#Supercharged Booster

[gaurhealthproducts]

A Supercharged Boost: My Experience with Tonic Greens Supplements

I've always been interested in incorporating more greens into my diet, but juicing every morning just wasn't realistic for my busy lifestyle. That's why I decided to try Tonic Greens Supplements – a powdered superfood blend that promised to deliver a concentrated dose of essential nutrients in a convenient way. Here's my experience after using Tonic Greens for the past few months:

Enhanced Energy Levels:

Before starting Tonic Greens, I often felt sluggish in the afternoons, reaching for sugary snacks to keep me going. However, within a couple of weeks of incorporating a daily serving of Tonic Greens into my routine, I noticed a significant difference in my energy levels. The blend of green vegetables, herbs, and other plant-based ingredients seems to provide a sustained energy boost throughout the day. I no longer experience those afternoon slumps, and I can tackle my tasks with renewed focus and vitality.

Improved Gut Health:

I've always had some minor digestive issues, but since taking Tonic Greens, I've noticed a positive improvement in my gut health. The formula contains ingredients known to support healthy digestion, and I've experienced a reduction in bloating and occasional discomfort. This has not only improved my physical well-being but has also boosted my overall confidence.

A Convenient Way to Get Your Greens:

As mentioned earlier, juicing wasn't an option for me. Tonic Greens' powdered format is incredibly convenient. I simply mix a scoop into a glass of water or my favourite smoothie each morning. It mixes easily and doesn't have an unpleasant taste, which is a major plus for someone who dislikes the strong flavour of some green vegetables.

Natural Source of Vitamins and Minerals:

Tonic Greens boasts a rich blend of vitamins, minerals, and antioxidants. While I still strive to maintain a balanced diet, this supplement provides peace of mind that I'm getting a good dose of essential nutrients, even on days when my meals aren't as nutritious as they could be. This is especially important for someone like me who leads a busy life and doesn't always have time for meticulously planned meals.

Overall Impression:

Overall, I'm incredibly impressed with Tonic Greens Supplements. It's a convenient and effective way to boost my daily intake of greens, vitamins, and minerals. I've noticed a positive impact on my energy levels, gut health, and overall well-being. If you're looking for a way to supercharge your health routine and get a concentrated dose of nature's goodness, I highly recommend giving Tonic Greens a try

[pitofneverendingsarcasm]

Whoops I checked out of group chats, the Internet, life in general there for two weeks and now I've come round and it's nearly Christmas???? Better crack out the plum pudding and catch up...

IT. IS. TIME.

[skst8497]

How PhenGold Supercharges Your Weight Loss Journey!  (No Filler, Just Results!)

https://swiy.co/phngld - Discover How PhenGold Can Transform Your Weight Loss Journey Hey everyone, welcome back to my channel! Today, I've got something super exciting to share with you all. If you're looking to shed some pounds and boost your energy, you'll definitely want to stick around. We’re diving into PhenGold, a metabolism booster by HealthNutrition, that's been getting a lot of buzz lately. So, let's see what all the hype is about and how it can help you on your weight loss journey. Alright, so let's talk about PhenGold. This isn't just any weight loss supplement. It's got a multi-action formula that really gets your body's natural fat-burning abilities going. What does that mean? Well, it speeds up weight loss by increasing your metabolism. It's like having a little helper inside your body, breaking down stored fat and turning it into energy. PhenGold is made with clinically proven ingredients, which means that there's real science backing up its effectiveness. And for all my veggie friends out there—good news! It's vegetarian and vegan-friendly. Plus, no soy, gluten, or dairy, and absolutely no fillers or artificial ingredients.

[cosmicdream222]

.・。.・゜✭・.・✫・。.。.・゜✭・.・✫・゜・。.

Affirmation & Subliminal Audio Download: Comfort & Relaxation

.・。.・゜✭・.・✫・。.。.・゜✭・.・✫・゜・。.

This is a bit of a unique aff tape I created for those times when you’re struggling, anxious or spiraling. It’s meant to provide instant comfort & relief when you’re having a hard time, as well as reprogram your mind for a healthier mindset and self-concept.

It’s a combination of positive affirmations, relaxing hypnotic suggestions, Ho’oponopono (Hawaiian forgiveness prayer), and the kind of praise & supportive compliments you probably don’t hear nearly enough from your loved ones.

The audible affirmations are in the second person “you” form as it’s meant to be like someone speaking to you. There are also affirmations in the first person “I am” form at a subliminal level. All the affs are written in the attached document.

This uses the “supercharged” formula of my original aff tape, with different affs layered in the right and left speakers. Use headphones for the full effect, but they aren’t required.

💌

✩Main folder link to download 🔗

✩ Affirmation tape

✩ Quieter affs

✩ Affirmation list

💌

Benefits:

✩ instant comfort & relaxation

✩ instant stress & anxiety relief

✩ inner child healing

✩ forgive & release the past

✩ improved self-concept & self-esteem

✩ improved mindset & mental health

Layered with:

✩ Kottie’s subliminal booster

✩ cloudparty’s “serenity” long version (benefits)

PS: it’s ok if this makes you emotional or start to cry. That means the healing is working!

Let me know how it works for you 💕

[randomguy-online]

Personal rendition of the slick trick

Out of all the cut builds. The one I'm the most interested in is the slick trick. Yet I also saw many problems with the build. How would Rex breathe if he were in case in a suit that should have zero air restrictions due to being frictionless, how could he move, how would he move like mercury if he had bone and junk, and most importantly how would he stop?

