#ehrenreich

[spacenutspod]

Fair Play (Drama, Mystery, Thriller) In this episode of "Movies First," host Alex First dives into the intense world of high-stakes trading with a review of the romantic psychological drama "Fair Play." The film, starring Phoebe Dynevor, Alden Ehrenreich, and Eddie Marsan, and directed by Chloe Domont, explores the complexities of love and ambition within the ruthless environment of stock market trading. **Episode Summary:** Join Alex First for an in-depth discussion about "Fair Play," a film that navigates the turbulent waters of a relationship strained by career pressures and workplace politics. Set against the backdrop of a competitive hedge fund, the story revolves around Luke (Alden Ehrenreich) and Emily (Phoebe Dynevor), two analysts whose secret romance becomes jeopardized by their professional lives. **Key Points:** - **A Secret Romance:** Discover how Luke and Emily's engagement, a joyous milestone, becomes tainted by the harsh realities of their careers, highlighting the film's central theme of personal versus professional life. - **Rising Tensions:** As Emily's career skyrockets and Luke's stagnates, witness their relationship spiral from passionate to tense, reflecting the cutthroat nature of their industry. - **Powerful Performances:** Hear about the compelling chemistry between Ehrenreich and Dynevor, whose characters' journey from supportive partners to resentful adversaries captivates the audience. - **Masculinity and Power:** Learn about the film's portrayal of aggression and toxic masculinity, particularly through Eddie Marsan's character, Campbell, whose ruthless leadership style exemplifies the hedge fund's merciless atmosphere. - **Cinematic Elements:** From the authentic depiction of the characters' daily routines to the impactful cinematography, find out how these elements contribute to the movie's immersive quality. **Critical Insights:** Alex shares his critiques, praising the film's exploration of gender dynamics and ambition but noting the less convincing aspects, such as certain secondary performances and an ending that feels somewhat overextended. **Conclusion:** Despite some flaws, "Fair Play" impresses as a gripping tale of love, ambition, and betrayal, earning a solid seven out of ten from our host. It's a cinematic journey that movie enthusiasts and critics alike should not miss. Trailer: https://www.imdb.com/video/vi1976944409/?playlistId=tt16304446&ref_=tt_pr_ov_vi **Listen to More:** For more insightful reviews, subscribe to "Movies First" on Apple Podcasts, Google Podcasts, Spotify, iHeartRadio, or your favorite podcast platform. Stream on demand at bitesz.com for more quality podcast productions. Don't miss an episode of "Movies First" with Alex First, where you get the first take on the latest movies hitting the big screen. To listen on your favourite app, your one click universal listen link: https://link.chtbl.com/moviesfirst Movies First RSS : https://www.spreaker.com/show/2648009/episodes/feed Stream podcast episodes on demand from https://www.bitesz.com/show/movies-first-reviews/ (mobile friendly). For more from Alex visit our new website: https://moviesfirstpodcast.com or www.bitesz.com Subscribe, rate and review Movies First at all good podcast apps, including Google Podcasts, Apple Podcasts, Spotify, iHeartRadio, Stitcher, Pocket Casts, CastBox.FM, Podbean, Spreaker, etc. For more, follow Movies First on Facebook, Twitter and YouTube : Facebook - @moviesfirst Twitter - @MoviesFirst YouTube Channel: https://www.youtube.com/channel/UCatJQHaVabIvzCLqO16XvSQ If you're enjoying Movies First, please share and tell your friends. Your support would be appreciated...thank you. #movies #cinema #entertainment #podcast #reviews #moviesfirst For more, follow Movies First on Facebook, Twitter and YouTube : Facebook - @moviesfirst Twitter - @MoviesFirst YouTube Channel: https://www.youtube.com/channel/UCatJQHaVabIvzCLqO16XvSQ If you're enjoying Movies First, please share and tell your friends. Your support would be appreciated...thank you. #movies #cinema #entertainment #podcast #reviews #moviesfirst

[zanephillips]

ALDEN EHRENREICH Brave New World 1.07 "Monogamy and Futility: Part 1"

[movie-gifs]

OPPENHEIMER (2023) dir. Christopher Nolan

[palatinewolfsblog]

"Labor is like motherhood to most of our political leaders: a calling so fine and noble that it would be sullied by talk of vulgar, mundane things like pay."

Barbara Ehrenreich. Happy Mother's day, y'all!

[cinemagal]

Alden Ehrenreich as Senate Aide OPPENHEIMER (2023)

[dicapriho]

Alden Ehrenreich as Hobie Doyle in Hail, Caesar! (2016) dir. Joel & Ethan Coen

[jakegyllenbaalz]

johnny 316, dir. erick ifergan (1998)

[viggos-mortensen]

ALDEN EHRENREICH serving cunt as Senate Aide in Oppenheimer (2023)

[haggishlyhagging]

“By 1900 child mortality was already declining—not because of anything the medical profession had accomplished, but because of general improvements in sanitation and nutrition. Meanwhile the birthrate had dropped to an average of about three and a half; women expected each baby to live and were already taking measures to prevent more than the desired number of pregnancies. From a strictly biological standpoint then, children were beginning to come into their own.

Economic changes too pushed the child into sudden prominence at the turn of the century. Those fabled, pre-industrial children who were "seen, but not heard," were, most of the time, hard at work—weeding, sewing, fetching water and kindling, feeding the animals, watching the baby. Today, a four-year-old who can tie his or her own shoes is impressive. In colonial times, four-year-old girls knitted stockings and mittens and could produce intricate embroidery; at age six they spun wool. A good, industrious little girl was called "Mrs." instead of "Miss" in appreciation of her contribution to the family economy: she was not, strictly speaking, a child.

