#witw 2017

[weltato]

every time I listen to Wassailing Mice now, all I can hear is the little things Ratty does

when he lifts up Moley to put up the decorations bc Mole can't reach

the "Tommy..." when the other mouse is telling the kid to lift up his lamp

the joy when he hears he's in the song - raises arms, "I'm in a song!" biggest fucking grin ever

his shared joy with Mole at Mole being in the song too

even afterwards when the mice want the humbugs and he just says "well why didn't you say so" in that resigned yet witty way he has

I love him sm

[daily-brain-worms]

"Just as the great Pimpernel eluded the French, I shall escape from this cell a buxom but comely wench!" - Rufus Hound as Mr. Toad, 'To Be A Woman', The Wind In The Willows 2017 London production

[weltato]

Such a power duo honestly

They are my quilty pleasure

[drmopp1966]

TWO OF THEM

[kaelang12]

WitW Comparison pt 4: TOAD

here he is, folks- the Ambitious Amphibian, the Ayatollah of Rock n Rollah, Toad of Toad Hall!

it takes a great effort to portray him right, and which version will come out on top? let's find out!

tj!Toad is, in my honest opinion, a little too much like me to be comfortable with.

i WAS Toad, when i was a kid. unaware of how the world works, bad with money, socially awkward, and switches hyperfixations at the drop of a hat. truly an ADHD icon /s.

look at him, so happy to have visitors. he wants to be around people so bad, but he just has zero sense and cannot read a room.

he's the one who sells Mole's home to the weasels, just so he can have quick access to more money.

it's not that he's greedy about money- quite the opposite, in fact. he will throw money at whatever he wants as long as he gets the gratification from it.

Rat: "Don't worry, he'll soon get bored with it."

geez, not even a day and he's already tired of the caravan.

at least he's a better driver than me

about the only thing he learns from Badger after a stern talking-to is to call people he doesn't like "nincompoop".

which gets him 15 years added to his prison sentence for back-talking a Bobby.

i'm gonna skip the whole "disguise in drag" thing, for both my and your sake.

does he ever feel bad about what he's done? i would say at least once.

that shell-shocked look right there. he's thinking to himself "I screwed up, and it's all my fault."

but considering he's Toad, he recovers rather quickly after he learns that Toad Hall wasn't blown up.

i wonder how he paid for the plane

Toad, in pretty much every adaptation i've seen, suffers from a heavy case of Aesop Amnesia. he rarely, if ever, learns his lesson, and gets away with it in the end.

tj!Toad is very much what i call a "manchild." even Bertie Wooster would tell him to wisen up.

will the musical make him better? let's find out!

-------------------

i LOVE musical!Toad. he has influenced me enough to add some of his behaviors to my own oc, and i do not regret it one bit.

INCOMING HAM ALERT! INCOMING HAM ALERT!

seriously, i have to wonder how he can talk when he's too busy chewing the scenery. absolute Mad Lad. my goal as a masc NB is to look like this in the future.

it's too late. the hyperfixation has already taken ahold of him.

Ork logic tells me that red things go fasta, so i gotta believe them. and it feels like Toad has also taken that to heart. if he had a GoPro, he'd absolutely slap that bad boy on and cruise around doing dangerous stunts. actually, scratch that- he'd still do it, GoPro or not. it's all about the adrenaline, babey!!!

"The thing is...that I'm not sorry!"

Toad, not being sorry:

once more, i will skip the drag scene for everyone's sake.

so, he retakes Toad Hall, gets forgiven (but just barely), and has a party. is he gonna be able to surpass tj!Toad?

of course he does.

dunno where he got the jetpack, or how much it cost, but he is now free to menace the skies at his leisure.

musical!Toad is not a good person. he's selfish, fickle, and gets away with multiple crimes in the end.

but is he fun to watch? absolutely! he hams it up loudly and proudly. he's Toad of Toad Hall, and you will bear witness to his greatness.

just take the jetpack away from him before he hurts somebody. or himself. preferably not both.