I decided to tackle this and keep the frictionless aspect of the suit. Yet added repulsive and attractive energy to that blue streak behind him. They act as boosters and break for him. This also lets Rex grab people to save them

I added an oxygen system to still breathe and keep Rex alive think of how pilots need masks to stay alive with the high level of speed they go on jets

Finally, the helmet supercharges his brain. That increases his reaction time. Making it to where there are no A-train moments

the artist I commissioned is u/theus019 on reddit link to him below

[skwpr]

9 Scientifically Proven Ways to Get the Most Out of Study Tim

For anyone in the thick of study, or about to be, science has been working hard and has found ways to help you get the most out of your study time, all backed by hefty research. Here’s how to study smarter, supercharge your learning and store the information away in your head so it’s ready to jump into your arms when you need it. 

Get your heart pumping.When you exercise, your blood chemistry changes and your brain becomes the very happy recipient of important nutrients. It repays the favour by amping up its performance – specifically memory, attention, information processing and problem solving. Here are a couple of reasons your brain and exercise are one of the great love stories:

• Exercise increases the levels of a crucial brain-derived neurotophic factor (let’s call it BDNF – it’s much easier to spell). BDNF is important for the growth of brain cells, mood and learning.

• Exercise releases a powerful cocktail of important hormones including serotonin (the mood booster), dopamine (for learning and attention) and norepinephrine (for awareness, attention and concentration).

Try for 20-30 minutes a day. Anything that increases your heart rate will do the trick – running, bike-riding, walking, kicking a ball or turning up the beats and dancing it out. It doesn’t have to be beautiful, strong or graceful. It just has to be active.

Spread your study. Yep. You got it. No cramming.

Cramming doesn’t work, which is one of the great pities – life would be so much easier if it did. The problem with cramming is that the material doesn’t get the opportunity to transfer into long-term memory. Short term memory is like the party space in your head – information is there for a good time but not a long time. When information hits long-term memory, it’s committed and there when you need it. The transfer of information from short-term memory into long-term memory takes time and repeated exposure to the material. It’s not clear why spacing your study is so much better for you, but it’s likely that over a few days you’ll forget some of the material, then remember it again when you come back to your books. This increases exposure to the information which takes it closer to long-term memory.

Know what’s to come.

We only have a limited amount of mental resources, and during a test you want as much of those resources available as possible. The thoughts that come with test anxiety steal some of those mental resources for, you know, worrying, leaving fewer resources available to retrieve important information. Researchers have found that looking through an exam before working on it will reduce anxiety and improve performance. Remember though, that all the mental resources in the world won’t find the right answers in memory if the answers aren’t put there solidly in the first place.

Teach what you’ve learnt.

Expecting to teach what’s been learned has been shown to be better for learning and memory than expecting only testing. It’s a subtle shift in mindset, but the effect on learning is an important one. Learning material with an intention to teach ensures that material is actively understood and stored away in memory, and not passively looked over.

Test yourself.

Testing yourself will force you to remember information. Every time you remember something, the information becomes a little more enduring. Testing yourself might also help to take the fire out of test anxiety, in the same way that exposure to any feared object eventually makes that object less frightening. Testing yourself on the material you’ve learned is more effective than reading the material over and over. Re-reading material might get you thinking that you’re familiar with the material, but until you try to retrieve that material from memory, you won’t actually know how well you know it or where the gaps in your knowledge are.

Get some sleep.

Sounds simple enough, but it’s not always easy when there’s so much to do. Deep sleep causes physical changes in the brain. When you learn something, your brain cells grow new connections that reach out and connect to other brain cells. This strengthens the pathways in your brain around whatever it is your learning. Sleeping after learning encourages memories of the information to be wired into your brain, so it’s less likely to fade. Think of your brain like a tree. Learning causes a branch to grow, but sleep helps it to grow the leaves and other tiny branches that will sustain and strengthen it.

And ditch the all-nighters.

All-nighters will mess with your ability to remember and process information. Sleep prepares your brain for learning, so pulling an all-nighter can cut your capacity to learn new things by up to 40% – and that’s not the only problem. Research has shown that it can take up to four days for your brain to return to normal after you’ve been awake all night.

Take a break

For those feeling shackled to all that is study, here is some sweet, sweet news. Taking a short break after every hour of learning is better than working straight through as it improves your ability to focus on a particular task without being distracted. Research has found that the greatest improvement come following 15 minutes of moderate activity (jogging, a brisk walk, dribbling a ball) but improvement was also shown following vigorous activity (running, jumping, skipping) or a passive break (such as listening to music or watching funny YouTube clips – because for sure that’s why they were invented). Memory is strongest for the things learned immediately before and after a break so keep those times for the tough stuff.

Power pose.

Before a test, find somewhere private (or, totally public – up to you) and strike a power pose. Think Wonder Woman – hands on hips, legs apart; Superman – tall, shoulders back, chest expanded, arms stretched out in front of you; or that boss thing that bosses in the movies do – sitting back the bottom of one leg resting on the thigh of the other, hands behind your head and expanded. This will reduce cortisol (the stress hormone), and increase testosterone (the dominance hormone). The mind-body connection is a strong one. If you don’t believe you can do it, act like you can – eventually your mind won’t know the difference and will have you believing you can do anything – which you can.

So, if study and you are spending a lot of time together, remember to take breaks, get some pillow time, get active, or dig for comedy gold on YouTube – whatever works for you. Maybe try a bit of everything – not for too long though – the world can’t be brilliant without you.

[fumblefeatures]

Spider Lost Chapter 17: The Greatest Hero You've Never Heard Of

DC Universe – Prime Earth

Gotham City – S.T.A.R. Labs Basement

16:42

Booster felt the rush of an overwhelming physical sensation pound his body as his eyes began to see and his ears began to hear. He crashed into the monitor behind him, and, for a moment, he wondered why Electro had not killed him like all the others. Then he looked about himself and realised, he was killed. The loop had a new start point, but nonetheless he had died like all the times before.

