#leslie / introspection.

[neverrcryarch]

i blame earth ( and my roommate ) for this

[harrisonarchive]

Photo by Leslie Bryce.

“I remember interviewing them, and in those days, honestly, George wasn’t the most exciting Beatle. As a journalist, you’d go after John or Paul of Ringo. George’s introspection made us afraid of getting too much of the mortal sin for a broadcaster, namely dead air. But in retrospect, that was very wrong. I think now that if we had given George the courtesy and respect he deserved, his whole persona might have changed. But none of us did that. It was the other three who got 90 per cent of the action. When he was interviewed, George was always direct, never flowery with his words. He answered succinctly. If he could answer in two sentences, he never made it into a paragraph. He had kind eyes. When you spoke with him, he looked directly at you. You knew there was sensitivity at work.” - Bruce “Cousin Brucie” Morrow, Here Comes The Sun: The Spiritual and Musical Journey of George Harrison (2006) (x)

[arwainian]

Reading This Week 2024 #31

hello hello! I listened to a Lot of audiobooks this past week, to the point where I'm like "that can't be right. i can't have read that much" but i did. i in fact Mostly read this week because i didn't have many other plans, but i accomplished something fun, which was reading the additional chapters of some academic texts i read a portion of for school reasons last year

Finished:

Camp Damascus by Chuck Tingle, audiobook read by Mara Wilson follows a girl in a sort faux-Mormon Christian cult who is being haunted by a demon that punishes her for thinking gay thoughts. it got it's job done, but personally, since I already had my Big Gay Feelings about leaving the church, and felt those very viscerally, I always find myself pretty much ambivalent to fiction that is trying to tell that story? i already lived that so anything that puts it down on page just doesn't live up to the experience

How to Live Safely in a Science Fictional Universe by Charles Yu, audiobook read by James Yaegashi I liked where the experimental style of this went around the middle, with large blank pages and long footnotes. sort meh on it otherwise but its did its "introspective scifi about having to live your own life" job just fine

The Empress of Salt and Fortune by Nghi Vo, read by Cindy Kay cool to check this out a few years after all the hype for it, the fictional history it tells makes your heart ache

Extravagant Abjection: Blackness, Power, and Sexuality in the African American Literary Imagination by Darieck Scott I think I got the most for my work out of the sections I read last year, but it was good to get the context of the rest of the book to see what Scott is arguing as a whole work

Nimona by N.D. Stevenson wow! Stevenson's art just harmonizes so perfectly with the story he's telling here

"Theorizing Yes: An Essay on Feminism, Law, and Desire" by Katherine M. Franke in Feminist and Queer Legal Thory: Intimate Encounters, Uncomfortable Conversations edited by Martha Albertson Fineman et al.

The Appeal by Janice Hallett, audiobook read by Daniel Philpott, Aysha Kala, Rachel Adedeji, & Sid Sagar such a fun ride! I read this on a recommendation from some dear friends and I'm very glad I did. Absolutely sings in audiobook format so I accidentally dedicated a whole day to it... whoops! it was great tho and I'm excited to check out Hallett's other mysteries

The Battle for Paradise: Puerto Rico Takes on the Disaster Capitalists by Naomi Klein, audiobook read by Erin Bennett

Saga, Chapter Sixty-Seven written by Brain K. Vaughn, illustrated by Fiona Staples I just so happened to go to two comicbook stores the day after this issue released, completely unaware that it was back from it's short hiatus. so excited to see more of the character from the last page

Blooming Into You, Vol. 1 by Nakatani Nio, translated by Jenny McKeon what an interesting approach to a lesbian love story. insta-love for the older girl, slow burn for the younger

"The Impossibility of Feminism" by Andrea Long Chu

Side Affects: On Being Trans and Feeling Bad by Hil Malatino, audiobook read by the author also an academic work i was finishing after reading a few chapters last year. when i read it last year i was a little "hmm i dont think this feeling is as trans specific as it is being made out to be" but i think the other chapters make a better arguments for these bad trans feelings

Started/Ongoing:

Foucault, Feminism, and Sex Crimes: An Anti-Carceral Analysis by Chloë Taylor

Stone Butch Blues by Leslie Feinberg (mostly just found the point I had read up to for school a few years back)