[suitysue]

Any witw headcannons for the upcoming Christmas?

hmmmmm

ratty is really into the holidays, christmas, halloween, everything. and although mole is jewish, (IDK HOW IT WOULD WORK BUT UHM) ratty has always included him and made sure to let mole explain his holiday traditions!

badger is the “head” of the “Holiday Committee,” basically its a few community members coming together to honot and celebrate all the holidays!

portia, the baby hedgehogs, etc have all been able to “light the neighborhood christmas tree” before! (idk how it fully works either lol but they make it work)

badger’s first real christmas (since he was a child) happened after he got close to mole, toad, ratty, etc. where they all got together and made him have the best christmas ever yay!!!!!!!!

mole and ratty have those stupid lil advent calendar things

[weltato]

First: Ratty throwing Toad's hat to Mole and Mole's subsequent little jump to catch it.

Second: Mole trying to hide by standing still and bending over, bless him.

Third: Ratty. Hugging. Moley. All to keep him safe from the lunatic that is Toad in that moment, who is quite miffed to have his hat and coat stolen off him.

Fourth: Can't say much apart from Toad and Ratty noticing Mole at the same time and just. Stopping.

Fifth: Aw, look at him <3

Sixth: Toad tries to go after Mole. Ratty says "not today" and spins him around so skillfully and effortlessly that you can tell he's done this before. Then he just walks over to Moley and is like "c'mon, let's take those off now." So chilled. A moment of exasperated calm for Ratty.

Bonus: Toad going after Mole again bc Mole kinda did a woopsie and mentioned his mother. Badger stopping Toad so smoothly with his cane like the boss man he is. Ratty immediately stepping between Toad and Moley to protect Mole <333

I love them. I love them so much.

favourite wind in the willows musical moments (7/?)

Toad’s Intervention

Bonus 

[losingmymarbelles]

doodles from school that i made during my witw 2017 phase (dewey duck mr plant and argos are also there) enjoy

[foxes-that-run]

Sign of the Times

SOTT is from the POV of a dying mother's words to a newborn. In the 2022 New York Apple Music Live Harry said this 'the first song he ever put out', then repeated that before Beautiful. Harry choose it to set the tone of his solo career, as a message to himself to rely on himself, similar to Taylor's later Your on your own Kid. I hear it as Harry talking to himself, willing him to go on despite challenges and fears in his solo career. To me the theme is both urging himself on and also considering who he is apart from fame. It references Taylor and she it. It is open to interpretation and by no means I am no expert, just my thoughts.

To Rolling Stone in 2017 Harry said: “Most of the stuff that hurts me about what’s going on at the moment is not politics, it’s fundamentals,” Styles says. “Equal rights. For everyone, all races, sexes, everything. …  ’Sign of the Times’ came from ‘This isn’t the first time we’ve been in a hard time, and it’s not going to be the last time.’ The song is written from a point of view as if a mother was giving birth to a child and there’s a complication. The mother is told, ‘The child is fine, but you’re not going to make it.’ The mother has five minutes to tell the child, ‘Go forth and conquer.'”

Lyrics

Just stop your crying It's a sign of the times Welcome to the final show Hope you're wearing your best clothes You can't bribe the door on your way to the sky You look pretty good down here But you ain't really good

To me, Harry is likening his leaving One Direction as a death and his solo career as the new birth/beginning. I hear final show is literal, their final show. He's telling himself to not cry, he can't bribe his way to solo success, it's on him and he has to try his best. He left a lot of once important relationships behind, even though many were already strained he lost the 1D infrastructure, the band friendships.

To me, you look pretty good down there, but you aren't really good to directed at Taylor. Referring to their attraction and reminding himself of their cyclical relationship. Their relationship was at its lowest point when he left 1D as described in Woman and MMIH, at a time he needed anchoring he was telling himself not to repeat it.

If we never learn, we been here before Why are we always stuck and running from The bullets? The bullets We never learn, we been here before Why are we always stuck and running from The bullets? The bullets

To me the second verse speaks to the cyclical nature of his relationships in this time, in the band and also Taylor.

I hear 'stuck running from the bullets' as hiding from camera's. As described in I Know Places "They take their shots, but we're bulletproof / I know places" and Perfect, they constantly hid or ran from press.

They were trapped in a cycle of not learning and repeating a cycle described in Style "when we go crashing down, we come back every time" OOTW as 'we were built to fall apart and get back together.' They sing of a repeating, almost addictive nature of their relationship in many songs.

Just stop your crying It's a sign of the times We gotta get away from here We gotta get away from here Just stop your crying It'll be alright They told me that the end is near We gotta get away from here

Harry is urging himself to rise to the challenge.