But now, he was alive again. It was odd, his body had no time to process his death, it was over so quickly. One moment he was standing looking at Electro, the next he felt himself crash into the monitor and fall to the ground once more, just as he had when the MFD exploded moments earlier.

'Right. New loop…' he thought as he quickly pulled himself up to his feet, faster than the other heroes who were groaning and groggily readjusting themselves as they tried to work out what had happened.

Spider-Man was next to stand, he groaned as he stood back up on his feet, "Ugh… Everyone okay?"

Booster immediately spoke before anyone could waste time deliberating about what had just happened, "Quickly! Everyone remember the loops?"

"Y-yeah… I think that's what is giving me a headache right now." Nightwing replied as he stood up rubbing his head mildly perplexed.

Booster rolled his eyes at the complaint; compared to him, Nightwing had no idea how much of a 'headache' the loops could cause, "Good. Then listen, we're in a second loop, starting from this point here. No time for details other than, yes, we died again, Flash has no power, Wally West is unconscious over there," he pointed to Wally's form, everyone aside from Flash who's eyes widened in disbelief and relief, looked at him with confusion, "and Vulture is going to try and attack us…"

Vulture grinned back with confused eyes, one could even say fascinated, as he made eye contact with Booster, he moved to reply, Booster didn't let him, "But ignore him, Electro will appear in about a minute and kill us all…"

"Wow, at least let us get our bearings, Booster…" Canary said as he stood up and immediately began stretching.

"I'd love to boss, but last time we were killed the moment we got them… Skeets."

"On it, Booster." He replied while running his diagnostics, "He's telling the truth; this is the new 'save point' as Spider-Man called it. There is a second EMP and Electro appears to be supercharged. If my calculations are correct, based on Max Dillon's current power level, I predict a 0.1% chance of survival this time round."

"Thanks for the pep talk, Skeets…" Spider-Man replied.

"No problem. It's quite an improvement from the first timeline of this loop…"

"Do we even want to know what it was last time?" Nightwing added.

"Last timeline's survival chance was 0.01%... Every little helps, Nightwing."

"Wow… and now it's gone up to whole tenth? Guys, I really think we have it in the bag this time…" Spider-Man replied with heavy irony.

"You're being sarcastic." Skeets replied, mildly unapprovingly.

"Really?! No… Not at all!"

--------

Also, a fun little TikTok I made, follow me there for more random shenanigans... MILD SPOILERS in video, though, so don't watch if you don't want them...

[doom-nerdo-666]

Hi, I just recently got into DOOM (and found your blog). Do you have any good recommendations for fan doom mods/maps? (they range from the most popular ones to your own personal favorites or little niche levels)

I'm going to see what i can think of because there's always good stuff that not even the Cacowards bring up.

As for mapsets or wads:

Romero's Sigil is obvious as if it should be official.

Memento Mori series

Requiem

Icarus Alien Vanguard

300 minutes of /vr/

Ancient Aliens

Anomaly Report

Alien Vendetta

Back to Saturn X series

Doom 2 Reloaded

Doom 1/2 The Way id Did

Some of the Doomer Board Projects like AUGER;ZENITH and Emerald City

Doom Zero

Doom city which is pretty good for a single map

Epic 2

Good Morning Phobos

Jenesis

Japanese Community Project

Moonblood

Munity

Plutonia 2 and Plutonia Revisited

Rebirth

Scythe 2

TNT Revilution

PhobosDeimos Anomaly

UAC Ultra

Going Down

Doom 64 for Doom 2

Consolation Prize (PS1 Doom and Doom 64 but compatible with gameplay mods)

Whispers of Satan

Note that some of them could be difficult or even have things like DEHACKED enemies or whatever can get in the way of a gameplay mod.

And speaking of gameplay mods:

High Noon Drifter

GMOTA

Combined Arms

Space Hunter

Colorfull Hell

DAKKA

Legions of Bones

Vanilla Doom Plus

Legendoom Lite

MK-Champions

Corruption Cards

TrailBlazer

Project Babel

Supercharge

Samsara

MetaDoom

Doom Delta

D4T

D4V

Final Doomer

Demon Counterstrike

Treasure Tech

Bratwurst

Netronian Chaos

Highway Acceleroid Booster

Eriguns 1/2

Psychic

Cybers Monster Randomizer

La Tailor Girl

Dusted's Pandemonia

Accessories to Murder

Cola 3

Hideous Destructor

Lt Typhon

And for TC stuff

Golden Souls series

Beyong Reality

Strange Aeons

Skulldash

The Edge of Time

REKKR

Reelism 1/2

Adventures of Square

Pirate Doom

StrongHold: Edge of Chaos

Project Uber

Winter's Fury

There's probably still examples i'm missing, so this is what i thought of.

A good way to look for more is see info of people involved like if they have Doomwiki articles or accounts on other websites and see what else they did.

And because this list is already big, you don't have to look most of them right way so feel free to use your time and interest with how you look at them.

Because some of this stuff can be difficult for newcomers like certain wads and mods.

There's also what versions of GZDoom or ZDoom a certain mod could use since some mods might be discontinued while GZDoom gets new updates.

[whileiamdying]

What Was So Special About Greta Garbo?

An enigma onscreen and off, the actress only magnified her celebrity by suddenly renouncing it.

By Margaret Talbot December 6, 2021

“If only once I could see a preview and come home feeling satisfied,” Garbo said.Photograph by Edward Steichen © 2021 The Estate of Edward Steichen / ARS, courtesy the George Eastman Museum

Fame is so powerful that renouncing it can seem like the supreme power move. Celebrities who retreat from the public eye (Howard Hughes, J. D. Salinger, Prince) will always be legends, no matter what else they may be. Rumored comebacks tantalize. Paparazzi circle. The mystery deepens. In 1941, at the age of thirty-six, Greta Garbo, one of the biggest box-office draws in the world, stopped acting and, though she lived for half a century more, never made another film. For a star who, more than any other, “invaded the subconscious of the audience,” as Robert Gottlieb writes in his new biography, “Garbo” (Farrar, Straus & Giroux), this was an abdication, a privilege of monarchical proportions. But it was also a decision made by one particular, peculiar person who had never been temperamentally suited to celebrity in the first place. There was a reason, beyond the exertions of the Hollywood publicity machine, that a single line she uttered in one movie—“I want to be alone”—became so fused with her image. What can look like a strategy for keeping the public interested can also be a sincere and committed desire to keep it at bay.

