#Woman Owned Product Design Agency

[letsziv]

Lets Ziv: Innovating Product Design with a Woman-Owned Vision in USA

Introduction

When it comes to innovative solutions in the realm of product management, agencies play a crucial role in turning concepts into reality. Among these agencies, woman-owned businesses are carving a niche with their distinctive perspectives and strategies. Enter Lets Ziv, a groundbreaking company that’s redefining product design and management.

What is a Product Management Agency?

A product management agency bridges the gap between conceptual ideas and market-ready products. These agencies provide end-to-end services, including design, development, and strategy execution. By ensuring seamless collaboration across teams, they help businesses innovate efficiently and effectively.

The Importance of Woman-Owned Agencies

Woman Owned Product Design Agency bring diversity to the table, fostering inclusive solutions. Studies consistently show that diverse leadership teams outperform their counterparts in innovation and financial success. These agencies challenge industry norms and inspire change, proving that gender equity is not just ethical but also profitable.

Meet Lets Ziv: Woman-Owned Excellence

Founded with a passion for creativity and collaboration, Lets Ziv is a woman-owned product design agency dedicated to delivering exceptional results. Their mission? To empower businesses with innovative, user-friendly designs that resonate with audiences worldwide.

Core Services Offered by Lets Ziv

Product Design and Development: Lets Ziv crafts products that blend aesthetics with functionality.

Market Research and Strategy: By understanding consumer behavior, the agency tailors strategies to align with market trends.

Project Management Solutions: From ideation to launch, Lets Ziv ensures smooth project execution.

Unique Approach to Product Design

At Lets Ziv, the focus is always on the user. By leveraging advanced tools like AI and UX research, the agency creates products that not only meet but exceed user expectations.

Empowering Women in Product Management

Lets Ziv stands out as a beacon of empowerment. Through mentorship programs and partnerships, the agency nurtures aspiring women in tech, ensuring that talent knows no gender.

Why Choose Lets Ziv?

What sets Lets Ziv apart is their commitment to innovation and a client-first approach. Their tailored solutions ensure that every project is unique, impactful, and aligned with client goals.

Key Projects and Achievements

Lets Ziv has spearheaded numerous projects across industries, earning accolades for their designs and contributions to product innovation.

Challenges Faced by Woman-Owned Agencies

Despite their contributions, woman-owned agencies often face challenges such as bias and limited access to funding. Lets Ziv navigates these hurdles with resilience and creativity.

How Lets Ziv Overcomes Challenges

Through strategic planning, networking, and an unwavering commitment to quality, Lets Ziv continues to thrive, setting an example for others in the industry.

Sustainability in Product Management

Incorporating eco-friendly practices, Lets Ziv ensures that their designs are sustainable, proving that innovation can coexist with responsibility.

Future of Product Design Agencies

The future is bright for woman-owned product design agencies. With a growing emphasis on diversity and sustainability, companies like Lets Ziv are poised to lead the industry.

Collaborating with Lets Ziv

Partnering with Lets Ziv means embarking on a journey of innovation. Clients can expect transparent communication, expert guidance, and exceptional results.

Conclusion

Lets Ziv exemplifies the power of woman-owned businesses in transforming industries. With their innovative approach to product design, they are not just building products—they are shaping the future.

FAQs

What services does Lets Ziv offer? Lets Ziv specializes in product design, market research, and project management, providing end-to-end solutions for businesses.

Why choose a woman-owned agency like Lets Ziv? Woman-owned agencies bring unique perspectives and foster inclusive, innovative solutions, as demonstrated by Lets Ziv’s achievements.

How does Lets Ziv ensure sustainability? The agency integrates eco-friendly practices into its designs, focusing on long-term environmental and business value.

Can Lets Ziv handle projects in various industries? Yes, Lets Ziv has a diverse portfolio, showcasing their adaptability and expertise across multiple sectors.

What makes Lets Ziv unique? Lets Ziv stands out for its user-centric designs, innovative strategies, and commitment to empowering women in the tech industry.

[horizon-verizon]

Maybe this Will Put Things into Perspective about Rhaenyra & Cersei's Kids Being Bastards or Not...

Feudalism is an early period or a economic phase of a millennia-managed con against anyone who isn't a noble man, and most men are the active conmen.

Neither set of kids were ever declared bastards. Nor were they ever or "acknowledged" as bastards, because noblemen "acknowledge" a child they father onto another woman. noblewomen, in theory, can, but if their having had sex premaritally/extramaritally isn't already known outside of the household they do not. Because to do without it already being known (like with Alys Turnberry) would publicly ruin her prospects for marriage in the future, ruin her reputation, and likely muddy the family's as well.

Robert probably would have removed those kids from the line of succession had he known (and he didn't) if not outight remove them from the mortal coil. But instead, he got gutted. Therefore, Cersei's kids are not officially or "legally" bastards. That prior declaration is what is required to have them "legally" known as bastards.

Bastardry has always been more of a legal question in its nature than a biological fact of nature. Of course, we the audience and most of ther know that Rhaenyra's kids aren't Laenor's biologically; Ned correctly deduced that Cersei's weren't Robert's biologically. However, he was never able to get his information to matter "legally", or to get it to Robert to make a decision on. Whereas Laenor, Corlys, Viserys all knew and decided to maintain the boys as their heirs. And they made this decision based on the lack of knowledge the public has/what they can control. Which is often what any noble does; once again, GRRM has explicitly stated that the lords of Westeros often take advantage to twist "laws" (customs) according to the circumstances around them & their own desires, and it's is not exclusive to bastards already "acknowledged".

The purpose of marriage as an institution is entirely for the lord/nobleman's benefit. It is an institution that was created and developed entirely for a man's political interests (a father's, a brother's, a husband's, a son's, etc.). And it was made to consolidate/monopolize the noble woman's (or really any woman) body and reproductive labor so as to produce living products to pass on the resources/titles mainly the lord and his ancestors have aggregated. To try to make sure those resources are passed to the people the lord wants passed own to, the sexual purity culture imposed on women and girls works to construct shame & suppress female extramarital and premarital sexual activity, which is an aspect of her overall agency. Her agency is re-confined/socially reduced to her sexual activity because she has no other primary function nor legal privileges aside form being a wife, mother, daughter, virgin, etc. Or sometimes the protectoress of her husband's/son's assets: the castle at times of war/siege when the lord is not present; director of his household's activities and servants by being its head overseer of accounts. Therefore, the lord is literally claiming his wife as his effective property through her womb & this is often why when we see women like Daena sleeping with a man not her husband, it is an act of reinforcing her authority or political agency in spite of how she was raised to see her own body.

Think about it: why do we not have a world or society (fictional or not) where even though the wife births a child not her husband's the husband's do not willfully or are "legally" compelled to adopt that child as their own, effectively de-fathering the biological father? Because men want to feel as if they have as close to total ownership over female companionship and labor so they consolidate power to themselves and not to women. Having all these designations of gender and "bastardry" that everyone are compelled to follow makes that easier without expending energy or sharing power. Medieval customs put the social-legal identification of "bastard" from the institution of marriage, its compulsions on women, and their reproductive labor/bodies/uteruses being claimed by the men who are "licensed" to own them. Which is why when we say that neither Cersei's nor Rhaenyra's kids are "bastards" it is true *in the sense that one should not carry the sense of their inferiorty into how we see their innate value as human beings AND none of them have ever been "proven" publicly to be not their putative father's children*, because the purpose of bastardry is to attempt to reclaim the product of reproductive labor and Viserys/Corlys/Laenor/Robert have already done that. To protest about how Robert didn't know about his kids not being his kids is really to protest how he didn't not get the products of Cersei's reproductive labor in the usual male-prioritized business of objectifying female labor that is intrinsic in this feudal society. Whereas Viserys/Laenor/Corlys accepted the products of Rhaenyra's reproductive labor.

