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Especially noteworthy is Ms. Summer and Barbra Streisand. Streisand and the Queen of Disco both had the greatest female pop voices of the s, and Ms. DeBose and LaChanze do a brilliant job recreating the song. Domingo, Mr. Cary and Mr.


McAnuff have patched together half-baked, episodic scenes with stilted dialogue in an attempt to weave Ms. Important figures in Ms. Scenes with her family back in Boston and an an abusive lover in Los Angeles are so poorly written and melodramatically executed, they seem like scenes from a bad daytime soap. The book writers pay lip service to the decline of disco, but mostly blame Ms. Did the authors of the book forget about the backlash against disco?

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Anyone of a certain age remembers the summer of when a Chicago DJ, unhappy with so many radio stations switching to all-disco formats, destroyed disco records on air and got huge amounts of publicity. Disco was a threat to traditional rock, and appealed to a gay and black urban demographic, and Donna Summer typified the genre. All that mattered was that you were ready to dance.

Lukewarm Tales

Bennet, for example, or, in Sense and Sensibility , the match between Willoughby and the deeply unamiable Miss Grey. Such mismatches tend to result, for Austen, not in desolation, but in moderate, and by no means insupportable, dissatisfaction. Bennet resolves, since his wife is incapable of intelligence, to get enjoyment from laughing at her folly.

Willoughby, while he may not like his wife, at least gets to live comfortably on her fortune. People will make do one way or another, Austen suggests—and that certainly applies to the clear-eyed Charlotte.

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Austen, in short, is not Tolstoy, or D. Lawrence, nor even, for that matter, E. She has to be one of the least romantic writers ever to write romance. When Elizabeth tells Darcy that she fell in love with him upon seeing his estate, the joke is in no small part that she's not exactly lying. In Austen's world, love is part of life, not a rupture in it, and material concerns factor in, as they do in everything.

The Temperature Rises in Lukewarm

The overpowering, primal love that overturns convention and uproots petticoats—Austen mentions such enthusiasm only to make fun of it while urging her characters not to read too much poetry. Real romance for Austen is not swoons and passion and perfect soul mates, but amiability and comfort and flannel waistcoats and the best accommodations you can manage.

Elizabeth, then, is so popular in large part because she is, as an Austen heroine and despite the quip about the estate so uncharacteristic. Elinor may get matched with the diffident, shy Edward Ferrars in Sense and Sensibility , and Anne may get the aging Captain Wentworth in Persuasion , but Elizabeth doesn't have to settle for such not-ready-for-Hollywood leading men. She gets not just everything she wants, but everything a romantic heroine should have—a man with wealth, position, youth, beauty, and mastery.

Frozen Themed Season of “Once Upon a Time” Ends on a Lukewarm Note – Knight Life

Indeed, Elizabeth and Darcy are not just the only Austen couple that you can imagine having an exciting sex life, they're pretty much the only Austen couple that you can imagine having sex at all. Darcy is the romance jackpot—as indeed, in her own way, is the beautiful, witty, brilliant Elizabeth. Charlotte, on the other hand, seems much more in line with Austen's more typically small-as-life world.

As such, there's something decidedly comforting about her and her story. Not because, as Mangan suggests, her pragmatism is heroic and tragic, but because it's neither of those things.

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  6. Charlotte did the best she could, and if the result is not exactly blinding ecstasy forever after—well, most of us, for the most part, don't get blinding ecstasy forever after anyway. I wouldn't want to change places with Charlotte, and I'm sure most folks who read the book wouldn't want to either.