Taylor refers to the end in Mirrorball, which is a similar song "Hush, I know they said the end is near"

Harry is hoping he can break the cycle and be happy with (or without) Taylor.

It'll be alright is also similar to Fine Line's "We'll be alright" and WITW "And I know we'll be alright, child"

Just stop your crying Have the time of your life Breaking through the atmosphere And things are pretty good from here Remember everything will be alright We can meet again somewhere Somewhere far away from here

Harry is telling himself to let his past success with the band behind, remember to enjoy himself aside from doubt and fear. Rather than 'you look pretty good' in the first verse it is now 'things are pretty good' he is turning inward to get there alone.

He's setting aside the relationship for the future, he also said a similar idea in Someday (Michael Buble) "We could be in love once more / Till then I won't give my love away / Darling, I'm forever only yours" and in Walking in the Wind " Yeah, you will find me / In places that we've never been / For reasons we don't understand"

We don't talk enough We should open up Before it's all too much Will we ever learn? We've been here before It's just what we know

Harry reflects on their lack of communication, I think with Taylor but also broader in his relationships. Not communicating is another Haylor theme.

Stop your crying, baby It's a sign of the times We gotta get away x5 We got to, we got to, away x3

I love the outtro, and his performance of it in the video above. I'm so happy for him paving his path successfully.

[catsafari25]

Thanks for the tag @mortalfollies 💕

🎶✨When you get this, you have to put 5 songs you actually listen to, publish, then send this ask/tag 10 of your favorite followers  🎶✨

1. Tongues and Teeth - The Crane Wives

2. Stray Italian Greyhound - Vienna Teng

3. W.I.T.C.H. - Devon Cole

4. Better Tomorrows - from del Toro's Pinocchio

5. Messing About in a Boat - from WitW musical, 2017

As for the tagging... uh let's go with @tcrmommabear @wolfiethewriter @yellowsomethings @sindysugar @lestatslestits – but consider yourself tagged if you qant to do this too!

[gameforestdach]

Die Weihnachtszeit, bekannt für ihr festliches Ambiente und familiäre Zusammenkünfte, birgt auch eine dunklere, aufregendere Seite in der Welt des Films. Weihnachtliche Horrorfilme, ein eigenwilliges und faszinierendes Genre, mischen festliche Themen mit Elementen des Horrors und bieten den Zuschauenden eine gruselige Alternative zur traditionellen weihnachtlichen Freude. Dieser Artikel taucht in einige der bemerkenswertesten Weihnachts-Horrorfilme ein, von denen jeder einen einzigartigen Dreh in Sachen festlichem Schrecken bietet. "Hosts" (2020) In Hosts verwandelt sich ein scheinbar normaler Heiligabend durch die Einladung der Nachbarn zu einem Abend unvorstellbaren Schreckens für eine Familie. Dieser Film verkörpert den Horror des Unerwarteten und liefert ein packendes und beunruhigendes Erlebnis. "Inside" (2007) Inside präsentiert die erschütternde Erzählung einer schwangeren Witwe, die an Heiligabend von einer psychopathischen Scheren schwingenden Bedrohung terrorisiert wird. Die intensive Atmosphäre und die klaustrophobische Szenerie steigern die verstörende Wirkung des Films. "The Advent Calendar" (2020) The Advent Calendar leitet Horror durch einen scheinbar harmlosen Gegenstand ein, wobei das Öffnen jeder Tür zu unheimlichen Ereignissen führt. Dieses kreative Konzept verknüpft traditionelle Weihnachtselemente mit ominösen Ausgängen. "Christmas Evil" (1980) Durch seinen psychologischen Horror hebt sich Christmas Evil ab und folgt einem Kaufhaus-Weihnachtsmann auf einem Amoklauf, wobei er in seine Vorgeschichte und Motivationen eintaucht. Dieser Film sticht hervor durch seine Tiefe und Erzählkunst, er bietet mehr als nur eine Slasher-Erfahrung. "A Christmas Horror Story" (2015) Indem es fünf separate Geschichten zu einem Blutbad-Finale vereint, in dem der Weihnachtsmann gegen eine Zombie-Elf-Armee kämpft, legt A Christmas Horror Story das Augenmerk auf William Shatner in einer Schlüsselrolle als Radio-DJ, der diese Geschichten verbindet. "Better Watch Out" (2016) In Better Watch Out verteidigt sich ein Babysitter während des Weihnachtsfests gegen einen Hausangriff und bringt damit eine clevere Wendung ins Genre. Diese schwarze Komödie unterläuft typische Horror-Klischees für ein einzigartiges Erlebnis. "Rare Exports: A Christmas Tale" (2010) Mit einer Mischung aus Horror und trockenem Humor erzählt Rare Exports von der Entdeckung der Überreste des Weihnachtsmanns in einer skandinavischen Stadt, was zu mysteriösen Verschwinden von Kindern führt. Dieser Film bietet eine innovative Genre-Kombination. "Krampus" (2015) Krampus erzählt die Geschichte einer Familie, die von der dämonischen Gegenspielerfigur des Weihnachtsmanns heimgesucht wird und vermischt dabei Horror mit Humor. Mit Adam Scott und Toni Collette in den Hauptrollen bietet der Film eine moderne Interpretation der Krampus-Legende. "Anna and the Apocalypse" (2017) Als einzigartige Kombination aus Zombiefilm, Weihnachtskomödie und Musical begleitet Anna and the Apocalypse eine junge Frau im Kampf gegen Zombies während der Feiertage. Dieser Genre-Mix spricht eine breite Publikumsschicht an. "Red Snow" (2021) Red Snow bietet eine frische Perspektive auf den weihnachtlichen Horror, obwohl bestimmte Handlungsdetails in den Quellen nicht gegeben sind. Wahrscheinlich folgt es unkonventionellen und unheimlichen Ereignissen in der festlichen Jahreszeit. Diese Filme zeigen die Kreativität und Vielseitigkeit von Filmemachern, indem sie die festliche Stimmung von Weihnachten mit dem Nervenkitzel des Horrors kombinieren. Sie reichen von psychologischen Thrillern bis zu schwarzen Komödien und demonstrieren die vielfältigen Erzählmöglichkeiten innerhalb des Genres der Weihnachtshorrorfilme.