All this is also why I really don't care for the impassioned argument of these women were being "unfair" to the system (Rhaenyra) or to their husbands, fathers etc. (Cersei) or them being "liars" or "destructive". Feudalism is itself an objectifying, unfair, unequal system. It is designed to benefit men and mainly men inherently, and directly at the expense of women who risk death itself while a man fathering any sort of kid never risks death. Men lie and destroy the women who birth their children, manage their household, protect their castle, rear their children....and it is all "licensed" and justified under the constructed institutions of marriage, oath-making, knighthood and principles of chastity, virginity, the different sub-meanings of "honor" for men vs women, etc. Men are themselves already objectifying or making an exclusive economic use of their female counterparts as well as going back on their vows (a deal that is still in feudal marriages, even for men) through their socially-allowed extramarital and premarital affairs producing bastards. *Therefore, if a noble woman (or any woman) cheats, it's simply not as amoral as when a man does--it's actually sometimes brave and admirable and a relief to see bc she is taking the risk for the sake of her own autonomy and/or happiness at the expense of a system/man who would exploit or have a consistent upper hand over her, for children he may not even like (Tyrion).*

[boreal-sea]

Hey, about your 'fictional characters can't be disrespectful, they aren't real and can't be objected etc' post. By saying this you're saying that there is no such problem as female objectivization in games and other products which is not right. It's like you justify tons of tons of bad fanservice designes and, for example, hentai artworks or writing including rapes. You are a feminist, right? You should have been giving a thought about it, because such things done to the fictional characters WILL hurt real women around the world because they form men's opinions about women and I mean sexist opinions. You may also add here a homophobic/transphobic and racist problems, when some people change fandom characters gender or orientation or paint them with a different skin tone (note that I'm also about white characters who suddenly turn to others colours). All of this caused by objectivization because people think they can change character they like and this is just unacceptable. Next, you wrote that you can't disrespectful fictional characters, but doing such bad things to characters that don't belong to you is a disrespectful towards their creators, like you said you can write a tentacle porn with some characters, this doesn't make you a bad man but if those characters don't belong to you, then sorry, but you'll show your luck of respect to their creator especially if that person is against such things. Like, you objectivizate and make fanservice things with their characters. Also saying that fictional characters aren't real (which is true of course) and they are just things is also very unethical towards those who create them. Try to say such things to any who made some characters and world where they live. Many people add some of their own traits, habits or behaviour patterns and spend a lot of their time dedicating to their characters so you may think a little better. And I think, you can't just say to people they don't have a right to treat their characters as living persons or kids, in any case let people to chose their own treatment

So, I was approaching this seriously until I got to the bottom where you being hand-wringing about how treating characters badly disrespects the creators of those characters, and then I realised you are a person with some extremely internalized Christian guilt and puritanism and a huge heaping of sexual oppression.

Please stop applying your morals and your hangups about sex and sexuality onto other people.

Below is everything I wrote addressing your points up until I hit the fandom nonsense.

---

You are doing what everyone else on that post is doing: you are conflating how a character is treated/depicted and whether or not that harms the character with how that can theoretically affect real people in the real world.

Real people and characters are not the same thing. The inability to separate these two concepts is causing endless problems.

The female character being sexualized is not hurt by sexualization for the same reason she is not "empowered" by it: she does not have agency because she is not a person. I bring up empowerment because a lot of the guys who try to claim this kind of sexualization is fine do so by claiming the sexualization is "empowering" the female character. She is not actually making the choice to dress in a flimsy skin-tight outfit, the artist is making that choice. Therefore, she cannot be harmed or empowered by it.

As many feminists involved in this debate have noted, it is not the existence of a sexualized female character that is the problem, it is the ubiquitous nature of this type of representation. It is in fact fine to draw a sexualized female character. It becomes a reflection on society as a whole when every depiction of a female character is sexualized - when every female superhero wears skin-tight latex, for example. This is especially true when she is sexualized in ways that reveal the patriarchy's ideal picture of what a woman should look like, namely thin and white.

The existence of material that sexualizes women is not the problem. I am an explicitly sex-positive and kink-positive feminist. I enjoy all the things you listed as problematic. I like noncon, I like rape fantasies, I've even enjoyed some hentai and porn in my day. I am the wrong feminist to fearmonger about "bad kink" to.

As for your hand wringing about how fanfic is "disrespecting the creators" - No, it's not. I'm not even going to go into a big long discussion on this one. You're being silly. Nothing a fan does to a character can affect the canon character in any way, shape or form.

[cantsayidont]

The TL;DR of this story (18 September 2024) is that the Taiwanese company says the booby-trapped pagers used in the 17 September attack in Lebanon were made under license by a mysterious Hungarian company called BAC Consulting.

Three years ago, Hsu [Ching-kuang] says he was approached by a Taiwanese woman Hsu says he only knew as “Teresa” who claimed to be a local representative for a Hungarian company named BAC Consulting. After more than two months of negotiation with Teresa, Hsu agreed to sign a contract to sell Gold Apollo’s pagers to BAC and additionally, to let BAC use Gold Apollo’s trademark on his [sic] own products. “She had already flown several times to Europe to contact [her colleagues],” says Hsu. He says he was also told BAC also had interests in East Africa: “From beginning to end, they never mentioned Lebanon.”

And:

About a year after BAC signed a contract with Gold Apollo, Hsu says they came back to him with an unusual request: they wanted to design their own products but put his company’s trademark on them. “They said they wanted to cultivate a cohort of engineers,” Hsu says he remembers BAC telling him. “I told them, the stuff you make is neither easy to use nor is it aesthetically-pleasing. Why not just use my products?” Hsu also noticed their payment transfers were “strange.” While BAC is located in the capital of Hungary, Hsu said the company paid Gold Apollo from a Middle Eastern bank account that was blocked at least once by their bank in Taiwan.

This sounds to me like a front for an intelligence agency, probably either Mossad or some Mossad contractor.

[starblightbindery]

Editor's Note from my bind, Designs of Fate, an anthology of Star Wars stories by Patricia A. Jackson.

Patricia A. Jackson is a criminally underrated Star Wars author.

I’ll explain.

Growing up in the late 1990s and early 2000s, it was challenging to be an adolescent Star Wars fangirl, particularly an Asian American one. Back then, fandom meant negotiating male-dominated online message boards where identifying as a teenage girl meant inviting a ‘fake geek girl’ grilling at best and sexual harassment at worst. Most of the published Star Wars books were about Han, Leia, and Luke. Han and Leia were in their thirties and the parents of three children...not super relatable for preteen me. As far as character development was concerned, our “Big Three” had established characterizations coalesced firmly on the side of good. For our heroes, there was no moral ambiguity as, novel by novel, they tackled the galactic Threat of the Week.

Bildungsromans, those books were not. When Jackson started writing Star Wars in the 1990s, there were no women Jedi or protagonists of color. If you wanted stories with original characters coming of age, your primary recourse was the West End Games’ Star Wars Adventure Journals and their published anthologies, Tales from the Empire (1997) and Tales from the New Republic (1999). I remember avidly poring over my dogeared paperback copies and stalking the internet for scans or transcriptions. Although I never played the D6 role-playing game, the short stories from the Star Wars Adventure Journals helped me envision that a character like me—a young Asian girl coming into her own—did have a place in Star Wars after all.

