#the story of flanders

[maaarine]

““One man, one vote” suffrage is, in a sense, an expression of gratitude from the king and the government to all those workers, all those peasants, who fought in the Belgian army [during WW1].

They're hoping that the socialists do not get tempted by revolutions, like we saw in Russia in 1917.

It's a turning point. From now on, all adult men’s votes are equal."

"We have to add an important footnote: women are still not allowed to vote.

Even though they had also suffered, since the war had also been hard for the civilians, women’s misery apparently counted for less.

And it wouldn’t be the last time everything was decided above their heads."

"(…) Women stay at home by the fire and take care of the man? No, no.

Before WW1, everyone in the family worked for a living, including women and children. Women even made up the majority of the workforce.

But that changed after WW1, and the reason was very specific. To put it bluntly: there were too few Belgians."

"The birth rate is falling and the government doesn't like that.

Because the fewer citizens you have, the fewer potential soldiers there are, and the fewer potential workers.

A nation with a declining population is seen as a weak nation."

"And it is in the spirit that age that the government actually takes all kinds of measures to encourage people to have more children and also to discourage women from going to work.

A new kind of ideal emerges: from that moment on, the ideal woman is a woman who stays at home for her children.

A fun fact is that Mother's Day is invented in that period. And that is really part of a political will to portray women as mothers.”

Source: Het verhaal van Vlaanderen 1x09: De Groote Oorlog

[luthwhore]

possibly controversial opinion but people who think the sum total of superman’s personality can be distilled down to “he’s nice :)” have at best a surface level understanding of him and at worst have absorbed the entirety of their view of him from random tumblr text posts.

[p1325]

My book collection so far

Jane Austen - Pride and Prejudice

Emily Bronte - Wuthering Heights

Louisa May Alcott - Little Women

Charlotte Bronte - Jane Eyre

Jane Austen - Sense and Sensibility

Edith Wharton - The Age Of Innocence

Jane Austen - Emma

Gustave Flaubert - Madame Bovary

Jane Austen - Northanger Abbey

Edith Wharton - The House of Mirth

Jane Austen - Persuasion

Louisa May Alcott - Good Wives

Nathaniel Hawthorne - The Scarlet Letter

Charlotte Bronte - The Professor

Leo Tolstoy - Anna Karenina (Part 1)

Leo Tolstoy - Anna Karenina (Part 2)

Jane Austen - Mansfield Park

Anne Bronte - Agnes Grey

Thomas Hardy - Far from The Madding Crowd

William Makepeace Thackeray - Vanity Fair (Part 1)

William Makepeace Thackeray - Vanity Fair (Part 2)

Pierre-Ambroise-François Choderlos de Laclos - Dangerous Liaisons

Alexandre Dumas fils - The Lady of the Camellias

Henry James - Washington Square

Louisa May Alcott - A Garland For Girls

Henry James - The Portrait of A Lady (Part 1)

Henry James - The Portrait of A Lady (Part 2)

Jane Austen - Lady Susan. The Watson. Sanditon

Anne Brontë - The Tenant of Wildfell Hall

Thomas Hardy - Tess of the D’Urbeville

Edith Wharton - The Mother’s Recompense

Daniel Defoe - Moll Flanders

Henry James - The Wings of the Dove

Edith Wharton - The Customs of the Country

Kate Chopin - The Awakening

Jane Austen - Juvenilia  

George Eliot - Middlemarch (Part 1)

George Eliot - Middlemarch (Part 2)  

George Sand - Nanon

Henry James - The Ambassadors

Elizabeth Gaskell - Cranford

Thomas Hardy - Under The Greenwood Tree

Edith Wharton - Summer

George Sand - Indiana

Henry James - The Bostonians

George Eliot - Silas Marner

Henry James - The Golden Bowl (Part 1)

Henry James - The Golden Bowl (Part 2)  

