#the inseparables

[wasp-jar]

What's:

🔥AUTISM🔥:the movie

I'll go first!

Horton Hears a Who

Cloudy With a Chance of Meatballs

Hotel Transylvania

The Lego Movie

How to Train Your Dragon

Robots

Where the Wild Things Are

Edit:

Ones that have been added!!

Ron's gone wrong

The Mitchells vs the machines

How could I forget that movie!! I love that movie so much!! Augh!!!

Big Hero 6

Mary and Max

Please Stand By

The Bridge (2011, swedish/ Danish version)

Tarzan

Wreck it Ralph

Nimona

The French dispatch

Love love love this movie

The grand Budapest hotel

Also love love love this one

Klaus

The Nightmare Before Christmas

Oh I love this one sm too omg <33

The Inseparables

Shrek

The Book of Life

Wizard of Oz

Return to Oz

Ghostbusters

Where the wild things are

HOW COULD I FUCKING FORGET THIS ONE I'M LITERALLY MAX

More of mine I'm adding:

Monsters vs Aliens

Mars needs moms

[roennq]

⚜️ Happy 10th Birthday, The Musketeers! ⚜️

The Musketeers premiered on BBC One on 19 January 2014 and ran from 2014 to 2016, with a total of 30 episodes.

Inspired by Alexandre Dumas' novel, it starred Tom Burke, Santiago Cabrera,  Howard Charles, and Luke Pasqualino as the four loyal swordsmen in 17th-century France, who fight for justice and protect the King and Queen from various threats.

⚜️ ⚜️ ⚜️ Athos ⚜️ ⚜️ ⚜️

⚜️ ⚜️ ⚜️ Aramis ⚜️ ⚜️ ⚜️

⚜️ ⚜️ ⚜️ Porthos ⚜️ ⚜️ ⚜️

⚜️ ⚜️ ⚜️ D'Artagnan ⚜️ ⚜️ ⚜️

"I'm looking for Athos!" "You've found him." "My name is d'Artagnan, of Lupiac in Gascony. Prepare to fight. One of us dies here." "Now, THAT'S the way to make an entrance." – 1x01 Friends and Enemies

The series blends historical drama,

action,

intrigue,

and humour,

with a healthy serving of family,

romance,

and plenty of friendship,

brotherhood,

and swashbuckling goodness!

"I want… Athos and his friends… silenced for good." "Musketeers don't die easily." – 1x10 Musketeers Don't Die Easily

⚜️ Thanks for an amazing show! ❤️‍🔥⚜️

"Look to your left, now your right... A Musketeer is never alone, Brujon. Remember that." – 3x03 Brothers in Arms

⚜️💖⚜️

*My thanks to all the amazing gif makers for the lovely gifs!

[elysiumwhispers]

decided to make a book list on here to keep track of books ive read recently that i enjoyed:

Nausea-Sartre

Quicksand-Junichiro Tanizaki

Sputnik Sweetheart- Murakami

Heaven- Meiko Kawakami

Essays and Aphorisms- Schopenhauer

The Stranger / The Plague - Camus

The Inseparables- Beavoir

Notes from Underground- Dostoevsky

[pepimeinrad]

Tinker Tailor Soldier Spy + Kingsman Haydeaux + Merlahad

Too Much Love Will Kill You (Queen)

inspired by this lovely GIF-set

[cartoonkitten]

pick-pocketing fiends

[doubtspirit]

[lady-ofmischief]

Hey, @ecle-c-tic @killerqueen-ofwillowgreen I consider us “The Inseparables” aka the musketeers (don’t know if you guys watched the show but this is what I think of whenever we’re online together 😊) we just need a fourth haha :)

[daenysx]

hi guys, i'm trying to get out of reading slump because i hate it and also because i got so many books i want to read but can't decide where to start (it's a loop, i seriously have issues on this lol)

[wingsofhcpe]

Whumptober 2023, Day 7: CPR

Fandom: the Musketeers (2014)

Characters: Aramis/René d'Herblay, Athos/Comte de la Fere, Porthos du Vallon

Relationships: Aramis & Athos & Porthos

@ailesswhumptober

[karenlist]

The Inseparables

Family film 🎥 🥰🥰

[cnsbzic]

I just finished reading The Inseparables by Simone De Beauvoir. I was reading by a sparkly lake when *insert spoilers* happened then all of a sudden the scream of a swan ruined the moment. They were mating right in front of my eyes. The actual audacity. I couldn’t emotionally connect to the ending which is still devastating but still.

Anyway, the fact that The Inseparables isn’t as popular as her other works such as the second sex and the ethics of ambiguity is really concerning. I know it’s relatively new (translation) BUT COME ON.

[r3m-ster]

I’m gonna make a really niche post and idk if anyone will get it so please be nice☹️

[warningsine]

“It’s impossible to read about Simone de Beauvoir’s life without thinking of your own,” the biographer Hazel Rowley wrote in her foreword to the English translation of Beauvoir’s “Memoirs of a Dutiful Daughter.” How did the image of this turbaned Frenchwoman in a severe, 1940s-style suit, sitting beside Jean-Paul Sartre at a table in the Cafe de Flore or La Coupole and writing all day long, become the avatar of a generation?

