#cosette my dear
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More Cosette appreciation is in order
Had to make two versions, cause why should I be forced to choose?
Cosette has two hands after all
#They’re so silly I love them#When the love triangle is actually a triangle#I’m personally a brunette Cosette truther and I can talk for ages about this however I will restrain myself#eposette#marisette#cosette my dear#Cosette#eponine#marius pontmercy#les mis#les mis fanart#les miserables#go for it nakamura
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reading this scrumptious delicious, very angsty but comedic fanfic rn and the main couple makes me want to projectile throw myself off a cliff or smth hahahha i see me and her in them.
#this is me projecting crying screaming#it’s kusuo and aren btw#likeeee#i never read that pairing but this one got me kicking my feet twirling my hair tbh#cosette core#saiki k#aren kuboyasu#dear diary#her#lovesick#i’m delusional#like aren is very like protective?? and like loyal and uses dude but like platonically and also he’s a punk obvi#and saiki is very emotionally worn down after heavy emotional tolls and realisations after another#and he’s also very much an arrogant prick (not really)#saiki’s ace#and they’re so perfect for each other. kinda want aren as my bf kinda like he’s so !!!#i adore kokomi’s and kusuo’s friendship like that is so true???#kokomi is in love with chiyo btw!!#it’s just so perfect this fanfic#i’m on chapter 6/10 so….#wait for updates??#they just got together.#girl.
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Squeeeeeeeeeze!!! You've been given a hug! Send this to all the people who deserve a hug :) Now let the hugging begin! 💜
-ur dear cosette 💙🤍❤️
Awww thanks you 🥰🥰🥰
All the hugs for you!!!
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Baby cosette and valjean for the art request my dear rick <3
Any excuse to draw them!!!!!!!!!!
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Beyond the Barricade: A Good Omens theater kids AU by CemeteryAngel725
Special thanks to FourCatsAndCounting for the amazing cover art!
Summary:
Az Eastgate and AJ Crowley have been best friends and roommates since freshman year, when they met playing minor gangsters in their university theater company's production of Guys and Dolls. Az has been in love with AJ ever since, but he's never quite worked up the courage to tell him. Now it's senior year, and they've been cast as Marius and Enjolras in Les Miserables. Will Az finally work up the courage to tell AJ how he feels? Or will they graduate from college and go their separate ways?
Rated E, 29,853 words (complete work!)
Excerpt:
“So, you and me, leading the revolution?” AJ's amber eyes sparkled in the dim light. “What a way to finish out senior year.”
“I know, it's so exciting.” Az let his head tip back against AJ's arm. If AJ was going to let him get this close, he might as well enjoy it.
“I mean, actually, I'm the one leading the revolution. One look at a pretty face, and whoops! Off you go, leaving me behind.”
“But I come back! I'm there when the barricade falls, after all.”
“Only because you think Cosette left your sorry ass. Me and the revolution, your rebound relationship. Or your suicide mission.”
Az sighed. “Hard to believe Marius could look at anyone else with Enjolras onstage. You're going to do him justice, my dear. Marius is dull as dishwater by comparison.”
“Nah, Marius is a romantic. He's quiet, but he has all these beautiful lines to sing, almost as if he's been sitting around thinking them up, waiting to say them to someone. He sort of reminds me of you, actually. You and your head full of poetry.”
Az turned to look at AJ, and was a little shocked at how close their faces had gotten to each other. They locked eyes for a moment, and then AJ's gaze slid down to his lips.
Read more on AO3: https://archiveofourown.org/works/53335615/chapters/134984179
Premiering during the @goodomensafterdark Smut War!
#good omens#good omens fanfiction#good omens fic#aziracrow#aziraphale#crowley#les mis#les miserables#ineffable smut war#good omens fic recs
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Class of Heroes Turning Red Quotes for no reason
Soo Yeon: *pointing to his arm* Blondie, hit me.
*Adrien instead knocks Soo Yeon to the ground with a punch. He smiles gleefully, waiting for him to turn into a red panda*
—
Soo Yeon: He looks like a hobo!
Adrien: A HOT hobo!
—
Soo Yeon: We've been so good. If they don't trust us anyway, then what's the point?
Aggie: Wow, who are you? I love it.
Adrien: Fight the power!
Soo Yeon: Yeah. Yeah. This isn't just our first concert. This is our first step into adulthood. And we have to do it together.
Aggie: I'm in, man. We'll say it's a sleepover at my house.
Adrien: The perfect crime.
Soo-Yeon: Yes. My dad will never know. Now we just have to raise the money for tickets.
—
Soo Yeon: I like loud music! I like gyrating! I'M 15, DEAL WITH IT!
—
Adrien: *Squeals* SO CUTE! *Buries his face in Soo Yeon’s fur* YOU’RE SO FLUFFEH!
Anthony: *Messing with Soo Yeon’s tail* Sick. I’ve always wanted a tail.
—
Soo Yeon: Ready to change the world?
Aggie: So ready!
Anthony: I was born to do this.
Adrien: LET'S BURN THIS PLACE TO THE GROUND!
—
Soo Yeon: It's fine… You'll move to another city, change your identity… *Cries sorrowfully to a framed photo of him and Eun-Jeong* DADDY! I'm so sorry! *to his reflection; angrily* You are his pride and joy, so ACT LIKE IT!