[roobylavender]

who are your favorite writers of bruce and the dynamics he has w other batfam ? i remember you mentioning some writers you specifically dislike lol but im interested in some genuine recs :)

this is a very late answer and i apologize for that! off the top of my head:

bruce and dick: mike w. barr (early to mid 80s). his stuff for these two is far and few in between like it's a few back pages stories and then the occasional crossover between the titans and outsiders but i really adore how he writes bruce as this concerned parent who can sometimes be overbearing and protective but ultimately wants dick to succeed and so when dick feels suffocated bruce is more than willing to correct himself and back off. like it achieves the two things of holding bruce accountable while not painting him like some emotionally stunted abuser who makes all of dick's choices for him so i appreciate it loads

bruce and jason: mike w. barr (early to mid 80s); max allan collins (post-crisis intro arc). i don't think there is a lot to say here like they're the two writers who are probably the most sympathetic to jason as a human being and hence the way they write bruce's relationship with him is really nice. i'm not a fan of starlin or winick for obv reasons

bruce and tim: alan grant (early to mid 90s). alan grant to me was the perfect person to bring in following dick and jason's exit bc he provided the perfect amount of introspection and self-awareness for bruce to actually be a quite practical mentor to tim. like admittedly yeah a lot of that went down the drain once knightfall happened but i nonetheless think this was bruce at his most active and corrective stage of mentorship bc he was more aware of the consequences of his choices and really wanted to instill in tim that this wasn't a game they were playing at

bruce and stephanie: there's like one issue of gotham knights, #22, written by devin grayson (i know. i know) that i absolutely cling to bc it's really the first (and only) glimmer of hope for steph's relationship with bruce i think. like after multiple issues of tim and bruce being total dickhead misogynists to steph bc this kind of thing is absolutely unavoidable in dixon's writing it's so nice to see a bruce who is awkward but appreciative of steph's effort and unbothered by her tendency to babble bc it fills the quiet. i wanted that explored more between them sooooo badly but unfortunately scott beaty (i think. cmiiw) went on the whole bruce calling steph an inadequate failure shtick and ruined my life forever and i never read a batman comic again

bruce and leslie: mike w. barr (smattering across 80s and 90s). i would say the most heavy handed work to develop leslie as a foil to bruce adamant on pacifism was done by barr. barr in general was probably the most left leaning writer in bat editorial pre-00s so while his politics are not perfect (he tends to believe that violence by both the oppressed and the oppressor is bad) he was able to capitalize on leslie's relationship with bruce the most and i'm very fond of legends of the dark knight #21-23

bruce and selina: bob kane (golden age); mindy newell (late 80s to early 90s). the latter is obv a given if you have been a follower of mine for a while. but i don't think i've spoken on here specifically about how kane truly paints the most distinct picture of selina at her core that miller and newell subsequently capitalized on in their own setting of gotham following the crisis. there's nothing better than catwoman's golden age appearances to convey her thirst for notoriety contrasted with her odd mercies and while it's passed off as a bit of a joke that bruce lets things slide with her bc he thinks she's pretty i also love that it opens the way for him to be sympathetic to her in general, bc he knows she's better than she presents herself to be. bruce should always implicitly trust selina against other people's judgment imo

bruce and talia: mike w. barr (80s into early 90s). i recognize i am developing a pattern here lmao i truly love this man's writing more than that of any other bat writer! but yeah i think there is no one who really understands the complex loyalties and yearning of this dynamic better than barr and more importantly who manages to respect talia's individual agency within that dynamic. he really posits them as equals without any sort of disdain factoring into it and i think it sets him apart from a lot of other writers in the same era

these are the dynamics i can speak to. i've unfortunately never paid close enough attention to writers on issues where bruce's relationships with either gordon feature and then you guys already know i've yet to read up on cass and duke (cries) so i'm no good in that department :/ but i hope these are somewhat useful! the mike w. barr stuff is easy to find if you simply peruse his wikipedia and read all of the batman related stuff and then alan grant is obv the main writer on tec (iirc) for most of the 90s so that's easy enough. mindy newell also has a very small catalogue to her name and the golden age issues with selina you can find through dcu chronology!

[dead-as-i-tread]

27 club part 2 ☆

Gary Thaine 1948-1975 (Uriah Heep)

he became a member of the band "The Secrets", which eventually dissolved in 1966. Later, Thain was part of the rock trio The New Nadir, and with the drummer Peter Dawkins, he traveled from New Zealand to London, and once jammed with Jimi Hendrix before the trio split in 1969. Thain joined the Keef Hartley Band, performing at Woodstock in 1969 and, in 1971, they toured with Uriah Heep.

