What critters are common in your neighborhood, but really exciting to visitors?
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In my neighborhood? Deer, foxes, skunks, and wild turkeys.
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@princesssarisa
What critters are common in your neighborhood, but really exciting to visitors?
YourWildCity.com | Patreon
In my neighborhood? Deer, foxes, skunks, and wild turkeys.

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i canât get over how crazy much ado is sometimes. it feels like a deconstruction of shakespeareâs other comedies when you look at how quick and lovesick and beautiful hero and claudio are and how well they fit the script of just classic young lovers, things like how hero is one of the only characters to speak in verse, the way claudio praises her to all his friends etc. and then how in the middle of the play the script is completely flipped. now hero is in danger because of what claudio believes and no one can help her. and suddenly the love story shatters because the same willingness claudio has to fall in love with her at first sight is the same willingness he has to believe a baseless accusation and the love story starts to descend into horror because thereâs no legal course of action hero can appeal to her and her own father insults and disowns her at her wedding and sheâs quite literally left for dead fainting on the ground with her father saying let her die, what is it to me? itâs insane because like 30 minutes before itâs just a happy comedy love story but shakespeare shows a real darkness to the genre because claudio may think he loves her but when it comes down to it he will never trust her. her word isnât good enough. no one is going to listen to the woman
Yet some people cite Much Ado as the quintessential "light and frothy" Shakespeare comedy, in contrast to the ones that have dark undertones. Which alternate universe version of the play they read I don't know!
Nelly and Heathcliff
Looking back over some of their scenes together in Wuthering Heights, Iâve become increasingly fascinated by Nellyâs relationship with Heathcliff. They have very different values and have treated each other quite, uh, badly at times, but I wanted to focus here on the more weirdly positive side of their dynamic. Ever since childhood, Heathcliff seems to have had a certain fondness for and trust in Nelly as a confidante. And as much as her traditional values are at odds with his and Cathyâs, I think that Nelly is a lot more like Heathcliff than sheâd like to admit. Iâm guessing this has something to do with their uncomplaining attitudes; the two of them put up with considerable mistreatment from Hindley, and while Nelly would never seek revenge, she seems to share Heathcliffâs disdain for people who arenât so stoicâyoung Edgar, for instance, and Linton especially. Itâs fitting that Nelly was initially endeared to Heathcliff through his silent forbearance of the measles, given that both of them later have extremely callous things to say about Linton, who bears his own illness with constant complaints.
Nelly seems to be one of few people whom Heathcliff actually âlikes,â in his way; it feels significant, at least, that she and Hareton are the ones he wants at his funeral. What toughness appeals to him in Hareton likely appeals to him in Nelly as well. But Nelly is also someone to whom Heathcliff can divulge his own vulnerabilities, and it seems that much of their relationship can be drawn back to and encapsulated by that occasion of Heathcliffâs childhood sickness. Itâs hard to judge the truth of everything Nelly reports as narrator, but if we accept her claim that young Heathcliff âfelt I did a good deal for him, and he hadnât the wit to guess that I was compelled to do it,â this could inform a lot of his attitude towards her at other points. (Iâm also feeling some echoes here of Haretonâs view of Heathcliff, but we wonât go off on that tangent.) He does refuse Nellyâs company sometimes, but at others, he seems as desirous of it as the sick boy needing her at his bedside. For all his detachment and valued self-sufficiency, perhaps Heathcliff still feels the vague need for a mother figure; Mrs. Earnshaw refused to fulfill this, and what became of his biological mother is a mystery. Nelly was there when Heathcliff was a vulnerable child, and there is something binding in that shared memory. There were a few moments, in rereading, where I could imagine Heathcliff as the unruly and flippant grown son to Nelly, as the chiding and eye-rolling motherâfor instance, the interaction where Heathcliff asks Nelly if he used to look as stupid as Hareton when he was little. (Though, interestingly, both Heathcliff and Nelly have acted as parental figures to Hareton.)
