#and i don't think she's buying his appeals to her emotions

[apple-spider-vinegar]

Fuck it, the Hades and Persephone parts of "Chant" from Hadestown but it's Norman and Emily Osborn

[sgiandubh]

The thing is, this escort mess won’t have an impact on Sam or his image or his products sales. The only ones talking about the mysterious woman and her true profession is this little bubble on tumblr.

The twitter accounts who saw the JJ pictures and knew an obvious pap walk tweeted about it on the day. But they aren’t tweeting about the escort because it isn’t public news, they won’t know it unless they look in this corner of tumblr or people on tumblr post the info on twitter and it gets traction.

The (religious) Sam mommies aren’t leaving Sam’s side because they would never believe it regardless of the proof. If Sam was papped tomorrow with another woman, that would be Sam’s new love. See P**v’s world.

Hawaii had an impact because it was all playing out online, on Sam’s SM feeds, from Sam himself. But other messes that have come up over the years that were big in this tumblr bubble never made it outside of here, had no impact to Sam.

Unless respected publications pick up who the woman is and print it, the public at large will not know. And that will never happen because they only publish what they are told, like Starz in this situation since the article only mentions Outlander and Blood of My Blood, or what Starz/PR have given confirmation to print. These publications won’t go rogue and lose their business with these studios/PR.

Dear Excuse Him Anon,

You wrote a PhD dissertation just to mitigate a couple of things and completely disregard what I wrote. Not nice, girl.

Did you look at the comments under that JJ photo reel featuring the pap walk? They are abysmal. It's between gay and 'professional companion'. Those are, for the most part, casual viewers and followers. It should give us, his PR and himself a pretty good idea about impact. Do you honestly think this is ok, or something he'd get rid of anytime soon?

Anyhow, these are just regular people. If you do think those agents, directors and producers of mainstream Hollywood don't know by now who the hell she is, you are naive. Same goes for his business and CSR contacts. They know. And they do simply because this is about money, first and foremost. Business. So, spare me your good sentiments: you clearly have no clue of what you are talking about.

Suppose that I, as a diplomatic agent posted to Athens, would have been seen buying smuggled cigarettes on the Piraeus docks. How long do you think it would have taken my colleague from Cipher (but not only Cipher, of course) to find out? And by the way: this happened to one of the technical personnel at a friendly Embassy (they do not have access to diplomatic duty free perks), while I was still there. He was sent back home in two weeks, Anon. Standard NATO security rules. So yes: different situation, but same rationale. Prestige and image before anything.

Hawaii 🐰never made it to mainstream press, not even as a 'mystery companion'. And not even to JJ. Damage contained pretty well by S, too - in a very emotional, confused moment, in which even C stepped in with a heartfelt appeal ('If you do not like us, do not follow us', or something along those lines) . Their luck and ours.

The religious Sam mommies won't leave his side until they snap and do, Anon. People can tolerate many things, but it is unlikely they would tolerate something so alien to their own moral code for eternity. Again, naive.

Also, the public at large DGAF about S and his paid pap walk companion. Also, don't ask why he has only flop film proposals. Here's your answer.

What a waste, Anon. What a waste. Lost respect is very difficult to earn back. And he lost a lot of it in what, 24 hours? Wow, Anon. Wow.

Add to this the completely tone deaf ad for Outlander World Day or what the hell it is called and you'll be as (second-hand) embarrassed as I am right now, Anon. Because that is not a bastard, far from it. Just someone in dire need of a complete PR intervention, until it's not too late. If he'd only listen.

[beneathsilverstars]

@horatiocomehome replied

ooo how about jewelry taste. dangly earrings vs studs, do they wear bracelets, rings, flashy vs elegant, etc

mirabelle has so many cute trinkets! we know she loves accessories that go ding ding, and she'll layer a ton of necklaces so they knock against each other. sometimes they all match nicely, sometimes it's eclectic chic! she adores metal charms and carved beads, especially charmingly unusual shapes like an itty bitty fork, ducky, book, etc. as well as classics like lockets and bells! she tends to fidget with rings and lose track of them, so she avoids those. post-canon she decides to stop wearing earrings, so she turns her novelty earrings into bracelet/necklace charms! and gives her more basic studs to isabeau so he'll actually own some basics.

isabeau is all about shapes and contrast, so he likes chunky beads in materials like turquoise or jasper that have different shades marbled together, metal geometric shapes, wire-wrapped stone, and unique arrangements of elements. he likes funny noises too, but will go for one complicated necklace instead of multiple single strands. he definitely tends towards statement necklaces and earrings — he used to run into trouble because he only had statement pieces, so they would clash terribly, but then he started buying more matching sets. he loves bonding earrings as a romantic, but is a little torn because there's no way any two earrings could match all of his fits...

odile is the kind of person to pick a nice look and stick to it, so there's not much variety in her accessories. she has her glasses gems, a pair of pearl studs, a pair of silver studs, and a couple sentimental rings that she keeps somewhere safe instead of wearing. we know bonding earrings are popular in ka bue but not as universal as in vaugarde; i think it would be cute if ka bue had a whole language of earrings and rings, with different gem types/cuts/colors denoting different sorts of relationships and emotions. so she's got, like, a [daughter, you are the most important thing in my life] ring from her dad, and a [lover, we change each other] ring from an ex.

siffrin is all about sentimental pieces!! it doesn't really occur to him to buy himself jewelry, but isa or mira will see him looking at something in the market and buy it for him and suddenly the aesthetic appeal that sif had mildly enjoyed doesn't matter at all compared to They Gave This To Me. siffrin tends to be drawn towards solid shades or starry dots, and smooth, swirling shapes. isa also gets them stimmy pieces like a bumpy bangle or spinny ring, and mira gets them cute things that remind her of them like star pins or kitty charms. he's just so fun to give trinkets to, even bonnie and odile have gotten him some, so he's working up quite a collection! he carefully rotates through everything, and keeps some pieces in his pockets when he can't fit everything he wants onto his body or doesn't want to wear any jewelry that day.

bonnie's bracelet is smooth wood, and they're going to be very upset the day it no longer fits over their hand. they prefer non-rock materials like wood, shells, bones, and sea glass, because that's just way more fun! they made shell necklaces with nille all the time, so many that it doesn't matter how often they lose them.

loop goes full magpie! since they don't have to buy necessities like food, they're less careful about spending money than siffrin, plus they're more desperate to capture any scrap of joy. they also have a bit of "everyone else is an npc" brain and "i am both above and beneath normal rules", so they're more comfortable with stealing than siffrin is. they like drapey chains, black and white beads, and unusual pieces. they like the pressure stim of very heavy necklaces and the clack of many bracelets. once when one of their favorites broke they procured the tools to fix it, and started modifying the stuff they own and stringing trinkets onto chains!

[max-nico]

Since we're making aromantic trend on Valentine's day...