As evinced by the vitriolic reactions towards John Boyega and Kelly Marie Tran during the production of the sequel trilogy, Star Wars fandom can be a hateful environment for proponents of diversity and inclusion. A small but irritatingly loud faction of fascist-leaning, cishet, white male fans are actively hostile towards fans who advocate for change; they are more troubled by the presence of queers, women and BIPOC than our absence. Because of the ubiquity and popularity of Star Wars in America’s cultural milieu, the sentiments from these self-appointed gatekeepers have been—and continue to be—amplified by right wing extremists, and, to some extent, even by the Internet Research Agency as tools of Russia’s psychological and cyber warfare against the United States. During his Ph.D. candidacy with the Department of Information Studies at UCLA, Morten Bay, PhD., studied negative tweets about The Last Jedi and found that 50.9% of negative tweets were “bots, trolls/sock puppets or political activists using the debate to propagate political messages supporting extreme right-wing causes and the discrimination of gender, race or sexuality.”

“Russian trolls weaponize Star Wars criticism as an instrument of information warfare with the purpose of pushing for political change,” he wrote, “while it is weaponized by right-wing fans to forward a conservative agenda and for some it is a pushback against what they perceive as a feminist/social justice onslaught.”

The creation and inclusion of characters with minoritized identities in Star Wars is, therefore, an act of resistance. As far as I’m aware, Patricia A. Jackson was the first woman of color and Black author to write for the Star Wars expanded universe. Jackson has described the fan environment in the 1990s thusly; like many minoritized fans of color, she would be given pithy justifications such as "Well, there’s no Africa in Star Wars, so there are no Black people." Jackson noted, aptly, "That was just translation for “’You don’t matter. You don’t need to be here.’” Jackson's work for West End Games, particularly her sourcebook The Black Sands of Socorro, is a subversion of those expectations.

Before anyone else did, Jackson showed fandom that dominant mayo masculinity did not have to be the only way to tell Star Wars stories. Her stories existed before the prequel trilogy and three decades of Star Wars publishing, before FanFiction.net, Archive of Our Own, or Wattpad. She is the forerunner for BIPOC writers in Star Wars, followed by other luminaries like Steven Barnes, Daniel José Older, Nnedi Okorafor, Rebecca Roanhorse, Ken Liu, Greg Pak, Alyssa Wong, Sarah Kuhn, Saladin Ahmed, C.B. Lee, Justina Ireland, Alex Segura, Zoraida Cordova, Greg VanEekhout, Mike Chen, Charles Yu, R.F. Kuang, Sarwat Chadda, Sabaa Tahir, and Renée Ahdieh.

Jackson had and continues to have an incredibly prescient understanding of what makes a good Star Wars story. Any of the stories in this anthology could find a home as an anime short from Star Wars: Visions (2021). Ideas from Jackson’s Star Wars short stories have appeared in later media, sometimes decades later. Whether convergently evolved or directly influenced, the parallels are astonishing: Kierra, the snarky feminine droid consciousness who inhabits Thaddeus Ross’s ship, is a spiritual predecessor to L3-37, Lando Calrissian’s snarky feminine droid companion from Solo (2018) who ends the film uploaded to the Millennium Falcon. Jackson addressed concepts like slavery and Force healing predating the prequel and sequel trilogies. In “Idol Intentions,” she created an adventuring academic on the hunt for artifacts long before Kieron Gillen brought Doctor Aphra to life. Squint and the upturned red salt on the planet Crait in The Last Jedi becomes flying red soil on the planet Redcap. Dark haired, dark side tragic emo boy starcrossed with a fiery girl Jedi?—I think Jackson understood intuitively the appeal of this trope to a woman-dominated contingent of fandom well before “Reylo” topped Tumblr’s fan favorite relationship charts in 2020.

Jackson’s work is also significant for deepening world building. Much like how Timothy Zahn introduced analysis of fine art to Star Wars with his villainous art connoisseur Grand Admiral Thrawn, Jackson’s stories introduced concepts such as the evolution of Old Corellian, the acting profession, and Legitimate Theatre. These elements added verisimilitude to the expanded universe; it makes sense that different cultures in Star Wars would have archaic languages, folk songs, and old stories of their own from even longer ago in galaxies far, far, away. More recently, the franchise has started to flesh out in-universe lore in Star Wars: Myths and Fables (2019) by George Mann. Still, Uhl Eharl Khoehng in “Uhl Eharl Khoehng” (1995) remains the finest example of mise en abyme in any Star Wars related work.

Themes from Jackson’s Star Wars works, particularly around Drake Paulsen and Socorro, also connect contemporaneously with our real world. When the Seldom Different is essentially ‘pulled over’ by Imperial authorities in “Out of the Cradle” (1994), stormtroopers lie about Drake Paulsen having a weapon as a pretense to terrorize the teenager. It’s a collision of space opera with Black youths’ past and current experiences of police brutality and state-sanctioned violence. Accordingly, this capricious encounter is the rite of passage that jars Drake out of his childhood. I cheered when I read The Black Sands of Socorro (1997) and saw that the Black Bha'lir smuggler’s guild is named for a bha'lir, depicted in the book as a large...panther. Few Star Wars expanded universe authors—particularly in the 1990s—leveraged their influence to center characters of color or to allude to racial justice movements. Jackson did both.

For this anthology, I have copy edited and also taken the liberty of, when applicable, substituting some gendered or sanist language with more contemporaneous wording.17 The stories are otherwise intact. It would be remiss of me if I did not note; however, that one of the stories, “Bitter Winter” (1995), has sanist and ableist tropes that could not be contemporized without making dramatic changes to the story. In this story, the fictional disease brekken vinthern drives those impacted to violence; while it’s real world correlate of major neurocognitive disorder can include symptoms of aggression and agitation, extreme violence is rare and people with this condition are also at great risk of being harmed by violence. The tropes “Mercy Kill” and “Shoot the Dog” are depictions of non-voluntary active euthanasia, typically from the perspective of the horrified “killer” placed in an impossible situation. These tropes frame murder and death as “putting someone out of their misery” while downplaying any alternatives (ie: sedation to alleviate suffering, medical attention, or, say, ion cannons to render a ship inoperable without killing.)

Like in our society, the societies in Star Wars have consistently framed mental illness pejoratively. There are certainly valid critiques of the utter inadequacy of health care in Star Wars. Ableism is ubiquitous in entertainment media, and even with it’s problematic tropes, “Bitter Winter” remains one of the more humanizing depictions of a mental health condition in Star Wars fiction. I have included it in this anthology as a rare example of moral ambiguity in the franchise.

With the exception of “Fragile Threads” and “Emanations of Darkness,” the stories here are presented not in published order, but in chronological order as they would have occurred in the Star Wars universe. Ordering the stories chronologically helped clarify timelines; it also allows the anthology to begin with “The Final Exit,” which was a fan favorite back when it was first published. I’ve interwoven the Brandl family stories with Drake Paulsen’s coming of age adventures, as the Paulsens are such a strong foil to the Brandl family.

Since “I am your father” dropped in 1980, Star Wars has been big on Daddy Issues—intergenerational trauma, parental relationships, broken attachments, identity development, and initiation into adulthood (or, as Obi-Wan Kenobi would put it, “taking your first steps into a larger world.”) With Drake, we see that Kaine Paulsen is a father who is gone but ever-present. With Jaalib, we see that Adalric Brandl is a father who is ever-present but clearly far gone. Drake knows his Socorran roots; he has community and found family. Fable’s identity is adrift; she was torn from her roots after her fugitive Jedi mother’s death. Jaalib’s roots are scaffolded by disingenuous artifice. There is a diametric interplay of identity formation and parental legacy in these short stories that captures classic themes from Star Wars. And, the stories challenge readers to consider how we interact with shame, guilt, and obligation. Through the morally ambiguous dilemmas that are her oeuvre, Jackson’s characters discover who they are and where they stand.