Alan Wilson (Blind Owl) 1943-1970

The "rural hippie anthem" became the unofficial theme song for the Woodstock Festival where Canned Heat performed at sunset on August 16, 1969. Although Canned Heat's live performance was cut from the original theatrical release of the Woodstock film, they were featured in the 25th anniversary "Director's Cut."

Leslie Harvey 1944-1972 (Stone the Crows)

In 1969, Harvey joined Scottish band Cartoone to record some tracks for their second album. He also accompanied Cartoone on their live tour of the United States supporting Led Zeppelin. Harvey was a co-founder of Stone the Crows in late 1969. While on stage with Stone the Crows at Swansea Top Rank in 1972, he was electrocuted when he touched a microphone that was not earthed while the fingers of his other hand were holding the strings of his guitar.

Ron “Pigpen” McKernan 1945-1973 (Grateful Dead)

He founded the Grateful Dead band, who he played for between 1965 and 1972. McKernan was close friends with American singer-songwriter Janis Joplin due to common musical influences and lifestyles, particularly a shared love of alcohol over other drugs. While his bandmates and friends were using cannabis, LSD, and other hallucinogenic drugs, McKernan preferred alcoholic beverages. friends and band biographers have described McKernan as a quiet, kind, and introspective person. Hart later said "Pigpen was the musician in the Grateful Dead." Kreutzmann said McKernan was "the sweetest guy anybody had ever met."

Dave Alexander 1947-1975 (The Stooges)

The Stooges’ founding bassist Dave “Zander” Alexander had the reputation of being a loose cannon before the group even came together: He dropped out of high school 45 minutes into his senior year to win a bet, and he and Stooges guitarist Ron Asheton once traveled to England with hopes of running into the Beatles. Alexander was fired from the band in August 1970 after showing up at the Goose Lake International Music Festival too drunk to play.

[lonelywretchjervistetch]

My DC Cinematic Universe: Superman (Part IX)

Chapter Nine: Superman

It's at this time that we finally begin the story for this first theoretical film. Bits and pieces have been added throughout this elongated essay series, but this post is the culmination of these efforts, as well as fixing or clarifying a few things I've already mentioned.

Now, before anything else, there is something I need to make abundantly clear. I am not a writer. I am not a screenplay writer, a comic book writer, or a writer of any other kind. My name is published in scientific papers, and my training is primarily in ecology and ornithology. I have a bunch of ideas about comics and webcomics, but haven't really finished them (as of yet). I have written a healthy number of film reviews on my side profile, but I DEFINITELY wouldn't call them literary masterpieces. So, yeah, absolutely not a writer.

However, what I am is a MASSIVE goddamn nerd who spends a lot of time thinking about how he would make movies about various comic book characters. Superman, of course, is one of those characters. So, before we start, here are a few things to keep in mind. This is meant to be lighter in tone, and more down to Earth than most Superman films tend to be. Think more like Superman: The First Movie, but a touch more serious nd introspective when it comes to our main character. And again, not a writer, so some blanks may have to be filled in here or there as we go along.

OK, OK, without further ado...let's see what we can do. Flash the DC logo, let's get started!

Prologue: Up in the Sky

We're gonna bookend this film with narration from Lois Lane, specifically pieces that she's writing on Superman and Metropolis. Gonna be mostly show and less tell, but Lois will help introduce us to the city. And in the beginning, we'll go from the opening directly to the street. Bustling activity on the sidewalk, people starting their day as the sun rises, and tracking life in Metropolis, right from the start.

Metropolis, for all intents and purposes, should feel like a real city. I'm talking Chicago, I'm talking New York. But, where Gotham represents those cities in the dead of night, when fear lurks in the darkness, we'll be seeing Metropolis shortly after sunrise, just as the city begins to wake up. And again, this should feel like a real city, with character and flavor all its own. And Lois' narration should reflect and describe that character. A city that's always been grasping towards a bright future, but is inhabited by those comfortable living in the modern day. A place of tomorrows that hold onto the past. Nostalgia tempered by ambition. Y'know, that kinda stuff.