[weltato]

I need someone to yell at me about the Wind in the Willows musical pls

It's been going around and around in my brain for a few days now

Ratty & Mole have my heart <33

[classicalmusicdaily]

During his studies, he was awarded with the Rector’s Award in 2010 (for new project “DuLuM”), as well as with the Dean’s Award in 2012 (as an assistant conductor in the production of Bizet’s opera Carmen). In 2013 he conducted a performance of Stravinsky’s opera Le rossingol. He continue to collaborate with the Academy of Music in Zagreb from 2016 on, as an Assistant professor (Conducting studies and Sight reading), as well as a conductor of the new production of Massenet’s opera Cendrillon in March 2020. Since 2013 he was a member of the team at Croatian National Theatre in Zagreb, firstly as a Répétiteur, later as a Studienleiter. As an assistant conductor, he made 10 productions for the theater: Les vêpres siciliennes, Don Carlo, Madama Butterfly, Turandot and Gurre-Lieder, just to name a few. He conducted performances of operas such as Don Pasquale, Mimi and Equinox. From September 2019, he is a member of Staatstheater am Gärtnerplatz in Munich, where he had his german debut in March 2021. He is a conductor and an artistic director for three ensembles: Vocal baroque ensemble Projekt Lazarus (with concerts in Rome, Vienna, Venice, Varaždin, Zadar and many more), Chamber opera company “Opera bb” (with two premieres: Die Lustige Witwe in 2017 and Die Fledermaus in 2019) and Chamber ensemble “Col legno” (with contemporary repertoire performed at many festivals in Zagreb, Cres and Rovinj). Hello, dear Darijan and welcome in our Conductors of the future rubric! We are very happy to have the chance to get to know you better and to talk with you about your path & the beautiful world of opera. First of all, please, tell us about how everything started for you, about your musical journey. Dear OperaCharm Team, it is a great pleasure having this opportunity to talk with you all present myself and my work to a wider audience. I’ve been living with music since very early age. My older sister is a concert pianist and I had often been present while she’d practiced at home and my father always mention that I’ve been humming with her and sometimes even correcting some mistakes even before I started to play piano myself – so, there was a conductor somewhere inside even then I’ve started to work with my first piano teacher around my 7th birthday in my small hometown Novska (Croatia) and piano is always near me and I think it will be my whole life the basis of my musicianship, but with time I’ve realized that I like to make music with my friends and colleagues more and more… In that sense, I’ve gathered a few friends and started my own choir during my high school. After graduation in both piano and music theory, I moved to Zagreb, where I studied conducting and eventually got my MA Diploma in 2014. In 2011 you started your professional career as an assistant conductor in the production of Bizet’s Carmen, how was it for you? What is it like to have the chance, as a young conductor, to assist & be a part of the musical creation process? Except for living with classical music, mostly repertoire for piano solo in my youth, I’ve always been interested in wide range of music, going from arrangements for all kinds of ensembles (from chamber choir to symphonic orchestra) to even playing pop music in a few different groups. Somehow, opera as a form got to my attention quite late, i.e. during my studies in Zagreb. That was really the so-called “A-ha moment” when I felt really like I got “infused” with some kind of a drug I could never get rid of. All joking aside, that was really a great pleasure to assist my professor at the time and get the chance to be included in all stops on the way of making an opera production – from the very first coaching and lessons, learning the roles with singers to conducting staging rehearsals with soloists and full chorus. That experience was and still is crucial for all projects that came later. I’ve had an opportunity to find a way of giving my best working patiently with singers on all needed skills within a goal of