While the thrill of having an Imperial Star Destroyer drop out of hyperspace is pure Star Wars energy, Jackson’s stories also disrupted what fans had come to expect. Published online as fan fiction, “Emanations of Darkness” (2001) polarized fans of the previous Brandl stories, particularly with Fable’s decision to throw her lot in with Jaalib and his father. At the time, Star Wars fan commentator Charles Phipps noted how the story dealt with the insidiousness of the dark side by taking potential heroes and crushing them. “Star Wars, I've never known to leave a bitter taste in my mouth,” he wrote, stunned. “I don't like what it's brought out in my feelings or myself...Bravo Brandl, you have your applause.” Although the Brandl stories were written and published before Revenge of the Sith (2005), Fable and Jaalib’s relationship mirrors the relationship between Padmé Amidala and Anakin Skywalker, down to both Jaalib and Anakin selling their souls to the same Emperor in hopes that will spare the women they love.

The prequel trilogy introduces the Jedi Council’s detached approach to attachments—don’t feel it, emotions like fear or anger are to be shunned, else suffering will follow. Anakin Skywalker’s broken attachments to his mother and Padmé lead him to turn against his values; his inability to integrate or tolerate his attachments is his downfall. It’s the same in the Brandl stories where, trauma bonded, Fable and Jaalib cannot let each other go. While Jaalib credits this as how he was able to preserve a bit of himself while under the Emperor’s thrall, his inability to extricate himself from his father’s influence or to let go of Fable ends up dooming her.

This is why I was thrilled to discover “Fragile Threads” (2021) on Wattpad twenty years later. In this story, Drake Paulsen helps his lover Tiaja Moorn save her sister, at the cost of losing their relationship when she decides to remain on her homeworld. Drake doesn’t fight her decision, he accepts it. He can hold onto that connection to Tiaja, just as he knows he will always be connected to Socorro, his father, and the Black Bha'lir. Drake can love freely because he knows what Luke Skywalker told Leia in The Last Jedi: “No one is ever truly gone.” He is able to straddle the fulcrum of attachment and love without letting it consume him, and that is balancing the Force.

Contemporary fandom discourse is also a struggle with attachment; the parasocial relationships we form with characters and stories are similar in process to how we attach to the important people in our lives. We imbue with meaning and carry these stories with us. As Star Wars storytelling enters its fifth decade, the divide between affirmational fandom (allegiance to manufactured nostalgia) and transformational fandom (allegiance to iterative and transgressive fan engagement) has factionized fandom. When Star Wars is seen as a totemic object, right wing fans have agitated for a return to a mythic past where white men were centered and morality was Manichean. From where I stand, at the heart of this debate is whether or not the reader or Star Wars is permitted to “grow up”—to leave the cradle, to evolve new identities and explore shades of grey.

To me, Jackson’s stories are a reminder that characters of color and complex moral dilemmas have always been a part of Star Wars. We have always been here. No other Star Wars author has been as exquisitely aware of the significance of storytelling; how it can help people challenge existing beliefs and discover themselves. Since the beginnings of the expanded universe, Patricia A. Jackson has spun yarn, and those fragile threads have tethered readers like myself to a galaxy far, far away.

Ol'val, min dul'skal, ahn guld domina, mahn uhl Fharth bey ihn valle. (Until we next meet, may the Force be with you.)

[pynkhues]

I don’t know much about that industry but I don’t understand sn**k’s attachment to Rabbit. Like why she was in it

Why was she in Run Rabbit Run? I think plenty of reasons.

I think when she and her agent were pitched the project, it probably felt like a really exciting film.

It's the debut screenplay of a really 'hot' Australian author, Hannah Kent, who wrote the enormously internationally successful Burial Rites, as well as The Good People and Devotion (which are all dense historical fiction novels, which is a part of why I was suspicious of such a vast genre switch for screen which was basically confirmed for me when Kent said she doesn't watch horror) and the second feature of a really 'hot' Australian woman director, Daina Reid, who's worked extensively on really 'good' genre TV - The Handmaid's Tale, The Shining Girls, Romper Stomper, The Spanish Princess, Offspring.

That is, on paper, a really exciting creative team! I can see why her agent would recommend it and why she'd think it was going to be something that's more than what it is as a film.

I also think it probably had both personal and strategic benefits for her since she's moved back to Australia. The first one's pretty easy to see, I think - she's from Adelaide originally, Run Rabbit Run was shot in Adelaide / South Australia. Shooting a movie there means she gets to stay for a longer period of time and spend time with the friends and family she has there.

A lot of actors take jobs in their hometowns for that reason - a sort of working homecoming, as well as a way to support the industry you originally came from. A friend of mine who's a theatre director has actually just accepted a job directing a play back in her hometown pretty much for that reason exactly. It's a level below what she'd normally do, but she's really looking forward to spending a lot of time with her Dad around the play as he had a health scare not too long ago and this gives her the opportunity to spend three months there.

The strategic benefit is speculative, of course, and a bit more specific to the Australian industry, so bear with me as I try to explain it, haha.

Each state here has their own screen agency, and these screen agencies play an enormous role in funding and supporting local production, while also attracting overseas production with specific local advantages. Queensland for instance, my home state, sells itself on its beaches, Warner Brothers' large studio, and the fact they have some of the biggest water tanks for shooting underwater sequences in the Southern Hemisphere. It's why things like Aquaman, Pirates of the Carribbean and every mermaid show you've ever heard of are shot there.

Because they are state funded though, these films and tv shows have state talent quotas attached to them. In other words, they have to have a certain amount of both Above the Line Talent (these are producers, directors, writers and principal actors), and Below the Line Talent (all crew, extras, stunties, craft services, etc.) that are considered as being 'from' that state.

These quotas are designed so that interstate and international productions can't just ship in crews or whole casts from interstate or overseas, and effectively makes them invest in local talent.

But what local talent means can vary a little.

Using myself as an example, I'm from Brisbane, so I automatically qualify as local talent for Screen Queensland, but I live in Melbourne, which doesn't actually mean I automatically qualify as local talent for VicScreen. To qualify, I had to live in the state of Victoria consistently for two years, and be able to supply evidence of that, which I can, and is why I am now on the talent registers both in Queensland and Victoria.

For Sarah, she's from South Australia, but she also lives in Melbourne, which means she's considered basically a talent asset for both the South Australia Film Corporation (which funded Run Rabbit Run), and VicScreen (which interestingly enough actually was involved in developing Run Rabbit Run). Her last Australian productions were Winchester (2018), The Beautiful Lie (2015), Oddball (2015), The Dressmaker (2015) and The Secret River (2015), all of which are VicScreen, meaning they were all filmed in Melbourne / Victoria (which makes sense! Melbourne has a much bigger industry than Adelaide).

With her moving back to Australia, and moving back with the status that means she's always going to be a principal actor, I think it makes sense that she'd want to strategically show that she can qualify as Above the Line Talent in both Melbourne and Adelaide. It shows her off a bit as supporting her home state's industry / remembering her roots, but also makes her appear as available / accessible for filmmakers there and the state's funding body.

Given she's heading to London's West End again for theatre too, I think it probably was a pretty smart strategic move to sort of stake such a local claim like that before she goes international again too.

[foreversecrets]

Foot In Mouth

Rogers Family Expansion

Paring: Frank x Daphne

Summary: Living together Frank encouraged Daphne to explore hobbies and acitivies she'd enjoy but doesn't have the most encouraging response once she finds her passion.

Despite Frank and Daphne being one of the earliest couples to get together, they were nearly the last to get married. For the longest time Daphne ‘lived’ in Franks’ guest room though she  frequently found herself having sleepovers in his bedroom. Shortly after the divorce they sat down and set boundaries and laid out their relationship. They both acknowledged their affection towards one another but mindful of the neglectful marriage Daphne had just escaped from, Frank put the progress of their relationship entirely into her hands. She didn’t want to fall back into the loop of marriage, though he hadn’t meant James had caused her so much mental turmoil she was almost afraid of marriage. 