Aromantic Shadow the Hedgehog Headcanons

In other words, an entire post of me projecting onto Shadow the Hedgehog

Shadow who grew up on a space ship with his older sister and a bunch of scientists and was never really introduced to the concept of romantic love

Who never catches on when ANYONE flirts with him (and would be pretty uncomfortable if he did)

Who's just very averse to touch in general

Shadow, much like a lot of aromantic people, can't really figure out the difference between romantic and platonic love

He can begrudgingly admit he cares about his friends and family but past that, he's really unsure

For Shadow, even the word love pushes how he feels about the people around him. The only person he's ever truly loved was Maria, and most of his memories of her are wiped

So he still doesn't have a good base for what love feels like

I think a lot of Shadows character revolves around him figuring himself out, this is just another part of that

If he ever did get in a relationship then it wouldn't be even the slightest bit conventional

A lot of traditionally romantic things don't appeal to him and he doesn't really understand what the point of them are anyway. Maybe he can understand it from a logical point (like giving your partner flowers is the exact same as giving them a gift. So how can it be that different from buying a gift for your friends?) but there is an emotional disconnect

I think Shadow would go above and beyond for any partnership (whether romantic or platonic) that's just his personality

I'm sure Amy has tried to describe the difference to him, maybe she's talked about the reason she would follow Sonic to the ends of the earth. Of course, Shadow knows that she would do that for everyone of her friends, but still can't grasp what makes Sonic different

Though in his defense, he can't wrap his head around almost anything Sonic does. Shadow finds him irrational

In general, Shadow and Amy have an amazing character contrast. Amy is an absolute lover girl, obsessed with love, loving, and being in love. Compared to Shadow, who's been a huge loner his entire life and turns up his nose at the thought of people holding hands

They're best friends tho I think :p

Anyway in conclusion:

[itzrafee]

The Bikeriders isn't for everyone. At least in the beginning. Hell, I'd love to meet the people it is for. But slowly, as you buy into this world, you start to see it. Why this raucous counterculture could be appealing. You see it, at first, through the eye's of Jodie Comer's Kathy. Something hostile and aggressive, hellbent on making you feel uncomfortable. But then, as she's on the back of Benny's bike and as you hear the roar, something kindles in you. A stirring. Maybe the first embers of understanding. And as the other bikes ride along side them, the camera shaking violently at times and at others steady as can be, it starts to burn as you see that appeal. As you start to feel as they do.

And that's the magic of Jeff Nichols. He makes you understand what his character's are feeling in a way... only one other filmmaker is able to. Looking at his filmography you kind of get a clue who this other filmmaker might be. A hint. Because among these grounded stories of Americana, you have an aberration. Something that seems a little different. In Midnight Special, you see who Jeff Nichols has the potential to be. Who he could succeed. Because Midnight Special makes that connection to Steven Spielberg crystal clear. It makes you sit up and see how Jeff Nichols sees his characters. That soft backlighting and gentle hold on them as they emote. The subject matter and the interactions they have. How they're blocked on screen and the depth his scenes have. But more than anything, his style is the only evolution of Spielberg's style of holding on awestruck faces that works in modern cinema. Because Jeff Nichols understands, much like Spielberg understands, how his actors faces help us understand and connect with the story. But unlike Spielberg, where at times the actors exist solely as tools to convey an idea, cutting soon after, Nichols holds. Nichols holds as we understand what his characters are going through. As we understand what they feel. As we understand what they're thinking. And then he holds for a second more as that thought evolves. As people swallow their spit or bite their lip or look away from the camera. Nichols melts the background away until all that exists is just you and the character.

And boy does that just work when you have actors like the ones in The Bikeriders. Jodie Comer is a vision in this movie, her turn rivalling that of Marisa Tomei in My Cousin Vinny. The movie turns around Kathy as much as it does Benny. Kathy feigns ignorance at times despite understanding all of the original Vandals more than they understood themselves. It's why that introduction of all of the newer faces hits even harder. Kathy doesn't know them and as a result neither do we. But the ones we do know take our breath away. Tom Hardy's Johnny is this all too real portrayal of a man stuck between the need to belong and the greed of owning the things you can never have. The latter of which is personified by that hubcap stealing punk that later rolls up whereas the former by Benny. Austin Butler's Benny is the picture of freedom of the 60's. Unchained yet longing to belong to something. His flighty eyes dance around the whole movie until they don't.

And rounding it out, in this actor's director's cast, are a who's who of character actors, lead by the Nichols stalwart of Michael Shannon, who delivers the gut punch in the middle of the gut punch as they sit around the fire and he blurts out the thing they've all heard. Something that feels almost like spelling out the movie itself but then, when you look across the actors faces, you see that Nichols trademark. You see why it doesn't matter if anybody had said anything. You can read it across their faces clearer than you could ever hear Shannon.

And as it hurtles towards that conclusion you start to see why the movie is the way it is. Somewhat disconnected, disjointed, flung across the years. Because it tells of time and change. Of how that institution of America changed and grew away from it's people just as the Vandal's did from Johnny. You hear it in Mike Faist's characters journey between the years. You see it in Kathy's homes. And you feel it in the people that change. As Funny Sonny sits outside of a theatre and welcomes people into Easy Rider you see that change in the medium you're watching it through as well. Time is fragmentary. Days and hours at a time will be cemented into your memory only to be followed by events months or years later, these disjointed events forming a narrative in your mind held together only by the way you you see the world. The Bikeriders dives back into memory to tell us that story in the only way it can, through moments and through people.

[ca-suffit]

Rolin Jones saying he made the show for neilcfreak doesn't absolve her of her racism and general unpleasantness. It proves two things. That Rolin doesn't know anything about fandom and if he does doesn't care. And two that even the most wretched white people get good things. They get to slip into spaces they shouldn't even after being terrible while Black people who are more deserving don't.

Also let's not kid ourselves. Rolin makes this show for Lestat and the huge boner he has for Lestat. When he found out AMC had bought the books he begged to be put on the project and had his own production company come up with a brief to present to AMC.

He's said repeatedly that he can't wait to do the Lestat season and that he enjoys writing Lestat. By the way I have no problem with him loving Lestat because that hasn't stood in the way of Season 1 being as good as it is.

I'm just saying he didn't know Gorrei before he spent money to pitch the show. So let's take that with a grain of salt.

I'm p sure Rolin says a lot that he doesn't read stuff online. he's also a white guy in his 50s with a long history of working in television. it's ttly different worlds. I don't expect him to know shit lol.

but ya that's the point ppl don't want u to focus on. ppl want u to think if I was nicer then we'd all sit down and solve racism in an hour and I could stop being so "jealous" and "have fun" too. lol but that's not real. all of this happening isn't v surprising because this is already what's been happening and will continue to happen. the white fandom ppl the show seeks out or who buy access to these spaces aren't more deserving or smarter (def not that lol) they're just white. anne rice was also just white. if she'd been anything else she'd have lost her job instantly for opening her mouth the way she did.

this is why white ppl need to be the ones saying things more because a lot of white fandom bs relies on white ignorance and appealing to white emotions. rn white fandom here isn't even mostly white ppl anymore and that's made it worse tbh. cuz they rely on usually showmey0urfangs or maybe keybearer to shout down at ppl how they're black and won't be spoken over.....while literally they have no community with the black fandom here anymore at all lol. neither one of them is american either btw. there's not a single well known black american fan here despite that being the main character of the show rn and plenty of fans fitting that description. if neilcfreak wanted to scream so loudly about "I'm (white) jewish so understand the struggle" when talking about racism then where tf is her solidarity for speaking on racist shit lol. couldn't possibly be that was only a way for her to avoid apologizing for saying racist shit? never....

white fandom only cares about protecting its own and having a specific identity only when it can be weaponized to avoid accountability. that's all anne rice did too. arguing with ppl and being a constant victim is a basic manipulation technique meant to exhaust the other side and "win" without needing to provide any real argument. these ppl can't talk about the themes of anything with any depth so u'll notice even when talking about the books, it's always broad mentions of "dark themes" without discussing them ever. they're only smart to themselves and that's why they're in my asks screaming I'm jealous of them. u can see how maven and them talk how superior they feel for this despite the majority of the fandom knowing they're stupid. ur just white, that's the end of it. u have never proven ur deserving of anything and I already know that's how the world works so lol. scream it at me as much as u want but it doesn't make it more true. ur just white and whiteness gets rewarded when u also promote white fandom shit. this group works together to promote each other for this reason but it's still usually only the white ppl getting the full benefits. ur bland af catering to the widest appeal possible. ur challenging nothing but needing to get in my asks to show off about it because ur so angry I'm not kissing ur asses lol. the lestat parallels never end I stg.

the one thing I think white fandom isn't prepared for tho is that maybe the Rolin's lestat won't be the version they expect him to be either lol. if ur familiar with stuff Rolin does I don't think he's gonna be what they want and that's gonna be so funny.