—
Mi Cha: Dear, maybe we should trust him.
Eun-Jeong: It's them I don't trust! Look at those glittery delinquents with their… *shudders in disgust* Gyrations. Why on earth do you want to go so badly?
Soo-Yeon: *imagines him and his friends at the concert while chugging soda, and Cosette proposing to him; back to reality* Like I said, I just want to broaden my musical horizons.
—
Eun-Jeong: There's no way he could keep his panda in. And $200?! For what?! Who do they think they are, Celine Dion? *the phone rings and Mi Cha gets up to answer it* Hmph. Unbelievable. I saw that look. Where does he get that from? Treating his own father like that.
Mi Cha: Hold on. Dear, it's your father.
Eun-Jeong: *alarmed* I'm not here! *lays down sideways on the sofa in a fetal position*
—
Soo Yeon: Jazz went to art school. Tae Young fosters injured doves. Cosette speaks Spanish. And Aaron and Erin are, like, really talented too. We are 4*Townies, remember? Ride or die!
@msweebyness @imsparky2002
#miraculous ladybug#miraculous#turning red#theater kids#akuma class#mlb ocs#class of heroes#mlb au#Disney au
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Cosette!
There's a strong implication that the Rue Plumet house is an opportunity for romance, both through earlier descriptions of the garden (the emphasis on youth, weddings, love, etc) and lines like this:
"The convent is a compression which must last the whole life, if it is to triumph over the human heart. On leaving the convent, Cosette could not have found anything sweeter or more dangerous than the house in the Rue Plumet. It was the commencement of solitude with the commencement of liberty, a closed garden, but a sharp, kind, rich, voluptuous, and odorous nature; there were the same dreams as in the convent, but glimpses could be caught of young men,—it was a grating, but it looked on the street."
Most obviously, the passage mentions that Cosette could see young men through the grating, but the language used to describe the garden ("voluptuous") feels quite sensual. Romance would also be the specific subject Jean Valjean and the nuns couldn't/wouldn't prepare her for; if the nuns ever had experience with that, they swore it off when they became nuns, and Jean Valjean has never experienced romance ("Jean Valjean had never loved anything [. . . . ] [He] had never been father, lover, husband, or friend" - LM 2.4.3). I think Hugo centers romance and relationships for young women in a way that's uncomfortable (even if it's unfortunately realistic in some ways, given that they were financially very important [the struggle of having enough money if unmarried as a woman] and risky because of social pressures [like Fantine being ostracized because she had a child without being married]). Part of the discomfort is also from the way these societal expectations of gender blend with Hugo's ideas, like his notion that Cosette is especially lost because she doesn't have a mother to guide her with the combined experience of being a "virgin" and a "wife." Still, it's true that romance would be difficult for Cosette because she doesn't have someone to easily communicate with on the subject. Jean Valjean is the only person she has right now, and it's not a topic he's very aware of. Rather than the framing here, then, it's a bit more sympathetic if we take it as another instance of the importance of a broad network of social support. Romance would not be as dangerous to Cosette if she had a variety of people to learn from, just as it would have been safer for Fantine if she had had people to fall back on after being abandoned or if people had advised her more directly in the first place about what to expect from a student-grisette romance.
The house is also mixed for Cosette in that it contains remnants of a cage. The convent is the true "compression," so she's free now that she's no longer there. Still, the psychological cage might remain; we don't know if she'll break free of it. The grating is part-cage as well, giving her more freedom than the convent but still constraining her. She can see the world now, but she's not fully in it, either.
Most importantly, Cosette is still a child! Hugo's speculating on her future here, but Cosette just wants to find interesting insects! Her love of searching for creatures feels like a return to the gamins, who do the same when playing; it's a shared trait that defines them as children, regardless of their different backgrounds. They're all still young, so they play.
Her love for her father is so sweet. I adore that she tries to fight against Jean Valjean's total lack of self-esteem by demanding that he treat himself better, or else she'll treat herself the same way:
""Father, I feel very cold in your room; why don't you have a carpet and a stove?"
"My dear child, there are so many persons more deserving than myself who have not even a roof to cover them."
"Then, why is there fire in my room and everything that I want?"
"Because you are a woman and a child."
"Nonsense! then men must be cold and hungry?""
Cosette knows that Valjean would never make her suffer, so if she makes herself live like him, she won't actually live badly. He'll just raise his own standard of living to make sure she's comfortable. Valjean's love for Cosette is one of his main defining traits, but she really loves him, too, and it's great to see that expressed!
I also love that their bond transcends societal expectations and is unique to them. In the passage above, for instance, Cosette questions gendered expectations over what men, women, and children should respectively tolerate, rejecting the idea that women and children should be prioritized over men. Part of it is certainly that she knows her father could be living more comfortably, but it's also because she loves him and doesn't want him to suffer needlessly based on any justification, whether it be others' poverty or gender. She sees Jean Valjean as both her father and mother as well, calling him "father" and imagining him like this:
"When she thought at night before she fell asleep, as she had no very clear idea of being Jean Valjean's daughter, she imagined that her mother's soul had passed into this good man, and had come to dwell near her. When he was sitting down she rested her cheek on his white hair, and silently dropped a tear, while saying to herself, "Perhaps this man is my mother!""