performing his/her best, from mastering most of languages of operatic repertoire to sing other parts, that still makes me happy to this very day. reposted from https://opera-charm.com/

[radio-partywelle]

Soundgarden: Neue Songs mit Chris Cornell auf dem Weg

Manchmal kommen sie zur Vernunft: Die verbliebenen Mitglieder Soundgardens, Kim Thayil, Matt Cameron und Ben Shepard, haben den jahrelangen Rechtsstreit mit der Witwe ihres 2017 verstorbenen Sängers Chris Cornell außergerichtlich beigelegt. Zukünftig wollen beide Seiten sogar kooperieren. Eine Win-Win-Situation könnte man auch sagen. Schließlich geht es u.a. um sieben unveröffentlichte Songs, an denen Soundgarden noch mit Cornell gearbeitet haben. "Die Versöhnung markiert eine neue Partnerschaft zwischen den beiden Parteien, die es Soundgarden-Fans auf der ganzen Welt ermöglichen wird, die letzten Songs zu hören, an denen die Band und Chris gearbeitet haben", heißt es u.a. in dem begleitenden Statement. Wir freuen uns auf neue Songs. Lesen Sie den ganzen Artikel

[nunc2020]

Der Mann in Schwarz

In seiner Zeit, in der die Bilder, seine Stadt Paris und die Welt umgebaut wurden, blieb dem Dichter Baudelaire noch die Melancholie.