[pumpkinnning]

rewatched bridgerton s1 and now i'm trying to understand why it's bad (spoilers) from a writer's perspective

* criticisms about the inaccurate costumes or over the top music or lots of ballroom scenes or lack of serious worldbuilding are silly to me tbh the show makes no pretense to be sth its not, this is like criticizing YA for having emotional teenagers or horror for being bloody. just say its not yr thing and move on

* obviously the interesting themes of sexual education and agency and empowerment are completely fucking ruined by the sexual assault scene that's not framed as such just because the perpetrator is a woman. there's no coming back from that

* even beyond that though the romance is badly done. there are some seeds of sth that could be interesting but it all stays so shallow and underwhelming. the actors have little chemistry i don't like the way Daphne is played

* the scene with Daphne saying she likes Simon's mom's favorite painting bc it reminds her of the peace of early mornings in the countryside and feeling alone yet at one with the world is very charming but also i was like....yes and ? are they gonna bond over liking the peace and quiet together? nature ???? sth else ??? as if it comes across as very...Omg Surprise Woman Capable of 1 deeper thought = hot !!!!! or is it just about her being like his mom (ew). good example of how attempts at depth can fail if they're not connected to deeper themes and character dynamics

* they make each other laugh with sarcastic observations about the behavior of the people around them and the shallowness of social games. like the prince complimenting all the other women's dresses. this would work with characters who are outspokenly critical of society around them. But their connection is that same kind of shallow. And so much of their romance needs us to buy into the social rules and games. The appeal is omg Daphne is the Prettiest and the Diamond and the most specialest girl ever and Omg Simon is this important Duke and isn't it romantic that they're forced to get married for stupid reasons because of honor based rules. And Daphne visibly cares so much about making a good marriage within the rules of society. So these moments feel disingenuous or like they're just being assholes (but without even truly commiting to it and making it fun!)

* the Duke talks about how they're best friends. but i never got that sense of begrudging respect that develops when antagonists start to like each other. Or that they actually liked spending time together. The only thing that i can think about is her punching Berbrooke (he likes boxing so that's an interesting parallel) and making moves on the Prince that force him to consider she's not just a naive little doll. And the bits of witty dialogue. but that's just not enough.

* this is supposedly about Daphne's sexual awakening but yet there is so little real sensuality. she stares at his arms a bit. he tells her to touch herself. its so basic and bland. giving "everyone is hot and no one is horny" vibes. every romance at its core, even the more chaste ones, eroticize something, and the deeper it goes into their characters the more impactful it is. i don't know what this is eroticizing beyond the fact that they're both hot and it's a Good Match tm. the appeal of the innocent virgin vs. rake who is supposed to educate her and show her the wonders of sex is cut down by the fact that he's witholding information, lying and manipulating her the whole time. and not teaching her much either tbh. that's not hot. it's a story that could be interesting if done properly but tbh it doesn't belong in a fluffy wish fullfillment romance, it's too sordid and psychologically complex and unpleasant (like that is horror romance territory lmfao)

* the sex scenes are a key part of this. i'm not against explicit scenes on tv when well done it can really contribute to the dynamics and be really hot (there's nothing wrong w that) but here there is just this fundamental disconnect btw what they're trying to sell us - the focus on Daphne's pleasure, the sense of freedom and liberation after all that repression - and what is actually happening in the plot, him trying to distract her and lying to her. that's not hot and it's weird. secrets and fucked up dynamics can be hot in a sex scene but you have to acknowledge it somehow, not present it as perfect honeymoon bliss. Unless you're in the close pov of a character who's completely unaware - which is not the case here. We know what Simon is doing ! we can't just set it aside.

* the conclusion scene where they're both standing in the rain and she tells him he doesn't need to be perfect to be worthy of love is beautiful in itself. it's a beautiful message. what is so disappointing is how they get there. Simon isn't given the time to heal from his own trauma - he's strongarmed in a way that feels extremely manipulative. She tries to force him to impregnate her against his consent, then she goes through his private correspondence and tries to guilt trip him into changing his mind, judging his deep and private pains and trauma in a flippant way and telling him he should get over it if he actually loves her. of course he shouldn't have lied to her, but that doesn't make her actions ok. the whole thing is just incredibly unromantic to me. there is no genuine growth happening. Simon ends up being a nothingburger of a character bc he is so reactive and one note. when he's pissed he gets drunk and hits stuff. that's basically it until Woman Shows him the Way. the actor tries his best with the smoldering soulful looks. but that only works for a bit.

* there is absolutely an uncomfortable racial element to this. she's an incarnation of this image of white womanhood that is supposedly morally and emotionally superior and is going to teach silly men how to live properly ; i don't like this dynamic much already. it's bioessentialist it puts women on this pedestal that's actually a burden and makes it impossible for them to be truly human ; it's terfy and smug and self righteous and honestly insufferable. And it's much worse when it concerns a man of color

* really it's mindboggling to me that so many people gave the green light to this. but i think it's a testament to the idea that there are some "normal" elements of sex that couples owe to each other, and also that marriage and having babies is the one right way to happiness and health. ofc this wouldn't be strange for the time period - the weird thing is more that they assumed modern viewers would find this romantic, because, again, this is designed to be wish fullfillment, not historically accurate, and the kind of wish this is fulfilling is yucky honestly.

* Daphne is just not a very appealing character by modern standards, tbh. she's very passive, and she cares the most about following the mores of her society and getting the picture perfect ending that is mandated for her as a woman ; whatever agency she develops is strictly in pursuit of that, and she goes about it in this manipulative way with a sense of her own superiority that comes from privilege, sticking to social rules and gender norms. she will have her babies and insure the triumph of the aristocratic heteronormative family. it's, again, not a surprising narrative for the era, but it feels deeply incongruous for a show that handwaves accuracy for the sake of diversity and female empowerment and wish fulfillment everywhere else

* i still remember enjoying the show on first watch until ep 6 - because its light silly frothy tone is just so fun and entertaining, and the side characters are really compelling, and there are just not enough rom coms these days. it's really the saving grace of the show they're able to listen to criticism and were able to change the way they did romance for s2

[blackjackkent]

Amusingly, our entry point to the Lower City sewers is a ladder that leads down to a single room with four stone walls (one of which can be knocked down to progress).

One has to wonder a) what the point of this room/its manhole is within the wider sewer system, b) where the water came from, and c) how long that water has been stagnating here. The smell must be tremendous.

The wall to be broken down turned out to be a bit of pain; it is one of the "Sturdy" ones, meaning it only responds to damage of higher than 10 points in a single hit, and it seemed to be finicky about that, too - its description claims it's vulnerable to force damage, but a smokepowder bomb did nothing to it. I was struggling to figure out why Hector couldn't just punch through it until I remembered he hadn't taken his daily dose of hill giant strength potion. (I'm actually running low on them; really wishing I'd paid more attention to buying rarer crafting materials in the early part of the game. Live and learn, I suppose.)

Anyway, drank that down and the wall immediately folded like tissue paper.

The sewers have definitely seen better days.

None of this is changing Hector's mind about coming down here being a terrible experience and the worst part of adventuring so far.

I am still trying to stay fairly focused on getting to Minsc ASAP but of course the game isn't going to make that easy. I checked out a few side rooms on the way through the sewers because I didn't want to forget to come back for them, and one of them - a locked room behind an area blocked by noxious gasses - woke up the Emperor for a comment.

Hm. Okay, sure, let's take a look. Given we're planning to betray the Emperor at some point in the nearish future, knowing as much about it as possible would be important.

There's a log down here detailing Duke Stelmane's illness and eventual deterioration. (I don't think this is related to her murder per se, which I think was something different orchestrated recently by Orin, but Wyll did mention that in the length of time he knew Stelmane she seemed to get markedly more ill - that Ravengard said she'd had a stroke, but that Wyll seemed to doubt that for whatever reason.)