For her own part, Nelly seems to feel an (often self-important) urge to mother, in her way, no matter how fruitlessâor opposed to her own valuesâher efforts may be. Against her masterâs orders, she stays up at night to watch for Cathy and Heathcliffâs return to the Heights and let them in. Nor is her aiding of Heathcliff restricted to his childhood; there seems something about him which thrusts Nelly into contradiction with herself throughout her life. On certain occasions she has gone against Edgarâs wishes or social convention in the interest of Heathcliffâs scandalous relationship with Cathy, despite her disapproval of it. Ultimately, she does attend his funeral and goes forward with his demand to be buried next to Cathy, âto the scandal of the whole neighborhood.â And perhaps this event was prefigured by Nellyâs discovering Heathcliffâs hair in the dead Cathyâs locket, and instead of throwing it out, simply intertwining it with Edgarâs.
Thereâs more could be said, but also more that I havenât worked out, and Iâve rambled on enough already. For now, have the silly drawings. Iâve had a lot of fun with these, as usual.
Turns out he didn't need to beat Edgar's assâjust throwing applesauce at him was enough to send the house into chaos.
A minor detail in Cathy's dialogue, but one I really enjoy:
Somehow Nelly has said meaner things about this kid than Heathcliff has:
I feel bad for Hareton but I really enjoy this dynamic:
One of many moments I enjoy in the currant confrontation scene:
In my animal design scheme, Nelly is depicted as a cow. (Somehow that felt right for the name.) As a rural domestic, it was natural that she be some sort of farm animal; this also makes her a fitting housemate for Joseph the donkey, Wuthering Heightsâ other longtime servant. Neither are designed as purebreds, and their species are larger and stronger than the other domestic herbivores Iâve featured, the sheep and rabbits representing the Lintons, who are much milder and not accustomed to manual labor. Cows, of course, are also associated with milkâlending well to Nellyâs role as nurseâand motherhood; as mentioned, Nelly acts at various points as mother figure to several characters, especially since Heathcliff, Hareton, and the Cathys lose their biological mothers at an early age.Â
Nellyâs fur is both brown and white, reflecting her close relationships with both the Earnshaw and Linton families. Her facial pattern has also ended up looking a bit like Cathy and Hindleyâs fatherâs (design to be posted later); perhaps something of his strict parenting approach was passed on to her. Iâve lately been working on designs for the Earnshaw and Linton parents, and have a few other art pieces in the works as well. So, thanks for looking through, and stay tuned!
I've been thinking again about how hung up the online Disney fandom gets about Aladdin being a "compulsive liar" (which he's not).
Lying about his identity isn't even the worst thing Aladdin ever does. The worst thing he does in the movie is going back on his promise to the Genie and refusing to set him free. Yet I've never seen online fans cite that incident when they call Aladdin "toxic" and say he "doesn't deserve a happy ending." Oh no, it's just that "He lies to Jasmine."
If the truth about Aladdin's identity hadn't been revealed, Jasmine would have just had a husband who wasn't really a prince. If Aladdin hadn't decided in the end to set the Genie free after all, he would have been a slave for possibly all eternity. But of course it's no big deal for a male character to wrong another male, even if the harm is substantially bigger than anything he does to a woman. It's only when a man wrongs a woman that they come after him!
Obviously Alanna and Kel face vastly different challenges in pretending to be a boy vs. openly training as a girl, but what I find even more interesting is the difference in their motivations. Alanna became a knight because she didn't want to become a lady. She wanted Glory and Adventure and Grand Heroism, but in a remote and almost abstract sense.
Which is cool. But Kel became a knight because she really wanted to be a knight, with all the day-to-day drudgery that entails. I mean, look at Squire: she spends most of that book head to toe in mud helping poor people in crisis and she loves it and I think that's kind of amazing.
I have slightly mixed feelings about Kel. I think she's a great character, possibly Pierce's most interesting and most admirable heroine, and I know I would like her very much if I knew her in person. But I feel almost personally shamed by her ironclad stoicism, and by the way the narrative seems to admire her for how well she controls and masks her emotions â I have AuDHD, emotional dysregulation is the bane of my life, and I would give anything to always keep a cool head and have a poker face like Kel's, but I know I'll never be like her. That fact makes her books hard to enjoy at times.