It's especially moving because Valjean sees himself in a similar way, feeling that he is her father because she needed one just as he needed a child, but also "[feeling] pangs like a mother" upon adopting her (LM 2.4.3). Fantine is ever-present in their relationship (and Cosette's dream was both beautiful and sad), but not entirely in an upsetting way. Valjean's feelings are unclear, and Cosette loves her mother, but in a vague way, since she doesn't remember her. But in a spiritual/religious way, Valjean and her mother's spirits have merged to her, preserving what she's heard about her mother's love and combining it with her lived experience of love. It's very sweet, and it makes sense that she would imagine her mother this way after such a religious upbringing.
Unfortunately, the metaphorical prison of the convent and the cage of the grating aren't the only dark shadow in this chapter. The last line is a bit ominous. For context, here it is in English and in French:
"The poor wretch, inundated with an angelic joy, trembled; he assured himself with transport that this would last his whole life; he said to himself that he had not really suffered enough to deserve such radiant happiness, and he thanked God in the depths of his soul for having allowed him—the wretched—to be thus loved by this innocent being."
"Le pauvre homme tressaillait inondé d'une joie angélique; il s'affirmait avec transport que cela durerait toute la vie; il se disait qu'il n'avait vraiment pas assez souffert pour mériter un si radieux bonheur, et il remerciait Dieu, dans les profondeurs de son âme, d'avoir permis qu'il fût ainsi aimé, lui misérable, par cet être innocent."
Jean Valjean is still a "misérable," and he defines his worth through suffering. He's happy with Cosette, which is wonderful! But he also thinks he doesn't deserve her, even if she clearly thinks otherwise. His joy, then, is in constant tension with his status as a misérable, and while Cosette tries to help - she's making him live decently! - she also doesn't know why he has this mindset. Jean Valjean has love, but he still carries the logic of the prison system with him, and by that logic, he will never "deserve" happiness.
#les mis letters#lm 4.3.4#cosette#jean valjean#I just want them to stay happy and accept that they're happy#but Jean Valjean's lack of self-worth is ever-present :(#I love Cosette so much though#she's so funny as a child and she loves her father so much
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Wow! There is life outside the garden! What do other people know (nothing or not much), and how do they react to Marius and Cosette’s happiness? Jean Valjean doesn’t ask questions, doesn’t suspect anything, and he has already forgotten about Marius’ existence. He sees that Cosette is content, and it’s enough. Cosette, on the other hand, does what she can do best — she hides her true feelings and tries to be an obedient daughter. There is an air of deception in it. But on the other hand, they were hiding something from each other their entire life, and they have never been absolutely sincere. Sad.
Courfeyrac, on the contrary, understands everything that is going on with Marius, and he is so curious to learn more! He is so funny: “My dear fellow, you produce upon me the effect of being located in the moon, the realm of dreams, the province of illusions, capital, soap-bubble. Come, be a good boy, what’s her name?” And as a more practical person, he tries to bring Marius back to real world. I wonder: if Marius spends his evening with Cosette, is he working during the day? Because he was bragging about writing articles. Is it possible that happiness made him more functional in terms of work capacity? I am not sure.
Haha: Marius is telling Cosette about politics! I would very much like to listen to it. At least it is not his (in)famous Napoleon speech. What is his political stance in May 1832? Did Cosette know anything about politics? Is Marius her only “teacher”? That would be tragic!
Éponine, my dear girl. This was a very awkward encounter. The only purpose of this scene is to show how ungrateful Marius is and how quickly he has forgotten who made his current happiness possible. And what about this weird logic that you can only say “tu” to one girl at a time! Poor Éponine is too smart to immediately understand all this. Hugo wants to emphasize how forgetful Marius has become by saying that he doesn’t even think about his father anymore. That’s a big deal. If he forgot about his father, what to say about Éponine.
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Expand : part 1 (manhwa)
If you like
Then try,
In order to receive love from her father, Keira tried her hardest to live the life of a perfect, submissive daughter. However one day, Cosette appears claiming to be his real daughter and Kiera is executed under the assumption that she is a fake.
In the last moments of her life, Cosette whispers to Kiera, “Truthfully, you were the real one.”
Kiera, recalling those words, returns to the past. Although revenge is important, what does it matter who is fake and who is real?
Now that I have been given a life again, I will live it freely for myself!
A cute female protagonist’s coming of age romance who has never made friends.
My note : the rivalry between Kiera and cosette is pretty good. Both actually scheme against one another, which is entertaining to watch.
Princess Marianne is the light of the Edenverre Empire, and just like the rest of her family, Princess Alisa adores her sister above all else. But when she is framed for attempting to murder Marianne, Alisa is cast into the dark dungeons. Not a single person will listen to her pleas of innocence. As the victim Marianne weeps pitifully in fear, Alisa is the only one to see her cruel smile of glee.
Consumed by betrayal, hopelessness, and despair, Alisa suffers the torturous removal of her sight until her scheduled execution. That should have been the end for her, but she awakens as a baby in the neighboring Elmire Empire. Now known as Princess Aisha, she seems to have been born with a silver spoon as well as a loving family.
Despite the warmth that now surrounds her, Aisha cannot forget the pain and darkness that consumed her previous life. While she still clings to the grudge that festers in her heart, Aisha learns to treasure those who hold her dear and walks steadfast into the light of her future.
My note : you will come to adore Aisha's new family. how they unknowingly help her through her trauma is so heartwarming. Especially her brother.