Aw. :(

This does line up with what the Emperor told us about its dealings with Stelmane and how they were far closer than simple business partners.

I've said this before, but I honestly am completely fascinated by the Emperor as a character. I am a sucker for characters that have very deep feelings that they are either super suble/non-demonstrative/suppressive about (hence some of why Hector is The Way That He Is, I suppose, not to mention Jenna, Matty, Adi, Elliot, and Randa) or wouldn't be expected to have them. And the Emperor, despite being a mind flayer, clearly had a VERY strong bond with Stelmane - and, potentially, with the PC if you allow it to play out that way.

I'm really pretty intrigued by the arc that is apparently available where you actually romance it; I am not a tentacle aficionado so there's no particular physical appeal for me, obviously, but from an emotional standpoint it seems like there is some interesting depth there.

Anyway, this is all moot to Hector's run, of course, because Hector wants to run as far away from the Emperor as possible, as soon as possible. XD (And he's kind of frustrated to learn about all these humanizing aspects of it, because it will just make the eventual betrayal harder.)

OK, let's take a look around.

[coffeestainedcamera]

Continuing to play through the new Penacony patch, maybe I'll finish up tomorrow after CPA exam cramming. The minibosses en route to the final boss are so annoying. Anyways, spoilers follow and I'll put translations into alt text. The Sunday vs Robin debate is just so interesting to me.

Also, I'm on team "would rather buy merch than in-app purchases" but got Robin! Idk how to actually play her yet but that's an issue for later! Anyways.

Yeah, so her elder brother is my favorite antagonist in this game so far. He's proposing something utterly disgusting, out of his savior's complex that imo kicked into overdrive after she almost died. But it was probably showing blatantly enough to her for a while before that, hence mail that was described as "pleasantries".

On its face, I understand the impulse of obsessively wanting to protect your sibling. They're your whole world, but at some point, they start to make their own choices. You might not understand them (like my little bro's interest in compsci) but if they're not hurting anyone, I think you should respect them.

So I get the horror of finding out little sis went out to a warzone to provide humanitarian aid and caught a stray. But this was ultimately her decision.

My personal take is that repressing free will is dictatorial behavior. I don't care about the "strong protecting the weak" excuse. And it was particularly dirty to start the dilemma game with the "hatchling" story, as that one really panders to this line of thinking imo.

In this case, I really do think that taking the wildlife to a rehabber is fine. And I suppose the Family would have enough resources to get the bird consistent veterinary care and everything else it needs. But this is still an animal, and we are talking about dilemmas involving free will of those who can talk and explain their thoughts to others. It's like one of those "appeal to emotion" arguments my history teacher warned about.

The man in the second dilemma deserved to get turned in right away. He's a monster.

I never considered anything but the "support" option for Robin's choice, but still had the lead speak with the party members, as to decide without consulting is some Sunday behavior.

And with that, we get the monologue.

Yeah, he went full Social Darwinist. There is no other description for a rhetoric that assumes that the strong should decide the happy life for the weak, particularly when he fails to provide a definition for his two categories. It comes off particularly heinously because this is a planet inspired by 1920's US, I suppose.

The party would need to track down Welt to answer his questions because I mean, some of the anti-equal suffrage comics we saw in history class sure were following that "women and ethnic and racial minorities don't know what's good for them" thinking. Also, man really bandied about this ideology in front of someone who would be stuck in a sanatorium back then.

For your consideration:

And so, it makes sense for Firefly in particular to tear this unholy lovechild of Social Darwinism and Messiah Complex a new one. Because ultimately, escaping from the flaws of free will is not going to address any of the issues. Yeah, sure, stay awake to power the Matrix where no one is terrible, but what happens when you croak due to sleep deprivation? Everyone goes back to failing in the same, or new and horrible ways! Or dies if the unplugging goes badly!

So yeah, the road to hell is paved with good intentions.

[thattimdrakeguy]

https://youtu.be/bgqGdIoa52s

That logo….SERIOUS Spider-Man 3 emotions

Dang I need a PS and fast

I'm a simple man. I see symbiote Spider-Man advertisement, and I am there.

It all looks so great. The only stuff I don't like is Harry, and Miles hair, 'cause I didn't realize that was Harry as he looks...nothing like him, and Miles hair looks rendered weirdly. The hair will likely be fixed though. Plus it's just hair, who cares that much really.

This is PS4 Harry, and while it doesn't look like classic comic Harry. I can at least look at him and guess it's supposed to be Harry. I think it's 'cause this painting artwork of Harry looks like he could be the son of a rich billionaire. The new guy just kinda looks like a normal teenager and it's off-putting. He doesn't feel like Harry in any way if that makes sense.

I think Mary Jane might be changed too? I'm not sure how I feel on her change yet. It'll depend on the vibe I guess when we see more of her, if she feels Mary Jane-y or not, like any actor recast. I can't tell for sure though since they never let you get a good look at them. I'm not sure why they're changing most of the faces. I can deal with Pete 'cause as different as he looks I can still buy the face as Peter Parker.

So just nitpicks. Cutscene stuff and all that. Just confusing, and a little frustrating.

Just nitpicks.

The new upgraded suit for Spidey looks a lot better. The graphics actually look better than what a PS4 can do which makes the PS5 finally start to seem like it's worth it.

The story looks incredibly expansive, Peter seems to be going undercover as a waiter? Peter introducing Harry to Miles? Like there's going to be more classic Spidey personal life drama, which is fantastic.

It's clearly darker, but not in a way where it feels like it's just tryna be dark, and edgy for the sake of appealing to angsty teenagers. It instead has this big Empire Strikes Back vibe, even in the music. Whether or not that's intentional I'm not aware.

They got the web wings?? And I LOVE the web wings.

The bad guys look great. Tony Todd's voice work is peak Venom.

Miles is growing up, and I feel so good about it weirdly?? I'm not sure why, but I get this feeling of "LOOK AT MY BOY GROWING UP" that I don't normally get about things.

Venom all together so far seems fantastic and I love Venom. Love his goo-y, wetness. It's a design that I would adore seeing in a proper movie. It's great. How alien he feels, looks, and sound wise is so good.

As long as there's some really good gameplay upgrades, and all the improvements aren't only in the cutscenes then this is going to be a top tier game that can for sure top the first one.

[mermaidsirennikita]

ARC Review: A Crown of Ivy and Glass by Claire Legrand

3.25/5. Releases 5/9/2023.

Note: I am reviewing the audiobook.

For when you're vibing with... real world issues in a fantasy context (in this case chronic pain), flirty heroines, soft boy heroes (with a twist), and a dash of darkness.

Pretty and vivacious Gemma Ashbourne is the only member of her powerful family without magic--and with a secret even she doesn't fully understand. It doesn't help that her family is embroiled in a blood feud with a rival clan, and she's functionally useless in the conflict. Until the handsome Talan d'Astier, his own family ruined and destroyed by a tragedy years ago, proposes a deal with Gemma. He's after the demon that supposedly began the blood feud--and if Gemma helps him redeem his family's honor, he'll help her stop the conflict. But killing a demon is much more difficult than Gemma even imagined, especially as she's drawn further and further towards Talan....

So--this is Legrand's adult fantasy romance debut, and it's been met with controversy. I didn't hate it; in fact, I'd say I really liked some aspects, where others were more mixed for me. I think she did swing here, and not everything hit. But I'm locked in for the next book... especially if it does what I think it might do.

Quick Takes:

--I actually really like the fantasy world here. Its structure is not too complicated, but it relies on some good, old-fashioned tropes (creepy forest, terrifying children, fairies, demons, power that is a bit on the "be careful what you wish for" side) and there's a nice cultural balance. I like the parties, I love a blood feud, I enjoy the fact that it isn't a flat "everyone is the same everywhere" world. This is where I'll note that I overall enjoyed Evelyn Rose's voice performance, but I'm not completely sure about the accent choice for Talan. However, I do like that there was a choice at all. Whereas Gemma sounds a bit more standard posh-ish British, Talan has a bit of... Mediterranean...? Influence? And then the rival family, the Basks, sound more Northern. It's a nice touch. I buy that these people would have different traditions and approaches to things.