Edith Wharton - The Twilight Sleep

Emily Eden - The Semi-Attached Couple

Edith Wharton - The Glimpses of the Moon

Mary Elizabeth Braddon - Lady Audley’s Secret

George Eliot - The Mill on the Floss

Elizabeth Gaskell - Mary Barton 

Fanny Burney - Evelina 

George Sand - Little Fadette

Emily Eden - The Semi-detached House

Charlotte Brontë - Shirley I

Charlotte Brontë - Shirley II

Daniel Defoe - Lady Roxana

Theodor Fontane  - Effie Briest 

Edith Wharton - The Cliff

Thomas Hardy - Two on a Tower

Frances Hodgson Burnett - A Lady of Quality

Louisa May Alcott - Moods

Edith Nesbit - The Incomplete Amorist

Frances Trollope - The Widow Barnaby (Part 1)

[choices-binglebonkus]

Replaying TRR again, but this time, I’m buying all the diamond scenes.

Maxwell is a pretty well-written character with a reasonable balance between courtly etiquette and goofy antics for most of book 1. I’ve said before that his Flanderization into an incessant party mosquito started in book 2, but now that I’m replaying the series and buying all the scenes, it feels like he started to take a subtle turn for the obnoxious at the tail end of book 1. Personally, after replaying, I felt that Maxwell dipped his toes into the annoying pool in chapter 16, then went waist deep in chapter 17 and didn’t recover after that.

Which, coincidentally, seems to have been when the writers shifted gears and started to try and work up to Maxwell eventually becoming a love interest in book 2 despite not originally being marketed as one.

In chapter 18 during his dance-off with Hana in her diamond scene, the MC is presented with the option to announce him into the challenge as “Unexpected Heartthrob”…which speaks for itself.

In chapter 19, during his diamond scene, the MC can kiss Maxwell on the cheek (which flusters him) AND ask him if she’ll ever see him without his shirt on. If neither of these choices are flirting, I’m not sure what is.

But what likely pushed the writers to add more romance-adjacent choices to Maxwell’s dynamic with the MC occurred way before these chapters. All the way back in chapter 8 when the MC is doing the Cordonian Waltz (a courtship dance, might I add) with Maxwell in Lythikos, the MC can either tell him that she thinks the dance is a little scandalous for the ballroom…or, in stark contrast, how there’s no one else she’d rather be dancing with, which Maxwell gently rebukes her for.

And then in chapter 10, the MC can tell Maxwell she’s looking forward to spending time with him on the beach. This particular interaction is noteworthy because it grants the MC a Maxwell relationship point. Throughout the first and second books, the MC can gain relationship points (NOTE: different from romance points) with Liam, Drake, Hana, and even Olivia. This instance in chapter 10 is the only relationship point that can ever be gained with Maxwell. Yes, ever.

I’m thinking these two originally small and insignificant choices in chapter 8 and 10 gained so much attention from fans that Pixelberry realized Maxwell had potential as a love interest, leading them to sprinkle in some rewrites in book one that hinted at a future romance. These rewrites could also explain why chapter 10’s interaction is the only instance of us gaining a relationship point with Maxwell: Pixelberry likely rewrote scenes with choices that originally granted more Maxwell relationship points and forgot to replace them after.

So while they went way heavier on the buildup to Maxwell becoming a love interest in book 2, the signs were there early on, and they gradually built up to Maxwell becoming less of a bumbling but well-meaning guide to the MC, and more of an air-headed, foolhardy, childish pest.

And honestly? It makes me wonder: how might Maxwell’s character have been different if the writers didn’t turn him into a love interest? Would he have kept his early/mid-book 1 personality? Would Maxwell have pursued a relationship with Penelope? Would his role in the story have gradually lessened like Bertrand’s did? How might he have affected future books like TRH/TRF?