× I became the male leads adoptive daughter ×
"I will adopt a child."
Pelio Borreoti's impulsive decision flipped the entire duchy upside down.
He brought a child, who harbored the darkness just like him, from an orphanage.
Not only did he make her his daughter, he even gave her the name of a 'beast' that only the direct descendants of the family were allowed to succeed.
Featuring the strongest, most awesome father in the world.
A daughter with a corrupted(?) childhood innocence.
And lastly, a stepmother(?) with a peculiar secret.
My note : don't let the cover fool you, both father and daughter are psycho's in the best way possible. Out of all the female leads, This one is the funniest in the most dangerous way possible. Also she LOVES muscles.
× I shall master this family! ×
The great Lombardi family was once at the top of the empire. After the death of its patriarch, the fate of the family and that of Firentia, born from a Lombardi and a peasant, fall to ruin at the hands of her useless and cruel cousins. But when she’s reincarnated as her seven-year-old self, she’ll work to protect the family’s honor, gain her grandpa Lulac’s favor, and prevent her own father’s death. In this lifetime, there’s only one way for her to win: become the head of their mighty household.
My note : say it with me now, the BEST manhwa daddy. The best.
#manhwa#who made me a princess#wmmap#actually i was the real one#i became the male lead's adopted daughter#into the light once again#i shall master this family
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Wild Sage (The Mountain Goats)
And some days I don't miss my family/And some days I do/Some days I think/I'd feel better if I tried harder/Most days I know it's not true
"Because it's visceral and it's quiet and it's broken. It presents you with all the shattered pieces, the alienation and the laughter and the blood being shed and the sage growing in the weeds and the fluctuation of hope, and you think maybe you know what to make of it but maybe there just isn't much you can put together anyway. The injury here is an accident but the song's not pulling its punches. It's grounded, blunt even, its details painting a very specific picture of a path you could end up wandering down, and the narrator isn't very grounded in their mind at all, but they are in the world, and at least that's something. Less is more.”
Bring Him Home (Les Miserables)
You can take/You can give/Let him be/Let him live/If I die/Let me die/Let him live
"Ok so this is sung by Jean Valjean after he joins the revolution. Fighting alongside him is this boy named Marius, who Valjean knows because he and his daughter, Cosette, are deeply in love. After the first attack on the barricade occurs and Marius’ best friend, Eponine, dies (by the way A Little Fall of Rain could totally go in here I’m just not as familiar), Valjean looks after the boy while he’s sleeping and prays to God that no matter what happens, even if he himself dies, Marius should live. He even calls him “the son I might have known if god had granted me a son.” Now this is super sweet and heartfelt and all and it’s a gorgeous song, but here’s the catch- it’s so superficial. At this point in the story, Valjean doesn’t even care for Marius. The only reason he wants Marius to survive the battle is so his dear Cosette can be happy. It’s such a beautiful song, but so frustrating. Also, it’s literally from The Miserables. Come on, guys."
Bring Him Home submitted by @determinedowl23
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A Maiden, Forlorn (Part 3, NSFW)
Writing for a ghost, and myself as well. Things are getting steamy. I have no clue how to write smut and how fast, so I'm just trying things out. <3
TW: Masturbation, Voyeurism
(Part 1)(Part 2)(Part 3)
˚ ✦ . . ˚ . . ✦ ˚ . ★⋆
His words lay heavy in the air. How had he never seen the sacrifices before? This made no sense at all. Every 5 years, one sacrifice was given to the forest, to the beast who sat just some mere feet away from her. Or was there another beast who roamed these woods?
“Sire, I mean no ill, but I am not the first sacrifice given to these forests. Do you mean that there is some other beast who too roams these parts?”
His look of annoyance was blatant now, his snout wrinkling slightly as if he had smelt something rotten. “Another beast? These are my forests. I was born and I will die with them, I live and breathe as a part of them. It is my job, as warden and protector here.”
My confusion met his. “I mean no harm. But my village has made maiden sacrifices to apparently not you- every five years for as long as anyone can remember? Do you mean to say I am the first ever sacrifice ever found? Have all the others before me just died on the stone to be taken as carrion: Starved or frozen to death?”
A long silence followed, but the answer was clear. I would be the only sacrifice to leave the stone, as far as my knowledge knew.
“Sire, what is your name?” I asked, my voice hoarse and thick.
“Vidar. I am sorry, little female. I am not a child of the gods your people praise, and the stone table you were tied to is blessed by your priestesses, and therefore exempt from my forests. Had I known of the sacrifices, I would have taken them too… I just happened to be in the southern part of the forest when I heard your laughter. I’ve never heard a human laugh before. Screams, wails and nervous chatter are the only things I have experienced.”. He paused, and my eyes welled with tears. All those sacrifices… Screams and wails? Yet I have never felt more secure than now. why won't my body react correctly to the beast- Vidar?
“I am curious. That has always been my fault. That is my I touched your arm on the table. Never have I seen skin as soft as yours. I didn’t know that you would run for your life; as if you could get away from me.”
“Of course, I would run. Imagine if I held a knife to your arm, whilst all you could think about was when you were going to be devoured!!” My words were desperate and breathy, and my eyes started to overflow with tears. Frustration at my predicament, the forgotten sacrifices, my dear beloved mother, my friends in the village… I laughed again, and I could feel Vidar’s gaze on my face. I lay down and looked at the ceiling. When was I going to die? I would rather he just kill me now, so I don’t have to worry anymore.