For it’s true that, at least for Francophile intellectuals coming of age in the wake of feminism’s second wave, the Beaver — a nickname bestowed on the young Beauvoir by a philosopher friend, because, he said, “beavers like company and they have a constructive bent” — casts a very long shadow. Existentialism may have been out of fashion during my student days (ceding pride of place to post-structuralist theory), and few among my contemporaries may have made it all the way through “The Second Sex,” Beauvoir’s two-volume feminist classic, published in 1949, when French women’s right to vote was scarcely five years old. But the famous opening line of that work’s Book 2 — “One is not born, but rather becomes, a woman” — with the liberty implicit in that pronouncement, to shape one’s own destiny in response to circumstances, was something we took radically to heart.

And the kinds of women we hoped to become were deeply influenced by her example: a prodigiously industrious novelist, memoirist and philosopher, allied with Sartre but with the courage to live and love in complete independence, an activist for decades in defense of political, social and emotional freedom. We didn’t so much read Beauvoir; we wanted to be her, to share in her extraordinary life, her intellectual and amorous adventures.

Now along comes “Inseparable,” a short, never-before-published, autobiographical novel written by Beauvoir in 1954, the same year that “The Mandarins” — her 600-plus-page epic about French intellectuals in the immediate aftermath of World War II, seeking and often failing to find reasons to continue living, loving and writing — won the prestigious Prix Goncourt.

Apparently, she showed the manuscript of this brief novel to Sartre, who “held his nose” at it, she writes in “Force of Circumstance,” the third volume of her memoirs. “I couldn’t have agreed more,” she tells us there; “the story seemed to have no inner necessity and failed to hold the reader’s interest.” So she set the manuscript aside.

It is perhaps too easy now to guess what Sartre didn’t like about it. Fluidly translated by Sandra Smith, “Inseparable” makes the case that the defining relationship of Beauvoir’s young life was not with him. Rather, the first of her contemporaries whom she adored, measured herself against, longed for intimacy with and ardently sought to impress was a slight 9-year-old schoolgirl, who sat down next to her one day at the Cours Adeline Désir, a private Catholic establishment for young ladies from “good families” in Saint-Germain-des-Prés.

It’s also possible that Sartre, ever more politically engaged and flirting with Marxism in the 1950s, found in the novel’s up-close-and-personal examination of the yearnings and heartaches of a pair of haute bourgeois French girls, little that would advance the class struggle or the cause of a more just society. If so, he was mistaken.

Beauvoir remained haunted by the story of her childhood friend Élisabeth Lacoin, a.k.a. “Zaza,” returning in both her memoirs and her fiction to Zaza’s passionate nonconformism, her many gifts, her struggle against the familial and societal obligations that hemmed her in on all sides and her tragic destiny. (She died suddenly, at the age of 21.) There is an ethical, and even political, dimension to Beauvoir’s will to remember this friend, through whose mirror she sought to loosen the silken chains binding them both to outdated ideals of femininity.

“Inseparable,” which takes its title from the term teachers at their school bestowed on the pair, as well as from letters Beauvoir wrote from childhood on to her “dear inseparable friend,” is one of several attempts she made to tell the story through the guise of fiction. Andrée, the little girl who sits down in class next to Sylvie, the novel’s narrator, is small for 9. Thin-faced and dark-haired, she comes trailing a whiff of the extraordinary — she had lost a full year of instruction, she tells Sylvie, because of an accident in the country during which, while cooking potatoes over an open fire, her dress had caught fire and her right thigh had been “burnt to a crisp.”

“You don’t meet a little girl who was burned alive every day,” Sylvie muses. From the start, Andrée runs hotter than Sylvie — she is more passionate, more a creature of feeling.

Funny, brilliant, a gifted musician, uncowed by the nuns who teach them, she seems to come from another world, one where the rules of feminine comportment demanded by their milieu do not apply. The two girls vie for first place in class, and Sylvie, the plodder, most often wins, but only because Andrée can’t be bothered to work as hard as she does.

But the freedom that Sylvie initially admires in Andrée — whose coolly elegant mother doesn’t scold her seven children when they overturn furniture at home, or pelt one another with scraps of bread at the dinner table — proves illusory. Andrée is caught in a vise whose grip tightens precipitously later in adolescence, as she approaches marriageable age. “Enter a convent or get married; celibacy is not a vocation,” her mother, descended from a long line of wealthy, militant Catholics, tells Andrée’s sister, who is just a few years older than she is. A pious aunt believes in “love at first sacrament” — the idea that the couple in an arranged marriage fall madly in love at the altar, as soon as they recite their vows.

Sylvie, meanwhile, loses her faith early on and is saved from the obligation to marry when her father, through a series of bad investments, can no longer provide her with a dowry. Instead, she studies in order to earn her living as a teacher, allowing her the independence she craves.