[adobongsiopao]

The main cast of characters of World Masterpiece Theater entries in the 70s:

- "Dog of Flanders" (1975)

- "3000 Leagues in Search of Mother" (1976)

- "Rascal the Raccoon" (1977)

- "The Story of Perrine" (1978)

- "Anne of Green Gables" (1979)

[demento-mori]

the word "fanon" has become sooo. repulsive to me. like. it literally makes wanna gag. because every single time its just "oh you like this story and its characters? well what if we made them boring and bland and generally worse in every way, in order to fit them into a perfect palatable cookie cutter template that we can make incorrect quotes of!! wouldnt that be cool?!"

[chiropteracupola]

sing me silence, my soldier / sing us gently into death...

[lord-squiggletits]

Idk if my previous posts were unclear but I don't remotely hate any Optimus version that isn't IDW or think they suck. Every Optimus is good and there's a fan (or multiple fans!) of every version of OP no matter how obscure or underrated (as well as all the other characters).

What's more questionable (or at least annoying) is when fandom ignores canon character personalities in favor of writing specific archetypes that are either out of character or repetitive/stereotyped to the point of annoyance. As an example of this, it would be a female character being called the Team Mom just because she's a woman existing in a group of (primarily male) characters even if she's not remotely motherly or nurturing. Or, as a more topical example, how often I've seen Transformers ships where even though both characters are canonically masculine (or gender neutral), fanartists love to turn one of the characters small and weak (or even outright feminine) to turn the ship into Strong Dominant Seme and Sweet Cute Uke to fit a specific kink or romantic fantasy, even if it's a disservice/OOC to portray those characters like that.

In other words, a fandom's popularity of certain characters, ships, headcanons, etc is often more informed by tropes and forcing canon to adhere to one's personal tastes, as opposed to approaching canon and trying to understand it on its own terms. I'm not talking about the quality of the source material, but rather the way that the fandom interprets the source materials in ways that don't make any sense, approach it in bad faith, or just generally don't care about canon at all. So I'm not saying one OP is better than another, my problem is when fandom consistently focuses on certain stereotypes or flanderizations of a character, and then any character that doesn't fit the popular (often stereotyped) mold is ignored or virulently rejected. In other words, I think popular fandom often does a DISSERVICE to characters whether they love them or hate them, it just takes different forms.

So, just as an example, I think one fandom caricature of Optimus that I see a lot (and heavily dislike) is making Optimus some sort of shrinking wallflower type who's innocent, sweet, and virginal, in contrast to an opposite caricature of Megatron that's big, strong, dominant, and rugged, and making ship art that forces the characters into some kind of seme/uke or borderline heteronormative romance. Despite the fact that canon Optimus (in, say, TFP for example) is tall, broadly built, deep voiced, dignified, assertive, and strong (physically and morally), completely incorrect interpretations of him as a shy feminized uke type are still pretty common to find. And it makes you ask yourself why it is so many people make MOP ship art of them of The Small One and The Large One or The Small, Cute One and The Big, Violent One when it's completely different from canon. It feels as if such fanart is made by people who just want to see seme/uke style slash ships, and if canon doesn't give them what they want, they'll simply trash it and replace it with their own version, even if it's completely OOC.

So when I said in my other post that people don't like IDW Optimus because he can't be fit into caricatures like happy dad or shy twink, I'm not saying it to say "other OPs who resemble that suck," I'm saying it to express "Fandom tends to simplify characters into easily palatable and comfortable tropes, and when they encounter a character they can't do that with, they respond by ignoring or even hating on that character."

Other versions of Optimus have the problem where fandom turns them into a stereotype instead of the actual character they are, e.g. portraying TFA OP as some poor abused damsel with no self confidence and crippling anxiety being abused by his superiors, and then they talk more about this fake uwu smoll bean cinnamon roll version of TFA OP than they do about actual canon TFA OP. And honestly I can't think of any prominent content/meta about G1 OP that isn't just "he plays basketball and does funny one liners and is Team Dad/Grandpa." (Hell, you even get that with non-Optimus characters that get simplified to just sexy twink, old grandpa, comedy relief, evil ex, Diversity Win-- She's A Lesbian, third wheel to the favored ship, etc even though there's way more depth to them than just their surface level stereotype.)