However, he stood up and I could see him in the corner of my gaze. My face was wet again, and my laughter died out as soon as it had arrived. I saw his hand approaching, and I couldn’t care less. He had made it very clear that he would not harm me. His claws were somewhat retracted, like a cat’s would be, and it grazed my face.
“You are crying. But you are laughing. What do you mean? I cannot understand you, little female.”
“My name is Cosette, had you asked. And I’m afraid that not even human men can understand human females. So, I wouldn’t attempt it if I were you.”
This time, Vidar laughed. It was a deep throaty laugh, which reverberated through my bones. A single spark of desire rose from below, and my cheeks tinged red with embarrassment.
“I will leave you to sleep, Cosette, you need rest in order to be able to heal properly.”
His hand, which had been resting on my jaw withdrew, and it felt cold to be without bodily contact. Sleep came fast, and was dreamless.
It must have been early morning when I woke, for soft golden shafts of light were streaming in through the window panels. I yawned audibly before stretching my entire body. Tentatively, I reached my legs down to the wooden floors. The bed was rather tall, and sitting on the edge, my feet didn’t touch the ground. I scooted myself off and groaned when my feet hit the floor. Legs that had not been used in a day? Awful feeling. But, nature was calling, and I prayed to the gods that Vidar had some form of outhouse.
The rest of the cabin suited the bedroom well, with just one other room with tall wooden walls, a wrought iron fireplace and a giant butcher's block in the centre. It was simple, and you could tell that Vidar did not spend much time indoors. The fresh air felt sweet on my face as I pushed open the heavy cabin door. What was it with these unreasonably heavy doors? No outhouse in sight, i noticed. Around the back there was none either, but Vidar was there. I stood for a while, admiring him.
The forgotten sacrifices had not been his fault, i reasoned with myself. He has done nothing wrong- except partially my arm, but that wasn’t truly his fault. I smiled softly towards him, as i his back muscles rippled with effort. He looked quite human at times, with this broad torso, and long arms. Except, of course, for the fact that he was covered in fur. It was a dark grey colour, with flecks of brown and cream concentrating on his lower belly. I wonder how far down it goes… My eyes widen as I feel myself getting wet, and I am apparently not the only one to notice either.
Vidar turns his head to look at me, and it is the first time I have seen his face in the light. It was dark as well, almost darker than the rest of his body, were it not for his hauntingly beautiful amber eyes. Tension lies in the air as he looks at me intently, and his nostrils flare. I almost die of embarrassment.
“Vidar… I’m sorry to ask, but where should I go to relieve myself?” My cheeks are probably beetroot by now. He laughs before saying that all I have to do is find a place downstream. I thanked him and scurried off quickly.
Apparently, I was a little too fast, and a little too close, for I heard heavy grunts and pants emitting from the back garden when i came back. I stay still in the cover of the trees and hide. I can’t help myself. And neither can he.
He sits, hunched over on the woodchopping stump, his hand working fervently between his legs. I’ve never seen a “cock” before, as my older friend had called it. I had seen the family horses’, it's difficult not to, but Meline had told me that every animal, including humans, had different ones. I switch positions and crouch on the ground, and I find myself at eye level with his cock. It's dark, like his fur, but tinged purple- with thick veins littering it. It looks painful, I note, as I see it pulsing from afar. It has a large bulge at the bottom of it, growing by the second. With a loud groan, Vidar arches his head back in ecstasy- that, I understand, as his cock starts to emit long heavy spurts of semen. My pussy aches below my dress, but it is too much of a risk to touch myself here. He stands up and pulls back on his loincloth, and I suddenly find myself annoyed that I cannot see him anymore.
Forsaking myself, I quickly start to rub my clit with my hands, and I lean back against a tall pine tree, closing my eyes in pleasure. My back arches and my climax is oh-so-close when I open my eyes slightly. Fuck the gods and their seven horses. Vidar is standing right in front of me, leaning against a parallel tree. My mouth falls agape and I wrench my hand away from my clit, but I am too late. My climax courses through my body, and I moan loudly as my body fully relaxes. I am totally and utterly mortified as I look at him once again, and all he does is gaze at me. I brush down my dress and right my hair before looking at him again.
“You could have just approached me, little female, had you wanted to gaze upon me. I would not have minded, especially if I got this show afterwards, Cosette..”
