On A Few Occurences In The Book, It Gets Mentionned That Aziraphale Has Manicured Hands, And I’ve Been

29 adorable animals with rare and interesting markings (x) 

Couldn’t you just pause it

#justaddmagic #ThisSeriesIsAwesome

Miss silvers is my favorite character.. I have a weakness for grumpy old women with a secret soft side

A Fairly Nice and Accurate Timestamp Cheat Sheet for Good Omens (2019)

All timestamps should be correct, give or take a gnat’s whisker on the seconds, and titles of individual scenes may occasionally be obtuse references to the book or fandom shenanigans. Feel free to save the list as a file on your word processor and rename or otherwise alter specific scenes as you see fit.

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Jane Austen heroes unexpectedly encountering the women they’re hopelessly in love with: ...is your family in good health?????

Just finished watching this, and I can honestly say it’s the best Bollywood movie I’ve watched in the longest time. I wasn’t too impressed by the trailer when I watched it, but Nai Lagda came up on a random playlist I was listening to recently, and I’ve been obsessed with it since. So I decided to give the movie a try today (thanks to @chahat-ke-safar 💗💗💗) and it was completely worth it!

A gorgeously shot movie, sweetly written (the humour in the first half reminded me of Malayalam films), and the performances are pretty great too. I wasn’t expecting much from Bhai’s nepotism launches (especially considering the history *cough* Hero, Loveyaatri *cough cough*), but man, did they turn out to be a pleasant surprise. Pranutan has great screen presence, and I really liked her dialogue delivery in particular. (I dislike the dialogue delivery of almost all Bollywood actresses launched post 2007 and at most, tolerate them in their movies.) Zaheer is a little wooden, but likable, and has a nice chemistry with the children. Oh, the children were another reason I was wary of watching the movie, coz I tend to dislike the precociousness they’re forced to perform; but the children in this movie were all great actors, and adorable to boot (especially that one little girl who takes her pet fish Dingu everywhere!) Another notable factor: movies set in J&K always have that stereotypical conflict angle looming, but this movie thankfully subverts that trope. There are mentions of the Kashmiri Pandit exodus and other conflicts in the area as character-building background details, but not in a gratuitous manner that most showcase in “a Kashmir movie”.

I just cannot believe a wonderful little movie like this; focusing on a simpler life and the joy of little things; with a smart, strong, empowering female lead; and a heartwarming bond based on respect; is so woefully ignored, while toxic, misogynist bullshit like Kabir Singh is going on to make 250 crores. Please rectify that, and watch this if you’re in the mood for something that’s sweet, and simple, and fills you with warm, happy feelz!

Rama and Sita never overhear the dhobi before her pregnancy comes to term

1. Most of Kaikeyi’s power died with Dasharatha and his love with her, but still she has enough influence to overhear the rumors that spread through the city–and, more importantly, to ensure that the wells and taverns that Rama visits in disguise do not mention them. 

Let him confront those ugly truths once his wife delivers Ayodhya its heirs and if he should object, then let him consider: she has done him so many offenses already; what is one more?

2. The child – no, children, and fine sons, too!–are born, and Kaikeyi lets it be known that to challenge their legitimacy would be to deprive Rama of the heirs he loves so well. For a time, it works: Ayodhya loves Rama enough to allow him his happiness.

But all too well she knows it will not last. Did she love him, too, and still prove the cause of fourteen years’ unhappiness? So too will they turn on him, and his blameless queen; unless Kaikeyi can seek to do otherwise. 

3. Crowds always need a scapegoat, and too well Kaikeyi knows one that will suffice. Public opinion has forgiven only because of Rama’s request; and so it is all to easy to sow a word here, a suggestion there, that all the rage and mistrust they feel towards Sita ought to be directed towards the real instigator of mischief, who lives in the palace still, having escaped any punishment for her crimes. 

It works; of course it does. Kaikeyi has lived in Ayodhya for almost forty years, and knows it like the palm of her hand; and just as in the palm of her hand, she can read the signs of her downfall in the crowds’ angry faces. 

4. Before Rama must answer that he allows the criminal responsible for his father’s death to live simply because she is his stepmother, Kaikeyi volunteers herself to return to Kekaya. Too long she has lived apart from her mountains, she says wistfully; and her brother longs for her company. 

She will listen to no protests, not from Rama, nor her fellow wives–and Ayodhya, pleased with itself, forgets its complaints against its queen entirely. 

5. The night before she is to leave, Bharat comes to her for the first time in fifteen years. He knows, of course; any son of hers must. She managed to teach him at least that much. 

“If you expect me to forgive you, simply for what you did for bhabhi-”

“I did nothing but act according to my own nature,” Kaikeyi interrupts coldly. As much as she longs for Bharat’s return, she does not want it to be under such terms. “Manipulation is my only skill; surely I must use it to relieve my own boredom.”

“You’ll never change,” he declares, and still his voice is thick with anger. But he touches her feet before he goes, and in the morning, stands on the stairs and watches Kaikeyi’s departing palanquin until it fades out of view. 

When New Yorkers hear a violin 🤣🤣🕺🏾🔥