highly relateable francis crozier moment: walking out of a stressful situation to go be sad in your room

rb and tell me what’s your most re watched movie.. and be honest

thomas cromwell and sir thomas more in wolf hall, episode 2 🐰

bonus:

Ingrid Bergman in a scene from Alfred Hitchcock's Notorious, 1946

looking at pictures of nudie suits on pinterest and sighing lovingly as if I’m a teenager in an 80s movie staring at a poster of simon le bon taped to my bedroom wall

Smoulder! 

Brief Encounter 1945 | dir. David Lean

Dana Scully in "Conduit"

LITTLE WOMEN (2019) dir. Greta Gerwig.

THE LONG GOODBYE (1973) Dir. Robert Altman

Saskia Rosendahl as Malu Seegers — Babylon Berlin 4.08

“Lolita isn’t a perverse young girl. She’s a poor child who has been debauched and whose senses never stir under the caresses of the foul Humbert Humbert, whom she asks once, ‘how long did [he] think we were going to live in stuffy cabins, doing filthy things together…?’ But to reply to your question: no, its success doesn’t annoy me, I am not like Conan Doyle, who out of snobbery or simple stupidity preferred to be known as the author of “The Great Boer War,” which he thought superior to his Sherlock Holmes. It is equally interesting to dwell, as journalists say, on the problem of the inept degradation that the character of the nymphet Lolita, whom I invented in 1955, has undergone in the mind of the broad public. Not only has the perversity of this poor child been grotesquely exaggerated, but her physical appearance, her age, everything has been transformed by the illustrations in foreign publications. Girls of eighteen or more, sidewalk kittens, cheap models, or simple long-legged criminals, are baptized “nymphets” or “Lolitas” in news stories in magazines in Italy, France, Germany, etc; and the covers of translations, Turkish or Arab, reach the height of ineptitude when they feature a young woman with opulent contours and a blonde mane imagined by boobies who have never read my book. In reality Lolita is a little girl of twelve, whereas Humbert Humbert is a mature man, and it’s the abyss between his age and that of the little girl that produces the vacuum, the vertigo, the seduction of mortal danger. Secondly, it’s the imagination of the sad satyr that makes a magic creature of this little American schoolgirl, as banal and normal in her way as the poet manqué Humbert is in his. Outside the maniacal gaze of Humbert there is no nymphet. Lolita the nymphet exists only through the obsession that destroys Humbert. Herein an essential aspect of a unique book that has been betrayed by a factitious popularity.”

— Vladimir Nabokov (tr. Brian Boyd), Apostrophes (1975)