Few other performers have ascended as quickly to mononymic status as Garbo did—she started off the way most of us do, with a first and last name, but the first soon fell away, like a spent rocket booster, in the ballyhoo surrounding her. When she appeared in her first sound picture, “Anna Christie,” the ads proclaimed, “Garbo talks!”; for her first sound comedy, “Ninotchka,” it was “Garbo laughs!” Quite why she became such a phenomenon is a puzzle to which film critics and biographers keep returning. Garbo made only twenty-eight movies in her lifetime. (By comparison, Bette Davis made close to ninety, and Meryl Streep has made nearly seventy and still counting.) That slender output could be part of the mystique, compounded by her disappearing act. But Garbo had acquired an enigmatic mythos even before she ended her career—the Hollywood colony treated her like royalty. Nor has it seemed to matter that only a handful of her movies are much watched or admired today.

What Garbo had to offer, above all, was her extraordinary face, at a time when the closeup, with its supercharged intimacy, its unprecedented boon to the emotional and erotic imagination, was still relatively new. Many of the shots credited as the first closeups were unlikely to have set hearts aflame, since they were often of objects—a shoe, a wrench. But filmmakers soon grasped the centripetal seductions of the human face in tight focus. The screenwriter and director Paul Schrader picks as a turning point the moment in a D. W. Griffith film from 1912, “Friends,” in which the camera comes in tight on Mary Pickford’s face, revealing her ambivalence about which of two suitors she should choose. “A real close-up of an actor is about going in for an emotional reason that you can’t get any other way,” Schrader writes. “When filmmakers realized that they could use a close-up to achieve this kind of emotional effect, cameras started coming in closer. And characters became more complex.”

A face as beautiful as Garbo’s—the enormous eyes and deep-set lids, the way love or tenderness or some private, unspoken amusement unknit her brows in an instant, melting her austerity—was almost overwhelming when it filled the screen. She belonged, as Roland Barthes wrote, “to that moment in cinema when the apprehension of the human countenance plunged crowds into the greatest perturbation, where people literally lost themselves in the human image.” This is not to diminish her craft as an actress. But her acting was perhaps most effective in her silent films or in nonverbal scenes in talking pictures in which her face is the canvas for emotion. In the famous last shots of “Queen Christina” (1933), Garbo’s androgynous Swedish ruler stands at the prow of a ship bearing her away from her country; the body of her lover, killed in a duel over her, is laid out on the deck. Garbo stares into the distance, her face a kind of mask but no less eloquent for it. The film’s director, Rouben Mamoulian, had told her that she must “make her mind and heart a complete blank,” empty her face of expression, so that the audience could impose whatever emotions they wanted on it. The scene would then be one of those “marvelous spots,” he said, where “a film could turn every spectator into a creator.”

She was skilled at inciting such projection. More than one contemporary in Hollywood noted that her magic truly showed up only on celluloid, like a ghostly luminescence undetectable until the film was developed. Clarence Brown, who directed Garbo in seven films, recalled shooting a scene with her, thinking it was fine, nothing special, then playing it back and seeing “something that it just didn’t have on the set.” On her face, he said, “You could see thought. If she had to look at one person with jealousy, and another with love, she didn’t have to change her expression. You could see it in her eyes as she looked from one to the other.” Garbo herself, with a kind of arch, adolescent indifference, never wanted to look at the rushes. According to Brown, she’d watch only when sound pictures were played in reverse: “That’s what Garbo enjoyed. She would sit there shaking with laughter, watching the film running backward and the sound going yakablom-yakablom. But as soon as we ran it forward, she wouldn’t watch it.”

Much has been written about Garbo over the years, but Gottlieb, a former editor of this magazine, has produced a particularly charming, companionable, and clear-eyed guide to her life and work—he has no axe to grind, no urgent need to make a counterintuitive case for her lesser movies, and he’s generous with his predecessors. By the end of the biography, I felt I understood Garbo better as a person, without the aura of mystery around her having been entirely dispelled—and, at this point, who would want it to be?

The actress who came to embody a kind of unattainable elegance, who would someday wear sumptuous period costumes with a grace so offhand that they might have been rumpled p.j.’s, grew up in a cramped apartment with no indoor plumbing, in one of Stockholm’s most impoverished neighborhoods. She was born Greta Lovisa Gustafsson on September 18, 1905, to parents from rural stock. Her mother was, in Gottlieb’s description, “practical, sensible, undemonstrative”; her father, an unskilled laborer, was handsome, musical, and fun, and Greta adored him. But he was stricken by kidney disease, and Greta, the youngest of three children, made the rounds of the charity hospitals with him. “She never forgot the humiliations they endured as poor people in search of live-or-die attention,” Gottlieb writes. She was fourteen when he died, and she dropped out of school, leaving her with a lasting embarrassment about her lack of formal education. She went to work to help support the family, first at a barbershop, where she applied shaving soap to men’s faces, then at a department store, where she sold and modelled hats. She said later that she was “always sad as a child for as long as I can think back. . . . I did some skating and played with snowballs, but most of all I wanted to be alone with myself.”