But when production left the houschold, sweeping away the dozens of chores which had filled the child's day, childhood began to stand out as a distinct and fascinating phase of life. It was as if the late Victorian imagination, still unsettled by Darwin's apes, suddenly looked down and discovered, right at knee-level, the evolutionary missing link. Here was the pristine innocence which adult men romanticized, and of course, here, in miniature, was the future which today's adult men could not hope to enter in person. In the child lay the key to the control of human evolution. Its habits, its pastimes, its companions were no longer trivial matters, but issues of gravest importance to the entire species.

This sudden fascination with the child came at a time in American history when child abuse—in the most literal and physical sense—was becoming an institutional feature of the expanding industrial economy. Near the turn of the century, an estimated 2,250,000 American children under fifteen were full-time laborers—in coal mines, glass factories, textile mills, canning factories, in the cigar industry, and in the homes of the wealthy—in short, wherever cheap and docile labor could be used. There can be no comparison between the conditions of work for a farm child (who was also in most cases a beloved family member) and the conditions of work for industrial child laborers. Four-year-olds worked sixteen-hour days sorting beads or rolling cigars in New York City tenements; five-year-old girls worked the night shift in southern cotton mills.

So long as enough girls can be kept working, and only a few of them faint, the mills are kept going; but when faintings are so many and so frequent that it does not pay to keep going, the mills are closed.

These children grew up hunched and rickety, sometimes blinded by fine work or the intense heat of furnaces, lungs ruined by coal dust or cotton dust—when they grew up at all. Not for them the "century of the child," or childhood in any form:

The golf links lie so near the mill

That almost every day

The laboring children can look out

And see the men at play.

Child labor had its ideological defenders: educational philosophers who extolled the lessons of factory discipline, the Catholic hierarchy which argued that it was a father's patriarchal right to dispose of his children's labor, and of course the mill owners themselves. But for the reform-oriented, middle-class citizen the spectacle of machines tearing at baby flesh, of factories sucking in files of hunched-over children each morning, inspired not only public indignation, but a kind of personal horror. Here was the ultimate "rationalization" contained in the logic of the Market: all members of the family reduced alike to wage slavery, all human relations, including the most ancient and intimate, dissolved in the cash nexus. Who could refute the logic of it? There was no rationale (within the terms of the Market) for supporting idle, dependent children. There were no ties of economic self-interest to preserve the family. Child labor represented a long step toward that ultimate "anti-utopia" which always seemed to be germinating in capitalist development: a world engorged by the Market, a world without love.”

-Barbara Ehrenreich and Deirdre English, For Her Own Good: 150 Years of the Experts’ Advice to Women

[winter-seance]

Bad Samaritan (2018)

[gatheringbones]

[“Years ago, the kindly fry cook who trained me to waitress at a Los Angeles truck stop used to say: Never make an unnecessary trip; if you don’t have to walk fast, walk slow; if you don’t have to walk, stand. But at Jerry’s the effort of distinguishing necessary from unnecessary and urgent from whenever would itself be too much of an energy drain. The only thing to do is to treat each shift as a one-time-only emergency: you’ve got fifty starving people out there, lying scattered on the battlefield, so get out there and feed them! Forget that you will have to do this again tomorrow, forget that you will have to be alert enough to dodge the drunks on the drive home tonight—just burn, burn, burn! Ideally, at some point you enter what servers call a “rhythm” and psychologists term a “flow state,” where signals pass from the sense organs directly to the muscles, bypassing the cerebral cortex, and a Zen-like emptiness sets in. I’m on a 2:00–10:00 P.M. shift now, and a male server from the morning shift tells me about the time he “pulled a triple”—three shifts in a row, all the way around the clock—and then got off and had a drink and met this girl, and maybe he shouldn’t tell me this, but they had sex right then and there and it was like beautiful. But there’s another capacity of the neuromuscular system, which is pain. I start tossing back drugstore-brand ibuprofens as if they were vitamin C, four before each shift, because an old mouse-related repetitive-stress injury in my upper back has come back to full-spasm strength, thanks to the tray carrying. In my ordinary life, this level of disability might justify a day of ice packs and stretching. Here I comfort myself with the Aleve commercial where the cute blue-collar guy asks: If you quit after working four hours, what would your boss say? And the not-so-cute blue-collar guy, who’s lugging a metal beam on his back, answers: He’d fire me, that’s what. But fortunately, the commercial tells us, we workers can exert the same kind of authority over our painkillers that our bosses exert over us. If Tylenol doesn’t want to work for more than four hours, you just fire its ass and switch to Aleve.”]

barbara ehrenreich, from nickel and dimed: on (not) getting by in america, 2002

[scenesandscreens]

Director - Christopher Nolan, Cinematography - Hoyte van Hoytema

"They won't fear it until they understand it. And they won't understand it until they've used it. Theory will take you only so far."

Oppenheimer (2023)

[dirbenaffleck]

COCAINE BEAR (2023)  Dir. Elizabeth Banks  Writer: Jimmy Warden

[zanephillips]

Cocaine Bear (2023) dir. Elizabeth Banks

[mysharona1987]

Sad thing is, most of these guys were decent actors.

Only Andrew Garfield seemed to beat the flop fiilms.

[pedroam-bang]

Solo: A Star Wars Story (2018)