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Victorian House in Wooster, Ohio.  Photo by I_Dig_Doug.

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THE GILDED AGE (2022-) Costume Appreciation Bertha Russell in 3.05 - A Different World

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all of those extreme horror lit books reddit warns you about are for children. Older children who wear cookie monster pjs and walk the mile and set the neighbor's trash on fire but still. children.

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Homeward Bound: The Incredible Journey (1993)

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How did you get so good at writing??? Did you take classes? I feel like you should get paid all the money for this! (I subscribe to your website!)

after i dropped out of high school i found a torrent of like 5GB of OCRd romance novels and i read like 3 romance novels a day for a while

read enough romance novels and you will realize that they live or die entirely on technical skill. if you are new to romance novels then even bad ones can dazzle you with novelty but by the time you are on your 30th historical fake engagement between a bluestocking and a rakish duke you can grade them and you know when they've failed. when two books have what should be the same main characters hitting the same plot beats, but one of those books is delightful and the other fucking sucks, you learn some things. some books are bad and still delightful. other books are good but they just don't hit. you start to see the seams in the bad ones. 'oh, this is a weird out of character moment because she wanted to have the kabedon moment and didn't know how to get there'. 'she didn't want the ust to end but couldn't think of a better reason than this deus ex cockblock.' that kind of thing.

you could probably do this with other genres but i like romance because the plot is two people fall in love. that's it. everything else is set dressing. if you can figure out how to make that work you can carry it over into whatever other genre you feel like. mysteries would give you a different skillset around plotting that i don't have.

anyway after that i wrote a lot.

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Cary Hulbert (American, b. 1985, based Brooklyn, NY, USA) - Horses, 2025, Paintings: Acrylic on Panel, Oak Frame

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I once chatted with a guy from Hawaii, we started talking about languages. I mentioned that while I've heard very little of it and hardly seen more of it written down, the Hawaiian language seems to have extremely similar balance of vocals and consonants as Finnish does, so it's actually pretty likely that there are some words that exist in both languages, but mean one thing in Hawaiian and a completely differen thing in Finnish - much like in Japanese.

He didn't find it plausible, so we agreed to disagree. Later on he mentioned that his name is [firstname] Kalani Kanaele, and when I told him what that translates to in Finnish, I had to spend like 20 more minutes trying to convince him that I'm actually not fucking with him.

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One day I was sunbathing in the garden it got too hot for Lorcan but she didn’t want to be inside on her own so I made her a blanket fort to keep her cool & she was pretty happy

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Much of our modern theater seems rooted in the Shakespearean discovery of the modern mind. We’re stealing instead from an earlier, less-traveled construct—the Greeks—lifting [The Wire’s] thematic stance wholesale from Aeschylus, Sophocles, Euripides to create doomed and fated protagonists who confront a rigged game and their own mortality. The modern mind—particularly those of us in the West—finds such fatalism ancient and discomfiting, I think. We are a pretty self-actualized, self-worshipping crowd of postmoderns and the idea that for all of our wherewithal and discretionary income and leisure, we’re still fated by indifferent gods, feels to us antiquated and superstitious. We don’t accept our gods on such terms anymore; by and large, with the exception of the fundamentalists among us, we don’t even grant Yahweh himself that kind of unbridled, interventionist authority.

But instead of the old gods, The Wire is a Greek tragedy in which the postmodern institutions are the Olympian forces. It’s the police department, or the drug economy, or the political structures, or the school administration, or the macroeconomic forces that are throwing the lightning bolts and hitting people in the ass for no decent reason. In much of television, and in a good deal of our stage drama, individuals are often portrayed as rising above institutions to achieve catharsis. In this drama, the institutions always prove larger, and those characters with hubris enough to challenge the postmodern construct of American empire are invariably mocked, marginalized, or crushed. Greek tragedy for the new millennium, so to speak. Because so much of television is about providing catharsis and redemption and the triumph of character, a drama in which postmodern institutions trump individuality and morality and justice seems different in some ways, I think.

An interview with David Simon

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but actually genuinely why is the ant sad and leaving with a bindle

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𝖮𝗂𝗅 𝗉𝖺𝗂𝗇𝗍𝗂𝗇𝗀 𝖻𝗒 𝖨𝗏𝖺𝗇𝖺 𝖹̌𝗂𝗏𝗂𝖼́ ( 𝖻. 𝗂𝗇 𝟣𝟫𝟩𝟫 𝗂𝗇 𝖲𝖺𝗋𝖺𝗃𝖾𝗏𝗈)

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OLIVIA COOKE & EMMA D'ARCY Harper's Bazaar UK One on One, June 2024

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Shout out to Characters who are shells of their former selves! You died and you’re not coming back! You don’t recognize yourself and neither does anyone else, and it’s anyone’s guess what the fuck you’re supposed to be now!