--Gemma is not only unable to perform magic; her body rejects magic around her and causes her immense pain. I really liked this aspect. Her chronic pain isn't easily managed, and despite Gemma being confident of her appeal, flirty, sexually active, all that--she struggles. She hides it. She's ashamed of it. She hates her body because of it. She struggles with suicidal ideation. I just really appreciated this unvarnished look at pain in a fantasy setting.

--This is what I would call a romance, though it is the first book in the series and not everything is resolved at the end. Therefore, the central romance is where I'm going to focus... and I was really back and forth on it. Talan and Gemma are kind of instantly struck by and attracted to each other--I hesitate to call that initial attraction "instalove", but she does fall hard and fast and I know people take issue with that.

In some ways, I actually did appreciate that Gemma fell so quickly, because it does make sense that she's desperate for relief from her pain, not only physically, but emotionally. For reasons I'll be vague about, Talan can help on both fronts, and it's no wonder that she falls so hard. And I will say, I do think that later in the book, we get some payoff for Gemma's heavy emotional investment in him, in a form that I liked quite a bit because DRAMA.

Where I more struggled with this love story initially was... him? Talan is what I would call a soft boy, a beta hero (cinnamon roll.... may be incorrect) and I generally don't warm to a lot of heroes in that vein. He's emotional, he's not super effective in a fight (though he's not ineffective), he's beautiful, he's more of a gentlemanly courtier than a rake. I was not only the Talan Train for a good while, and if you aren't on that train, you may not get Gemma becoming so smitten with him so quickly. I just thought he was kind of a shallow, weak love interest.

However...... While there were still some things that didn't fully come together with Talan's characterization (I feel like Legrand held back in an effort to write A Different Kind of Hero than what people may have expected) I... I don't know, man. He kind of won me over? I think that Talan was so different from what I generally see in these books--not tough enough to be a warrior hero, not mean enough to be a bad boy, not nice enough to be a Morally Righteous Good Choice--that he kind of Stockholm Syndrome'd me into liking him. Though I will admit, a lot of that was because he seemed pretty good in bed. Like, he'd cry, and he'd have a fever, he'd give her three orgasms in a row--in the end, I kind of feel like I was picturing a mixture of "Hozier" and "anime Howl from Howl's Moving Castle" and I... had my quibbles, but I was not... mad.

--This book does have some pacing issues. I'll be real--I know this is a fantasy romance, but it's still a romance at the core, and I personally don't know that many romances need to be over 400 pages. I think this really could've been a cool 400. Cut down some of the supporting cast scenes; snip it down to setting up the next couple, maybe; put more focus on Talan and Gemma's story. There was a whole section where they were separated right after I finally gave up and admitted they'd won me over, and that was a bummer.

--Gemma's dad: hot? Just putting that out there.

--As I said, this is a romance with some loose threads. However, though I would not say there's an HEA--it doesn't stand alone, there are two more books, and by God if you slowly convinced me to root for this fantasy Harry Styles and the woman who loves him, I better fucking get their HEA at the end of the trilogy--I think we've really gone as far as we can go with the romantic arc for Talan and Gemma. They're in love, I don't think they need any more internal threats (external threats are another thing) and as long as I see them happy in the end of the series, I'm good. I don't know what Legrand's plan is for the other two books. Gemma has two sisters, though, both of whom get pagetime that makes me feel like I understand their general internal conflicts. I feel like there are two ways in which the next book could go with a new love story. And I'm really hoping she takes the way that I felt was teased kind of heavily in this novel. But either way, I guess I'm reading the next one, so as much as I did have real issues here... she won? I guess that's all that matters.

--This book does have what I think of as first book syndrome, which is another reason why I hope Legrand focuses on other couples next, though I did end up liking Talan and Gemma. It feels like she took the path of least resistance with the first couple in her romance series--which is what I see so often in romance series. So I'm hoping that the next two really expand on this world, and offer two more couples, both of which are heavier in terms of like... I don't know. Internal conflict? Progression? Gemma and Talan really did give me "young love", and I'll go with that for a first book, but I need more for the next two.

The Sex Stuff:

And here's where Talan won me over! (And in another way, but that's a whole thing.) I really liked the sex in this book. It's not super sexy heavy, but the sex is pretty explicit. From what I recall, there's at least one good ol' d'Astier fingerbang, a dry humping scene (which ends so hilariously that I did in fact squawk) and three full scenes with the whole shebang. Talan goes down a lot, which is good, because I don't know if he's good at life in general otherwise! Generally, though, the sex did feel very "aww, these two crazy kids", and I appreciated that it was in many ways a distraction from how much Gemma's life sucked. Sure, there are curses and shit, but if Talan is gonna fuck you facedown into the mattress, you can check out of all that for a minute. On that note! Talan is totally one of those soft boys who's like "and now I'm gonna tear it up", which I did tip my hat to.

A mixed bag, yes. But I am intrigued by the series, and I was entertained. For me, a book being messy but interesting is a lesser sin compared to a book being more even but boring. It had rough patches. However, I think there is a very real potential for a stronger second installment. I'll be waiting.

Thanks to Netgalley and Dreamscape Media for providing me with a copy of this audiobook. All thoughts and opinions are my own.

[suelenlasquevski]

"The Idea of Being Seen"

I think it was in September 2022 that I read something about the fanfic "The Idea of You" being in production for the cinema. I wasn't surprised by this, as adapting this category of stories to film is a safe bet. After all, you can't hope for a more niche target and safer audience than that.

What struck me the most was learning that Anne Hathaway was not only starring in the movie but also involved in the production. And the Anne factor was the main reason why I gave this movie a chance a few weeks ago. I am very eclectic when it comes to music; however, I can be extremely picky when it comes to books, especially the ones that make it to the silver screen.

Although I think it is amazing that someone feels such a strong connection with an artist (or even well-known books) to the point of letting their imagination go loose enough to come up with creations of their own, I have this concept that, most of the time, art derived from infatuation for artists or characters tends to have weak plotlines. Since, most of the time, these types of fan art are not interested in telling a story; their goal is to make a fantasy come alive. Usually, the characters are poorly written: there is no emotional depth, there are no psychological traits that explain why they act the way they do. There is only the need to reach the climax: the scene where the ripped guy takes off his shirt because he is soaking wet from the rain that conveniently poured while he was on the way to the girl's house.

Don't get me wrong. I know that there is a big difference between this type of movie and porn. Usually, in fanfics, the "take off the wet shirt" scene comes right before the guy realizes, while he contemplates the emptiness of his life, that he is in love with this girl and he has to see her immediately to tell her about his feelings. They may or may not have sex after it, but this urge to run for the person the hunky character has feelings for and physically express their feelings is what is driving the wheels of the narrative. And right after this peak is reached, there is nothing left to do but to stall for a few more scenes, where usually the bad guys are punished for their actions and the side characters appear one last time before vanishing from the narrative. So, why the hell did Anne Hathaway get involved in a fanfic?

A smile always comes to my face when I think of her. I still remember the first time that I watched her in the movies. The messed-up hair girl who found out that she was the heir to the throne of Genovia. As years went by, Anne's roles in the movies evolved, and she tried on different genres: musicals, action, dramas. My absolute favorite being "One Day". The Emma Morley in me resonated with her interpretation of the British teacher turned-writer, who was forever in love with her best friend. I felt like I owed it to Anne. I had to understand why she decided to seal this movie. And I did.

If you look from the outside, at first glance, the premise of the movie revolves around the cliche of an older woman finding herself involved with a much younger guy. But there are certain nuances in the narrative that made me think about the underlined message of "The Idea of You" and maybe why the story was appealing to Anne.