She wanted to make her own decisions independent from the expectations of everyone else, she didn’t want to be the woman her parents raised her to be, didn’t want to be the homemaker marriage had made her out to be, but the problem was she didn’t know what else there was to her. Everything in her life had been decided for her up until she fell in love with Frank so now she was stuck at a point where she didn’t believe she had any individuality. She struggled to branch out at first, her ideas being small like trying a recipe for dinner she found online instead of something she knew how to cook, or teaching herself how to properly iron Frank’s button up shirts. 

While Frank was trying to be supportive he gently advised her that her branching out should be activities outside the ones outside the house maintenance. 

He suggested she assisted Chloe get things rolling for the bakery she wanted to open, right now Chloe was working out her and Curtis’ house while she tried to find a location and place a bid. She’d been so excited but after day two she solemnly told Frank she wouldn’t be returning to help Chloe, too many customers had complained about incorrect change or products being damaged in transit. Ever encouraging, he asked Annie to show Daff some of her skills thinking maybe she could become Aria’s personal assistant as she’d been looking for one since she’d been more focused on her modeling agency lately over her actual modeling. But an incident with burnt coffee being spilled all over Aria in a one of a kind gown had the designer screaming at Daphne, Aria tore the man a new one and terminated her contract with him but she had to let Daff go. Aria was frustrated by the situation but she reminded Daphne that no one had the right to speak to her in that manner. Then Curtis offered to pay her to help him work in his garden he’d let go during Chloe’s recovery from the Rumlow trail leaving an overabundance of weeding to be done. And while there was no disaster there she found she hated it, so she hopelessly gave, returning to things she knew. Cooking and cleaning for the Adler household, which Frank didn’t mind but he knew it was important to her to find someone for herself, to help her grow outside of who she was forced into being. He had to ride the line of being encouraging without making her feel like he was nagging her because he was content to just have her in his arms.

Returning to a schedule of housekeeping she finally found something she was passionate about and was moderately good at, unfortunately Frank’s response was poor. 

Watching house flipper shows with Frank and playing sims with Mary she found herself enjoying the decorating of a home or businesses. She started picturing what types of furniture would look nice in their house, which colors would set certain moods like:a warm welcoming living room, cozy comfortable bedroom, clean and orderly bathroom, lively and joyful kitchen. She loved it but she was lacking in confidence so she decided to try her skills out on the Adler House, Frank had said he wanted her to treat it as her own house when she’d first moved in but all she’d brought was clothing and her toiletries so far. But now she was ready to push the limits of her skills and change the vibe of their home.

When Frank came home the day she redid the kitchen aesthetic (she wanted to remodel but she wasn’t sure that was something she should do without Frank’s input), he put on a bright smile and offered positive words for her. But 3 weeks into the room by room changes, he snapped. A rough day at work reviewing Delilah and Ransom’s months allowance had left him with a massive headache. Why the hell did Ransom need a $600 leather keyboard and why was his sister subscribed to a month-to-month dog treat box-she didn’t even have a dog! Rough day followed by him coming home and tripping over the new shoe rack that was supposed to add organization and distress to whatever had his fuse rising dangerously close to blowing. When he entered the kitchen he saw the crock pot out and on, hoping seeing dinner would bring his anger down slightly he leaned over to look but his gaze was instead drawn to a receipt for $1500. Fucking what?! She did their bedroom today, what could she have possibly purchased!

“Daphne!” He called out.

“Bedroom, honey.” she sang out. He walked the path to their bedroom, reading off the items on the receipt until he entered the bedroom that was done up with neutral tones, more photographs of the now three person family but all the furniture was the same as it had been. “Do you like it?”

“Like you? You spend $342 on decorative pillows.”

She nodded eagerly, “There was a bogo so I got two!” 

“What the fuck am I supposed to do with a decorative pillow!”

“Well it helps bring ….” she trailed off not really knowing what to say and finally picking up on Frank’s foul mood. 

He’d never directed his ire at her and he was right, the price was ridiculous for a decorative pillow now that she thought about it. It wasn’t even her money, it was his, he had every right to be mad at her. Though he’d given her that card to use how she wanted, this was taking advantage of his generosity. 

“I’m sorry, you’re right.'' The crack in her voice diluted Frank’s anger as he realized what he’d said and how he was mistreating her. “I’ll fix it tomorrow, but for now I think the beef stew is ready.”

“Daff wait!”

“Mary, dinner is ready. Come help me set the table please.” 

Sighing, Frank threw the receipt on the dresser and changed into his loungewear. He’d apologize after dinner and make things right, her food always put him in a better mood so he’d be more equipped to handle the situation delicately. But after dinner Mary had needed help with homework-turns out she hated English. Then when he went to fix things, Daphne had locked herself in the guestroom, so he pushed it off until the morning. Again she distanced her by using Mary, taking the kid to school before Frank emerged from his bedroom. He called her at lunch and she led the conversation, not letting him get his apology out by focusing on what he wanted for dinner the next week. He thought maybe things had resolved with time but when he came home from work that night, when he went to put his shoes in the rack, he found it missing. In fact every change she made to the house apart from her personal belongings had been reverted back to how it looked when she first moved in. Panic surged, thinking she’d left altogether, a relieved sigh slipping out when he found her in the kitchen cooking. 

“Honey?” when she turned to look at him he instantly picked up on her despondent eyes. The look on her face was reminiscent of the first day they met, the melancholy he hadn’t seen since the divorce had been finalized. “What’s going on?”

“I’m making dinner silly.” she forced a smile and a giggle. 

“Don’t do that, please.” Slow tears started falling down his cheeks. “Don’t pretend to be happy. Don’t let our relationship mirror your previous marriage.”

“I’m not,” she gently patted his check and went back to breaking up the hamburger meat. “I just realized what I do best is in the home and that's where all my energy should be.” 

“No, honey!” 

“I thought you liked-”

“No you are good at that but that’s not all you’re good at! The changes you’d made to the house were nice.”

“I shouldn’t have changed anything without your permission and I shouldn’t have used your money. I’m sorry Frank.” 

“Daphne, the changes you made helped this house truly feel like a home. I shouldn’t have taken my anger out on you and your efforts.” 

“My intentions weren’t to make you angry.”

“It wasn’t you, I just directed it at you because you were there. It was wrong and I am sorry.”

“Did you actually like the changes?” she asks, sounding hopeful. 

“I did,” he places his hands on her hips. “I didn’t understand all of it but I liked the additions.”

“Can I put everything back?” she rocked a bit on her feet. “Most of it is still in my car, I only had time to return the bedroom stuff.”

“You can and maybe once we put everything back you can help Chloe renovate the bakery? She found and closed on a building but it needs a lot of work. It would be a good opportunity to start building a portfolio.” 

“That’s a great idea.”

Together, as a family, Frank, Mary, and Daphne brought back the items Daphne hadn’t returned and placed the items back where she’d originally placed them. It took most of the weekend but it was the perfect chance for Daff to finally fully move into Frank’s bedroom with him.

This minor hiccup in their relationship being resolved was the reassurance she needed to progress in their relationship, though she still wasn’t ready for marriage. It wasn’t until she began to gain notoriety for her small design business that changed. After redoing the bakery, Frank had her do his office at work which led to Aria asking for her to do the lobby of her modeling agency. With Aria’s approval of how well she’d done, she gained her support publicly which brought in clientele far too quickly for her to manage the projects she received. Within 6 months she had a year-long waiting list. 

