I don’t even know if I’m good enough. You’re the best there is. You beat me. Anya Taylor-Joy and Thomas Brodie-Sangster in THE QUEEN’S GAMBIT (2020)
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I don’t even know if I’m good enough. You’re the best there is. You beat me. Anya Taylor-Joy and Thomas Brodie-Sangster in THE QUEEN’S GAMBIT (2020)

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DOWNTON ABBEY (2010 — 2015)
#i missed her
I’m a dumb idiot who needed Hurricanes Harvey, Irma, and Maria to hit in the same month to realize Kaijus in Pacific Rim were a metaphor for climate change and hurricanes and, like, the movie isn’t even subtle about it
there’s a very long tradition in monster movies (and kaiju eiga if you wanna be specific) of monsters as allegory for natural disasters, pollution and climate change. Godzilla vs Hedorah is a really good example where the enemy is literally sentient pollution, and pacific rim does the same thing it did in taking widesweeping environmental issues and linking it DIRECTLY to the appearance of these monsters, both with the above examples and newt’s dialogue after he drifts with the kaiju brain and points out that climate change and co2 emissions means we practically terraformed our planet for these aliens to come BACK and take over. Monster movies are a LOT of different things and can be very silly and absurd but they can also be built around very serious and specific messages about the condition of our planet, and in many ways messages about human impact on the environment has been built into modern monster movies since the very beginning (looking at the impact the original ‘godzilla’ had on pop culture and monster movies the world over)(its also worth noting that this probably extends into many other monster films and franchises from many other countries that i havent seen)
Pride & Prejudice (2005) dir. Joe Wright

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Before Sunset (2004) dir. Richard Linklater.
Tonight i heard Animal by Neon Trees on the radio and it reminded me of my favorite Hyde x Jackie fmv 🥺🥺🥺🥺🥺🥺
And yes, it rekindled the zenmaster in me. What season does their fling start again? This quarantine period i plan to rewatch.
He (Laurie) is looking at them, but they’re existing naturally and he loves them because of who they are. - Greta Gerwig, dir, Little Women (2019)
Even after the new film, which certainly popularized Amy/Laurie in a way I’ve never seen before, I keep hearing a lot of the same old arguments: “Laurie never stopped loving Jo”, “Laurie didn’t really love Amy”, “Amy was a second choice/consolation prize”, “Jo should’ve been with Laurie” etc. And a lot of these people claim this is book canon. As I’ve just reread the book, I’ve got a lot of thoughts on all of this…
(Note: This is all purely based on book canon.)
In the book, after Amy harshly scolds Laurie, he decides to go back to London and work for his grandfather to better himself. At first, he thinks he’s doing it for two reasons: Amy despises him and that hurts him, but also the idea that if he does something “splendid” Jo may love him (or at least respect him, as Amy put it).
So Laurie decides to write a requiem for Jo “which should harrow up Jo’s soul and melt the heart of every hearer”. But he can’t come up with anything because he keeps humming the dance music reminiscent of the Christmas ball in Nice which he spent devoting himself to Amy all evening. So then he tries to compose an opera with Jo as his heroine, but it doesn’t work. “He wanted Jo for his heroine, and called upon his memory to supply him with tender recollections and romantic visions of his love. But memory turned traitor; and, as if possessed by the perverse spirit of the girl, would only recall Jo’s oddities, faults, and freaks, would only show her in the most unsentimental aspects.”
Jo no longer fits as his heroine, no matter how hard he tries. So he gives up on that, and his imagination promptly comes up with another heroine for him without even trying:
“This phantom wore many faces, but it always had golden hair, was enveloped in a diaphanous cloud, and floated airily before his mind’s eye in a pleasing chaos of roses, peacocks, white ponies, and blue ribbons. He did not give the complacent wraith any name, but he took her for his heroine and grew quite fond of her, as well he might, for he gifted her with every gift and grace under the sun, and escorted her, unscathed, through trials which would have annihilated any mortal woman.”
While Laurie doesn’t realize it, the woman he’s imagining is Amy. Amy with the blue ribbons in her golden hair, who put roses in his buttonhole, who he watched feed the peacocks in Paris, and who he first saw again in a carriage drawn by ponies. It’s also a little prophetic, as he does escort the real Amy through future trials. (Bonus: at the same time, Amy spends her time sketching some faceless man who clearly resembles Laurie, but she doesn’t realize it either.)
Contrary to what some in the fandom would claim, Laurie isn’t at all forcing himself to love Amy just so that he can be part of the March family. He doesn’t even realize that she’s become the “heroine” in his story, that she’s the woman he’s fantasizing about. He thinks he’s doing this to improve himself for Jo, but it’s Amy that’s inspiring him.
And then Laurie realizes that his feelings for Jo are disappearing:
“Laurie thought that the task of forgetting his love for Jo would absorb all his powers for years, but to his great surprise he discovered it grew easier every day. He refused to believe it at first, got angry with himself, and couldn’t understand it […] Laurie’s heart wouldn’t ache; the wound persisted in healing with a rapidity that astonished him, and instead of trying to forget, he found himself trying to remember. He had not foreseen this turn of affairs, and was not prepared for it. He was disgusted with himself, surprised at his own fickleness, and full of a queer mixture of disappointment and relief that he could recover from such a tremendous blow so soon. He carefully stirred up the embers of his lost love, but they refused to burn into a blaze: there was only a comfortable glow that warmed and did him good without putting him into a fever, and he was reluctantly obliged to confess that the boyish passion was slowly subsiding into a more tranquil sentiment, very tender, a little sad and resentful still, but that was sure to pass away in time, leaving a brotherly affection which would last unbroken to the end.”
This passage alone pretty much puts to rest the idea that Laurie never got over Jo. He actually got over her so easily and quickly that he felt disgusted with himself, thinking this made him fickle. His romantic feelings are gone, and soon will leave only a “brotherly affection” when the last of the hurt is gone as well. Maybe he got over her so easily because he simply mistook his strong bond with her for romance, or maybe it was just a rash and immature first love that was never going to last long anyways, or whatever else… point being, he got over her.
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Marriage Story (2019)
Marriage Story (2019), dir. Noah Baumbach
Love, Death & Robots - EP 08: Good Hunting
TIMOTHÉE CHALAMET as Laurie Laurence in Little Women (2019) dir. Greta Gerwig
my bisexuality running to see little women in theatres on dec. 25th 2019

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I believe we have some power over who we love. It isn’t something that just happens to a person. / I think the poets might disagree. Little Women (2019) dir. Greta Gerwig
Kaitlyn Dever as Amy in Booksmart (2019) dir. Olivia Wilde