To make my point, let's just ignore the fact that the character Hayes Campbell is heavily inspired by Harry Styles. That minor detail alone explains why anyone would buy the "take off the wet t-shirt and jump into bed with him" at any sight of a micro opportunity. The truth must be told.

Now, wearing the 40-year-old woman's shoes, which fit me perfectly since, just like Anne, I am also 41 years old, from the comfy gray couch I was watching the movie, I felt SEEN!

At every stage of our human existence, it is implied by society that certain milestones must be reached: college graduation, a steady committed relationship that leads to marriage and probably children, acquiring a house, a car, and making sacrifices to build a successful career. Not all people reach these targets, not all people arrive at these stages in the order I listed them, nor is it mandatory to check all these boxes to find fulfillment in life. However, even though we are a species with the capacity of being aware of our thoughts, we are constantly bombarded with subliminal messages that program us to function in an auto-pilot mode that leads us along this path. And although it is the same road, its traffic conditions can be quite different for men and women.

Who never heard that a certain man "is just like wine, gets better with time." Silver hair makes a man charming, but a woman sloppy. Being a man with high career goals is praised, while trying for that promotion in a law firm when you are a woman might be considered greed. Add a layer of selfishness if she chooses to prioritize her career and not have kids. And God forbid if she doesn't want to get married. What a bitch!

Life is not a video game; however, it is also made of levels, and we might fail and stumble on incredibly challenging obstacles before moving to the next one. Sometimes, we advance to the next phase and forget that the game is still on, and we must keep playing; otherwise, we might find ourselves back into a stage we thought we had overcome. Quite often, we stand still in a comfortable yet, borderline boredom place, and we stay there because we don't know the rules of what might come next.

Anne Hathaway's Solene had advanced and then went back a few levels in her game of life. She had a college graduation, a marriage, a house, a kid, and a job, but the stability that comes along with the doubtful feeling that you are winning the game also brought infidelity and divorce. Now back to the level of finding herself single, Solene had no choice but to focus on what remained from the previous experience: her daughter, her house, her job. And although it seemed that she was willing to play the game of dating again, she was not expecting that someone would deal the love card.

And it was not the usual someone that we are programmed to expect her to choose. It was not the guy who was also divorced with kids. Nor the 40-something serial dater who can't commit. It was someone who, although we are in 2024, might still be considered a "taboo," but only if you are a woman: it was a YOUNGER guy.

Being a member of a boy band was another part of the cliche, and I get it. Hot, rich, and famous equal appeal. But these adjectives only added an extra flavor to the excitement and the butterflies that normally come with infatuation. They were also necessary to "justify" the twists and turns of the narrative: trying to conceal a relationship from the media, the reaction of angry fans, and the jealousy that being happy may cause.

The audacity of a woman in her forties giving herself another chance and breaking free from societal expectations is the film's true conflict. Solene’s journey isn’t just about falling in love with a younger man; it’s about rediscovering herself and reclaiming her desires, regardless of age

The film subtly critiques the double standards women face and highlights the courage it takes to live authentically in a world that constantly tries to confine them to predefined roles.

Watching Solene navigate her feelings and societal judgment was a refreshing experience. It served as a reminder that life doesn’t have to be linear, and personal growth doesn’t cease at a certain age. Anne Hathaway’s portrayal brought depth to Solene’s character, making her struggles and triumphs relatable. The movie underscores that it’s never too late to pursue happiness and that love can come from the most unexpected places, challenging the notion that women over forty should settle for less.

The nuanced narrative of "The Idea of You" goes beyond the clichés of an older woman-younger man romance. It delves into the complexities of self-acceptance and the courage to defy societal norms. Solene’s relationship with Hayes, though unconventional, becomes a vehicle for exploring broader themes of empowerment and self-worth. It’s about a woman reclaiming her narrative and choosing what fulfills her, rather than what’s expected of her.

Anne Hathaway’s involvement in the project, both as an actress and a producer, adds a layer of authenticity and significance to the film. Her choice to back this story underscores the importance of diverse narratives in mainstream media, especially those that resonate with women navigating midlife. Hathaway’s Solene is not just a character; she is a representation of many women who dare to redefine their lives and pursue their passions unapologetically.

"The Idea of You" is more than just a romantic drama; it is a story of self-discovery, resilience, and breaking free from societal constraints. It resonated with me because it mirrored the reality of many women striving to find their own paths amidst societal pressures. The film serves as a powerful reminder that every woman’s journey is unique and that embracing one's truth can lead to the most fulfilling chapters of life.

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A Ideia de Ser Vista

Acho que foi em setembro de 2022 que li algo sobre a fanfic "The Idea of You" estar em produção para o cinema. Isso não me surpreendeu, pois adaptar essa categoria de histórias para o cinema é uma aposta segura. Afinal, você não pode esperar por um público-alvo mais específico e seguro do que esse.

O que mais me chamou a atenção foi saber que Anne Hathaway não apenas estrelaria o filme, mas também estava envolvida na produção. E o fator Anne foi a principal razão pela qual dei uma chance a esse filme algumas semanas atrás. Sou muito eclética quando se trata de música, no entanto, posso ser extremamente exigente quando se trata de livros, especialmente os que chegam às telas de cinema.

Embora eu ache incrível que alguém sinta uma conexão tão forte com um artista (ou mesmo com livros bem conhecidos) a ponto de permitir que sua imaginação se solte o suficiente para criar suas próprias criações, tenho esse conceito de que, na maioria das vezes, a arte derivada do encantamento por artistas ou personagens tende a ter enredos fracos, já que, na maioria das vezes, esse tipo de fanart não está interessado em contar uma história: seu objetivo é fazer uma fantasia ganhar vida. Normalmente, os personagens são mal escritos: não há profundidade emocional, não há traços psicológicos que expliquem por que agem da maneira como agem. Há apenas a necessidade de alcançar o clímax: a cena em que o cara rasgado tira a camisa porque está encharcado pela chuva que convenientemente caiu enquanto ele estava a caminho da casa da garota.

Não me entenda mal. Sei que há uma grande diferença entre esse tipo de filme e pornografia. Normalmente, nas fanfics, a cena "tirar a camisa molhada" vem logo antes de o cara perceber, enquanto contempla o vazio de sua vida, que está apaixonado por essa garota e precisa vê-la imediatamente para contar a ela sobre seus sentimentos. Eles podem ou não fazer sexo depois, mas esse desejo de correr atrás da pessoa por quem o personagem bonitão tem sentimentos e expressar fisicamente seus sentimentos é o que move as engrenagens da narrativa. E logo após esse clímax ser atingido, não resta mais nada a fazer além de esperar por algumas cenas extras, onde normalmente os vilões são punidos por suas ações e os personagens secundários aparecem pela última vez antes de desaparecerem da narrativa. Então, por que diabos Anne Hathaway se envolveu em uma fanfic?

Um sorriso sempre aparece no meu rosto quando penso nela. Ainda me lembro da primeira vez que a vi nos filmes. A garota de cabelos bagunçados que descobriu que era a herdeira do trono de Genovia. Com o passar dos anos, os papéis de Anne nos filmes evoluíram e ela experimentou diferentes gêneros: musicais, ação, dramas. Meu favorito absoluto sendo "Um Dia". A Emma Morley em mim ressoou com sua interpretação da professora britânica transformada em escritora, que estava sempre apaixonada por seu melhor amigo. Senti que devia isso a Anne. Eu tinha que entender por que ela decidiu cancelar esse filme. E eu entendi.

Se olharmos de fora, à primeira vista, a premissa do filme gira em torno do clichê de uma mulher mais velha se envolvendo com um cara muito mais jovem. Mas há certos nuances na narrativa que me fizeram pensar na mensagem subjacente de "The Idea of You" e talvez por que a história tenha sido atraente para Anne.