Von Lothar Müller

In der fotografischen Industrie witterte er die Zuflucht der verkrachten Maler, in der "künstlerischen Fotografie" das ideale Instrument der Inszenierung scheinbar authentischer "lebender Bilder", womöglich in antiken Kostümen. Aber einen Ausweg ließ Baudelaire der Fotografie. Er gestand ihr eine prominente Rolle beim Aufbau der "Archive unseres Gedächtnisses" zu. Sie solle die vom Einsturz bedrohten Ruinen festhalten, die Bücher der Naturforscher mit den Abbildern der mikroskopisch kleinen Tiere versehen, die Forschungsreisenden begleiten, vom Zerfall bedrohte Manuskripte und Zeichnungen überliefern. Aus dem fotografischen Archiv des 19. Jahrhunderts blickt uns nun Charles Baudelaire selber an, als schwarze Gestalt mit weißem Hemdkragen, Zeitgenosse so vieler Helden in den Romanen der Epoche, die aus der Provinz in die Metropole kamen. Diesen Weg musste er nicht gehen, er war in Paris geboren, am 9. April 1821. Als er in seinem Bericht über den "Salon 1859" der Fotografie empfahl, sich Gegenständen zuzuwenden, die vom Verschwinden bedroht sind, traf dies für den alten Stadtkern von Paris zu. Die vom Präfekten des Departements Seine, Baron Georges-Eugène Haussmann, vorangetriebene Stadtmodernisierung war in vollem Gange. Der Schaffung neuer Plätze und Boulevards gingen die démolitions voran. Arbeiter posierten für die Fotografen auf den Trümmern vor hoch aufragenden Abrisshäusern, in langen Reihen standen Pferdefuhrwerke zum Abtransport des Schutts bereit. In das Gedicht "Le Cygne" (Der Schwan), eines der Hauptstücke der Abteilung "Tableaux Parisiens" in der Sammlung "Les Fleurs du Mal" ist dieser Stadtumbau eingegangen. Dem Blick auf die neue Place du Carrousel folgen die Verse: "Le vieux Paris n'est plus (la forme d'une ville / change plus vite, hélas!, que le cœur d'un mortel)". In der neuen Übersetzung von Simon Werle (Rowohlt, 2017): "Paris, das alte, ist dahin (noch schneller umgestalten / Als Menschenherzen kann sich, ach, die Form der Stadt).“ Die Place du Carrousel, die Gerüste, den Schlamm, die Steinquader teilt Baudelaires Gedicht mit den stadthistorischen Fotoarchiven. Nicht aber die Erinnerung an Andromache, die Witwe Hektors, die Überblendung von Troja und Paris und den Auftritt des Schwans, der seinem Gehege entflohen ist und den Stadtraum durchquert wie eine mythische Gestalt aus den Gedichten Ovids. Der Schwan ist wie der Albatros, der in einem anderen Gedicht der "Fleurs du Mal" auftaucht, ein Statthalter der Poesie in einer ihr fremden Welt, sein weißes Federkleid steht im Kontrast zur schwarzen Bilderwelt der Melancholie, von der Andromache umgeben ist, die ihre Stadt verlassen musste und der Gewalt der Sieger unterworfen wurde. Baudelaire war kunstkritischer Kommentator der Explosion der Farbe in den Gemälden der romantischen Malerei, als deren Heros er Delacroix feierte, und Zeuge des Aufschwungs der Salonmalerei, die von Cinemascope-Formaten träumte, ohne es zu wissen. Seine eigene Kunst aber ist bei allen Ekstasen der Einbildungskraft, die sie enthält, um den Schwarz-Weiß-Kontrast zentriert. Er ist der Mann in Schwarz, der in Poesie und Prosa alle Nuancen der Farbe wie des Wortes "noir" erschließt, ob er gerade für die Franzosen die unheimlichen Geschichten von Edgar Allan Poe, den Autor von "The Raven" und "The Black Cat", übersetzt oder in der dunklen Uniformität der zeitgenössischen Männermode mit ihren Fracks und Zylindern den "Heroismus des modernen Lebens" entdeckt, im schwarzen Gehrock als Ausdruck der politischen Gleichheit die Tristesse der allgemeinen Gemütsverfassung: "ein unabsehbarer Heereszug von Leichenbittern, politischen Leichenbittern, verliebten Leichenbittern. Wir tragen jeder etwas zu Grabe." Illusionen zum Beispiel, wie der französische Roman von Balzac bis Flaubert.

Im Schwarz Baudelaires nisten der Tod und die Melancholie. Ihre Abgesandten im Alltag der Großstadt sind die Hinterbliebenen. Ein ganzer Schwarm von Witwen in schwarzer Trauerkleidung durchzieht das Werk Baudelaires, Andromache, die entthronte Königin, zählt dazu. In einem der dichtesten Stücke der Prosagedichte des "Spleen de Paris" lauschen sie aus der Ferne auf die Konzerte im Park, die sie sich nicht leisten können.