As Lois begins to describe the feel and life in the city, as well as recent changes and strife, we go to Hob's Bay, a older harborside neighborhood, and one of the oldest in Metropolis. a man visits a news stand and picks up a paper. This man is Bibbo Bibowski, a local character and owner of the Ace o'Clubs pub, and he picks up a local paper, the Daily Star. He looks at the Daily Planet, which is reporting on Superman, and grimaces. Not a fan, clearly. He puts in a pair of headphones, and turns on a podcast, Leslie Willis' Live Wire. Yeah, on the nose, I know, but you get it.

As Bibbo's walking to work, he bumps into a clumsy young man, whom he identifies as Jimmy Olsen. The two are friendly, but you can see a brief clash of ideologies as Bibbo refers to Jimmy's job at the Daily Planet as less than respectable, given their stance on certain issues. Jimmy brushes this off, because he's going to be late to work. He grabs some food from a stand, then gets a rideshare to the Daily Planet. But before he can get there...

Why yes, that IS a clip from the 1997 film Steel, starring Shaquille O'Neal. And yes, this IS for a good reason! So, Jimmy's in the ride share, texting Lois to let her know that's he's on his way to the office. But, on the way, a crime erupts when the Metropolis PD race by, interrupting traffic. Jimmy, following the normal actions of an intrepid reporter (according to Lois, anyway), asks the driver to follow them. When they get there, they see the police interrupting a robbery.

Lois' narration continues, telling us that crime has been getting worse, with gangs taking claim over various territories, using increasingly powerful weaponry. This weaponry, in this case is the Toastmaster, a powerful weapon used by the White Rabbit Gang of Hob's Bay. Caught smuggling the weapons by the police, a fire fight has erupted. The Special Forces Unit, led by Maggie Sawyer and Dan Turpin, arrives with their own firepower and manages to subdue some of the gang members. But at that point, a much larger Toastmaster, the BG-105, is brought out by a member of the gang, each of whom have a white rabbit on their jackets. He fires the gun, and it's obvious that the cops are outmatched. It's also at this point that Jimmy's out of the car, taking pictures for a story.

A gang member grabs a box and runs away, backed up by his compatriots. And as the danger's increased significantly, and Maggie and Dan are about to be blasted by this Toastmaster...

Part One: This is Your Life, Clark Kent

So, yeah, obviously this is when Superman shows up. We flash the title screen real fast, play his bombastic leitmotif, and we jump right back into the action. Superman gets hit by the blast, and you can immediately tell that this isn't the normal kind of hit you'd expect Superman to take. Normally, we see Superman sort of glance off bullets and energy blasts like nothing, but this clearly has more kick to it. Superman takes a few steps forward through the blast, struggling a bit as he does it, while Sawyer and Turpin and the rest of the unit mobilize on the other members of the gang present. Even then, though, one of the gang members escapes, scared and not wanting to be caught. Superman is, of course, there to take out the big Toastmaster and provide needed backup for the cops.

The fight ends, Superman has some interaction with Maggie Sawyer and Turpin (the latter of whom is slightly more non-plussed by Superman getting into police business), and he takes off. Jimmy looks on at this, then looks at his photos, all of which are genuinely fantastic. Jimmy, for the record, should be a great photographer. And that should be agreed upon at the Daily Planet, where Jimmy arrives to the angry shouts of editor-in-chief Perry White.

Perry's shouting for Jimmy, as well as any reporters who have info on the White Rabbit attack that's just happened. Jimmy walks into a meeting, where we meet each of the major members of the Daily Planet crew. I've described them of Part V of this essay series, but real quick in this sequence, we get some basic descriptions of their roles in the paper.

Cat Grant is a gossip columnist, whose current focus is on Lex Luthor and his relationship with some Contessa from Italy, as well as other prescient gossip. She's been essentially removed from the Superman beat, which she's still kinda bitter towards Lois about, but whatever. However, over the course of the Superman franchise, Cat will find herself orienting more towards superhero and supervillain reporting, moving her into a slightly different role than she's had in the comics.

Steve Lombard, sports columnist, is focusing on an upcoming game between the Metropolis Meteors (a team which he used to serve on) and the Gotham Wildcats, the winner of which is set up go up against either the Midway Cardinals or the Star City Stags to determine standing in the National Conference. He rambles on about it, but Perry cuts him off.

