nought but fumble-falls and guns and tumbleweeds

love the genre of discourse that’s like “the world used to be [thing it never was] but now society is [I’m over thirty]”

reading bad media takes online will never compare to the exquisite torture that is trying to have a conversation about basic literary analysis with your own family members

work tomorrow is one of the worst things that can happen to you

american blackbirds are icterids but european blackbirds are thrushes but american robins are thrushes but european robins are flycatchers and they are named robin because (checks notes) brits in the 1400s called them "robert" on account of they are just some familiar guy who shows up in your yard. hold on post canceled is that really why they are called that? what the fuck. they did this with jackdaws and magpies too? i can't even be annoyed. how human. "who's that? that's bob." fuck dude it sure is.

Can anyone recommend some entry level behaviours? Thinking of getting into being

*flint voice* our golden age of piracy is collapsing

so like. "kill claudio" is the crux of the play but "i do love nothing in the world so well as you" is its catalyst. benedick's love (&, by extension, beatrice's love) is a transformative force- as soon as he declares it everything starts moving toward resolution. his previously insincere dialogue turns sincere. his distrust of women turns to trusting one woman above all else. a woman was publicly scorned by her betrothed & a prince & her father without hope or mercy. now there is a man who will fight to the death for her. all will be restored & there will be music & dancing before the curtain falls. because benedick loves & is loved.

i get a $250 million production budget to adapt beowulf into a summer blockbuster and at the end beowulf is contemplating his reign as king in his old age and the passing of time and we hear some kids say something he doesn't quite understand and he says stoically "it's as if the English i speak is becoming old..."

imo the really interesting story of the iliad is the fact that, because it’s a later telling of the story, all the characters are self-conscious abt their legendary status. like the first time we see helen, she’s weaving a tapestry of all the men who will die for her. the characters all have a tragic sense of foreboding & also a feeling of helpless submission to the power of the narrative. the greek nonbelief in human agency is always super weird but its esp weird in homer imo bc the cosmological force isn’t so much fate as it is the story: hektor and achilles know that they’re tragic heroes, helen knows she’s an evil seductress, cassandra knows she’s cursed, patroklos and andromache know that they can’t do anything 2 stop the men they love from dying. which makes the tone of the story very strange, almost as if the characters are going thru the motions of a story they’re told before