For the first time in her life she felt like her own person, not dependent on anyone else and successful all on her own. She didn’t and would never again have to rely on someone else for her survival. Though Frank still made more than her, if their relationship ended she would land on her feet, only having to deal with the heartbreak of loss. It was her financial independence that finally had Daphne giving the go ahead for marriage, putting the ball back in Frank’s court. But she told him to take his time and ready himself, adjust to the changes in her life before determining if he wanted a future with her. 

His first instinct was of course he was ready but he’d been patiently waiting on the sidelines during her character development-staying stagnant-so he considered her advice and waited. He went to Sarah and Annie for their sage wisdom to know when he was ready and when to propose. They told him to picture two lives one with Daff and one without but he couldn’t imagine the second option, when he’d voiced it the women smiled and told him he was ready. The next day he picked up Daphne’s best friend, Blair, and his sister-in-law Annie to aid him in his ring shopping though he wouldn’t propose for several more months. 

[lunion]

This actually is my main criticism when it comes to "skimpy" design of female characters, more specifically, of artists I don't know nothing about.

If a woman in the real world dresses in a certain way, then by her own choices and her own story, she took agency of her life and made a decision.

If a fictional woman dresses in a certain way, no matter how much lore reason you give it, it was a deliberate creative(or executive in some cases) choice. A fictional character cannot have agency or empowering attitudes. The hand of the author is what drives characters to do things, and living i a world where sex appeal is a marketable product, I am skeptical of a lot of handwaving when it comes to these topics.

Also a good moment to remember that characters being sexist and the story being sexist are not intrinsically woven and they can have different answers.

i swear to god if people don't start understanding that responding to doylist critique of a piece of media with watsonian exonerations is not an actual rebuttal

[crabblogger92]

It's a system designed to entrap and control women. Where I live you can get legally married in about 30 minutes. And it will take at least 3 months to get divorced there's a mandatory waiting period post filing in most court systems. Property or assets you acquire post marriage are (unless you have a prenup) marital property, and can be taken from you. Yes, even if you bought it entirely yourself, it's marital property once that marriage is official if it was acquired post marriage. Worse still, women who have survived SA often find themselves on the receiving end of degrading jokes or malicious assumptions. Isn t it so fucked up how men will constantly try to deter any woman s sense of safety or power? If a woman says she has big dogs to walk with at night, you ll find men saying "Can it take a bullet " or if a woman has a gun they ll say "I can just twist your wrist and take it from you ". They re always intentionally trying to make us feel threatened and unsafe. Men will go the extra mile to find every possible way to antagonize and harm women, if we have the power to defend ourselves, they will do whatever it takes to undermine it because for them, putting women in danger, stripping us of our agency and safety, gives them power and control. And they have the audacity to call themselves protectors and actually delude themselves to believe it. The idea of women protecting themselves and taking precautions angers them, which is why they always feel the need to undermine it. Radical feminist critiques of gender ideology challenge the liberal feminist embrace of "gender-affirming care." Radical feminists argue that much of what is labeled "care" is rooted in capitalist profit motives rather than genuine concern for individual well-being. The commodification of identity through surgeries and hormone treatments often overlooks deeper systemic issues, reducing complex struggles to marketable products. Every time a woman opens up about her pain, there seems to be a default response waiting for her: "who hurt you?" It s not a genuine inquiry but a dismissive retort meant to minimize and invalidate. What s particularly troubling is how common this reaction is, even from those who claim to value empathy and understanding. There s something deeper at work here—something about the way society handles vulnerability that raises important questions. sex…women…Secret Chamber…Under the couch…Notice anything? Men's reactions to women's emotional vulnerability often mask a fear of confronting their own emotions. Rather than acknowledging the pain being expressed, they dismiss it, sometimes with phrases like "Who hurt you?" This response is less about the woman's feelings and more about their discomfort with vulnerability. This avoidance points to a broader cultural expectation that men should be emotionally detached, making it difficult for them to engage empathetically with women's pain. Theres a fine line between farting and being saucy. Lets give pronouns to until we find the Firestar in Under the couch. plimby…Evil King…sex…The coffee shop on 5th street…Notice anything?

[pradeep-45]

Exploring the Future of E-commerce with ONDC

What is ONDC 

Open Network for Digital Commerce (ONDC) is a government-initiated assignment designed to convert the e-commerce panorama in India.  

This initiative seeks to create an open, unified virtual community for small companies, nearby shops, and firms to conduct transactions on-line. 

By allowing sellers to connect without delay with purchasers throughout various structures, Open Network for Digital Commerce ambitions to provide a greater inclusive and competitive virtual market. 

Is ONDC Government-Owned?  

Yes, it is a central authority-led initiative. Launched by way of the Government of India beneath the Ministry of Commerce and Industry, it changed into set up to democratize virtual trade. The number one goal is to reduce the dominance of massive e-trade agencies and ensure a degree playing area for small and medium-sized corporations. 

How Will ONDC Work?  

It is not a platform, however, a community that links extraordinary digital systems. It permits sellers to sign up for their merchandise on any Open network for digital commerce platform, enabling purchasers to get admission to these products through all these incorporated apps. 

The open network layout ensures that dealers do now not want to rely on an unmarried platform, increasing their attain across more than one structures without having to sign up for each one in my opinion.   

Is ONDC Free?   

While joining Open network for digital commerce itself is unfastened, dealers may additionally incur a few nominal prices for processing bills or coping with logistics, depending on the platform they use within the Open network for digital commerce network.  

By keeping fees low, the network encourages even small companies to head digital. 

What is the Disadvantage of Open network for digital commerce?   

One potential downside is the network’s early-level increase and the constrained virtual literacy amongst small sellers. 

For many small corporations which might be new to digital trade, adapting to Open network for digital commerce may pose demanding situations, such as operational issues and capability dependency on technical help. 

Who Will Benefit from Open network for digital commerce? 

The primary beneficiaries are small and medium companies, neighborhood shops, and man or woman entrepreneurs.  

Open network for digital commerce tiers the gambling field through allowing those businesses to attain a much broader audience without depending on large e-trade giants. 

Consumers also gain with the aid of getting access to a broader range of merchandise from local carriers, regularly at aggressive charges. 

 Is Open network for digital commerce B2B or B2C?  

Open network for digital commerce serves both B2B and B2C sectors. Businesses can connect with different companies to amplify their network, supply goods, and form partnerships, even as customers can save directly from registered sellers. This twin method ensures flexibility and accessibility for numerous consumer desires within a unified framework. 

 Conclusion 

Open network for digital commerce represents a step forward in democratizing virtual commerce in India. 

By breaking down boundaries in the e-trade area, it permits small organizations to make their reach bigger and offers purchasers greater picks. 

Despite the early demanding situations and capability hazards, Open network for digital commerce can reshape India's digital economy by using imparting an inclusive network for all. 

FAQs 

1. Is ONDC a platform like Amazon or Flipkart?   

No, Open network for digital commerce is a community that connects multiple e-commerce structures, no longer a single market. 

 2. Can small corporations be part of Open network for digital commerce easily? 

Yes, small groups can join Open network for Digital Commerce without excessive access charges, making it reachable for neighborhood dealers. 

3.How does Open network for digital commerce impact customers? 

It increases the selections to be had to clients by presenting get right of entry to loads of sellers throughout platforms in one region. 

[fashionmarketingggg]

This last shop was my personal favourite that we learned about.

This store is called “York Designer Dress Agency” which focuses on reselling preloved Designer clothes and accessories. This small business is owned by a woman who was a past fashion teacher herself but decided to move onto a more sustainable, independent business which has been open for around two years.

This is great for customers who would love to acquire high end products and clothes but not at the full price range, providing a more affordable version of the items and giving them another chance at being loved and brought back to life again.

Some pieces are handed in for free to make sure that the was loved items, have a second chance at another owner who will treasure it.