Ron Troupe, political columnist, is reporting on politician Gordon Crown's campaign, which includes his stance on the crime increase, as well as the struggles of the police. This is our introduction to the some of the sociopolitical strain in Metropolis, which is obviously a major theme going forward, as well as Crown's goal.

It's at this point that Jimmy comes in, with reports of the photos he's gotten for a new story. He looks for Lois, who's on the crime beat and the city beat alongside Clark, and is also not there. Nor is city beat reporter Clark, and we see that their seats at the table are empty, much to Perry's irritation. He asks where Lois is, and we find out exactly where she is.

Here, we finally put face to the narration, as Lois Lane arrives at the crime scene in order to speak with Sawyer, Turpin, and the recently arrived Chief William Henderson, who is speaking with Superman and giving his thanks. Lois, being the intrepid reporter, tries to get an interview with anybody who'll give her the time of day. Basically everybody's in a hurry to leave, as the police are needed for an upcoming press conference with Gordon Crown, which Ron Troupe is also attending. But one person does interact with Lois: Superman. They obviously have a previous press-informer relationship, as Superman gives Lois a healthy amount of info about the events that had unfolded, then takes off after a polite (if slightly awkward) greeting. And once he takes off, running up and out of breath right after is Clark Kent, who had not gotten to the scene as a result of traffic, and was "beat to the punch" by Lois.

So, yeah, obviously Clark and Superman are one and the same, but I'm really trying to carve out a distinct difference between the two identities. Clark is Superman's real face, but he would try and play it up just a little bit to throw suspicion off of himself. Most of the time, this isn't an issue, but there is somebody who's come close to figuring out his secret: Lois. And we get this idea throughout the film. Anyway, Clark and Lois' dynamic is notably different, and we should see the change. The two are clearly friendly towards each other, although we should get the idea that this is a recent development. As reporters, they engage in some friendly competition and banter, but they're also somewhat too busy to hang out outside of work. Which is another dichotomy to enforce. Y'know, Superman is too busy for Lois, but Lois is too busy for Clark. It's symmetry! Anyway, after some pleasant and likeable conversation, the two head to work together.

Two more things real quick. Firstly, the romantic tension isn't quite out in the open as of yet, but there's definitely chemistry between the two. You should get the sense of a pre-existing relationship, with some potentially romantic overtones, but it's not crystallized yet. After all, romance between these two isn't exactly tension, since it's inevitable, but we should see the hints of it beginning to blossom. And it will blossom, but in an unexpected manner. Why?

Well, that brings us to our second point: Lois knows that Clark is Superman, but Clark doesn't know that Lois knows. Because let's be goddamn honest about something: Lois is absolutely a bullshit detector. And her insanely intrepid nature has led her to realize that Clark and Superman are one and the same. But she's mostly wrestling with ethics here. Does she ruin this person's life, and almost certainly the lives of others by telling a truth that doesn't need to be outed...or does she continue to gather information on this person, and try and understand them further to get a more fleshed-out story? And, of course, that was Lois' original plan, but she's realized that Clark is his own person, and not actually pretending to be something he isn't, in both of his identities. And in the process, she actually found herself liking Clark as a person, and not just as a story. But the distance between his identities is still hard for her to reconcile, so she's still figuring things out. But by the end of this film, she'll know exactly what she wants, and how she feels about Clark and Superman.

We cut from those two, and to an alleyway, to where the gang member who'd escaped earlier has run. A car pulls up, and the person inside is Bruno Manheim, who is being played by Tony Dalton in this essay. Somebody suggested it, and I like him for the part, honestly. The gang member is let into the car, and a friendly-seeming Bruno chats it up with them. Apparently, this struggle was part of a trade deal between the White Rabbits and Manheim's group, Intergang, but someone had tipped Manheim and his men off, meaning that Intergang didn't show up to the deal. Who tipped them off isn't said, however.

Manheim wants the Toastmasters, but now wants to deal directly with the boss of the Rabbits, whose identity is not well-known. After a conversation, Manheim intimidates the Rabbit and tells him he wants a meeting with their boss. He convinces the member to help arrange the meeting, and to tell only the boss so that this kind of thing wouldn't happen again. He lets the freaked-out Rabbit go, and relaxes in the back of his car.

