27. The Baroness is hardly a monster for not enjoying a game in which children hurl a ball at her pelvis. Link
If anyone ever tells you that you put too much Parmesan cheese on your pasta, stop talking to them. You don't need that kind of negativity in your life.
I love The Sound of Music, but that is HILARIOUS. "It's one thing to use a metaphor about uninterrupted mountain climbing if you're in Nebraska, but when you look out of the window every day and see more mountains than you could ever climb in your entire life, that's just setting you up to feel like a failure." Ha!
I adore Linda Holmes. She was tweeting all of these before she got around to writing it up, and man is she great.
Words don't deserve that kind of malarkey. They're innocent, neutral, precise, standing for this, describing that, meaning the other, so if you look after them you can build bridges across incomprehension and chaos. But when they get their corners knocked off, they're no good anymore…I don't think writers are sacred, but words are. They deserve respect. If you get the right ones in the right order, you can nudge the world a little.
2. Rolfe is presented as a romantic hero despite the fact that he is clearly intimidated by Liesl's burgeoning sexuality to the point where he calls her "timid and shy and scared" at the very moment she is leaning in, if you know what I mean. "Innocent as a rose," Liesl sings while spinning around so her boyfriend can see her underpants. Soon after, she engages in one of cinema's more erotic instances of fully clothed head-rubbing. As Melinda Taub once rather brilliantly wrote at McSweeney's on behalf of the Baroness, Liesl is in fact rather "intent on losing her virginity to the mailman."
The author of this piece is very astute!
...and this is why I have affectionately dubbed this character "Sleazel".