Beauvoir the novelist allows us to feel the suffocating weight of an entire society in the photographs arrayed on a library table in Andrée’s family’s country estate, showing “men with sideburns and old men with beards; Andrée’s ancestors,” or downstairs, in the kitchen’s enormous batterie de cuisine — “countless covered pots, frying pans, casseroles, stewpots, oven dishes, porringers, soup tureens, platters, metal tumblers, strainers, meat cleavers, mills, molds and mortars! What a variety of bowls, cups, glasses, champagne flutes and couples, plates, saucers, gravy boats, jars, jugs, pitchers, carafes!” (It bears noting that Beauvoir, for much of her adult life, lived in hotels and took her meals in restaurants.)

Most disturbing are the ways in which Andrée, who remains fervently devout and unsparingly devoted to her mother, internalizes the destructive impulses of a culture that consumes and constrains her. “Her mother burdened her with chores that she carried out with the zeal of a penitent,” Sylvie notes ruefully.

Readers familiar with Beauvoir’s biography, or with “Memoirs of a Dutiful Daughter,” will know where this is headed. The real-life Zaza’s love affair with the angel-faced, future phenomenologist Maurice Merleau-Ponty — an eminently suitable match, even by the constricting standards of their milieu — was thwarted by her family. She was on the verge of being sent off to Berlin to study for a year, when in a matter of days she developed a raging fever and died. Viral encephalitis, the doctors said. But in Simone’s view, Zaza fell victim to a society bent on killing off whatever was uniquely alive and precious in her.

One is reminded of the death of Beth March in “Little Women” (a book Beauvoir read and loved), or of the saintly orphan Helen Burns in “Jane Eyre,” who accepts her fate with quiet dignity, eyes on the prize of the world to come. Beauvoir’s furious determination to create her own rules for living and loving was forged in this cauldron of loss. Without Zaza, one senses, there might have been no “Second Sex,” no infamous, polyamorous “pact” with Sartre. Simone, at least, would not be sacrificed on the altar of convention and domesticity.

“Inseparable” makes the terms of this commitment on her part crushingly clear. And one wonders, at a time when the Taliban are forcing Afghan women back into their homes, how many Andrées/Zazas still exist around the world, their lives stunted or even snuffed out by organized misogyny. Who, in telling their stories, will bring them to life for us?

[harpagornis]

2022 was the year of Pinocchio. 2024 is the year of Don Quixote given The Inseparables and Giants of La Mancha.

[cartoonkitten]

Okay, sorry if this is random as heck/outta nowhere but I JUST WANTED TO SAY AHHHH

You're pretty much the ONLY PERSON ON THIS SITE POSTING ABT THE INSEPARABLES AND AGHHH I LOVE IT SMM /POS

The movie released literally just two days ago in my country and I saw it yesterday in theatres and holy shit I love it so freaking much

OKAY SORRY FOR RAMBLING AAAHHHH I JUST RLLY LOVED THE MOVIE AND I WANTED TO SAY THAT IF U EVER PLAN ON POSTING MORE ABT IT, I'LL BE RLLY HAPPY

OK BYEE

WAAAA HELLO !!!!

YOURE THE ONLY OTHER PERSON THATS REACHED OUT TO ME ABOUT IT

IM SO GLAD YOU LOVED IT, ITS SO GOOD AND BLESSED. LET ME TELL YOU I WAS SO HAPPY TOO WHEN I FINALLY GOT TO SEE IT !!

RAMBLE ALL YOU WANT it’s cool!!! also I certainly will be posting more about it again definitely!!!! i still have a lot of unfinished art stuff for it as well and i honestly miss talking about it as much!!!

THIS MADE MY NIGHT, TY ;DD

also have this that you might find interesting!! a mini documentary on the making of it

[sojuuly]

Thinking about how at the end of everything Jayce and Viktor basically set the timeline right. They put the world back into a state without them. They only died together because ALL versions of themselves fought to do so. But they were both dead from the start. Just buying time to be with each other they didn’t have. Cursing everyone else in the process with their stupid grandfather paradox.

In an untampered world, Jayce never made it off that mountain and Viktor died from his disease.

I believe this is the arcane trying to balance itself and correct time. This concept invaded my mind when Ekko pushed the limits of his loop and Heimerdinger literally blew up in his testing. He reverses this, taking control of the arcane for himself like Jayce and Viktor had been doing for years. This doesn’t change much because Heimerdinger is later claimed by the arcane.

It was an event that was supposed to happen.

Jayce and Viktor are (finally) claimed by the arcane when Ekko throws the same anomaly that predicted and righted Heimerdinger’s death straight at them. This allowed them to accept fate together and send themselves back to the nothingness because they are an anomaly. The first anomaly. They are part of everything and they are also absolutely nothing at all.

Accept your humanity and mortality. Know that the time you make is the only time you have. We all kick the bucket eventually, best to do it surrounded by those we love. Take care of yourselves.