#forest god#sacrifice#moster x human#human x monster#terato#teratophillia#monster#maiden#forest guardian#first time writer#beast
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gf is a better texter AND more interesting AND i just love her and admire her talents sm idk
#she’s very much like#best artist#best mathematician#which is insane to me because#you’re either like one or the other#for example i’m a very artistic-minded creative writer and knowledge consumer#and this guy in my class perhaps is a very math science physics suited kinda guy#or like my bestfriend who does well in sciences and has an insane amount of passion for it and despises english so deeply#or this languages guy who knows more than 7 fluently at this point#who does well in geography history etc but not the best in english too#like math and art is sooo separated how do u even?#anyways#she’s very insane in a good way#gf#her#cosette core#<3#dear diary#i did a math test and it went ok?#hopefully i get a 6 tbh
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Awwwwwwh ty bub! 💙🤍❤️
-ur dear cosette 🥺
anytime darling 🥰🤍💙♥️
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I don’t ship most of these myself , but your rant/ramble posts on Les Mis ships are funny so I genuinely wanted your opinion on these 👁
1. Enjoltaire
2. Valvert
3. Enjonine
4. Marisette (or whatever Marius x Cosette was called)
5. Javonine (Javert and…Eponine 😭)
6. Marionine (A name a just guessed for Marius x Eponine because I wasn’t bothered to look it up)
7. and uhhh.. Granjonine (I think that was the name)
well hello darling! i live to entertain lol lets get into it i might have to put this under a cut because i think its obvious i have a rambling issue
Enjoltaire : a classic for good reason. they seemed really base level to me at first because i watched the movie first, but once i read the brick and really saw their dynamic i fell for them HARD. for me the beauty of this pairing is really rooted in the substance of their individual characters as opposed to like a romantic relationship. idk its so difficult for me to verbalize why i love them so much i think i just love the idea of finding common ground despite difficulties. enjolras and grantaire mirror each other in such a beautiful way that i feel the musical/movie couldn't really capture without demoting it to a puppy love grantaire/mean enjolras dynamic idk i have such an issue with some portrayals of them because i feel like they create a victim/abuser situation where there wasn't one but that's like a whole post within itself anyway i feel like im getting incoherent i love exr with every fiber of my fucking being just read the brick if you don't get it ok the movie and musical just dont do it justice and for the love of god avoid the fics written in 2012/2013 after the movie hype its all wRONGGGG (i love you george blagden but you created a twink grantaire movement) (they pull each others pigtails okay its a mutual obsession) (enjolras why don't you just ignore him baby? glutton for punishment my dear we all know if you hated him you wouldn't let him hang around) (anyway) i should make a seperate post about my exr feelings bc i could talk ab them for hours
2. Valvert: okay this is where i feel like i can be unpopular with the fandom. i fucking hate this ship. like physically, spiritually, all that. its one of those that i kinda lose respect for the person bc its literally a cop/prisoner thing. its not enemies to lovers. its not a hate love thing. javert's a fucking cop. valjean is his victim. the whole idea of people romanticizing this makes me feel so insanely icky and i think the point of the story has just gone RIGHT over some folks' heads please take a step back and think about it. neolib behavior sorry not sorry
3. Enjonine: enjolras is gay. just like, straight up in the brick enjolras is a gay man. this ship is spawned from straight girls who saw aaron tveit and use eponine as their not like other girls posterchild. just a whole bunch of hetero nonsense. same behavior as the joseph quinn enj x reader bs. honey thats a homosexual man and can we please stop reducing eponine to needing a boyfriend she needs a stable home and a goddamn therapist fucking hell
4. Marisette: okay. i LOVE THEM. i'm a cosette stan myself, and i'm a huge fan of a gooey love at first sight situation. they contrast my love for exr in the sense that they're a very easy love. their parts in the book literally make me SWOOOOOON i can put aside my beef with marius as a combeferre kin to appreciate how sweet they are
5. Javonine??: im sorry wh aht. did the snape x hermione shippers leak into the lm fandom or am i being fucking punked im not discussing this its obvious why this is wrong please tell me its obvious y'all are NASTY
6. Marionine: eh. eh. i mean, like i said with enjonine eponine's problems are not gonna be solved with a dude. i'm really not opposed to them, persay, its just that eponine's love for marius is so incredibly dependent and rooted more in her personal trauma than actual love, so i feel a little weird with them sometimes. sometimes it just gives anti cosette vibes (cough cough bc of the bullshit love triangle angle that the musical markets cough cough) so i tread very carefully with them
7. Granjonine: again what in the damn hell. i'm not dignifying this shit they could be besties but for the love of god george blagden did a number on the straight girls. STOP PROJECTING ONTO EPONINE IM GONNA LOSE MY FUCKING MIND LEAVE HER ALONE
thanks for the ask lovely, i do love rambling even though these ships are baffling lmaoooo
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I have a hard time explaining this one . . . it is part of a series called Classics in Slang by H. C. Witwer and in each instalment a boxer named One-Punch McTague reads the classics (like Hamlet and Ivanhoe and Notre-Dame de Paris) and then retells them in “slanguage.” He also fights people with names like Rabit Punch Weird. Apparently Ethel Kingsley is a character teaching him to read and is also his manager (and possible love interest?) ?
My disclaimer is that it was kind of hard to track down this installment, let alone the 8 before it so I am quite confused by the particulars of this saga and because the last name McTague is apparently Irish, I’m wondering if the humor is hinging on prejudice? I can’t tell whose slang is being imitated here. Please weigh in because honestly some snippets of this are funny.
Source: Collier's, 25th December 1926 This instalment on Les Misérables was published on Christmas day (people just love Les Misérables for Christmas)
LES MISERABLES
By Victor Hugo & One-Punch McTague
ONCE upon a time a burly stranger breezed into a little slab in that dear Frawnce, tired, dusty and ragged from a long game of pedestrianship. The facts that he was afoot caused him to be viewed with suspicious looks, as in them days everybody traveled on stilts, except the upper classes, which hadst their own gnus to carry 'em.
Well, ladies and gentlemen, our hero kept on walkin' till he reached the drum where the bishop lived and knocked smartly on the door. In a trice he was inside.
