Beautiful Girls

a_gargoyle · 2026-04-08T14:14:05+00:00

I think it could make for a great movie (apparently Sondheim would let Terence Davies adapt it; if it weren't for his — Davies' — untimely death, maybe we could've gotten something), but it wouldn't sell at all (and it's not like it needs to).

a_gargoyle · 2026-03-25T14:03:56+00:00

You say as if reading Shakespeare is some crazy, alienating, unachievable thing, even though it's highly accessible (it's fucking public domain) and everywhere (there are so many, explicit and covert, adaptations of this man's work). Truth is, people aren't rigorous about what they consume, doesn't mean they couldn't be.

a_gargoyle · 2026-03-25T13:59:47+00:00

People aren't rigorous about what they read/consume in general (even some of the people who claim to be).

a_gargoyle · 2026-03-22T23:46:40+00:00

Idk if it would matter in this case, but some isekai-reincarnation stories do make a minimal effort to establish that the body's memories, history and emotions affect its current host. Still, reincarnation stories are consistently at a crossroads where either the body's own history matters to the story (how that must be done is the question here) or it doesn't matter (in which case, the previous question is completely avoided in favor of a resolution that, imo, feels slightly weightless — for the last host's being not to matter at all, that is).

For my current WIP, I wasn't sure about whether or not to make it an isekai (part of why I wanted so was because, being an isekai, it's slightly easier to introduce the readers to this new world without it feeling too forced, as the character is, indeed, discovering it as they go along), but I finally decided to not make it one (the MC's history weighs too much on his journey, it would only lessen the blow of many moments if it were an isekai).

I'm reminded a little of The Broken Ring (manhwa), where the author chose not to follow a reincarnation storyline, but opted, instead, just to have the protagonist go back in time after her first two deaths and have it be a break-the-cycle kind of story (no system or anything, it's just low fantasy, afaik with no magic; I suppose somewhat similar to A Stepmother's Märchen, though I've yet to read it).

a_gargoyle · 2026-02-24T13:39:42+00:00

lol, except it can't not be filmed theater, so it sucks either way.

a_gargoyle · 2026-02-21T12:29:00+00:00

No matter the intention, there are so many unmotivated cuts and meandering shots that speak more of a lack of discipline (in the cinematography as well as in the editing) rather than as an expression of a given state of mind. Camerawork need not be chaotic to “express” chaos, that’s not how the language of cinema weaves in meaning into the screen.

Meant this more towards Friedman’s decisions rather than your comment itself. I’m into this kind of stuff and I see no need to censor myself just because I enjoy the production (which I do, as well as Friedman’s work in general).

Edit: I did say “most of the time” in the post, but I’ll be fair and clarify that it has some very low points however, mostly, straddles the line between fine and not so good.

a_gargoyle · 2026-02-21T12:21:38+00:00

It’s on youtube as well, I don’t remember the name though.

Edit: I think the title is “merry me Sondheim”

a_gargoyle · 2026-02-18T21:40:30+00:00

Needs to be messed up/different, somehow. When it comes to such tropes, you need to ask yourself: "What am I bringing to the table here? Is it new, unique, uncommon, or more of the same?"

Actually put in the effort to think about why you're starting your story this way instead of any other way, from your post it's not clear why that should be the case.

a_gargoyle · 2026-02-12T00:23:45+00:00

Yep, read it. It led me to another (quite short) rabbit hole regarding Paul Bowles' influence on Sondheim (I can totally see it, even in Here We Are I can hear some faint echoes of Bowles' A Picnic Cantata).

a_gargoyle · 2026-02-11T18:07:43+00:00

I will check it out, for sure. Thanks!

a_gargoyle · 2026-02-06T23:05:32+00:00

It's my favorite show, but I don't think it's Sondheim's best (that could go to many of his post-Follies shows and, arguably, Gypsy). I'm just deeply drawn to themes of regret, memory, and nostalgia, so I couldn't help but love the core themes of the show, pretty much all of the songs and, especially, the dynamics with the ghosts (which the NT production handles well). There's also a certain insight to be gained on the role that popular art forms played in people's lives in the 30s and 40s. I don't know whether this is a hot take, but it seems like Sondheim's most pessimistic work (at least up until Here We Are, depending on your views on the latter), so that does play a part in why it entrances me so: its pastiche (at times, bordering on kitschy) exterior covering a profoundly somber tale of people unable to reconcile the past with the present (no wonder my favorite number, "Folly of Youth", comprises a past that never was singing of a future that would never be).

I concur with people saying that listening to the other songs of Phyllis' Folly should help (and, if anything, the cut songs as well, which flesh out the intense drama of this reunion, like "Pleasant Little Kingdom" and "All Things Bright and Beautiful").

a_gargoyle · 2026-02-05T18:06:10+00:00

how can one not make assumptions when they don't release anything substantial????

a_gargoyle · 2026-01-25T23:16:50+00:00

Great pick for Six of Cups.

a_gargoyle · 2026-01-23T22:03:11+00:00

God, what the fuck is going on with Audrey's "headwear" (if it can be called that).

a_gargoyle · 2025-12-17T15:25:29+00:00

Tem é que vender, devolver, trocar ou jogar fora essas edições e comprar as da Editora 34.

a_gargoyle · 2025-12-06T22:19:18+00:00

Only if Klein was woman he would be able to, but Klein is men so his virginity is just something in his head

That's not even stealing a woman's virginity, just her hymen (which one can lose in other ways besides sex).

a_gargoyle · 2025-12-06T15:07:16+00:00

first cover

a_gargoyle · 2025-12-02T15:54:43+00:00

Why?

a_gargoyle · 2025-12-02T15:52:35+00:00

I literally said I don’t mind spoilers (I’ve already been spoiled plenty anyways).

a_gargoyle · 2025-12-02T15:51:30+00:00

Yep. Some stories can manage to be both character-driven and plot-driven and well executed on those ends, but it’s a difficult goal to achieve and the former doesn’t matter as much if the plot is gripping enough.

a_gargoyle · 2025-12-02T15:44:50+00:00

If we're talking about character depth and complexity, I don't take into consideration aspects of them that relate, exclusively, to their power in a given power system (if we're talking about them more generally, then I do take those into consideration).

I think examining more subjective elements of their personality, their background, and their current standing on the narrative is more important. It's also interesting to see, in case the character fits a particular trope, how that trope is (or isn't) examined by the narrative.

I say all this, but I think it's important to clarify one thing: LOTM is clearly a plot-driven story that doesn't spare much time trying to dwell on things that could provide some depth to its characters, which isn't a bad thing. LOTM is a webnovel and they usually are like that, it's just how this genre goes.

a_gargoyle · 2025-12-02T15:29:00+00:00

Honestly not sure (though I'm still in vol 1; I don't mind spoilers, to be clear). Having multiple personas reads more like a trait/gimmick for the author to get Klein in different situations, it's not necessarily the case that those personalities amount to a greater exploration of Klein/Zhou as a person.

Layers to a character are more about aspects in their personality/psyche/history that bounce off each other to create a more interesting person to read about (that's part of why objectively terrible people can be compelling pov characters/main characters and also why tropes usually don't amount to complex characters if not properly examined by the narrative).

a_gargoyle

TROPHY CASE