Alongside her shyness and her penchant for solitude, Greta harbored a passionate desire to be an actress. As a kid, she’d roam the city by herself, looking for theatres where she could stand at the stage door and watch the performers come and go. The first time Garbo was in front of the camera was at age fifteen, in an advertising film for the department store that employed her. Sweden had a thriving film industry, and she soon quit her day job to appear in a couple of movies. At Stockholm’s Royal Dramatic Theatre, to which she was accepted at seventeen, the young actors were instructed in a system that “scientifically” analyzed the semiotics of movement and gesture. Remarkably, some of her lecture notes from that time survive—she jotted down that “the head bent forward equals a mild concession” or a “condescending attitude,” and that “the throwing back of the head” conveys “a violent feeling such as love.” Barry Paris, an earlier biographer whom Gottlieb cites approvingly, notes that “Garbo in silent films would employ that system of gestural meaning to a high degree.” She did so in her sound pictures as well. When she plays the Russian ballerina in “Grand Hotel” (1932), her body language is jittery, neurotic. Depressed, she lets her head droop as if it were simply too heavy to hold up; surprised by delight at the prospect of a romance with John Barrymore’s gentleman jewel thief, she tosses her head back at giddy angles. It might have been laughable, but instead it’s riveting.

In the spring of 1923, the gifted film director Mauritz Stiller approached the Stockholm theatre looking for actresses to cast in his new movie, an epic based on a Swedish novel, “The Story of Gösta Berling.” Stiller came from a Jewish family in Finland; orphaned young, he had fled to Sweden to avoid being conscripted into the tsar’s Army. Garbo and he were never lovers—Stiller preferred men—but their relationship was perhaps the most important in both of their lives. With his commanding height, his taste for luxury (full-length fur coats, a canary-yellow sports car), and his domineering style with actors, he had more than a touch of the Svengali. But Stiller believed in Garbo at a time when, as one veteran actress put it, Greta was “this little nobody . . . an awkward, mediocre novice,” and he loved her. (He also seems to have been the one who suggested replacing “Gustafsson” with “Garbo.”)

When Hollywood came calling—in the form of Louis B. Mayer scouting European talent for M-G-M—it wasn’t clear whether Stiller was the lure or Garbo; the director was certainly better known. In any case, Stiller made sure that they were a package deal (and, Gottlieb adds, later upped Garbo’s pay to four hundred dollars a week, an “unheard of” salary for an untested starlet). The two sailed for the United States in 1925, arriving in the pungent heat of midsummer New York. (Garbo’s favorite part of the visit seems to have been the roller coaster at Coney Island.) Then it was on to Hollywood by train.

The studio moguls gave an unknown such as Garbo a very short runway. M-G-M signed up the Swedish girl for two pictures, “Torrent” and “The Temptress,” and, as the film historian Robert Dance writes in his smart new book, “The Savvy Sphinx: How Garbo Conquered Hollywood” (Mississippi), “if those first two films were unsuccessful financially M-G-M would not renew her contract for a second year.” As it happened, both were hits. Motion Picture was among the industry outlets declaring her début “a complete success.” (“She is not so much an actress as she is endowed with individuality and magnetism,” it said.) Garbo became a fan favorite, even though she was almost uniquely averse to the kind of goofy stunts and mildly salacious photo shoots that other stars put up with. When she got to be as famous as Lillian Gish, she told one interviewer early on, “I will no longer . . . shake hands with prize-fighters and egg-and-milk men so they will have pictures to put in the papers.” Instead, she worked with consummate portrait photographers who lit her gloriously. Eventually, her films were earning enough that she was able to negotiate an unusual contract, one that gave her the right to veto scripts, co-stars, and directors. And she shunned interviews so consistently that in the end her privacy became its own form of publicity.

Despite such badassery, she never really adjusted to her new country or her new destiny, at least beyond the movie set. What looked like carefully cultivated hauteur was partly the product of awkwardness, disorientation, and grief. She hardly spoke English when she first arrived, and, within a year, she learned that her beloved sister, an aspiring actress herself, had died back home. Stiller did not make a smooth adjustment to Hollywood and, in a blow to them both, he was not chosen to direct Garbo’s first American picture. Garbo wrote to a friend in Sweden about how miserable she was: “This ugly, ugly America, all machine, it is excruciating.” The only thing that made her happy, she claimed, was sending money to her family. At a young age, Gottlieb writes, she found herself “trapped in a spotlight extreme even by Hollywood standards,” and with no psychological preparation for grappling with the kind of fame—movie stardom—that was new not just to her but to the world.

Athletic and physically restless, she soon took up the long nighttime walks that became a refuge; with her hat pulled low over her head, as it customarily was, she would have been hard to recognize. Stiller, who probably felt that his young protégée no longer needed him, returned to Sweden, where he died in 1928, at the age of forty-five, reportedly clutching a photograph of her. “He never seems to have resented her dazzling ascent to fame,” Gottlieb writes, “only wanting her to be happy and fulfilled.” Back in Sweden to mourn him, Garbo went with his lawyer to the storehouse containing his possessions, where she walked around touching his belongings and murmuring about her memories. Gottlieb says that this episode must surely have been an inspiration for the scene in “Queen Christina” in which Garbo’s character moves around a room at an inn, touching all the inanimate reminders of the lover she will never spend another night with. On sets, she would sometimes talk softly to herself about what her mentor might have told her to do—one director she worked with referred to Stiller as “the green shadow.”

Garbo appears to have been emotionally stunted in certain ways, damaged by the loss of her father, her sister, and Stiller, abashed by the limitations of her English and her education. Though she had a sense of humor, she emerges in Gottlieb’s portrait as prickly, stubborn, and stingy. The sudden onslaught of celebrity made her more so. She never married, had children, or apparently wanted to do either; she had brief romantic relationships, mostly with men (the actor John Gilbert, probably the conductor Leopold Stokowski), and likely with women, too (the leading candidate seems to have been the writer Mercedes De Acosta, the “ubiquitous lesbian rake,” in Gottlieb’s words, who had affairs with Marlene Dietrich and many others). Her longest-lasting relationships were with friends, especially, as Gottlieb makes clear, those who helped her logistically, advised her devotedly, and steadfastly refused to spill the tea about her. In these, she had pretty good, if not unerring, taste. Probably the closest and most enduring friendship was with Salka Viertel, the intellectually vibrant woman at the center of L.A.’s remarkable community of refugee writers, composers, and filmmakers from Germany.