"How are they breakin', Bish?" the new comer says. "I'm Jean Valjean and I been a galley slave for nineteen years come Arbor Day. That shouldst of rated me a job in that movie Ben Hur, but I get the air wherever I go on the account I'm a escaped convict. I'm as homeless as a milk bottle ! Tough, what?"
"I'll say it is!" agrees the bishop, which was nothin' if not big-hearted. "Sit down and knock off some chow, Big Boy; you look in dire straits!"
Whilst showin' the inner man some consideration, Jean told the bishop the reason he'd done the nineteen-year stretch was for stealin' one loaf of bread. The bishop said nothing — just coughed.
Jean couldn't get no shut-eye that night from thinkin' of the high prelate's kindness to him, so to show his gratitude he grabbed all the silverware in the joint and took it on the run. He was no Nurmi [I swear this is a reference to a Finnish runner who won nine Olympic gold medals in the 20s], how the so ever, and was soon brung back by the cops. But to the amazement of all, includin' me and Victor Hugo, the jovial bishop told the John Laws everything was jake, because he'd gave the heirlooms to Jean for him to get a new start in life. As long as the whole silly affair was only in a novel, what did the bishop care?
Jean turned up again in the village of Oo La La and by improvin' on the shape of mustache cups, the chief manufacture of the town, this go-getter soon become a wealthy millionaire. He called him self Father Madeleine and on that account the yokels laughin'ly made him mayor. Everything was hotsy totsy and Jean was sittin' handsome.
But they was one bird which thought the mayor was phoney and that was the chief of police, Javert, whose old man was so stingy he wouldn't give him a first name. Javert hadst been born in jail and spent his life tryin' to make everybody permanent visitors to his birthplace. Hearin' that Father Madeleine hadst adopted a cunnin' little tot entitled Cosette, Javert went to him and says the followin':
"Well, they fin'ly nailed Jean Valjean. He's goin' to jail at Paris next week!"
"So's your aunt Anastasia!" remarks Father Madeleine, unperturbed. "I happen to be Jean Valjean myself!"
"That's what I thought!" grins Javert. "You fell for my plant like the Jasper you are! Will you go to Paris peaceable and take the rap, or shall I call my minions?"
"I love that," says Jean. "I bet you don't even know what a minion is, you big sapolio!"
But, nevers the less, he checked out for Paris that same night and told all to the police, which was so charmed to see him that they sent him to the galleys for life, with the idea of turnin' him in to a master oarsman as a reward for him givin' himself up.
D'ye think all this bothered Jean Valjean? Hades, no! That very same Xmas he come to light again in Sacre Bleu, the French hamlet where he'd put little Cosette to board. He paid her bill and left without stealin' anything, as he was gettin' absent-minded, and they moved into a handsome garret in gay Paree.
Jean never bounded around in the day time as he was duckin' the galley cops, not cravin' to go back to that tiresome rowin' racket no more. But at eve he done all his prowlin' with the other dips which pass in the night, and one gloamin' whilst droppin' a gulden in a beggar's hat he got the thrill which comes once in a lifetime. The beggar was the gumshoe, Javert. More grief!
Scamperin' home, Jean grabbed Cosette and they done a fade-out, with Javert and a battalion of dicks hot on their French heels. They come to a high wall and Jean Valjean hadst to laugh. He'd climbed so many hoosegow walls that this one was a pipe for him. Over he leaps with Cosette in his arms and lands in a convent.
"Nuns the word!" says Jean to the good sisters and stayed there six years as landscape gardener. Javert done nothin' but gnash his teeth all durin' that period.
Jean then went through the motions of changin' his name to Fauchelevent and havin' a yen for the bright lights he again went back to Paris, where Cosette grew up to be a traffic stopper of the first water with more curves than a corkscrew. One of her first acts was to sink to the neck in love with a young youth rejoicin' in the name of Marius, the son of a gil which rejoiced even more in the name of Baron Pontmercy.
Then along comes a passin' revolution and what with bullets and knives flyin' back and forth like sparrows, Paris become another Chicago for a time. Marius was foreman of a street barricade, or a barracuda, as we call 'em, and the first day of the fun he captured Jean's old-time hindrance, Javert, as a spy. The dick was sentenced to be shot at sunrise and was prayin' for a eclipse, when along comes Jean Valjean and asks permission to be allowed the pleasures of bumpin' off this pest personally.
Holdin' his gun in his hand, Jean led Javert behind a bush and there cut the copper's bonds. A boob for the ages, what?
"Beat it!" says Jean. "You're as free as advice for a cold!"
Javert fled a few feet and then turned back with a wild cry.
"I can't be annoyed runnin' you down all my life!" he hollers. "Cook me and be done with it!"
"Who's writin' this book — you or Victor Hugo?" snarls Jean. "Vamp!"
When Jean dashed back to Marius he found that the sheik which hadst won Cosette's heart and hand hadst got himself wounded. The poilus was shootin' everybody right and left, with no regards to lovers and the etc. They was only one chance to escape and that was through a sewer, but Jean Valjean hadst never learned to hesitate. With a maniacal howl he tore off the manhole cover and plunged beneath with Marius on his shoulder!
[from here on out the scan is cut in a way that obscures a letter in the middle of each word down the page so I put in parenthesis words that I’m not sure make sense or can’t see]
The ters raged about him, but he rag right back at 'em and done a [Edeto] the mouth of the river. When come to the surface with Marius, [whoes] he see sittin' on the bank waitin' him but Javert! That simply [poisd] Jean!