Para fazer meu ponto, vamos apenas ignorar o fato de que o personagem Hayes Campbell é fortemente inspirado em Harry Styles. Apenas esse pequeno detalhe explica por que qualquer pessoa compraria o "tirar a camisa molhada e pular na cama com ele" a qualquer sinal de uma micro oportunidade. A verdade precisa ser dita.

Agora, calçando os sapatos de uma mulher de 40 anos, que se encaixam perfeitamente em mim, já que, assim como Anne, também tenho 41 anos, do confortável sofá cinza onde assistia ao filme, eu me senti VISTA!

Em cada estágio de nossa existência humana, é subentendido pela sociedade que certos marcos devem ser alcançados: formatura na faculdade, um relacionamento comprometido e estável que leva ao casamento e provavelmente a filhos, adquirir uma casa, um carro e fazer sacrifícios para construir uma carreira bem-sucedida. Nem todas as pessoas alcançam essas metas, nem todas as pessoas chegam a esses estágios na ordem que eu listei, nem é obrigatório marcar todas essas caixas para encontrar realização na vida. No entanto, mesmo sendo uma espécie com a capacidade de estar ciente de nossos pensamentos, estamos constantemente bombardeados com mensagens subliminares que nos programam para funcionar em um modo de piloto automático que nos leva por esse caminho. E embora seja a mesma estrada, as condições de tráfego podem ser bastante diferentes para homens e mulheres.

Quem nunca ouviu que um certo homem "é como vinho, melhora com o tempo". Cabelos prateados fazem um homem charmoso, mas uma mulher desleixada. Ser um homem com grandes objetivos de carreira é elogiado, enquanto tentar aquela promoção em um escritório de advocacia quando se é mulher pode ser considerado ganância. Adicione uma camada de egoísmo se ela optar por priorizar sua carreira e não ter filhos. E Deus nos livre se ela não quiser se casar. Que vadia!

A vida não é um videogame, no entanto, também é feita de níveis e podemos falhar e tropeçar em obstáculos incrivelmente desafiadores antes de avançar para o próximo. Às vezes, avançamos para a próxima fase e esquecemos que o jogo ainda está em andamento e que devemos continuar jogando, caso contrário, podemos nos encontrar de volta a um estágio que pensávamos ter superado. Muitas vezes, ficamos parados em um lugar confortável, porém, entediante, e permanecemos lá porque não conhecemos as regras do que pode vir a seguir.

Solène, de Anne Hathaway, avançou e depois retrocedeu alguns níveis em seu jogo da vida. Ela teve uma graduação universitária, um casamento, uma casa, um filho e um emprego, mas a estabilidade que vem junto com a sensação duvidosa de que está ganhando o jogo também trouxe infidelidade e divórcio. Agora de volta ao nível de se encontrar solteira, Solène não teve escolha senão se concentrar no que restou da experiência anterior: sua filha, sua casa, seu emprego. E embora parecesse que ela estava disposta a jogar o jogo do namoro novamente, ela não esperava que alguém jogasse a carta do amor.

E não foi o alguém comum que esperávamos que ela escolhesse. Não era o cara que também era divorciado com filhos. Nem o quarentão que não consegue se comprometer. Foi alguém que, embora estejamos em 2024, ainda pode ser considerado um "tabu", mas apenas se você for mulher: era um CARA MAIS JOVEM.

Ser membro de uma boy band era outra parte do clichê e eu entendo. Quente, rico e famoso equivale a apelo. Mas esses adjetivos apenas adicionaram um sabor extra à empolgação e às borboletas que normalmente vêm com a paixão. Eles também eram necessários para "justificar" as reviravoltas da narrativa: tentar esconder um relacionamento da mídia, a reação dos fãs raivosos e o ciúme que ser feliz pode causar.

A audácia de uma mulher na casa dos quarenta anos se dar outra chance e se libertar das expectativas sociais é o verdadeiro conflito do filme. A jornada de Solène não se trata apenas de se apaixonar por um homem mais jovem; trata-se de redescobrir a si mesma e reivindicar seus desejos, independentemente da idade. O filme critica sutilmente os duplos padrões que as mulheres enfrentam e destaca a coragem necessária para viver autenticamente em um mundo que constantemente tenta confiná-las a papéis predefinidos.

Ver Solène navegar por seus sentimentos e pelo julgamento da sociedade foi uma experiência refrescante. Serviu como um lembrete de que a vida não precisa ser linear e que o crescimento pessoal não cessa em uma certa idade. A interpretação de Anne Hathaway trouxe profundidade ao personagem de Solène, tornando suas lutas e triunfos relacionáveis. O filme enfatiza que nunca é tarde demais para buscar a felicidade e que o amor pode vir dos lugares mais inesperados, desafiando a noção de que mulheres com mais de quarenta anos deveriam se contentar com menos.

A narrativa sutil de "The Idea of You" vai além dos clichês de um romance entre uma mulher mais velha e um homem mais jovem. Explora as complexidades da autoaceitação e a coragem de desafiar as normas sociais. O relacionamento de Solène com Hayes, embora não convencional, torna-se um veículo para explorar temas mais amplos de empoderamento e autoestima. Trata-se de uma mulher reivindicando sua narrativa e escolhendo o que a realiza, em vez do que é esperado dela.

O envolvimento de Anne Hathaway no projeto, tanto como atriz quanto como produtora, acrescenta uma camada de autenticidade e significado ao filme. Sua escolha de apoiar essa história destaca a importância de narrativas diversas na mídia mainstream, especialmente aquelas que ressoam com mulheres que navegam pela meia-idade. Solène de Hathaway não é apenas um personagem; ela é uma representação de muitas mulheres que ousam redefinir suas vidas e perseguir suas paixões sem desculpas.

"The Idea of You" é mais do que apenas um drama romântico; é uma história de autodescoberta, resiliência e libertação das restrições sociais. Ressoou comigo porque espelhou a realidade de muitas mulheres lutando para encontrar seus próprios caminhos em meio às pressões sociais. O filme serve como um poderoso lembrete de que a jornada de cada mulher é única e que abraçar sua verdade pode levar aos capítulos mais gratificantes da vida.

[adamofingolstadt]

Okay I had a few weed cigarettes and here's how I would fix Scooby-Doo

I have three propositions:

A kiddie show, like A Pup Named Scooby-Doo. The gang are preteens or young teens, they have to cycle/scooter/skateboard everywhere because no one's old enough to drive, they go to summer camp, etc. There may be a few morbid jokes, but the tone is generally light and fun, and there's a nostalgic Halloween/Goosebumps-esque aesthetic. The mysteries should be interesting to kids and promote critical thinking. Daphne is a wannabe broadcaster (or vlogger, to appeal to the younger generations), she films the evidence they find, and the unmasking at the end. This opens up some options for creative camera work too. Fred is very similar to his counterpart in A Pup, he believes everything he hears and is desperate to track down a real cryptid. Velma is still the brains, but she has trouble communicating. She often solves the mystery before the others, but can't communicate her brilliant ideas outside of strange, out-of-pocket statements and questions. Shaggy is a nervous beanpole of a kid, he has a slight stutter but he's greatly comforted by his emotional support puppy, Scooby. There can be an episode introducing the child audience to what service dogs are and how to respect them and their humans. The entire show would have disability and diversity themes and education sprinkled throughout. Scooby talks to them like normal, and he is just a puppy at this point, so the animators can have fun squashing & stretching his proportions for comedic reasons.

A show for older kids, similar to Mystery Inc, Gravity Falls, etc. This one is much creepier, with a heavy emphasis on spooky atmosphere and memorable monsters. There should also be more complex mysteries than in the kiddie show. Daphne has reached her girly teenage era, and she has mostly grown out of believing in monsters. She and Fred are very close friends, and confide in each other, despite the fact that Fred still believes in monsters. Fred can have his autistic trap obsession, I don't want to write-out his one and only joy. Velma is fascinated by speculative biology and parapsychology, she wants to disprove the hoaxes that she feels make a mockery of cryptozoology. Shaggy canonically has an anxiety disorder, his parents got him a support dog (from an unvetted source), but unfortunately the dog (Scooby) also has an anxiety disorder. You can do some implied stoner jokes, but nothing explicit. Scooby can still talk to them, but he's shy talking in front of people who aren't the gang.

