quaint: a bromance in narrative duologue

‘Ben, what is this swill?’

‘Mercutio! Well met, my coz.’

‘I’m not your coz, coz. My mother is no relation of yours, thank the gods.’

‘But could we not be coz’s all the same.’

‘By no gods shall we be coz’s.’

‘Not even by the god of wine.’

‘The god of wine? He has left this place, he is not to be found in these darkened hipster rooms. I wish the same could be said of your beard.’

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the beginning and the end

Ok.

Let’s start at the beginning.

That’s what you want, right? That’s why we’re here?

Damn. I’ll be honest, that still hurts. Got a nice swing to that left, haha.

Ok, you’re right. You ask the questions, I’m the one in the chair with the broken nose. Pretty sure it’s broken anyway. You been practicing?

Hey, all I’m saying is, it’s been a while. Hasn’t it? It’s been a while.

So.

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richard linklater, stop playing with my heart

Few movies have the boldness to be both utterly romantic and painstakingly realistic, holding our emotional response in some sort of excruciating stasis between hope and despair, made all the more raw by the immensely empathetic nature of the lives and thoughts and feelings of the two central characters. This movie came out in 2004, a year before I first visited Paris, and now the two are inextricably linked in my mind. I cannot visit Shakespeare & Co without imagining that heartbreakingly casual reconnection between Jesse and Celine, nine years in the making.

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