley faithfully retells Highsmith's novel almost verbatim, notable differences become clear during the fatal boat ride. In the novel and the 1999 movie, Ripley (Matt Damon) sinks a small fishing boat underwater following Dickie's (Jude Law) murder. In the show, Ripley attempts to burn the boat with petroleum but only partially succeeds. After his plan fails, Ripley stacks rocks in the boat until it submerges underwater. In the novel, movie, and TV show, Ripley continues to live as Dickie in an apartment in Rome and Venice as the final act approaches. However, in the movie, Dickie's corpse is found by the police. In the TV show, Dickie's corpse is never found.

Another minor difference between Ripley and The Talented Mr. Ripley relates to the death of Dickie's longtime friend, Freddie Miles. When Freddie becomes suspicious of Ripley's activity and confronts him about Dickie's whereabouts in Rome, Ripley murders him in cold blood inside his apartment. In the novel, Ripley bludgeons Freddie to death in the head with a big glass ashtray.

However, in the movie, Ripley fatally bashes Freddie (Philip Seymour Hoffman) with the head of a marble statue. In the TV show, Ripley bludgeons Freddie (Eliot Somner) to death with a paperweight. Although the murder weapon has been changed, the Roman location and the way Ripley murders Freddie more or less remain the same in all three adaptations.

The Ending of Ripley vs. The Talented Mr. Ripley

The most substantial difference between Ripley and The Talented Mr. Ripley comes during the finale. In the novel, Ripley convinces Dickie's family that Dickie murdered Freddie before committing suicide. Ripley ends up sailing to Greece after forging Dickie's will and inheriting his fortune. Ripley gets away with his crimes and secures enough money to enjoy a wealthy life. However, his life of luxury is marred by the fear and paranoia of being caught as he constantly looks over his shoulder.

In the 1999 movie, Ripley also ends up in Greece, but the story veers from the novel quite dramatically. In the final moments, a friend of Marge named Peter Smith-Kingsley joins Ripley on the ocean liner to Greece. Upon confronting Ripley about posing as Dickie, Ripley apologizes to Peter for lying to him before fatally strangling him on the boat. The movie ends with Ripley returning to his cabin alone to ponder his murderous actions.

The Netflix Miniseries Ends on a Cliffhanger

In Ripley, the story concludes in Venice instead of Greece. Dickie's body is never found, and his family continues to search for the "fugitive playboy." In Venice, Herbert Greenleaf arrives and accepts that his son Dickie killed himself and Freddie as a result of being a failed artist, unaware that Ripley orchestrated the entire ruse. Although Ripley gets away with his crimes happy and wealthy, the TV ending leaves viewers dangling on a cliffhanger. Marge Sherwood sends a copy of her book to Inspector Ravini (changed from Inspector Roverini in the movie), who is mortified when he sees a picture of the real Dickie Greenleaf.

The implication is that if Season 2 of Ripley gets renewed, Inspector Ravini will continue to pursue Ripley across Europe. This slightly differs from the novel and movie, which depicts Ripley continuing his trip to Greece with a tinge of melancholy after getting away with his elaborate crime spree. In any event, Highsmith's source novel is so rich that few story beats need to be changed to retain the dramatic impact of Ripley's criminal endeavors.

The success of The Talented Mr. Ripley led to the "Ripliad," a series of five novels Highsmith had published between 1955 and 1991. Although Oscar-winning screenwriter Steve Zaillian (Schindler's List) changed a few story specifics to accommodate an 8-episode TV format, they remain faithful to the spirit of Highsmith's landmark crime novel.'

[milolov3nutella]

Wip of Aeternum crew

Yes, I add !alive Peter in my crew.

