Unbetitelt

And my manager was like no!!!! If that happened, I would drive to find you guys in my truck and we could eat stuff from my wife's garden and I would make sure everyone I know survived!! I would carry you all on my shoulders away from the zombies!!

The idea that societal collapse exposes mankind’s true nature ignores one thing: society IS mankind. We make it, just by being around each other. Social mores and customs aren’t arbitrary rules inflicted on us by some unseen force, they’re our own behaviors and views. We say please and thank you because we want to be kind. We establish charities because we want to help others. We set up garbage cans because we want to be clean. We’re the ones setting the standards and frowning at the people who don’t rise to meet them. We’re the ones who are appalled by the cruelties in our history.

The problem with nearly every post-apocalypse story is that they take the worst behavior of people during a riot or a natural disaster, extrapolate it to all of humanity, and assume that situation never changes. But even the worst disasters end. Hurricane Katrina looters aren't still looting. And there were far more people helping than looting.

Malvolio’s Revolve

The joy of Shakespeare is that even if you see the same play dozens of times, each production is its own, unique experience.

Having said that… there are certain bits of stage business that often crop up in numerous productions. One of my favorites is Malvolio’s revolve.

Just for fun, here are various examples of Malvolio’s revolve that have been captured on film. (If the gifs don’t work, check out my original post here.)

Alec Guinness in the 1970 ITV Saturday Night Theatre production  does the classic dubious, self-conscious revolve, although Sir Toby and his gang are safely behind a hedge and don’t have to hide.

Nicholas Pennell in this 1986 filmed production at the Stratford Festival of Canada executes a confident and rarely-seen double revolve, forcing his peanut gallery to duck out of sight.

In this filmed version of the Renaissance Theatre Company’s 1988 production, Richard Briers executes a very slow , dubious revolve that is notable for being counter-clockwise. In my experience, most Malvolios revolve in a clockwise direction.

Finally, this Stratford Festival production milks the revolve for all it’s worth, with Tom Rooney’s Malvolio turning at just the right speed to miss Sir Andrew’s desperate dash across the stage.

#(not my poetry alas) #(from a book whose title neither i nor google can remember)

Found it! Montagu C. Butler's Step By Step In Esperanto translates many nursery rhymes and common sayings into Esperanto, then gives facetiously intellectual English versions in footnotes. Other highlights include

A single member of the avian race That the prehensile digits fast embrace The mercantile equivalent achieves Of two at large amid arboreal leaves.

The early worm goes forth with zeal To give the hungry bird a meal. His brother has no such intention, And lives to draw his old age pension.

It is permitted to the feline race To contemplate at ease a royal face.

Who sums the yet unfractured shells of bipeds gallinaceous Is apt to find his calculations woefully fallacious.

Inhabitants of domiciles of vitreous formation With lapidary projectiles should make no rash jactation.

I understand why comphet Margaret is such a popular HC, but personally as a woman who on occasion dates men there's something very important to me personally about her attraction to men being genuine (standard disclaimer of Interpret Her However You Want These Are My Personal Thoughts On Things)

Margaret's arc is largely about the balance between being a compassionate and loving person who has a lot of warmth, and being someone who wants and demands respect. This is reflected in both her relationships and her career. The fact that neither the men she wants to be with nor the army let her have both.

There's something really painful about wanting to connect with someone, to share intimacy, and to have a sexual relationship, and knowing that in having that you are expected to give up being treated with respect and dignity. The men she loves and wants to be seen by as an equal cannot do both. She wants to believe men can both love & respect her because she wants a loving relationship as an equal but they constantly let her down.

I just restarted from the beginning (it’s been a while cuz I normally like to start from BJ’s entrance) and I’d completely forgotten about the bit where none of the men want to fuck an objectively beautiful woman because she’s a little awkward/clumsy and the whole camp draws straws because the other women won’t fuck any man until the awkward girl gets a date

this is all played super genuinely