By [?] time this funny sleuth was beginni to slightly annoy Jean, so after [?] Marius to a medico he went with Javert to his room. Javert stayed outside thinkin' matters over. Whils the was officer of the law he couldn't leave Jean Valjean escape and on the other hand he couldn't pinch the guy which [had] spared his life. The thing was a [?]-off all around, so Javert run back the river and crowned a life of nonsense by jumpin' overboard and drownin. The big stiff was all damp, anyway.
Marius, wiry youth, got better and wed Cosette, and Jean called 'em both to his side.
“As long as Javert has kissed off, kiddies, there’s no kick left in life for me no more, there bein' nobody to chase me!" he sobs, and so did I when I read this. "That bein' the case, I'm goin' to One side, please!"
And executin' a back somersault, he fell to the floor deceased, and legend hath it he’s dead to this day!
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So I just watched the 2012 version of Les Misérables, and I've got to say, I've never felt so conflicted over crying for a film. Because it's not a fucking good film. It's an adaptation of a stage musical but it looks like there was nearly zero effort to adapt from stage to cinema.
In different mediums, the audience works differently in order to connect with the story and characters. A book doesn't provide visual scenes, but can be detailed enough for one's imagination to do the job. A comic has no movement, but if it's staged well enough the audience can connect point A to point B. Animation doesn't aim for realistic depictions (and Disney can kiss my ass on that) but suspension of disbelief can connect the comical reactions to the equivalent real-life reactions. Theater has excessive makeup and the actors act with bigger movements with placements that may make no sense in real life (as they have to face the audience, sometimes turning their backs on their co-stars during a dialogue) but if it's placed well you're engrossed enough in it that it shouldn't bother you. And also, theater has set changes.
In stage work, musical or not, you stare at the same scene the whole time. How one creates a set design and changes it during the performance is an entire art and section of study when it comes to theater. And two of the results of good set change is that the viewer 1) doesn't lose focus and immersion and 2) gets prepared for the next scene.
And then this film fucking forgot that theater and cinema need different transitions from one to the other. As I was watching it and felt shocked by the sudden changes - like, Valjean starts as a prisoner. Oh now he's free. Now he's on the streets being beaten up. Now he's taken in by the church. NOW HE'S STEALING FROM THEM?? Oh now he's caught by the cops. AM I WATCHING A FUCKING MONTAGE?? - I eventually started thinking how it would be like if these sudden changes were happening on a stage, and I realized that, if they're good enough set changes, I wouldn't have a single issue because hey, there's a reason it's cool to see the set changes. They prepare you. Because when I see Valjean in a prison and then he's on the road then he's on the streets then he's in a church, all within the manner of like, three minutes, it's fucking jarring on a screen, where the changes are radical and sudden.
And it was like that in the entire film. It was especially jarring between the scenes of Marius asking Eponine to go find Cosette and then BAM it's night and we're on the rebel base and Enjolras chastises Marius for choosing love over the rebellion. It's too sudden, man! And I know that the original book is fucking long but that is not an excuse. When you make an adaptation you have to make sure that what you create can stand on its own, that not everyone will have read the book/watched the stage play/seen other films inspired by it in order to like your creation. You're making an adaptation for the screen. Adapt! Improvise overcome etc etc
And another way the adaptation was poor? In stage musicals it's common to have the actors make small reactions to things happening or being said. Things like "It cannot be!" or "Is it true?" or even "Dear Lord!" are small phrases that a character sings/says to draw the audience's attention and show their reaction. Do you know how cinema does that? BY SHOWING THE CHARACTER ON THE SCREEN. On the stage, you have a wide scene, with the actors spread around it, and when they react to something they need to say something so that the audience will turn their eyes to them. On cinema you don't need to "manipulate" the audience's view, because you control it fully via the cameras. If the director wants the audience to notice something, they simply focus the cameras on it. So having both those "small" reactions and focusing on the actors' face during it is redundant and also fucking ridiculous.
That's not even mentioning the atrocious choice of recording the actors live. Whatever you want to say about "realism" in the singing (it's a musical it's not fucking realistic to burst into song irl what the fuck shut up!!) the biggest issue with it is that it has piss poor audio mixing. Long notes that would be belted out and stand out in the stage play or a decent mixing are now lost and covered by the orchestra. It's a waste of their talent!
And since I'm on the topic... what the fuck did they do with Russel Crowe. What the fuck. Because the man can obviously sing. He has some wonderful long notes and vocal control... and then they either coached him completely wrong for Javert's songs, or they made a huge miscast. I cannot judge him as an actor, I think he was good for the acting role, but the singing oh my god it doesn't fit his voice. Javert does that thing where he sings in the same note then jumps to a higher note for emphasis, and Crowe fucking sucked at that it was painful. Why. Why did they do both the character and the actor dirty. Who greenlit this. Who allowed this. Javert is a fucking main character and they made a whole mess of him I am going to crawl up a wall and scream
And then I had the audacity to fucking cry at the end because Hugh Jackman acted his soul out in the final scene and then the ending number pulled at my heartstrings. I hate it here.
#and I'm not even a fan of the musical! I just watched it out of curiosity!#fuck!#I hate everything#vent
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