#bryan lewis

[maxz-b]

annual f1 driver dinner but the spirit of logan sargeant's potential is at the table with us in part 23/???

[haneentifosa005]

Here are some f1 memes I made pt.2:

[verstappentime]

we won the day, we won the battle. (welcome to nightvale ep. 49, old oak doors part B)

[aerialtaluniverse]

My top 30 hot men of the year

Phil Dunster Matty Cash Vito Coppola Declan Rice Paul Mescal Carlos Alcaraz Jonathan Bailey Dominic Thiem Joe Bryan Lewis Cope John Stones Miguel Angel Silvestre Louis Rees-Zammit Ryan Prescott Sam Sherring Will Best Julian Alvarez Jack Laugher Ross Barkley Max Parker James Longman Eian Scully Jack Harrison Dan Goodfellow Thomas Inge Ben Chilwell Ross Haslam Kieran Tierney Todd Sanfield Aaron Ramsey

[0mg-bird]

Loom ~ R. Abbott x Fem! Reader

Summary: Rhett doesn’t know how long he can live with his tormenting thoughts while you live without him.

Warnings: Angst! A whole lotta angst, jealous Rhett= stupid Rhett, violence and language.

A/n: Inspired by one of my favorite Zach Bryan songs, Loom.

His jaw might fall out of its socket, the way he grinds his back teeth, back and forth, back and forth. Beer in hand, he’s watching from across the bar at the shape of you. Your Wrangler bell bottoms and little black top made you a sight for sore eyes, the way you spun around the dance floor with your friends had him in a trance.

Perry comes back to sit beside his brother, but upon seeing Rhett’s strong gaze, he follows the line of vision straight to you.

“Here we go again.” He laughs, making Rhett face him. “What are you talking about?” He asks, trying to act casual.

Perry gives him an amused glance. “I’m talking about the Tillerson girl.”

Rhett shrugs. “I don’t know what you mean.”

“Oh please don’t do this act with me, it’s a beat horse at this point.” He says, huffing. “You ever gonna get over this little fantasy of yours?”

Rhett swallows hard, looking away. “It ain’t a fantasy, it’s ain’t anything.”

That was a lie, Rhett knew it. You were like forbidden fruit, so sweet, he was desperate to get a taste but how could he when you were you? Entirely too good for him, with a name that couldn’t be seen next to his.

He used to never consider you, not until you came back from college all grown. Now you were as sweet as honey, funny as ever, looking finer than any mountain view he’s seen. The moments you’ve shared alone, the unusual tension, the words that go unsaid, it’s things you think about often. But Rhett never made a move, and in those moments he doesn’t lift one finger to you, you can only think of the way your father and brothers ruined this love affair chance.

At some point you decide it was no use to pine for a cowboy who you pushed you away, so you were going to move on with your life.

Here you were now, dancing with a charmer. Your two step beat was fun, he was a looker too. While you two spun around, Rhett was clenching his beer bottle with a white knuckled grip.

He has this reoccurring dream sometimes, where you and him ran away and made a life of your own. He isn’t so angry, he isn’t feeling anything other than some type of emotion that makes him feel like he’s going through the floor.

It’s the thing that haunts him, it teases him to a life he does not have.

A life he’s afraid to admit he wants.

“I’ll be back.” Perry states, navigating his way to the mens room.

As Rhett is left alone, he finishes his last swig, then goes to get another beer.

That charmer you were dancing with has his hand on the small of your back as he leads you to get a drink. As you stand beside him, slightly leaning over the bar as you talk to the bartender, the man’s hand slips down your back side, playfully pinching and squeezing. You push his hand off, the action makes Rhett alert.

When the man does it again, leaning over to whisper in your ear and getting pushed off again, he steps back into Rhett.

“Hey, could you fucking watch where you’re going?” Rhett snaps, making you turn and face him. “Sorry, Rhett, he didn’t mean too.” You glare at your guy.

“You’re right, sorry.” He throws a half hearted apology to Rhett before diving to kiss your neck.

Rhett knows your awkward laugh well, the one you give when you try to be polite but are still uncomfortable. You give it to the guy you continue to push away.