Die Passantin schreitet als Paradoxon durch die lärmerfüllte Straße: Statue in Bewegung . Edouard Manet hat Baudelaire in ein solches Konzert hineingemalt, schwarz gekleidet und mit Zylinder ist er im Profil erkennbar, ein Mann in der Menge. Als Dichter der Großstadt ist Baudelaire berühmt geworden, und als Dichter der Liebe in der Großstadt. Er hat sich dabei einen prägenden Kontrast des 19. Jahrhunderts nicht entgehen lassen, die Spannung zwischen der auf der Straße aufleuchtenden Schönheit des modernen Lebens und dem klassischen Schönen in den Museen. Eines der berühmtesten Gedichte der "Tableaux parisiens", "À une Passante" ("An eine Passantin") lebt vom Kontrast zwischen dem Weiß der marmornen Statuen der Antike und der schwarzen Trauerkleidung der Passantin, auch sie eine der Witwen in Baudelaires Werk. Die Passantin, eine Verkörperung der flüchtigen Schönheit, schreitet als Paradoxon durch die lärmerfüllte Straße, "einer Statue glich ihr Bein". Einer Statue in Bewegung, die dem Museum entkommen ist. In Baudelaires Paris gibt es nicht nur den Kontrast von Vergangenheit und Gegenwart, Antike und Moderne. Als junger Mann hatte er eine große Seereise gemacht, bis nach Mauritius und La Réunion. Er schrieb über die Weltausstellung 1855 in Paris und starb während der Weltausstellung 1867. Frankreich expandierte nach Afrika und im Second Empire nach Indochina. Im Gedicht "Der Schwan" hat die exilierte Andromache ein Gegenüber in einer von Not und Schwindsucht gezeichneten Schwarzen, die sich ins "stolze Afrika" zurücksehnt. Im "Spleen von Paris" taucht als Reminiszenz der Jugendreise "Die schöne Dorothee" auf. Der Seewind lässt unter ihrem wehenden Kleid "ihr wunderschönes glänzendes Bein zum Vorschein kommen; und ihr Fuß, ähnlich denen der Marmorgöttinnen, die Europa in seinen Museen birgt, hinterlässt seinen getreuen Abdruck im feinen Sand." Wer den Verbindungslinien zwischen dem Kontrast von weißer und schwarzer Venus bei Baudelaire und der französischen Kultur im Second Empire nachspürt, landet in der Kolonialabteilung der Weltausstellungen.

[kaelang12]

WitW Comparison pt 3: Badger

oh, Badger. the curmudgeonly grump with a secret heart of gold, and the one i love the most.

tj!Badger is my favorite version of the two, and i will not deny that he is the love of my life. Nicol Williamson plays him to perfection.

the poor animal just wants to be left alone and sleep, warmed by the fire. i'd be grumpy too, if someone woke me up just to go out into the cold.

he acts all tough at first, but when he sees who it is, he reacts accordingly and brings them in. for all the toughness, he cares enough to offer to let Mole come and live with him.

but don't let that kindness fool you.

"Were the weasels beastly to you, Moley?" (trans.: do I need to go and Cut a Bitch?)

when he hears what Toad has done, he immediately goes to start an intervention.

(granted, it doesn't work, but hey, he tries. multiple times.)

true to his badger nature, he actually threatens a human with bodily harm and gets away with it.

"...And I promise not to insert one part of it into any portion of your anatomy." and the way he says it is so casual! i do not know where he will insert the pieces, but i just know he would get creative enough to not need an orifice to do it through. he could probably take on a whole group of weasels and win.

oh wait...

he does. god, i love him so much. he could probably smack the idiocy out of Toad, but that would be too easy.

i am totally biased towards this animal. he's just about as tired of Toad as musical!Rat is, but still helps him out because goddammit, he made a promise and by god he will stick to it.

11/10 best animal and i wish to be as cool as him when i'm older.

marry me pls

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if tj!Badger is the stern grandpa, then musical!Badger is the tough but loving grandpa.

look at that. he's genuinely happy to see Rat and Mole, and eagerly lets them into his home. but don't confuse kindness for weakness.

like Chief Weasel did.

Top 10 Pictures Taken Before Disasters

not even Toad can bravado his way though a talking-to by Badger.

"I will dismiss my own butler if he needs to be dismissed!"

"THEN DISMISS HIM!"

"Thank you, Rabbit, that will be all."

i have the feeling, judging by the coat and his tone, he was in the army at one point. he's at most a peg lower than R. Lee Ermy when it comes to discipline. he won't insult your sexuality, but he would be Very Disappointed in You, and that hurts even more.

he clearly experienced in psych-out war tactics, given how he approved of Mole's taunting of the stoats.

goddamn, he even pulls a Metal Gear Solid and takes out the light before the Riverbankers activate their plan. he's got a good eye with a slingshot.

after all is said and done, he's still not used to being around other people, and this little bit gets me.

"It's not my usual place, but I thought they wouldn't mind my joining in for once."

"Mind? How can have a celebration without you, after all you've done?"

"You flatter me, Mole."

"I sometimes wonder if you know how much we love you, Badger."

"No one's ever said that before."

i just...gimme a moment...

musical!badger is clearly lonely, but i feel that his reputation is too well-known to offer him any comfort.

he's the type to have a little tyke on his lap and tell them stories about Long Ago, and dammit where are these tears coming from??