But one thing I wholeheartedly love about her: the fact that her motive for wanting to be a knight is to protect others. I love Alanna, and she does of course learn what it means to be a true knight, not just an adventure-seeker, but there's no denying that her early motives for seeking knighthood are self-focused and immature. But Kel thinks from the beginning of the work knights do and why they do it, and her motive all along is to do that work to help others. That's wonderful.

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I've been thinking about a post from some time ago, about Wicked and The Wizard of Oz, and how maybe Wicked could also be Dorothy's dream, but in the canon of the Royal Shakespeare Company stage version of The Wizard of Oz, not the movie.
Now of course I don't really think they fit together. In the world of Wicked, Oz is real, and the RSC Wizard of Oz is a separate entity. But if you wanted to imagine that Wicked was also Dorothy's dream, then Kansas scenes a little more like the RSC script would be fitting.
In the RSC Wizard of Oz, the roles of Auntie Em and Glinda are written to be played by the same actress. This is foreshadowed when Auntie Em tells Dorothy that they couldn't go against the sheriff's order to let Miss Gulch take Toto: "What did you expect me to do? Wave a wand and make it disappear?" Also, unlike in the movie, the three farmhands â counterparts to the Scarecrow, Tin Man, and Cowardly Lion, are also present during the scene with Miss Gulch, and in fact Hickory (the Tin Man's counterpart) stops Toto from escaping. Then after Miss Gulch leaves, there's an added scene where Dorothy angrily lashes out, first at Auntie Em, then at each of the farmhands, telling Hickory in particular that he's the worst of all and that she hates him. (To which he responds that she's breaking his heart â foreshadowing.)
So wouldn't it make sense for this version of Dorothy to dream Wicked? Glinda corresponds to Auntie Em, which explains why she chooses popularity, conformity, and following the Wizard over doing what's right â yet at the same time she sincerely loves Elphaba and redeems herself in the end, because even though Dorothy is mad at her aunt, she still loves her. Since she's also mad at the farmhands, this explains why Fiyero, Boq, and Brrr are all decidedly more flawed than the original Scarecrow, Tin Man, and Cowardly Lion, and because she's especially mad at Hickory, Boq comes across as the worst of the three. As for Miss Gulch, I think in this version she corresponds more to Nessarose than to Elphaba. The RSC version of Miss Gulch does more victim-playing when she comes for Toto than in the movie, and exaggerates the pain of the bite on her leg to milk for sympathy â hence Nessarose's wheelchair and the excessive pity she gets for it. Then who is Elphaba? Well, I think in this dream, Elphaba would represent Dorothy herself. The Dorothy who appears in Wicked is one aspect of her â the sweet, innocent little girl who just wants to go home â but Elphaba represents her deeper layers. Her feelings of being a misunderstood, unappreciated misfit, her longing for a better life (hence Elphaba's "Unlimited" motif that sounds like "Over the Rainbow"), her desperation to protect Toto (hence Elphaba's fight to save the Animals), and all her anger and longing to rebel.
Then again, I'm old enough remember the '90s national tour of the RSC Wizard of Oz, with Mickey Rooney as the Wizard and with a succession of different female celebrities (Roseanne Barr, Eartha Kitt, Liliane Montevecchi, and Jo Anne Worley) as the Witch of the West. As I mentioned in another post recently, this production had Miss Gulch wear an early 1900s bicycle suit with knickerbocker pants, which made her look more like a bold and brash "modern woman" (by 1900 standards) and less like a fussy old church lady than in the movie. Of course when Eartha Kitt played the role, she was also black, which would have made her stand out even more in a Kansas farm town of that era. So while she's still mean, maybe this version of Miss Gulch has a reason for her bitterness: i.e. that she's been shunned by the conservative farm community for being too different and too progressive.
And maybe Dorothy realizes this on some level, so in her dream, she combines her with her own pain and anger to create Elphaba.
Of course this is basically just a fanfic. The movie of the Wizard of Oz, the RSC stage version, and Wicked really are three separate canons. But these ideas are fun to play with.
When the heroine in classic literature becomes a teacher, I think it presents some inherent difficulty for modern readers. Because no matter how feminist the novel was or how empowered the heroine was by the standards of when it was written, a teacher can't entirely rebel against social norms. Her profession is to teach children how to be functioning adults in society, which naturally means reinforcing the rules they'll be expected to live by. To some extent or other, teaching children to conform to expectations is a part of her job.