IDW OP's problem is that he can't be stereotyped like that so instead the fandom ignores him. He's not small, so they can't stereotype him as a skinny twink getting topped by a burly uke. He's not jovial or happy go lucky or extroverted, so they can't stereotype him as Team Dad or Comedy Relief. He's assertive, blunt, and has a temper, so they can't stereotype him as a shy wallflower in need of protecting. He makes catastrophic mistakes and is responsible for bad things happening, so they can't stereotype him into a sweet cinnamon roll who has never done anything wrong in his whole life or The Infinitely Wise and Kind Paragon. There's no Big Bad Authority Figure who was mean to IDW OP and traumatized him, so they can't excuse the bad things he did as "he's traumatized so he couldn't help it" and wave away his flaws as "it's his abuser's fault, they made him this way." IDW OP has the kind of depression where he's grumpy, shut off, and angry-- as opposed to the shy, sad kind of depression that just stares forlornly out of the window in a beautifully tragic way-- so they can't make him into a sad woobie kicked around unfairly by life.

Or I guess they just stereotype IDW OP as "evil bastard with no redeeming qualities that's mean to everyone for no reason, plus the writers forced everyone to like him just because he's Optimus Prime" even though that isn't accurate either.

Put bluntly, IDW OP forces fandom to contend with the idea that someone can be a good person with good intentions but still fuck up on a massive scale and maybe end up hurting more than they helped. IDW OP is messy, ugly, flawed, mean, stoic, closed off. When IDW OP has mental breakdowns or has his feelings hurt, he's loud and angry and harsh, and the consequences of what he did while he was unwell continue to haunt him long after. In other words, he actually experiences negative emotions the way a real person would, and sometimes when he's under the influence of negative emotions, he lashes out or does stupid things (like a real person might) instead of inoffensively crying in a corner somewhere. He isn't sanitized enough for a fandom that only wants Perfect Pure Good Optimus Who Never Hurts Anyone Even By Accident, so instead of IDW OP's mistakes and dark moments being treated as the logical end point of a person put in constant no-win situations until he breaks, he gets treated as if his mistakes and flaws make him an irredeemable bastard with no good qualities who should've fucked up less often to make fans actually like him.

And this is all in a fandom where 90% of the characters are war criminals and a good half of them have massacred organic planets. But god forbid IDW Optimus ever make a bad decision in a stressful situation. Or be mean to someone. Or have a character arc about how blindly idolizing people as paragons ends badly for everyone involved because no one can be that perfect. He is simply The Worst Optimus Ever and there's absolutely nothing about him worth discussing.

And just to be clear, the problem isn't the fact that some people don't like IDW OP, or he's just not their thing and they don't care.

The problem is the fact that he's consistently and actively hated by the fanbase who makes a concentrated effort to say he sucks and make sure none of their fan works ever include him. It's literally at a level where I stopped looking in the Optimus tag on this website because I was tired of people randomly going "and btw IDW OP sucks and I want to drown him in a ditch" in posts that weren't even about IDW, and I stopped looking for MegOP fic on AO3 because most of it is IDW Megatron/clearly TFP or G1 inspired continuity soup Optimus. Places that are Optimus friendly for Optimus fans, where I could reasonably expect to find positive conversations, but instead get sucker punched by hate about the character The Space Is About. And I can't even have conversations asking about why they do, bc the way 90% of them talk, I can tell they literally just didn't read the comics or deliberately misinterpreted the story.

I find it bizarre and frankly, tragic, that the hate train for IDW OP is so pervasive that people actively erase and replace him from fan works IN THE IDW UNIVERSE in a way that no other character is targeted in. I have tried so hard to understand why IDW OP gets this sort of hate and erasure when other characters who were as bad or worse than him have perfectly normal takes about them that go "yeah he kinda sucks but he's cool and I like him" or "who cares if he's problematic IRL, it's a story." The only conclusion I can come to is that because Optimus Prime (TM) has a specific brand image and is locked into being a cultural icon, he's held to a standard of The Ideal Perfect Hero instead of the way better standard of "Is he an interesting, well written character?"