This was a great boutique to visit and the owner was great help with our questions. I would recommend this to other people.

[monsterkong]

The Power of Being Different: Julie Valentina’s Journey in Filmmaking

💫 When you think of a filmmaker, the image that comes to mind is often that of a man. But Julie Valentina is flipping that script. At just 22, she’s already making waves in the film industry, not by blending in, but by standing out. Her journey is one of courage, creativity, and community—a journey that’s redefining what it means to be a filmmaker in today’s world.

From Student to Filmmaker: A Leap of Faith

Julie’s story begins in a university classroom, where she was studying media production. But something didn’t feel right. The rigid structure of academic life didn’t align with her creative spirit. So, she made a bold decision: she dropped out and jumped headfirst into the world of filmmaking.

This decision wasn’t without its challenges. "Being a female filmmaker is still pretty rare," Julie says. "But for me, it’s never been a problem. I actually see it as an advantage." And it’s this positive outlook that has propelled her forward in an industry where women are still the minority.

The Struggles and Triumphs of Being a Female Filmmaker

Julie’s journey hasn’t been easy. She’s often been the only woman on set, and in some countries, she’s faced outright sexism. "I’ve had local production teams question why I was there," she recalls. "But those experiences have only made me stronger."

Despite these challenges, Julie has thrived. She’s worked with big-name clients like Beautiful Destinations and Turkish Airlines and directed major campaigns—all while being the youngest person on set. "It’s been a learning experience," she reflects. "But it’s also been incredibly rewarding."

Creativity and Community: The Heart of Julie’s Work

For Julie, creativity is everything. It’s about being in a flow state, where passion and focus merge to create something truly unique. "Creativity is a way of expressing our inner world," she explains. And for Julie, that inner world is constantly evolving, shaped by her experiences and the people she meets along the way.

Community has also played a crucial role in Julie’s journey. After leaving university, she immersed herself in a network of filmmakers and creatives who supported and challenged her. Now, she’s giving back by creating opportunities for others. Julie is launching events and trips designed to bring creatives together, allowing them to learn, grow, and create as a community.

Looking to the Future: Bigger Dreams and New Goals

As Julie continues to grow in her career, her goals are shifting. "The big goal is always freedom," she says. But what does freedom look like for her? It’s about having the choice to work on projects that excite her and the ability to travel on her own terms. It’s also about building a legacy—whether through her filmmaking, her agency, or the community she’s creating.

Julie Valentina is more than just a filmmaker; she’s a trailblazer, a role model, and a beacon of inspiration for anyone looking to break into the creative industry. Her story is proof that with passion, perseverance, and a little bit of courage, anything is possible.

[zooterchet]

Victories Against "Make America Great Again"

Donald Trump, possessed of the delusion, that "Thin Mint" cookies are a bottom parity line product; they cause alcoholism, by deliberate design of the Scouts.

Donald Trump, possessed of the delusion, that "Sleepy Joe", Ronald Reagan, is "Artful Dodger", Adlai Stevenson, and the cross between both politicians, in reference to self and other, as a wrestling chicken-wing Bob Backland hold on himself.

Donald Trump, placing stock and seagrum, the term for a weights and measure, on gym-obsessed CIA, Marines and Army, too poorly educated to properly articulate themselves in type, phones, or with weapons.

Donald Trump, having used Twitter as a platform to advise global arms dealers, on the rumor that "cancer kills"; his anti-smoking agency, the NSA, using Philip J. Morris for clandestine contacts prior and during his campaign, and funded by the same, as the front to the ACLU; now used by him, as a purchase sales platform through mint ads (Ted Bundy, "Mentos").

Donald Trump, having noosed himself, as a Klansman, a compulsory medical aid party of police, however declared himself as the defendant, his own self-suit; attempting to steal his own name, as if Jesus admitting to pedophilia, the famous crucifiction of Christ, for being a hooker's son who had fucked his half-sister, Mary Magdalene, and had a child, of twice pronounced bastard; the very move used.

Donald Trump, having explained anyone with a proper IQ to emote and understand concepts of law or police, as "pedo", from "context"; the act of having an erection, instead of urine with raw blood cells inserted into a woman; impossible to impregnate her or gain erection or support an orgasm even with oral sex assisting, in a woman, calling it "a grower not a shower", as a slur; instead of heterosexual male culture, or the female uterus, otherwise "barren"; a lesbian bisexual androgynous.

[magazineswire]

Melissa Satta: A Multifaceted Talent Making Waves On and Off the Screen

In the dynamic world of entertainment, certain individuals possess a rare combination of talent, charm, and versatility that sets them apart from the rest. Melissa Satta, with her magnetic presence, infectious energy, and diverse skill set, has emerged as a true Renaissance woman, captivating audiences across the globe with her performances on screen and her influence off it. From her early days as a model to her success as an actress, presenter, and entrepreneur, Melissa Satta's journey is a testament to the power of passion, perseverance, and boundless creativity.

A Model Turned Media Sensation:

Born on February 7, 1986, in Boston, Massachusetts, Melissa Satta's journey in the world of entertainment began at a young age. Blessed with natural beauty and charisma, she quickly caught the attention of modeling agencies and embarked on a successful career as a fashion model. Her striking looks and undeniable talent soon catapulted her to international fame, gracing the covers of prestigious magazines and walking the runways for top designers around the world.

Transition to Television:

As Melissa Satta's star continued to rise in the modeling world, she began to explore opportunities in television, where her dynamic personality and infectious enthusiasm found a natural home. From hosting entertainment shows to appearing as a guest on talk shows and reality programs, Melissa's magnetic presence and quick wit endeared her to audiences, solidifying her status as a media sensation with a flair for engaging storytelling and compelling content.

Acting Acclaim:

In addition to her success as a model and television personality, Melissa Satta has also made a name for herself as a talented actress, winning over audiences and critics alike with her captivating performances on screen. From her breakout role in a popular Italian television series to her acclaimed work in feature films and theater productions, she has demonstrated her versatility and range as an actress, effortlessly transitioning between dramatic roles and comedic characters with skill and finesse.

Entrepreneurial Ventures:

Beyond her accomplishments in the entertainment industry, Melissa Satta is also a savvy entrepreneur with a keen eye for business opportunities. Leveraging her brand and influence, she has successfully launched her own fashion and lifestyle ventures, including clothing lines, beauty products, and wellness programs, catering to a diverse audience of fans and followers eager to emulate her signature style and embrace her message of empowerment and self-expression.

A Global Icon:

As Melissa Satta continues to make waves in the worlds of fashion, entertainment, and entrepreneurship, her influence knows no bounds, transcending borders and cultures to touch the lives of fans and admirers around the world. With her unwavering commitment to excellence, her boundless creativity, and her infectious passion for life, she serves as an inspiration to aspiring talents everywhere, proving that with talent, determination, and a touch of glamour, anything is possible.

In conclusion, Melissa Satta's journey from a small-town girl with big dreams to a global icon is a testament to the transformative power of talent, perseverance, and ambition. With her magnetic presence, infectious energy, and diverse skill set, she continues to captivate audiences and inspire admiration, leaving an indelible mark on the world of entertainment and beyond.

[crashingaward]

Review: Poor Things

Emma Stone was spectacular in Poor Things. I'm glad she won the Oscar for Best Actress.

My review of the movie...

Poor Things is a captivating dark comedy directed by the talented filmmaker Yorgos Lanthimos. Set in Victorian-era Scotland, the film offers a twisted and whimsical tale of love, identity, and scientific experimentation, based on the novel by Alasdair Gray.