[ringostxrs]

⠀⠀⠀⠀⠀⠀#𝐑𝐈𝐍𝐆𝐎𝐒𝐓𝐗𝐑𝐒 , 𝖲𝖢𝖱𝖤𝖠𝖬 𝖸𝖮𝖴𝖱 𝖣𝖱𝖤𝖠𝖬𝖲, 𝖧𝖮𝖭𝖤𝖸. 

so how does it feel to know that someone's kid in the heart of america has blood on their hands, fighting to defend your rights so you can maintain a lifestyle that insults his family's existence. well, where i'm from we have a special salute that we aim high in the air, towards all those pompous assholes who spend their days pointing fingers. FUCK YOU!

ㅤㅤ⸻ ei! você viu o RICHARD MILLER por aí? você sabe, aquele aluno da graduação que tem 37 ANOS e se parece muito com BEN BARNES MATT SMITH. acho que ele formou com especialização em MÚSICA e em 2014 se parecia muito com JOSEPH QUINN. dizem que ele era THE ROCKSTAR e toda vez que passava pelo dormitório dele, ouvia MASTER OF PUPPETS DO METALLICA tocando pela porta. todos que o conhecem dizem que ele costuma ser OBJETIVO, mas também poderia ser IRRITADIÇO. será que em 2024 ele ainda é assim?

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ㅤㅤo que fazia em 2014?

trabalhava numa loja de instrumentos musicais para ajudar a pagar as contas, porém passava a maior parte do seu tempo ensaiando com a sua guitarra e compondo músicas para sua banda, the letus. estava em contato com um produtor musical e estava prestes a assinar o primeiro contrato que levaria ao primeiro sucesso da carreira.

ㅤㅤo que faz em 2024?

tornou-se produtor musical e emplacou quatro bandas de metal e uma artista de indie trabalhando para uma grande gravadora, fazendo com que seu nome fosse reconhecido no meio e muitos falarem que é mais talentosos como olheiro do que como rockstar. acabou se juntando com vincent kingsley na clínica estética, porém seu trabalho é muito mais de administração e de influência, onde richard é responsável por trazer grandes estrelas que fazem parte do seu convívio para se consultarem com vincent.

ㅤㅤo futuro do seu personagem foi alterado depois da primeira viagem para 2014?

até a história da banda, tudo se manteve parcialmente igual, porém em 2014 ringo foi pai de três crianças — slash, axl e rose —, todas de mulheres diferentes (suas groupies). no começo de 2015, a avó materna faleceu e a sua overdose se manteve igual antes. porém, a partir disso teve ainda mais uma overdose que quase o matou e ainda foi preso cinco vezes em três anos por conta de estar envolvido em incêndios acidentais, sendo retirado da cadeia por ajuda de nash torres. com o dinheiro que recebeu quando foi expulso da banda, abriu um motel em los angeles chamado “motel avenged sevem&fode!” no qual vive enfurnado até então. continua extremamente próximo de vincent kingsley e se considera quase um cuidador dele. mantem um canal no youtube onde posta músicas de rock indie que produz sozinho e compilados de vídeos engraçados de vincent.

ㅤㅤseu personagem participou da primeira viagem (projeto kali)?

sim, richard era conhecido como a cobaia the rockstar.

ㅤㅤseu personagem gostaria de consertar as coisas para 2024? justifique sua resposta.

não sabe dizer, como as coisas mudaram consideravelmente, não entende se mudar as coisas mais uma vez seria interessante.

ㅤㅤse seu personagem pudesse mudar a própria vida, ela faria? justifique sua resposta.

pode dizer que não, porém no fundo ele ainda sente que pode manter a avó viva e conseguir finalmente viver de música. o problema é que ele não assume isso.

ㅤㅤinspirações.  /  eddie munson, crowley, gwayne, 9th doctor, loki laufeyson, damien thorn, gordon clark.

NOME  /  richard paul miller.

APELIDOS  /  ringo.

IDADE  /  37.

LOCAL DE NASCIMENTO  /  columbus, ohio.

LOCALIZAÇÃO ATUAL  / los angeles, califórnia.

NACIONALIDADE  / americano.