A partition lowers, and a man in the passenger seat asks why he let him go. One, Manheim has other places to be; and two, at some point during the talk, Manheim slipped a tracker on the young Rabbit. Yes, this is a tech-savvy gang, and Manheim is not entirely stupid. He tells the driver to drop him off at "the rally", and then tells the man in the passenger seat to track down the rabbit. This man, John Corben, smiles at the request, and the group takes off. Oh, and the pre-Metallo Corben is played by Wilson Bethel in this essay.

OK, we're getting a little bogged down in the details, but let's continue following the story. At this point, I've been building up to a rally that's set to take place that afternoon. As Lois and Clark arrive at the Planet, they interact with the other members of the bullpen in various stages of their day, and we get to know see the inter-office relationships. Most prominently, of course, is Jimmy and our duo, and the three are pretty clearly often associated with each other. They go to meet Perry, he's a little pissed at how late they were, but lets it go in Lois' case when he hears their intel for the overarching story. But since Clark hasn't come in with a story, Perry assigns him to accompany Troupe to the upcoming Crown rally, and to get interviews with the audience members present, while Troupe interviews Crown himself. Clark agrees, and Jimmy offers to accompany them to get pictures of the event.

After this meeting, Clark gets a call from his folks, who are packing to head to Metropolis later that week on a visit. We get a hint that Jonathan Kent recently visited a doctor for cardiac concerns, but little more than a mention. Clark goes to meet Troupe, who's somewhat dismissive, but not out of any malice. It's from him and Olsen than we get an idea of who Gordon Crown is, as well as his views, and what the rally is going to focus upon.

Crown (played by Will Poulter for the purpose of this essay, and because I think he'd be a solid cast), is a young, likeable politician currently running for public office, after having been a popular political pundit working for the rival to the Daily Bugle, the Morgan Edge-owned company Galaxy Communications. On good terms with the Planet staff, he's an affable person with somewhat conservative views. Not everyone agrees with him, but he's got a reliable base. Interestingly, he's particularly critical of superheroes and vigilantes, having built his career on a very anti-crime platform.

He's also a very fast social climber, but this is attributed to him either being a massive suck-up (which he is when necessary), or just very good at his job (which he definitely seems to be). In any case, his success is undeniable, and his popularity is climbing, as seen by the decent number of people at the rally. This number includes Clark, Ron, and Jimmy, amongst other reporters; Inspector Henderson and Maggie Sawyer, who've just arrived; LexCorp representative Mercy Graves (more on her later), there in place of her boss; and pulling up in a limo in the back, Bruno Manheim. He gets out, then tells his driver he knows what to do. The driver pulls around the corner, then parked the car in an alley, bringing a gun with him.

He climbs up to the roof, and as this happens, we get a glimpse at Gordon Crown. We see him talking backstage with Mercy Graves, where she's giving him a message from Lex. He finishes that conversation, then greets Henderson and talks about the events of the day in terms of the White Rabbit Gang, just before going onstage. Just then, the driver sets up a rifle on a rooftop opposite the rally. Obviously, we're looking at an assassination attempt. However, before anything happens, the man leaves, simply setting up the gun and hooking it up to a technological device of some kind. He gets it set up, then leaves after setting a timer of some kind.

Once he makes it into the car, he watches on a screen in the car. When the time is right, he presses the button, and an obvious (obvious) laser light shines on Crown. Everyone sees this, including Clark, who speeds off to intercept the bullet. The gun fires, a bullet hits Superman, who's just arrived, and Crown locks eyes with a passing car, which holds Manheim staring at him through the window, and winking. Crown sees this, Crown understands this...but he says nothing. Instead, he takes the opportunity to thank Superman, even though it's apparent that he doesn't really want to. Superman goes to find the culprit, but to no avail.

After the shooting and the police follow-up, Lois arrives to cover this event, as it falls beneath her wheelhouse. After the stressful day, Jimmy invites Clark, Lois, and Ron to go to the Ace o' Clubs and take a load off. Ron passes, but Clark and Lois agree, and the group decides to meet up that night. Once there, we see that Crown has quickly rebounded, and is meeting with an anchor on a local news program, recounting the events of that day. Bibbo, with this channel on at the pub, comments to various individuals in the bar (Jimmy included) that some people (him included) think Superman was in on it, trying to make himself look like a big hero in front of the audience, and in front of Crown, his biggest detractor. Which, frankly, is a solid argument.

