“In such ugly times, the only true protest is beauty."
- Phil Ochs
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Romeo and Juliet directed by Franco Zeffirelli (1968)

(via romeoandjulietfan)

What a strange illusion it is to suppose that beauty is goodness.

— Leo Tolstoy, Anna Karenina (via murmurrs)

(via dying-is-an-art-im-doin-it-well)

There are years that ask questions and years that answer.

Zora Neale Hurston, from Their Eyes Were Watching God (J. B. Lippincott, 1937)

(Source: mansplainedmarxist, via apoetreflects)

I don’t care if it’s a sad good-bye or a bad good-bye, but when I leave a place I like to know I’m leaving it.

— J.D. Salinger, The Catcher in the Rye (via larmoyante)

The witching hour, somebody had once whispered to her, was a special moment in the middle of the night when every child and every grown-up was in a deep deep sleep, and all the dark things came out from hiding and had the world all to themselves.

— Roald Dahl

(Source: kushandwizdom, via the-derelict-of-the-city)

His dark eyes took me in, and I wondered what they would look like if he fell in love…

— F. Scott Fitzgerald, The Love of the Last Tycoon (via introspectivepoet)

(Source: goodreads.com, via sussexbound)

'I exist.' In thousands of agonies — I exist. I'm tormented on the rack — but I exist! Though I sit alone in a pillar — I exist! I see the sun, and if I don't see the sun, I know it's there. And there's a whole life in that, in knowing that the sun is there.

— Fyodor Dostoyevsky, The Brothers Karamazov (via avvfvl)

(Source: dollymyfolly, via 0aklungs)

I mean, I have the feeling that something in my mind is poisoning everything else.

— Vladimir Nabokov, Lolita

(Source: milkkteeth)

I felt that I was not, never had been and never would be, a living part of this overpoweringly solid and deeply meaningful world around me.

— John Knowles, A Separate Peace (via quoted-books)

The darker the night, the brighter the stars,
The deeper the grief, the closer is God!

— Fyodor Dostoyevsky, Crime and Punishment (via wordsnquotes)

(via 9artemis)

This is what I miss… not something that’s gone, but something that will never happen.

— Margaret Atwood, Cat’s Eye  (via goghst)

(Source: kitty-en-classe, via 9artemis)

Stop acting so small. You are the universe in ecstatic motion.

— Rumi

(Source: larmoyante)

Every ending is arbitrary, because the end is where you write The end. A period, a dot of punctuation, a point of stasis. A pin-prick in the paper: you could put your eye to it and see through, to the other side, to the beginning of something else. Or, as Tony says to her students, Time is not a solid, like wood, but a fluid, like water or the wind. It doesn’t come neatly cut into even-sized lengths, into decades and centuries. Nevertheless, for our purposes we have to pretend it does. The end of any history is a lie in which we all agree to conspire.

Margaret Atwood, “The Robber Bride (via the-library-and-step-on-it)

(via sheonlysaid)

When Steve Kloves (who wrote the majority of the Potter screenplays) met J.K. Rowling for the first time, he told her straight up that Hermione was his favorite character. Rowling admitted to being relieved, and who could blame her? It was more likely for Hermione to end up disrespected on screen—she wouldn’t be the first female hero to get butchered in the reels.

But this resulted in an undercutting of Ron’s entire character from the first movie. Don’t believe it? When the trio go after the Philosopher’s Stone, they face a series of tests that demand each of their skills in turn. Time likely demanded that this sequence be cut down, and so Hermione’s test—solving Professor Snape’s potion riddle—was removed entirely. To make up for this, she gets them out of the Devil’s Snare, Professor Sprout’s deadly plant. Hermione shouts to Harry and Ron to relax so the foliage will release them—but Ron continues to panic and moan (in campiest fashion possible because he’s played by a child actor and these things are always requested of them), requiring Hermione to blast the thing with a sunlight spell.

In the book, Hermione is the one who panics. She remembers what her lessons taught her—that the Devil’s Snare will recoil at fire—but balks at their lack of matches while they are being strangled to death. Ron immediately shrieks to the rescue YOU ARE A WITCH YOU HAVE A WAND YOU KNOW SPELLS WHAT ARE MATCHES.

It’s a simple change, but it makes such a marked difference in how both characters come off to an audience. Rather than a near-infant, incapable of following the clearest directions, Ron is the even-keeled nitty-gritty one. He’s a tactician, the one who will find the simplest answer to a problem provided that the situation is dire enough to ensure his clear head. Ron is good under pressure and brave to boot. He’s also hilarious.

It is easy to write this off as an actor problem; Emma Watson matured and improved much faster than her costars in terms of talent—and Steve Kloves liked her portrayal so much that he started giving her many of Ron’s important lines. During The Prisoner of Azkaban, Sirius Black is trying to get to Peter Pettigrew (currently disguised as Scabbers the Rat), but Ron and Hermione are convinced he’s after Harry. In the book, Ron stares up defiantly from his mangled, broken leg and tells Sirius Black that if he wants Harry, he’ll have to get through his friends first.

Yeah, my leg hurts way too much, Hermione. You take this one. But say it’s from me. And in the film, it’s Hermione who boldly steps in the line of fire while Ron sobs in pain and babbles incoherently.

These rewrites not only depict Ron as an idiot coward—they also make him an outright jerk. When Professor Snape snaps at Hermione yet again for being an insufferable know-it-all, movie-Ron gives her a look and drawls, “He’s right, you know.” Wait, what?! Harry, why are you friends with this prick? Well, maybe because the Ron Weasley that J.K. Rowling put on paper was in that exact same situation, and immediately leapt to Hermione’s defense when she was being abused by a teacher—“You asked us a question and she knows the answer! Why ask if you don’t want to be told?”

You can cut all the flowers but you cannot keep Spring from coming.

— Pablo Neruda (via larmoyante)