FAMÍLIA  /  philip miller ( pai ), mary marshall ( mãe ), louise anderson ( madrasta ), evelyn miller ( avó materna ), george miller ( meio-irmão ), paul miller ( meio-irmão ), john miller ( meio-irmão ), lucy miller ( meia-irmã ), penelope miller ( meia-irmã ), slash miller ( filho ), axl miller ( filho ), rose miller ( filha ).

GÊNERO  /  homem cis.

PRONOMES  /  ele, dele.

SEXUALIDADE  /  bissexual.

PROFISSÃO  / empresário ( dono de motel ).

ALMA MATTER  /  música ⸻ universidade da califórnia.

ALTURA  /  1,85cm.

OLHOS  /  castanho-escuro.

CABELO  /  castanho-escuro.

PONTOS POSITIVOS  / objetivo, criativo, confiante e valente.

PONTOS NEGATIVOS  / irritadiço, ganancioso, temperamental e bisbilhoteiro.

ㅤㅤ@ GUITAR  SMASHED BY  EDEN.

[tbthqs]

Em 2014, a personagem Vincent Kingsley (@thefallen) encontrou o seguinte item no meio de seus pertences: o diário de Robert Lockhart, diretor do Projeto Chronos I, que estava em posse de Jawie Peralta, um GPS Garmin com 4 locais salvos, mas que precisa de senha para desbloquear

Em 2014, a personagem Ollie Priestly (@wxllflowers) encontrou o seguinte item no meio de seus pertences: um blackberry corporativo da UCLA, que foi de propriedade de Carmen Kfouri, um rolo de filme fotográfico com a inscrição: jan 1950 e uma fita VHS escrito na capa "Reunião Projeto Chronos - 1986"

Em 2014, a personagem Coraline Parton (@femmefctale) encontrou o seguinte item no meio de seus pertences: uma fita cassete escrito "notas mentais: maio/1961 - JJH", Chave com a inscrição: Sala de Áudio e Vídeo 3. Engenharia 4 e Chave com a inscrição: Sala de estudos 201. Biblioteca Powell.

Em 2014, a personagem Theodore Clarke (@imperfekt) encontrou o seguinte item no meio de seus pertences: um frasco de metal para armazenar bebida com as inscrições: "Para Robert Lockhart, - Natal de 1949. Com amor, Celia Quarks" e uma antena de tv com a etiqueta: Sala de Áudio e Vídeo 3. Engenharia 4

Em 2014, a personagem Lara Thompson (@laratheloser) encontrou o seguinte item no meio de seus pertences: esquema de montagem de alguma máquina com a inscrição no canto: "Modelo de acelerador magnético para veículos. Abril/1948 - Aos cuidados do professor Zhao Wang" e uma carteira de couro fino com o bordado: propriedade de Tan Ju Zhanlan.

Em 2014, a personagem Lucien Dragna (@thetrickxter) encontrou o seguinte item no meio de seus pertences: um walkman clássico da sony e uma chave com a etiqueta: John Wooden. Sala 101. Administrativo.

Em 2014, a personagem Arabella Dankworth (@helterskxlter) encontrou o seguinte item no meio de seus pertences: Uma cópia do livro “Espere agora pelo ano passado” de Philip K. Dick, com a inscrição na capa: “se perdido, favor devolver para Gilbert Kingsley. Quarto 403. Hendrick Hall”, guia rodoviário de 2003 com uma área no arizona e outra no deserto de nevada marcadas

Em 2014, a personagem Jin-Won Kim (@blindfoldme) encontrou o seguinte item no meio de seus pertences: Câmera Canon EOS5 R5 com a inscrição "Laboratório de Física 1" e uma carteira de cigarros da marca Camel, produzido em 1950 com as iniciais JLD.

Os Itens estavam acompanhados de um bilhete que dizia "Faça bom uso, mas tome cuidado para não perder." Os objetos são presentes porque o mod endoideceu e referente as tasks 2 e 3.