I just watched Dr. Octavia Cox's video about the "contradiction" between the feminist themes of Jane Eyre, with Jane's journey of personal empowerment, and the theme of Jane-as-governess taming AdĂšle's excessive liveliness and teaching her to be docile and obedient. Now, some would argue that there's no contradiction at all: Jane doesn't teach AdĂšle to let the world trample on her, she just teaches her not to be flighty and spoiled. Still, I understand Cox's argument. But the fact is that the very role of a governess, besides teaching academic subjects, was to teach her students to be proper, respectable, well-mannered young girls, according to the standards of their time, place, and status. To an extent, enforcing conformity is what Jane was hired to do. A governess who encouraged a little girl to be wild and outspoken would have been fired.
Then there's the common complaint about the ending of Little Women and Jo's choice to start a school for boys. "Why boys?" modern feminist fans demand; they insist that it should have been a school for girls, whom Jo would teach to be strong and independent like herself. But unless I'm mistaken, in the 19th century, that never would have worked. If Jo had opened a school for girls, she would have been expected to teach them to be proper young ladies. If she failed to do this â which of course she would have â then the school would have closed. Running a boys' school is what lets Jo be herself and take part in the "boy's games and work and manners" she enjoys, while still fulfilling the nurturing domestic role that society expects of her as a woman.
Of course that doesn't mean those books aren't feminist or empowering to women and girls. But if you want 19th century fiction that feels entirely feminist by modern standards â if that were possible â a book where the heroine becomes a teacher is never an ideal choice.
saw a post last night complaining that the sound of music film and its popularity contribute to the "universalization of the holocaust" and that by depicting an austrian catholic gentile family's opposition to the nazi regime instead of being about jews, it paints some kind of false picture of who the nazis' real targets were. and i'm sorry but that is such a narrow minded, externally motivated reading of the film/musical. and i say this as a jew who broadly agrees that holocaust universalization and the sidelining of "the jewish problem" (as it was known in that era) in film and media is a genuine and pervasive problem. the sound of music...that is really not the right target for your ire, my friend
Itâs not as if The Sound of Music was created to show the evils of Naziism, but they chose to make it about a gentile family to make it more accessible to gentile audiences. The Von Trapps were real people - the aim was to tell their true story in an appealing musical way.
Rodgers and Hammerstein themselves were both Jewish.
Cinderella dolls with strawberry blonde hair
I've been looking over 19th century and early 20th century illustrations for Pride and Prejudice, and I can't help but notice something. The tradition that we see in almost all recent adaptations of a brunette Elizabeth and a blonde Jane is basically non-existent.
Hugh Thomson, 1894
Light haired Elizabeth, dark haired Jane.
Henry Brock, 1899
Strawberry blonde Elizabeth, brown haired Jane.
Of course he's also the illustrator who gave us the remarkable sight of a strawberry blond Darcy.
Charles Brock (Henry's brother), 1895
Light haired Elizabeth, dark haired Jane
Though to be fair, in 1907, he did a new set of watercolor illustrations which were completely different from his earlier drawings, and which give Elizabeth black hair and Jane light golden brown hair.
Arthur Wallis Mills, 1908
Both brunette, but Elizabeth's hair is a lightish golden brown, while Jane's is a rich auburn.
This rule also seems to apply to the adaptations that came before the 1995 miniseries.
The 1940 film has redhead Greer Garson as Elizabeth and dark haired Maureen O'Sullivan as Jane, for example (of course the film is in black and white, but I found a color production still of Garson)...
...and the 1980 miniseries has golden brown haired Elizabeth Garvie as her namesake and dark haired Sabina Franklyn as Jane.
Yet nowadays, if Elizabeth isn't a brunette and Jane a blonde, there are fans who cry blasphemy!
Is it all because of the 1995 miniseries? Did that series' popularity change everything?

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Princess Aurora dolls in a blue dress
the way i love this woman
I wonderâŠ
When the 1995 film of Sense and Sensibility was released, were there any people ranting (in whatever capacity they could, obviously not online) about the fact that Emma Thompsonâs Elinor had strawberry blonde hair?