At the heart of Poor Things is a standout performance by Emma Stone, who shines as Bella Baxter, a young woman brought back to life through a bizarre experiment conducted by the eccentric Dr. Archibald "Archie" McCandless, played with delightful eccentricity by Mark Ruffalo. Stone's portrayal of Bella is both charming and chilling, capturing the character's complex journey from victim to master manipulator with aplomb.

Lanthimos' direction infuses Poor Things with his trademark blend of dark humor and surrealism, creating a uniquely off-kilter atmosphere that keeps viewers on their toes. From the quirky dialogue to the absurd situations Bella finds herself in, every moment is imbued with a sense of absurdity and unpredictability that is as entertaining as it is thought-provoking.

The supporting cast, including Willem Dafoe as the enigmatic Dr. Godwin Baxter and Margaret Qualley as the cunning Lydia, deliver strong performances that complement Stone's central role. Their interactions with Bella add depth and intrigue to the storyline, as alliances shift and secrets are revealed.

What sets Poor Things apart is its biting social commentary and exploration of themes such as power, agency, and the nature of humanity. Through Bella's journey, the film raises provocative questions about autonomy, consent, and the ethics of scientific advancement, challenging viewers to confront their own assumptions and beliefs.

The production design and cinematography in Poor Things are stunning, transporting viewers to the atmospheric streets of Victorian Scotland with immersive detail and authenticity. From opulent mansions to fog-shrouded alleyways, each setting is meticulously crafted to enhance the film's darkly comedic tone and macabre aesthetic.

Overall, Poor Things is a wickedly entertaining and thought-provoking film that pushes the boundaries of genre and storytelling. With its stellar performances, inventive direction, and biting wit, it's a must-watch for fans of dark comedy and unconventional cinema.

[sarahowritesostucky]

Pairing: Steve Kemp x reader

Rating: Mature

Tags: sex worker reader, escorting, sugar baby/daddy

Summary: The first time you met Steve was in a hotel bar

"It's an underappreciated artform, the sitting around in hotel bars and exuding the right kind of allure, drawing in the right kind of men."

First Encounters: Steve Kemp

You've never taken offense at the term "prostitute."

"Whore," "hooker," "call girl," "escort," "lady of the night." They're all just different words to describe the same thing. Sex for money, an exchange of goods and services: one that took you from an indebted college student, to a lady of leisure in only two short years.

You live in a gorgeous apartment on the upper east side, have a massive wardrobe, access to endless beauty treatments, VIP membership at Equinox gym, a bevy of handsome suitors, and more leisure time than you know what to do with. So you really couldn't care less what people want to call you.

But as they say: "It takes money to make money."

Back when you'd first gotten started, you hadn't exactly had an extra grand lying around for designer lingerie or boutique hair appointments or Botox, so you'd worked through an Agency, where—in exchange for a demoralizing thirty percent cut of your profits—a team of other people were willing to spend tons of money to turn you into a perfectly polished, highly desirable product.

In those days, you'd been doing more traditional sex work, and maintained a full client list. You would refer to yourself as an "escort" or a "girlfriend" around said clients, depending on what seemed to make the man of the hour happiest. The men would always wind up calling you by your real first name, or else by whatever silly pet names they inevitably came up with—Kemp, for example, has always liked to call you "Bunny."

And speaking of Kemp: he was the first of The Five that you met back then, back before you ever knew you'd wind up being the kept woman of five different sugar daddies.

It'd been winter. You remember because you'd just set out on your own, and that meant giving up the Agency's private door to door car service, which meant sometimes navigating the slushy, snowy New York sidewalks—in heels—on the way to your engagements.

You'd parted from the Agency on good terms, bringing with you a decent but not robust client list of about two dozen gentlemen. Most of them were infrequent flyers, however, so business wasn't exactly steady. With a lease in Manhattan and other bills to pay, you'd taken to spending your evenings out on the town, dipping your toes into the fancy sorts of watering holes where the city's elite tended to congregate.

The sorts of men you entertained would often want you to come to their own private residences, but that was strictly against your rules, especially since you were newly absent the Agency's security personnel. The environment in which you met clients had to be somewhere you could maintain control, and that meant either hotel rooms booked by you, or else a private location of your own. Since you hadn't yet gotten the funds to rent out a second apartment purely for gentleman callers back then, hotels were where you worked. And their smokey, soulful lounges were where cast your line.

It's an underappreciated artform, the sitting around in hotel bars and exuding the right kind of allure, drawing in the right kind of men.

You'd been channeling the 90's that night, with your sheer black stockings, velvet pumps, and scandalously short LBD. Your hair had been freshly set and brushed out into Veronica Lake waves. Your lips, lined and matte red, sipped vacantly on a martini as you purposefully made yourself look like a woman sulking over being stood up. That was when Kemp had glanced over from the bar with that unmistakable glint of male interest in his eyes.

You'd clocked the Rolex as soon as he was withing speaking distance, and your eyes dragged slowly up his body: Gucci shoes, Versace bespoke suit, salon-cut hair. Oh yes. He would do nicely.

"I'm sorry, maybe this is forward, but I saw you alone over here and wondered if maybe you'd like some company?

"Do I look that lonely?"

"Perhaps not. But a woman as beautiful as you shouldn't be sitting alone at all. It's a waste."

You'd smiled coyly and feigned being flattered, then pouted over the imaginary date who'd stood you up, scooting your chair to the side and welcoming him to join within flirtatious proximity on your side of the table.

An hour spent talking and sipping cocktails together had you aware of his general profile: married, kids, from Portland; in town frequently for work, surgeon, rich; handsome, witty, and amiable enough to talk to.

Another hour had him aware of your profession, agreeing to your fee, and offering to take you upstairs.

But of course you'd said, "Oh no, silly. That's not how it works." You'd trailed your finger up the edge of his lapel with a demure smile. "We have to get to know one another."

"Yes."

You'd slid your business card across the table with one nude, lacquered nail, and told him how thrilled you were to have met him, and that he would need to make an appointment with your "secretary" if he wished to see more of you. A luncheon was first required, and then the two of you could move on from there, depending on his wants and needs.

"I had a great time with you this evening, Brendan," you'd simpered, standing and smoothing out the lines of your dress, picking up your clutch and tossing your hair over your shoulder. "I do hope I hear from you."

Many lesser working girls wouldn't have shown such restraint. They would've taken the sure thing and allowed Brendan Steven Kemp to whisk them away in the hotel elevator, lay them out on six hundred thread count sheets, and have his merry way with them for a guaranteed sum.

But even back then, you'd known better than that. Sure, you ran the risk of never hearing from him again, but that was the price one paid when going for the bigger fish. You weren't interested in reeling in the sorts of clients who only wanted a one and done.

You were on the hunt for big game, the sort of men who got off not just on having you in the moment, but also on knowing that they had you in reserve, waiting in the wings for their own capricious desires, whenever they should arise. It was the getting you and keeping you; the wanting to feel alive again on the regular, whisked away from boring lives and mundane wives.

So you played the long game, knowing that the right sorts of men will call back, if it's meant to be.

No ultra-high-value man goes after something easy more than once. But if you only let them have a taste, if you make yourself into something elusive and desirable and seemingly rare; well then you're bound to have them swimming round again and again. Men like Kemp want the chase. They want the surface-level mirage of a relationship that makes the sex so much more thrilling.

So you'd shot him one last, lip-lined smirk from across the lounge, and then you'd sauntered out of that hotel bar like you owned it, able to feel the heat of his gaze on your back all the way out to the lobby doors and beyond.

He'd emailed to book his luncheon less than thirty-six hours later, and the rest was history.

Other First Encounters coming up in this order:

Sugar*Baby & The Five Daddies Imagines Masterlist

Masterlist

Tips go in the Kofi cup! 🥰 (Much Love!)

This has been a fill for @sebastianstanbingo

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Square G1: Escort/Client