It feels wrong, his hands on your body, his lips on your skin. It makes Rhett’s breath quicken.

“Hey, I think she wants you to back off.” He grabs the guys shoulder, pulling him off of you.

The man grows defensive, smacking Rhett’s hand away. “I think you should mind your own fucking business and not pay attention to what me and my woman are doing.”

You pause, taking a large step away from him. “Who said I’m yours?”

He chuckles lowly. “Oh come on baby, don’t start this teasing shit now.”

“How about you go fuck yourself.” You call back, turning back for your friends before he tugs at your arm.

Just as you’re about to gasp, Rhett is standing in front of you, gripping the man’s wrist.

“I don’t want to have to do this right here in front of everyone, but I will if you don’t get your hand off of her right now.”

The expanse of his back is shielding you, you can’t see his expression but you know it’s angry.

Your arm is dropped, deep fingerprints are left in your skin.

“I would’ve let you had a go at her after I was finished, all you had to do was ask.”

Those disgusting words fall from his lips and the next thing you know, he’s on the ground.

The ones around leap back, watching as Rhett tumbles around with this charmer you thought was great ten minutes ago.

“What the hell?” Perry shouts, pushing past bodies to pull his brother away.

The two put up a fight, but when Rhett gets pulled one direction and the man gets pulled another, it’s over.

You follow the Abbott brothers out the back door of the bar, Rhett’s still seething, spitting out a mouth full of blood. You slink back quietly, looking up at Perry.

“I’ll pull the truck around.” He tells you, making himself scarce.

“Rhett…” You’re tone comes out quieter than you imagined it would.

He looks at you with confusion and question. “Why do you do this? Why do you find the biggest assholes and hang on their arm?”

You wrap your arms around yourself, the night air colder than expected. “I don’t intentionally do it.”

Rhett scoffs, then pushes his hair out of his face. “Tell me what you want me to do.” He demands. “Put me out of my damn misery and tell me that you’d rather not think of me.”

Your brows furrow. “I don’t want to say that.”

He’s running his hands down his face, blood on his split knuckles. “Then tell me how I get this to stop. This-this back and forth, coy game we play.”

“What game?” You shout, stepping towards him.

“The one where we both know what we’re feeling but don’t do a damn thing about it!”

Maybe it’s the few drinks in your system that’s making you feel like dropping in tears. You blink them back.

“And what am I supposed to be feeling, Rhett? Stop speaking in fuckin’ riddles and just say it with your chest!”

He stomps to you. “How do I make you fall in love with me? How?” He demands, your bodies close in proximity. You stare up at him, not missing the way his chest rises and falls quickly.

“I would’ve fallen in love with you years ago if you hadn’t been so damn stoic. All this talk about our family feuds, about how you don’t bring much to the table and I need more than that…” Your voice shakes, you reach out to hit his chest with both of your hands. “You never once cared about my feelings, so why now?”

He takes the hits you give, though they didn’t really hurt like you intended them to. They hurt deep in his lungs.

“I thought I was doing right by you.” Is all he says, making the first few tears fall down your face.

“I would’ve loved you with everything I had, every fiber of me, Rhett.” Your hands are in your hair, then you take a step back.

“You would have?” He asks, and you nod. “I would…I’m just not sure about now, anymore.”

His heart aches, his fingers itch to reach out for you.

You wipe your face. “Thanks for intervening back there.” You say, then disappear back inside.

He watches the spot you just stood, and the overwhelming feeling of lost love, looms.

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

A/n: aghhhhhhhh this was so angsty omg. If y’all like it, lmk, maybe I should do a part two???

[uwmspeccoll]

National Poets Day

On this National Poets Day, August 21, we celebrate the work of Bengali poet Rabindranath Tagore (1861-1941). Tagore began writing poetry as a child and remained committed throughout his life to exploring the natural and spiritual world through poetry and prose. He was known as the “Bard of Bengal” and in 1913 became the first non-European to be awarded the Nobel Prize in Literature for his collection of poetry Gitanjali.  