I can just imagine some people being outraged. A reserved and stoic character canât have any trace of red in her hair! Red, auburn, strawberry blonde, chestnut, et al, are for fiery characters only!
I was just thinking of when Greta Gerwigâs Little Women came out and Eliza Scanlenâs strawberry blonde Beth was revealed. I remember one Tumblr post snarling with rage over the fact that the movie made Beth a âf*cking redhead!!!â because supposedly that color was grossly out of character for her.
Iâve been watching some videos on Jane Austen from the YouTuber âEllie Dashwood,â and she offers an interesting viewpoint on Mary Bennet as Pride and Prejudice portrays her.
She argues that in the Bennet sisters, we see a spectrum of conservative behavior vs. liberal behavior. Now obviously, in modern times, we tend to favor liberal behavior, but in the Regency era, a total disregard for convention and decorum would mean disgrace. Yet Austen wasnât on the side of total conservativism either.
So on the far liberal side, we have Lydia and Kitty, who disregard any sense of propriety, politeness, and conventional morality, and just do what they feel like doing⊠especially Lydia, which nearly brings her family to ruin. Mary, by contrast, is the other extreme: a rigidly conservative girl, who tries to compensate for her plain looks by being the perfect refined young lady in every other way (studiousness, accomplishments, a lack of any âfrivolityâ) and who preaches conservative morals to anyone who will listen. Our heroines Elizabeth and Jane are the happy medium, not liberal enough to be shameful, yet not conservative enough to be priggish, but just right.
In the same video, Ellie Dashwood claims that maybe this is why Fanny Price of Mansfield Park is such a divisive heroine and so widely labeled âpriggishâ and âprudish.â All the other young female characters in that book are more liberal than she is, so with her as the heroine, that book seems to present a more conservative worldview than Pride and Prejudice or Austenâs other popular novels do. Maybe if there had been another female character more conservative than Fanny, then Fanny would be more widely liked by readers, because she would come across as more of a happy medium. Since I havenât read that book, I donât know if I agree or not, though.
This is an interesting way of looking at the Bennet sisters and especially Mary, though.
Do you consider Caroline being called a âpick meâ in modern terms reductive/inaccurate
No. I shall explain. Also, ug this term is horrible but this does actually come up a lot so I'll get into it.
Here is the top definition of a "pick me" girl from Urban Dictionary:
A pick-me girl is a girl who seeks male validation by indirectly or directly insinuating that she is ânot like the other girls.â Basically a female version of a simp. Characteristics of a pick-me girl: lets men walk all over her because of her âCaReFrEEâ demeanor, only hangs out with men because theyâre âunproblematicâ, exerts qualities/characteristics of her male counterparts that were not initially present to be more likable and relatable to them, etc.
Another thing about the Elizabeth quote mentioned here: sheâs not congratulating herself for being different from other women who tried to flatter Darcy. Sheâs being comically self-deprecating. Sheâs saying, âAdmit it, Darcy: I was inexcusably rude. You only liked it because you were sick of other women trying to suck up to you. If you were a lesser man, you would have hated me for it.â
Elizabeth = not a âpick me.â

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I canât believe what I just read.
Someone looked at the plot point Toy Story 5 of Bonnie being cyberbullied for still playing with toys and called it ânot like other girlsâ propaganda!
They actually said this about a gender-neutral storyline, where the characters involved just happen to be female!
Itâs just amazing how much conformity is being promoted now and being called progressive! A little girl character canât even be a misfit and deal with realistic bullying and peer pressure from other little girls anymore, or they accuse the movie of being âsexistâ! It seems that nowadays weâre not allowed to sympathize with any female character who doesnât fit in â or if we are allowed to sympathize with her, at the same time we have to view her as in need of learning to conform â because that means we think sheâs better than everyone else just for being different!
I donât even know what to say.
Drew Sarich as Quasimodo & Judy Weiss as Esmeralda
How interesting that one of my favorite actors in the role of Jean Valjean in Les Misérables (I saw him in that role on Broadway back in 2007) has also played Quasimodo! He has a monopoly on stage musical versions of Victor Hugo heroes!