Lois agrees that the idea would be a good story, while Jimmy vehemently disagrees. He's a big fan of Superman, and he knows he was trying to do the right thing. CLark doesn't say much, since he doesn't like to comment on...well, himself. He does agree that it's a plausible theory, though. The three have a conversation about Superman, maybe about other similar figures that have appeared in the city or elsewhere, and give us a better idea of the environs in which we find ourselves.

From there, we go to a very nice house in Martinside, a very wealthy district of the city. A car pulls up to this house, and Gordon Crown exits. He enters the house, where in an office meeting with some of his men, Bruno Manheim is sitting and laughing. When Crown enters, he dismisses everybody but Corben, his right hand man. Crown's clearly a little upset at the assassination attempt, as there was no way Manheim could've known that Superman would show up. Manheim brushes it off, as the wound the bullet was meant to inflict would've been non-lethal, and that whoever his tech connections were knew what they were talking about with the remote rifle.

Crown capitulates this, and thanks Manheim for his cooperation. He also regrets the fact that Superman was there, as it could've helped his public image. Still, he thinks he's spun the angles all right, all things considered. The two have a shared moment of hatred for Superman, but Manheim seems to think he'll be able to take care of him soon. A curious Crown asks how, and Manheim credits his own connections. Just then, we hear someone else enter the room, with a clack of heels.

Now here's where things get a little...tricky. This is Angora Lapin (yes, really), played in this essay by Taraji P. Henson. In the comics, Angora is a villain of Steel, AKA John Henry Irons, having stolen his experimental weapons and work to make the Toastmaster and issue it to the streets for cash. She's the leader of the White Rabbit Gang in this film, and is called White Rabbit in the comics. And she's also implied to be an albino black woman. Which is...hard to cast.

Shout out, by the way, to Diandra Forrest, the only albino black actress I could find. I hope her career goes well, because it's very much in its infancy at the moment. But, for now, we're gonna go with Henson. Now, to be fair, Lapin is basically a cameo here, but she's received the message about meeting with Manheim to make a deal about the Toastmasters. Crown stays during this interaction, which Lapin clocks but cares little about. Manheim, in fact, states that Crown is under the protection of Intergang, and that he'll make things good for them in Gotham. Lapin and her gang can have in on that as well, if they make a deal for the Toastmasters, and lays low for a little while, working for Intergang in the process. Lapin agrees, but also notes that they didn't do much against Superman.

And that's when Crown interjects. His connections may be able to help with that.

Finally, this night in Metropolis is coming to a close. All of this has happened within one day. Clark and Lois leave Jimmy at the Ace O' Clubs, with both Lois and Clark headed home. They say their goodbyes, with Lois' dialogue indicating some kind of knowledge about Clark's secret life, which is easily played off as a joke. They say good night, and Clark goes back to the apartment. He reads some messages from his folks, who've obviously seen the news about the assassination attempt, and are checking in on their son. Clark responds with a smile, maybe even calls, and then heads to bed for the night.

But in his sleep, Clark has dreams that he's encased in crystal, cold and alone in an empty void. Other visions come to him, and we see glimpses of Krypton's destruction and his past. Clark, in this universe, doesn't know a lot about his past, save that he's from another planet, and that he didn't have these abilities from birth. He also knows of his connection with the sun of Earth, and that the ship he arrived here inside of is largely made of crystal and otherworldly metals. But the uncertainty, combined with these dreams of a forgotten past, is a constant thought with him. And when he wakes up in a cold sweat (which Clark doesn't usually do), he gets up and flies into the night as Superman, using his vision to see the stars beyond the light pollution from the city below.

And that's the end of...Act One.

Shit. SHIT. It's gonna be longer than nine parts, isn't it? Dammit.

Index: Superman

Part I: Why I Love Superman

Part II: On Lois Lane

Part III: The Kents

Part IV: The 'Rents

Part V: The...Frendts?