From the start of her Hollywood career in silent pictures, Garbo was often cast as a vamp—the kind of man-eater who shimmied and inveigled and home-wrecked her way through so many nineteen-twenties movies. (See the entire career of Theda Bara.) As Robert Dance notes, “Adultery and divorce were catnip to post World War I audiences.” The parts quickly bored her: “I cannot see any sense in dressing up and doing nothing but tempting men.” Off the job, she eschewed makeup and liked to dress in slacks, men’s oxford shoes, and grubby sweaters. Her closet was full of men’s tailored shirts and ties. She often referred to herself as a “fellow” and sometimes signed her letters “Harry” or “Harry Boy.” The movie role she seems to have liked best was the learned cross-dressing seventeenth-century monarch Christina; it allowed her to stride around in tunics, tight-fitting trousers, and tall boots, to kiss one of her ladies-in-waiting full on the lips, to declare that she intended to “die a bachelor!” (As plenty of gender-studies scholars will tell you, this is one queer movie.) She expressed a longing to play St. Francis of Assisi, complete with a beard, and Oscar Wilde’s vain hero Dorian Gray. In today’s terms, Garbo might have occupied a spot along the nonbinary spectrum. Gottlieb doesn’t press the point, but remarks, “How ironic if ‘the Most Beautiful Woman in the World’ really would rather have been a man.”

Her third American film, “Flesh and the Devil” (1926)—the ultimate nineteen-twenties title—transformed her into an international star. It’s about a love triangle involving two best friends, played by the magnetic John Gilbert and the handsome Swedish actor Lars Hanson, with Garbo at its apex. It, too, is a pretty queer movie, though it seems less in control of its signifiers than, say, “Queen Christina.” As Gottlieb points out, the two male leads are forever clasping each other fervently, bringing their faces close together, as if about to kiss. (It heightens the vibe that, in silent-movie fashion, Hanson appears to be wearing lipstick some of the time, and Gilbert eyeliner.) “Flesh and the Devil” also features some of the most erotic scenes I’ve ever encountered on film. There’s one, in a nighttime garden, in which Garbo rolls a cigarette between her lips, then puts it between Gilbert’s, her eyes never leaving his, as he strikes a match and illuminates their gorgeous, besotted faces. There’s one where she lies back in sensual abandon on a couch, Gilbert’s head lolling against her lap, and he lifts her hand and drags her fingers across his mouth. And then there’s my favorite: she and Gilbert are at a Communion rail in church. By now, Gilbert’s character has killed her first husband in a duel, and she has married the other friend, but they’re still crazy about each other, natch. Gilbert sips from the chalice just before she does, and, when the priest hands it to her, she turns it around to drink greedily from the side her lover’s lips have just touched. Her expression is one of slow-burn ecstasy.

Gilbert and Garbo fell in love while they were making the movie, but their story is a sad one, mainly because Gilbert is a sad figure. He is often offered up as an example of an actor who couldn’t make the transition to sound—his voice was said to have been too reedy or something. That turns out to have been an urban legend: his voice was fine. The trouble was that he was best at playing boyish men undone by love at a time when, as Gottlieb observes, Depression-era Hollywood was more into “gangsters, snappy dialogue, musicals.” Garbo and Gilbert lived out a “Star Is Born” trajectory. When they made “Flesh and the Devil,” he was a big-name actor at the height of his powers, and he helped Garbo by making sure the camera angles were right for her and each take of her was the best it could be. One story is that he planted a stand of trees on his property in the Hollywood Hills to remind her of the woods in Sweden, and he apparently proposed to her repeatedly. (She professed herself puzzled that she kept refusing a more permanent bond, but she did.) By the time she made “Queen Christina,” in 1933, she had top billing, and she insisted that Gilbert, who was then married to someone else, and professionally on the skids, play her romantic interest—rejecting the studio’s choice, a young Laurence Olivier. Gilbert later remembered that she was tactful and considerate with him on the set, though he was drinking heavily, throwing up blood, and nervous about his performance. “It is a rare moment in Garbo’s history,” Gottlieb writes, “when we can fully admire, even love her, as a human being, not only as an artist.” Gilbert died three years later, at the age of thirty-eight. Garbo was characteristically unsentimental. “Gott, I wonder what I ever saw in him,” she remarked while he was still alive. “Oh well, I guess he was pretty.”

Why did Garbo stop acting? It wasn’t as though her star was truly on the wane. It had been years since she’d made her successful transition to talkies, with a dialogue-heavy adaptation of Eugene O’Neill’s “Anna Christie.” (From the moment she uttered her first lines, “Gimme a whiskey—ginger ale on the side—and don’t be stingy, baby,” her accent proved to be a sexy asset.) She’d been nominated for four Best Actress Oscars. In 1939, she’d made “Ninotchka,” the romantic comedy in which she played a Soviet apparatchik on a mission to Paris who falls in love with a playboy count and discovers, as the pitch for it went, “capitalism not so bad after all.” It was a huge hit—more than four hundred thousand people went to see it at Radio City Music Hall during a three-week run, Gottlieb says. Garbo is very funny, deadpanning her way through the first half of it in boxy jackets, rationally assessing Melvyn Douglas’s charms. (“Your general appearance is not distasteful.”) As one biographer, Robert Payne, wrote, the performance worked so brilliantly because it satirized “Garbo herself, or rather her legend: the cold Northerner immune to marriage, solemn and self-absorbed.”