An adult swim-style show for teens and up. The gang are in college, and the tone is part stoner movie, part black comedy, and part cosmic horror. The monsters and aesthetics are as disturbing and creative as ever, and the mysteries are more like the plots of something like Jonathan Creek. The gang might be a polycule, or maybe a QPR, either way they are often seen toking up together while discussing the eldritch horror mystery of the week. Daphne is a west coast college girl studying psychology. She refused her parents buying her a house and demanded to dorm with a roommate (Velma), Fred is studying physics, he's very social and empathetic, allowing Shaggy to stay on his couch for weeks at a time. Velma is studying criminology and she's a lite version of Esther from The Solve it Squad Returns; her brain is so efficient she has to smoke a lot of weed to slow it down. She is also as wry and sarcastic as ever. Shaggy is a full stoner. He specifically smokes when he's nervous/scared. It's never revealed what he's studying. Scooby can talk, but only to Shaggy. It's left ambiguous whether they're really talking or if it's all in Shaggy's head, but the gang never questions whether they are talking, and believe Scooby wholeheartedly.

[warblingandwriting]

Trying to get over going on reddit by just watching those youtube videos where people read reddit posts but man nothing annoys me more than these guys just pretending blatantly fake IATA posts are real. Like dude, this guy is claiming he was orphaned and took over his family business at AGE 16, the doesn't raise a single red flag for you? The obvious (and pointless to the story) appeal to emotion to manipulate the reader into siding with the main character (and make no mistake these are characters) seems like critical thinking 101.

And the same with the stories where you're not supposed to sympathize the lead, like the blatant bad stuff done is just laid out there with no self-awareness?

On top of that both of these groups are just airing their dirty laundry online? Now, I'm watching the video (or, in former days reading the posts) so obviously I find it pretty entertaining in a ridiculous, soap opera sort of way. (I will never forget you man who made a multi-post saga about some drama with his wife and her biological daughter that she hid from him, ending with him discovering that his wife did something so terrible he would never post it online, but, if you were really curious you could dm him for the fully details! :). ) But it really grinds my gears my gears that they don't take a minute to examine what they're reading.

Or, worse, when they sit there at the beginning of the video and say 'well, I know most of these are probably fake, but we're going to pretend it's real because it's more fun that way!' In what universe? It's way more fun to make fun of these dweebs for writing fake out garbage than to just buy into it! At least, in my opinion. I need someone whose reading these things and like... analyzing them to explain why they're fake.

[mfingenius]

post breakup drarry svp

It's amicable; there isn't really another option. There's no screaming, no infidelities, there isn't even any slammed doors or forgotten dates. They don't even drift apart, really, it's just logic.

"Darling." Pansy's sighing, kicking off her stillettos and signaling for him to lift his head; he does, and she slips underneath him, resting his head on her lap and running her fingers through his hair. "It's been three days. I don't want to rush you, but you're staring to worry me."

"I'm fine," he says. He's leaving for Brazil in three days, for a Potions' apprenticeship that's literally everything he's ever wanted in his life; he's not going to let it go, not even for Harry, not even for their relationship, and Harry - who can't leave, as he's just signed his contract with the Chudley Cannons - isn't going to give up his dream, either.

It's what's best for both of them, it really is.

It doesn't mean Draco doesn't feel like his entire torso is suddenly void of all of his organs.

"You've cried every single night since you broke up," she says. It's true, but it's been barely a week, so he assumes that's normal; he's never had a breakup - at least not from any relationship that mattered to him - and neither has Pansy, so they're both a little clueless here. She'd tried getting him ice cream and Hollywood rom-coms, which Luna had told her were essential to get over any break up, but neither of them understood the muggle references in the films and Draco's always lost any sort of appetite when he's sad.

They also tried firewhiskey, but even that has lost the appeal, and Pansy's suggestion of a rebound shag had been met with silence; that's what Draco's done, after other breakups, but it had been spite, or simple carelessness, and Draco isn't angry.

He wishes he were. Maybe that would give him a break from the feeling of emptiness inside him that's only ever absent when he's crying and feeling so sad he feels like his emotions are lead, pulling his heart down to his feet and then past them, down past the earth and the fossils Granger had told him about and anything that's even remotely reachable.

"So?" he asks. "You cried every day for two weeks after they changed the label on your favorite brand of firewhiskey."

"Shut up," Pansy says, and yeah, it was a bit of a low blow; he knows Pansy hates any kind of change. A part of him is afraid of what will happen when he goes to Brazil, but she's assured him a thousand times that she'll be alright.

Blaise, who knows just how much Pansy hates change, has assured Draco he'll use a cardboard cut-out of him until she can get used to his absence. Draco knows that won't work, but he hopes she'll at least get a laugh out of it.

"I just want to disappear," he says. Not even in a dying sort of way, just in a way that'll mean he doesn't have to experience this suffocating sort of sadness anymore. It's too exhausting, he can feel it in his bones, and it isn't even like the other kinds of sadness that he's experienced in his life; it's worse, because instead of anger or righteousness, it's just accompanied by the all-consuming desire of everything being different.

He knows that isn't going to happen.

Pansy sighs. "Come on. We'll watch something on the telly."

She flips it on with the remote, and Draco sighs.

"Nature channel?" she asks. "That always puts you to sleep."

Draco doesn't answer, and she takes that as a yes and puts it on; he closes his eyes and tries not to think about the way he used to fall asleep in Harry's arms when they watched it at his house, because that always sends a wave of longing through him that's so strong it makes him nauseous.

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'I'm sh***ing myself': Adele is forced to restart hit single Easy On Me | Daily Mail Online

I am sorry to say I no longer listen to Adele. I loved Chasing Pavements, Rolling in the Deep and her rendition of Make You Feel My Love. I didn't like or buy her last album and I won't be buying this one either. She has obviously spent millions on PR for this album. Which she shouldn't have needed to. Her voice would still have attracted fans. She didn't need the over the top bullsh#$ PR for EVERY interview, EVERY newspaper, EVERY TV news show in the world a la Megsy and Haz Been. All that PR basically told me that her album is less than stellar.

I heard Easy on Me. I watched the video for it and noped out. Whether it was all the UNNECESSARY OVER THE TOP PR, or if the song just didn't appeal to me. I don't know. Either way, I am no longer a fan. Especially if the rumors are true that she cheated on her husband and made his life a living hell. He wanted to raise their child out of the public eye and she didn't. You would think that something that big would have been decided BEFORE they had children together. I heard she bought her husband a house across the street so they can still co-parent. I really hope at least that much is true. A child deserves to have two loving parents whenever possible.

I guess it simply comes down to this. I enjoyed the "old" Adele with the blues notes and firy personality. Maybe a bit unpolished but emotion in every word. Brilliantly raw and a little imperfect, but so strong a connection you felt like you were on the same journey as she.

The "new" Adele seems fake. I can't feel the deep emotional connection she used to have to the words she sings. It is too "perfect", too "rehearsed". The words no longer match the voice. In previous albums she makes you feel like you are right beside her going through every emotion she felt. Now it seems she is singing about someone else's experience and has no idea how they feel. She doesn't seem to connect to the words. The songs sound manufactured. Not organic like her earlier works I enjoyed. Does that make sense? Maybe it is just me. The "new" Adele has that typical, stamped, overly perfect Hollywood appearance. All the uniqueness is gone. I hear the same overly produced,inorganic, programmed music that every other singer is releasing. I am no longer on a journey with her. I do not want to go where she is/ and where she is going. I want off at the next station. Sorry "new" processed Adele. We could have had it all.