Within the Special Collections we hold the first edition of Moon, For What Do You Wait?, a collection of Tagore poems from his 1916 publication Stray Birds which consisted of 326 verses. Published in 1967 by Atheneum, Moon, For What Do You Wait? was edited by Richard Lewis, director of the Touchstone Center for Children in New York City, with illustrations by award-winning artist and author Ashley Bryan (1923-2022). Lewis manages to whittle down Tagore’s lines without losing any of the imbued wonder and delight present in the original publication. Accompanied by Bryan’s bold illustrations, readers are encouraged to let their eyes wander over the pages, getting lost in prose and imagery.  

View more poetry posts.

-- Jenna, Special Collections Graduate Intern

[midnight-chevy]

Las Vegas weekend overview :)

[dozydawn]

Kiss and Tell by Bryan Ferry, 1988.

Model: Denice Lewis.

[onscreen-heartthrobs]

Bruce Beresford’s “Breaker Morant” March 15, 1980.

[pedroam-bang]

Billions (2016)

[nezoid]

Happiest birthday Tatiana Maslany! 🥳🎂🎉♥️

Thanks for all these amazing experiences.

I hope you have the best day! ✨🎁✨

--"Pre-Existing Condition" - The Connelly Theatre (June 2024)

--"The George Lucas Talk Show" - Dynasty Typewriter (February 2024)

--"Grey House" - Lyceum Theatre (May 2023)

--She Hulk Premiere - El Capitan Theatre (September 2022)

--Women's March - Los Angeles (March 2020)

--"Network" - Belasco Theatre (May 2019)

--"Outside In" Q&A - Laemmle NoHo (April 2018)

--"Apart From Everything" - Outfest LA (July 2017)

--Wild Horses - UCB Theatre (July 2017)

--Orphan Black - Split Screens Fest (June 2017)

--This Show Is Not Funny - UCB Theatre (May 2017)

--Orphan Black - Paleyfest (March 2017)

[unreformedcarrots]

From July 1977: Jerry Lee Lewis at The Palomino in North Hollywood. From left are: Bryan Ferry, Dave Mason, Jerry, Ron Wood, and Mick Fleetwood (rear).

[darrenpeace]

Zach: Do you think I can fit 15 marshmallows in my mouth at once?

Will: *definitely has tried several times in his life* Uh... maybe?

Maj: I love you but you're a hazard to society.

Warren: And a coward. Do twenty.

[badmovieihave]

Bad movie I have Her Alibi 1989

[thrashntreasure]

Ep108 That Wascally Babbitt! w/ Joe DiPietro! (Broadway!)

We love him, he's perfect, now change into your fanciest hat before we're joined by the legendary lyricist, Mr. Joe DiPietro! (say what?! *faints) In this week's EXTRA-special surprise Thanksgiving episode, the two-time Tony Award winning author of Memphis joins us to discuss his latest play, Babbitt, now playing at the powerhouse La Jolla Playhouse until December 10th, as well as his beloved long-running musical 'I Love You, You're Perfect, Now Change'. (And we cover Rose Tattoo's Rose Tattoo for the Metal album) Plus, we chat working with this incredible cast, overworking this incredible cast, pro-shots, Diana the Musical, dying satire, and heaps more in this jam-packed episode!

Babbitt is sold out. A limited number of tickets may be released daily, so please check the website 'Babbitt': https://lajollaplayhouse.org/show/babbitt/

--Socials-- Joe: https://twitter.com/joedipietronyc

Around the World in 80 Plays: Apple: https://podcasts.apple.com/us/podcast/around-the-world-in-80-plays/id1709294420 Spotify: https://open.spotify.com/show/6M8Yff4VPblqINhu2SSrrg

***** Juxtaposing Metal with Musicals - joined by iconic guests from the worlds of Music, Broadway, Hollywood, and more! https://www.thetonastontales.com/listen -- https://www.patreon.com/bloomingtheatricals - https://twitter.com/thrashntreasure https://linktr.ee/thrashntreasure ***** Help support Thrash 'n Treasure and keep us on-air, PLUS go on a fantastical adventure at the same time! Grab your copy of The Tonaston Tales by AW, and use the code TNT20 when you check out for 20% off eBooks and Paperbacks! https://www.thetonastontales.com/bookstore - TNT20  *****

[denimbex1986]

'Christopher Nolan's Oppenheimer is a visual and audio masterpiece that follows the actual (to an extent) twists and turns of J. Robert Oppenheimer's (Cillian Murphy) tragic life as he headed the Manhattan Project, created the atom bomb and battled against a bitter Lewis Strauss (Robert Downey Jr.). The film not only takes moviegoers on a three-hour-long political thrill ride that any fan of historical non-fiction will appreciate, but it's also an ode to the times. For instance, aside from conveying the details of Oppenheimer's personal history, it also reflects the ideas, concerns and sentimentality of those who lived before and after World War II.