The next and last movie she made, “Two-Faced Woman,” a clumsy attempt to re-create comedy magic with Douglas, was a turkey, but she could surely have survived it. Instead, she considered projects that fell through, turned down others (offered the female lead in Hitchcock’s “The Paradine Case,” Gottlieb writes, she is supposed to have sent her agent a telegram saying “no mamas. no murderers”), and slowly drifted away from the business of moviemaking. She had never liked the limelight and, Gottlieb says, lacked the relentless drive that animated contemporaries such as Marlene Dietrich or Joan Crawford. She doesn’t seem to have been particularly vain about her beauty, but she was practical enough to know its precise value, and to anticipate the cost of its fading. And, though she seems to have enjoyed acting, she was never satisfied with the results. “Oh, if once, if only once I could see a preview and come home feeling satisfied,” she remarked after one film screening. Garbo was no Norma Desmond, viewing her old films over and over to admire her own image. Screening some of them years later, at moma, Barry Paris reported, she got a kick out of imitating herself: “R-r-rodney, when will this painful love of ours ever die?” She once told the actor David Niven that she’d quit because she had “made enough faces.” The analysis was typical of her—unreflective, cryptic, deprecatory.

She was, Tennessee Williams thought, “the saddest of creatures—an artist who abandons her art.” Yet Garbo doesn’t seem to have seen herself that way. Perhaps attuned to the perils of growing old in Hollywood, she moved to New York, to an apartment on the East Side, spent long stretches of time in Europe with friends who were wealthy or witty or both, went to the theatre, collected a bit of art. She did not reinvent herself as a memoirist or a philanthropist (though her estate was valued at roughly fifty million dollars when she died, in 1990) or an ambassador of any sort of good will. People loved the mystery of it all; photographers were always chasing after her. But she wasn’t in hiding; she got out. One wag called her a “hermit about town.”

Did Garbo have a rich inner life to sustain her for all those years? There isn’t much evidence of it. She was not a remarkable or notably confiding letter writer, journal keeper, or conversationalist; she does not seem to have had a surfeit of intellectual curiosity. In the movies, she had always been able to convey a sense of hidden depths, of memories and emotions lighting room after interior room, never quite surfacing to be articulated. Were those feelings complex, interesting? We were persuaded they must be. The relationship to fame that she enacted in the last decades of her life was something similar: it looked profound, perhaps even spiritual—a renunciation of celebrity’s blessings as well as its scourges. But who knows? Maybe she was just tired of making faces. ♦

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[highly-radioactive-nerd]

Random Legendary!Mechagodzilla musing: this one actually had way fewer separate weapon systems than its precursors, but all told was pretty damn efficient: back boosters (not sure if that enabled full flight, but they sure covered ground), mean-as-fuck oral beam, missile pods, hollow earth EM(??) mojo for supercharged blows & that evil-ass tail drill. Said missiles also seemed to be the only option which didn't hit like a bastard. Even this MG's boxing reach compared to Godzilla was ridiculous.

I'm kinda cool on Legendarys MechaGodzilla. I'm cool on Godzilla vs Kong in general, but MechaGodzilla is part of the Godzilla plot of the film, which is where most of my beef lies. I think MechaG is kindve done a disservice in that flick.

I do like the zygodactyl crush claws and the vertebra like spines on the back and tail, that's pretty cool. And I appreciate the skeletal, terminator inspiration a lot. After all, the first mechagodzilla was a cyborg doppelganger in a biosuit disguise ten years before Terminator.

[intimas-profundezas]

Insights On Practical Hormonal balance for higher testosterone Systems

Introduction

In today's busy world, maintaining ideal testosterone levels is important for men. Testosterone plays an important duty in different physical features, consisting of muscular tissue development, energy degrees, state of mind law, and general wellness. However, lots of variables can add to low testosterone degrees, such as aging, tension, bad diet plan, and sedentary lifestyle.

Fortunately, there are natural ways to enhance testosterone without considering synthetic hormones or intrusive procedures. One such natural booster is Testogen - a leading testosterone enhancement supplement on the marketplace. In this post, we will explore the very best natural boosters like Testogen and offer beneficial insights right into exactly how you can supercharge your testosterone levels naturally.

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Testogen is a powerful testosterone booster that contains a distinct blend of natural components designed to enhance hormonal agent manufacturing and support total health. By including Testogen right into your everyday routine, you can experience boosted energy degrees, enhanced muscle mass development, improved sex drive, and much better psychological clarity.

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Testogen stands apart among other testosterone boosters as a result of its medically backed formula and positive consumer evaluations. Unlike artificial hormonal agents or high-risk therapies, Testogen offers a secure and effective solution to normally boost your testosterone degrees. Allow's check out the crucial benefits of using Testogen:

Increased Muscle Mass Development: Testogen includes components that advertise protein synthesis and boost muscular tissue recuperation after intense exercises. With routine use of Testogen, you can expect substantial gains in muscle mass and strength.

Improved Energy Levels: Reduced testosterone usually brings about tiredness and reduced energy levels. By taking Testogen consistently, you can experience a rise in energy and endurance throughout the day.

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Oysters: Oysters are abundant in zinc, a mineral that plays an essential role in testosterone production.

Eggs: Eggs are packed with healthy protein and healthy and balanced fats, both crucial for optimum hormone synthesis.

Tuna: Tuna is an exceptional resource of vitamin D, which has actually been linked to enhanced testosterone levels.

Spinach: Spinach consists of magnesium, a mineral that helps control testosterone levels.

Pomegranates: Pomegranates are known for their antioxidant residential or commercial properties, which can assist shield testosterone molecules from damage.

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Exercise Regularly: Engaging in routine exercise, specifically strength training workouts, can promote testosterone production.