[suffarustuffaru]

Who's your favorite royal candidate and who's your least favorite candidate like if you were a citizen there

my answer would still be the same even if the “if you were a citizen there” part wasnt in your ask pfft but my favorites would be felt and emilia, least favorite would be priscilla. i mean canonically priscillas a decent leader and she Does Care about things and shes very competent herself!! but as someone who is the Exact Opposite of priscilla i would be turned off if i was a citizen in universe deciding which candidate to support HAH. shes a fun character though!! felt and emilia are people id really like bc i admire their ideals and their fortitude, for sure. felts rough around the edges and emilia is. you know. The Struggler. but theyre ultimately very kind and fair at the end of the day and their ideas as candidates are ideas that i would want to subscribe to so badly. i think with growth on top of that id trust either of them with the country!!! and with the state of irl politics as well im leaning more and more into felt’s ideals everyday HAH… and maybe as a queer poc whos personality is preeeetty similar to emilia im feeling emilia’s struggle a bit 👍 but also no shade to anastasia, shes cool and all but idk about the capitalism ma’am 😭😭 otherwise shes very neat and competent as well. but at the end of the day my first choice in terms of who id support is probably felt or emilia!! HELL YEAH!! lets goo guys lets burn the current system of lugunica!!!!

[protemporescitor]

I'm calling everyone out today.

[maaarine]

“Getting the economy back on its feet after World War II, it’s a lot of work, but it also means a lot of jobs.

Good for everyone, except for the sector that drives the entire economy: the coal mines. There are not enough miners.

The work in the mine is hard and dangerous, and the Belgians can find better jobs in this booming economy.

After the war, convicted collaborators and prisoners of war are first put to work.

But that does not last, since those prisoners end up going home and the collaborators serving their sentences. Then the problem starts.

Who is going to work in the mines? The Belgian government goes looking for guest workers abroad.

In 1947, they officially start recruiting them, first from Italy, and later from different countries around the Mediterranean.

Workers are brought here en masse through partnerships. Men from poor regions.

There are trained to become miners, but the language lessons are very limited. The contracts they sign are only for a short period of time: one, two, or three years.

And if you're only going to stay for three years and then go home, why would you learn Dutch?

But it doesn’t happen that way. The mines are running thanks to those guest workers, so they don’t let them go.

And even more workers are brought over. Because soon, other sectors discover the benefits.

Especially since the 1960s, foreigners are counted on for all the heavy work that the Belgians are passing on. (…)

Contrary to what many people believe, it was the employers and the government themselves that insisted on workers bringing their family with them.

A company needs steady employees. And by telling them to come with their family, it ensured that those workers would not change jobs as often.”

Source: Het verhaal van Vlaanderen 1x10: Van 1939 tot 1999

[paranormeow7]

i like talking to my friends @catskinn @psychepearls

[dullahandyke]

didnt even touch on the sandra lynn stuff int he tags of the last post bcos if i talk about her im liable to explode. get behind me, middle-aged divorced woman proficient in archery

[p1325]

The 'Timeless Classics' series by RBA stands as a commendable collection of 85 literary masterpieces, predominantly drawn from English literature, with notable inclusions such as Madame Bovary and Anna Karenina from diverse cultural landscapes. This curated anthology transcends geographical boundaries, making its enriching content accessible not only in various European countries under the names of ''Storie Senza Tempo'', ''Romans Eternels'', and ''Novelas Eternas'' but also in South America. RBA's commitment to delivering these cultural gems on a global scale reflects a dedication to fostering a profound appreciation for literature across diverse audiences.