Incidentally, Wes Anderson's new film, Asteroid City, gives the era a similar treatment, despite taking a more humorous undertone. As a result, both films should be watched in tandem. Doing so gives viewers a sense of the zeitgeist of the '40s to '60s and illustrates the differences between the larger-than-life figures that dominated the period and everyday regular people.

How Oppenheimer Depicts the Influential People of the Period

Granted, Oppenheimer's testimony of events might be more truthful than Asteroid City's, mainly because the latter isn't a biopic and makes a point to let its audience know they've set the film to mimic the 19th-century novel Vanity Fair. As a result, the picture is all a fictional tale presented through actors on a stage hosted by the unnamed narrator (Bryan Cranston) of an anthology television series that's not dissimilar to the shows of the 1950s or '60s. Additionally, it enters the absurd by including aliens, so Asteroid City's illustration of the era is far from accurate. Nonetheless, both paint an exciting mosaic of the people living through the times. The only difference is that Oppenheimer goes about it as if it were a Greek tragedy: the characters are herculean figures due to their clout and prestige. Because of this, Oppenheimer meets all the criteria for Aristotle's definition of a tragic character.

For example, Aristotle asserted that a tragic figure should possess four distinct attributes: nobility, hamartia, peripeteia and anagnorisis. In a nutshell, this means that to be considered the main protagonist in a Grecian drama, a character must have a high social status and intelligence or greater understanding. Secondly, they need a critical shortcoming that causes them to stumble and changes their destiny, and lastly, they have to learn from it, and Oppenheimer certainly fits the bill. As one of the world's leading physics experts, he is not only tasked with creating a weapon that could potentially end all war, but as moviegoers watch the intimate particulars of his life, it's pretty evident that the man's not perfect. Nevertheless, his struggles during and after succeeding with the project convey Oppenheimer's changing viewpoint, so he does grow from the experience. This is even more apparent due to his conflicts with Strauss and the United States Atomic Energy Commission, which resulted in the board revoking his security clearance.

How Asteroid City Focuses on the Era's Regular People

On the other hand, Asteroid City's focus is on the mundane and insignificant. It conveys ordinary people and their interests through Augie Steenbeck (Jason Schwartzman) and Midge Campbell (Scarlett Johansson) -- two down-and-out middle age single parents just trying to get by. Hence, despite being set in the fictional titular desert town that's incidentally right next to an atomic test site and having a scene with an atomic bomb going off, the film's plot doesn't touch on the matter any further. Instead, the movie shows what transpires at a children's astronomy convention, which places everyone present in quarantine after aliens travel to the far-off town not once but twice. However, this specific storyline isn't the only one featured in Asteroid City -- between the fictional scenes that comprise the play, viewers are also introduced to the life of the theatrical piece's playwright, Conrad Earp (Edward Norton).

Interspersed between the fictitious events that happen in Asteroid City, observers are given a "behind-the-scenes" look at Earp's time managing the actors' troupe (all played by the same real-life performers that are cast as the people trapped within the town) as they begin to record the production. Yet, as Conrad slowly brings his vision to fruition, he's introduced to Jones Hall (Schwartzman), who not only lands the role of Augie but becomes his lover. While the movie's presentation of both plots weaves a complex narrative, it's compelling. Still, because of how the film constructs its dual narratives, it heightens the lives of people who might have gone unnoticed otherwise in the annals of history. So, although Asteroid City covers the same period as Oppenheimer, its emphasis is on a less noteworthy topic, but that doesn't mean it's not as enjoyable. Nevertheless, the odd coincidence makes both films perfect for a double feature.

Oppenheimer is currently playing in theaters.'