Non, Je Ne Regrette Rien [Jimin] 18+

2.

Four days in Paris were enough for you to start your own list of unpopular, maybe even popular, opinions about the city. You were always interested in the city but never obsessed with it, like many are, so you'd say that your opinions are unbiased, at least to a certain extent.

For example, Parisians are nice and they actually do make an effort to speak English if you ask them something. Of course, not everyone has the same experience but the urban myth of them being condescending, rude and downright ignoring people who speak English was proven to be false.

Yes, the city is gorgeous but it has so much to offer beside a fairly tall tower.

And last, but certainly not least – the Louvre is overrated.

After waiting in rain, again (not the museum's fault, obviously), you finally got inside, only to proceed and get lost four times. Actual four times, you had no idea where you were and where you were supposed to go next. You were nearly trampled in front of the Mona Lisa, all while watching in shock as the people were pushing each other to try and take a selfie with the iconic painting behind them. That was the first instance when you thought how much you hate people. The next one was when you saw a grown adult, a man in his 30s, grabbing an antique Greek statue by the balls.

It was at that point that the museum walking became torture to you. Paired with its confusing layout and the employees who either truly had no idea how to help you or simply didn't want to bother with helping a pesky tourist, you ended up wandering aimlessly, looking at everything and nothing at all, wondering how much it would cost to get an exclusive, chaperoned, after-hours tour of the Louvre. Probably too much for someone who's keeping cheap ramen in their rented apartment.

Muse d'Orsay, your present location, is something else entirely. It is painfully obvious that at least a third of the yesterday's crowd only went to the Luvre because someone told them they should, you overheard a few say as much, and compared to that, the visitors of Muse d'Orsay came here on their own accord. It is decently full, but not crowded. The only place where you actually had to wait in line was in front of Van Gogh's artwork, which was to be expected.

The entire place is casual, yet sophisticated, far less confusing compared to the gigantic mess that is The Louvre. You can take your time and go wherever, without having to consult a map and pray that you're not confusing yourself even further. You can also sit and relax for a little while, which is something your tired feet are extremely grateful for but in a very unusual way, the people around you are making you feel uncomfortable. Most of them are casually sitting and sketching the gigantic clock, the centerpiece of Muse d'Orsay and while observing that is beautiful, it also remindes you that you are, to put it nicely, talentless in the same field.

So you keep on roaming, until you find your place on a bench set before an enormous painting. Definitely three times, if not four, your height, The Women of Gaul has your full attention. The piece is as eerie and hauntingly beautiful as it is confusing – like many times over the last couple of days, you're not sure where to look first. What catches your attention, bizarrely, is the center character – a woman, standing tall and proud with an angry look on her face and holding a dead baby by the arm.

It appears as if she has killed the baby on her own accord – she'd rather lose everything she has than surrender. Admirable and scary at the same time. With all due respect to the masterpiece, she looks ready to bitchslap some soldiers.

"We meet again, stranger," you only realize someone is talking to you when they sit a few feet away from you and you nearly choke on dry air when you realize it's him – the Shakespeare guy, the Versailles guy, your unofficial photographer, in all of his ripped jeans glory.