![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
chocolatepotHa, the bodice is put together minus the sleeves, and it seems to be doing very well! I've learned to never ever judge the bodice fit before you ensleeve it, so I'm trying not to think about the side back seams, which seem to be puffing out. We'll see tomorrow. The sleeves seem to fit well on their own, but maybe with the lining they're too heavy? It's hard to tell if linings are too heavy when it's 80 degrees and any silk clothing at all is just too heavy. But I might end up unpicking it all and just not lining the sleeves.
***
This dinnertime I watched Leap Year, as they just added it to Netflix. I remember when it came out and there was a lot of critical talk about tropes etc., but I never got around to watching it. Fernwithy wrote a bit the other day about how Manic Pixie Dream Girls are essentially the Prince Charming rescue fantasy for men, and while I think there's something to talk about wrt both the male and female stories having the man of a higher status - it occurred to me that the trope I have a problem with in general (but not in specific, def. not here) is the uptight/straight-laced woman loosened up by the guy who never takes things seriously. Which made me reflect on how the opposite does happen - it's the MPDG. So why, when I'm thinking about one or the other, does it feel like only one way happens? Well, because it does. It's just the the "one way" is the main character being the uptight one, and the love interest is the one that fixes them. Although now that I'm thinking about it, I'll probably remember a dozen free-wheeling main characters who loosen up love interests.
I'm not really going anywhere with this, I guess? It just seems like an interesting complication in the often black-and-white world of talking about sexism in tropes. Anyway, the movie itself is not very good but ultimately inoffensive; Matthew Goode is in it and is borderline incomprehensible with his Irish accent because he's always mumbling. Amy Adams's hair and wardrobe are stellar. Although the plot device is stupid - "I need to get to my boyfriend in Dublin on Leap Day soLeap Day William will give us candy I can propose to him!" - it fades pretty quickly to the standard "have to travel with unlikely companion" plot and seems less like the sexism it was originally presented to me as and more like a flimsy rationale for having her need to travel quickly instead of sensibly waiting for the train. And it doesn't matter how dumb the rationale is, the characters still give you feels. They're still beautiful creatures.
***
Damn! I was going through pictures to find ones of a particular 18th century gown, and came across this one at the NYSM I meant to pattern for my book but totally forgot about. (TBH, so did Connie - she is not good at remembering anything stored flat, and I wonder how many other awesome things I never even knew were there.) It's a dress with two extra bodices, one ca. 1800, one ca. 1810, and the one attached ca. 1820.
***
This dinnertime I watched Leap Year, as they just added it to Netflix. I remember when it came out and there was a lot of critical talk about tropes etc., but I never got around to watching it. Fernwithy wrote a bit the other day about how Manic Pixie Dream Girls are essentially the Prince Charming rescue fantasy for men, and while I think there's something to talk about wrt both the male and female stories having the man of a higher status - it occurred to me that the trope I have a problem with in general (but not in specific, def. not here) is the uptight/straight-laced woman loosened up by the guy who never takes things seriously. Which made me reflect on how the opposite does happen - it's the MPDG. So why, when I'm thinking about one or the other, does it feel like only one way happens? Well, because it does. It's just the the "one way" is the main character being the uptight one, and the love interest is the one that fixes them. Although now that I'm thinking about it, I'll probably remember a dozen free-wheeling main characters who loosen up love interests.
I'm not really going anywhere with this, I guess? It just seems like an interesting complication in the often black-and-white world of talking about sexism in tropes. Anyway, the movie itself is not very good but ultimately inoffensive; Matthew Goode is in it and is borderline incomprehensible with his Irish accent because he's always mumbling. Amy Adams's hair and wardrobe are stellar. Although the plot device is stupid - "I need to get to my boyfriend in Dublin on Leap Day so
***
Damn! I was going through pictures to find ones of a particular 18th century gown, and came across this one at the NYSM I meant to pattern for my book but totally forgot about. (TBH, so did Connie - she is not good at remembering anything stored flat, and I wonder how many other awesome things I never even knew were there.) It's a dress with two extra bodices, one ca. 1800, one ca. 1810, and the one attached ca. 1820.