Here are all the titles of the following collection: Jane Austen - Pride and Prejudice

Emily Bronte - Wuthering Heights

Louisa May Alcott - Little Women

Charlotte Bronte - Jane Eyre

Jane Austen - Sense and Sensibility

Edith Wharton - The Age Of Innocence

Jane Austen - Emma

Gustave Flaubert - Madame Bovary

Jane Austen - Northanger Abbey

Edith Wharton - The House of Mirth

Jane Austen - Persuasion

Louisa May Alcott - Good Wives

Nathaniel Hawthorne - The Scarlet Letter

Charlotte Bronte - The Professor

Leo Tolstoy - Anna Karenina (Part 1)

Leo Tolstoy - Anna Karenina (Part 2)

Jane Austen - Mansfield Park

Anne Bronte - Agnes Grey

Thomas Hardy - Far from The Madding Crowd

William Makepeace Thackeray - Vanity Fair (Part 1)

William Makepeace Thackeray - Vanity Fair (Part 2)

Pierre-Ambroise-François Choderlos de Laclos - Dangerous Liaisons Alexandre Dumas fils - The Lady of the Camellias

Henry James - Washington Square

Louisa May Alcott - A Garland For Girls

Henry James - The Portrait of A Lady (Part 1)

Henry James - The Portrait of A Lady (Part 2)

Jane Austen - Lady Susan. The Watson. Sanditon

Anne Brontë - The Tenant of Wildfell Hall

Thomas Hardy - Tess of the D’Urbeville

Edith Wharton - The Mother’s Recompense

Daniel Defoe - Moll Flanders

Henry James - The Wings of the Dove

Edith Wharton - The Customs of the Country

Kate Chopin - The Awakening

Jane Austen - Juvenilia

George Eliot - Middlemarch (Part 1)

George Eliot - Middlemarch (Part 2)

George Sand - Nanon

Henry James - The Ambassadors

Elizabeth Gaskell - Cranford

Thomas Hardy - Under The Greenwood Tree

Edith Wharton - Summer

George Sand - Indiana

Henry James - The Bostonians

George Eliot - Silas Marner

Henry James - The Golden Bowl (Part 1)

Henry James - The Golden Bowl (Part 2)

Edith Wharton - The Twilight Sleep

Emily Eden - The Semi-Attached Couple

Edith Wharton - The Glimpses of the Moon

Mary Elizabeth Braddon - Lady Audley’s Secret

George Eliot - The Mill on the Floss

Elizabeth Gaskell - Mary Barton

Fanny Burney - Evelina

George Sand - Little Fadette

Emily Eden - The Semi-detached House

Charlotte Brontë - Shirley I

Charlotte Brontë - Shirley II

Daniel Defoe - Lady Roxana

Theodor Fontane - Effie Briest

Edith Wharton - The Cliff

Thomas Hardy - Two on a Tower

Frances Hodgson Burnett - A Lady of Quality

Louisa May Alcott - Moods

Lucy Maud Montgomery - The Story Girl

Elizabeth Gaskell - Ruth

Thomas Hardy - The Woodlanders

Elizabeth Gaskell - North and South

Matilde Serao - Fantasy

Thomas Hardy - A Pair of Blue Eyes

Emilia Pardo Bazán - Sunstroke

Ann Radcliffe - The Romance Of The Forest

Louisa May Alcott - A Long Fatal

Charlotte Bronte - Villette

Sybil G. Brinton - Old Friends and New Fancies

Edith Wharton - The Bunner

Sisters Virginia Woolf - The Voyage Out

Margaret Oliphant - The Chronicles of Carlingford

Edith Nesbit - The Incomplete Amorist

Virginia Woolf - Day and Night

Guy de Maupassant - Our Heart

Frances Trollope - The Widow Barnaby (Part 1)

Frances Trollope - The Widow Barnaby (Part 2)

Elizabeth Gaskell - Half a Lifetime Ago

[thedevilsrain]

far from a james hater but god james becomes genuinely unbearable after like chapter 8... aoike really just starts writing him to be a genuine nuisance to the plot and then writes (unfunny) joke after (unfunny) joke about how he's just there to exploit dorian like you really did not know where to take that character huh

[adobongsiopao]

World Masterpiece Theater calendar for year 2025.

Source: Nippon Animation online shop