Manage Tension Levels: High stress and anxiety degrees can result in reduced testosterone production. Apply stress-management techniques such as reflection or yoga exercise to preserve hormonal balance.

Adequate Sleep: Getting sufficient quality rest is important for optimum hormone production. Go for 7-9 hours of uninterrupted rest each night.

Maintain a Healthy Weight: Obesity is often connected with low testosterone levels. Maintaining a healthy weight with correct nourishment and exercise can assist optimize hormonal agent production.

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D-Aspartic Acid: This amino acid has been shown to raise luteinizing hormone, which promotes testosterone production.

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Vitamin D: Ample vitamin D levels are vital for healthy and balanced hormone manufacturing. Supplementing with vitamin D can aid make certain ideal testosterone levels.

Frequently Asked Questions (FAQs)

Does Testogen have any type of side effects? Testogen is made from natural components and is generally well-tolerated by most individuals. Nevertheless, just like any kind of supplement, it's necessary to comply with the recommended dosage standards and consult with a healthcare specialist if you have any kind of pre-existing medical conditions.

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Conclusion

Supercharging your testosterone degrees normally is possible with the right technique and support. Testogen, along with lifestyle adjustments and natural supplements, can help you attain ideal hormonal agent production and reap the lots of benefits related to higher testosterone levels.

Remember, keeping hormonal balance is crucial for overall health and vigor. By prioritizing your health and wellness and including all-natural testosterone boosters like Testogen into your regimen, you can take control of your hormonal agent degrees and experience boosted energy, muscular tissue development, sex drive, and psychological quality. So why wait? Discover the very best natural boosters like Testogen today and embark on a trip towards a much healthier and more certain you!

Get more information Testogen user experiences

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[monterraverde]

Area Zero: Notable Pokemon and Operations

Area Zero is structured like a giant spiral around a great chasm in the center which leads directly to the bottom. The safest path is around this spiral. There is also difficult terrain in the form of sharp inclines of loose mud, rock and dirt from landslides, which cannot be scaled again by a human alone, a pokemons help will be needed.

Zero lab, where we are headed, is held shut by four locks that are remotely accessed from the four research stations along this spiral path. We will need to stop at each of these and access the computers within to proceed, the RFID chip in my logo glove only gives me access to these research stations and their limited systems. They also serve as safehouses, with beds and a basic stock of medical equipment, more then the first-aid kits I gave to you, we can restock here if necessary.

---------------------------------------

Dangerous pokemon feed off the radiation from the crystals down here. We'll be in the heart of the paradox pokemons home, so expect to be seen as prey and jumped at any moment.

Species we've seen down here include:

Farigiraf line

Coviknight

Braviary

Volcarona

Pawmot line

Medicham line

Raichu

Espeon

Garganacl line

Donphan line

Lycanroc

Copperahja line

Hawlucha

Honchkrow line

Gogoat

Talonflame

Lokix

Floatzle line

Golduck line

Altaria line

Masquerain

Bisharp

Vaporeon

Bellibolt line

Weavile line

Sableye

Zweilous and Deino

Dudunsparce line

Espathra

Garchomp line

Dugtrio

Glimmora line

Umbreon

Chansey

On top of these, seven species of paradox pokémon have been identified appearing in relatively great numbers. They all share a similar trait or ability of being supercharged in intense sunlight- manifested as scarlet energy crackling over their bodies like electricity- that enhances one of their highest attributes.

We call this ability "Protosynthesis."

Species listed here by code name first, like species second.

Scream Tail (Jigglypuff): Psychic/Fairy type. Very Defensive and fast, but lacking in raw power. Usually attacks with Psychic Fangs and Play Rough.

Great Tusk (Donphan): Ground/Fighting type. Extremely aggressive, Strong attack and physical defense, prone to Headlong Rush and Close combat.

Brute Bonnet (Amoongus): Grass/Dark type. Extremely physically powerful, high defenses and HP, but lacking in speed. Seed Bomb and Sucker Punch are its most common moves.

Flutter Mane (Misdreavus): Ghost/Fairy type. Extremely fast special attacker with matching special defenses, but strongly lacking in physical defenses and HP. Usually attacks with Mystical Fire and Moonblast.

Slither Wing (Volcarona): Bug/Fighting type. Extremely high physical attack, specially defensive, and fast, but lacking in other areas. Lunge, Leech Life and Superpower are its preferred moves.

Sandy Shocks (Magneton): Electric/Ground type. Very fast special attacker, physically sturdy, Discharge and Earth Power are its preferred moves.

Roaring Moon (Salamence): Dragon/Dark type. Highly aggressive and will always strike to kill. Do not engage. Highly recommended to flee unless fighting is the only option. Very physically strong, specially defensive and fast, capable of flight. Roaring moon have been documented finding canisters of booster energy, which activates Protosynthesis without the presence of intense sunlight, and given this Pokemons preference for living in caves, makes it highly formidable. Dragon Rush and Throat chop are its preferred moves.

Apex Koraidon (Cyclizar): Dragon/Fighting type. The first paradox pokemon ever pulled through the time machine- and the one who killed Sada. Conjures its own sunlight when entering battle, Extremely strong, fast and physically defensive. Legendary pokemon level threat. Only one currently exists in the depths. Will hunt and kill humans on sight. Avoid at all costs.

--------------------------------

ZERO LAB.

Zero lab is a gargantuan research facility at the bottom of Area zero, almost completely encased in tera crystals outside of the main entrance door. According to the most recent expedition notes, the facility is built mainly into the ground below, several stories connected by a single elevator, at the very bottom of which houses the time machine. The computers on the higher levels will likely house what we need. Sada's AI body is gone, thus rendering the Time machine inoperable... At least according to our research, that's the case.

[cosmicdream222]

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