Part VI: Lex Luthor

Part VII: The Real Villains

Part VIII: Superman's Rogues Gallery

Part IX: The Story - Act One

Part X: The Story (Acts Two and Three)

Part XI: The Story - Climax

Part XII: Epilogue (Part One)

Part XIII: Epilogue (Part Two)

[popmusicu]

"Africa" a song by Toto

This song performed by the American rock band Toto, was released in 1982 as part of the album Toto IV and became an immediate success reaching the first position on the Billboard Hot 100. The song was written by keyboardist David Paich and the drummer Jeff Porcaro. There are different interpretations of it: there are those who say that it is about a missionary waiting for his beloved who flies to the African continent, others say that it is about a social activist who loves Africa, others relate it with a more introspective meaning and personal connection, etc., whatever the interpretation that each person gives it, there is no doubt that this song penetrates the depths of our being provoking strong feelings. Its singular melody conveys the sensation of magic, happiness, nostalgia, a comfort that transports those of us who listen to it to a beautiful place, imagining a free landscape full of exotic flora and fauna, but which, after all, we do not know; it's a far away place. The music video shows a researcher in a library who, searching for the image of a shield, finds a book titled Africa, in that moment a native throws a spear (the shield the native carries is the same as the one in the image) knocking down stacks of books and starting a fire. The depiction of the song in the video gives the sense of a reference to the Rhodesian civil war, from the perspective of a Rhodesian Security Forces soldier. Whatever was the message that it wanted to convey, "Africa" has managed to position itself as a hit in musical history, still sounding strong in the new generations, which is demonstrated in the recent use of the song in series or programs such as Stranger Things, South Park and The Tonight Show Starring Jimmy Fallon, as well as new interpretations such as the cover made by Weezer in 2018. Without a doubt, "Africa" has become a milestone in popular culture, transcending time and our hearts.

-Leslie Canales Quiroz

[sentimentalscientia]

"Siblings tease each other all the time. S'what kids do." That had been Kelly's experience anyway. He'd grown up with four siblings, teasing had been a given and sometimes it had gone too far, sure, but things had always worked themselves out. He couldn't remember his parents ever being exceptionally worried about it, either.

Maybe worrying was just who Itsuki was. Kinda made Kelly wonder if he was married. Then he'd have someone to help take the mental load off.

Well now Kelly was curious what kind of spell could do that. Something to ask Leslie when he got back home. In any case, "How many times have people actually changed when you've done that? Seems like it would be easier to just... magically castrate them."

He shook his head. "Some bells can't be unrung, no matter how one chooses to look at the world. I won't ever be whole." Said as matter-of-factly as Itsuki had been just moments ago. "Your people believe in fate? Mine do. And we understand that fighting it is like trying to fight gravity: pointless, frustrating, and impossible."

“Well yes. The teasing is a natural part of family life. But she…..she frankly torments him at times. An unfortunate inheritance from her grandmother. Her great grandmother is one of the sweetest beings. As is her adoptive grandmother. The biological grandmother? Well to put it bluntly she is one of the only women I have ever punched. Cruel beyond measure. Being a minor goddess seems to have given her quite the chip on her shoulder. So for now my little grandpup has to be watched over and scolded at times. At least until she matures enough to understand the pain she is causing. She’s getting there bit by bit.” There’s some emotions flashing across his eyes. A sort of conversation happening inside his own head. The little one tormented her brother, but she’d without hesitation come to his aid when outsiders caused him problems.

“Well see the issue is my kind don’t generally have a good relationship with magic. Much of it doesn’t effect us. Some of it works just enough to backfire in the most startling ways. This thing is essentially a pattern I cut into their skin and pour a certain concoction into the wound. Magical castration would be a lot more involved and might cause some serious unintended consequences.” A moment paused as he thought through his list. “Surprisingly enough there were a handful that did get better. Years down the road. A lot of introspection and work.”

There’s a smile tugging at the old wolf’s lips. “In truth? No I don’t believe in fates or destinies. I believe life is a series of choices that shapes our paths and determines what destinations we land at. Nothing is set in stone….though I must admit I do feel a bit hypocritical at times. I believe small parts of the future might be glimpsed. I traveled on a ship with a soothsayer. She could see isolated events. But it is a limited view. So there are those that can glimpse what paths we are likely to tread on. But fate as some grand thing that arches throughout our entire life? No. Not at all. Even though I have seen some truly absurd cosmic coincidences. Like having an old companion that you traveled with centuries ago. Fought back to back. Shared bets and competition. Telling the tales of those adventures to your pup when she was a wee little thing at your knee. And finding out somehow crossing centuries and continents, that old companion met and bonded with your pup. That was a bit of a punch in the gut and I may have flirted with the idea of a fate then. But I guess a stubborn old fool like me can’t shake my worldview up that easily.”

[hdstreming]

[Watch.Downl𝚘ad]Venom The Last Dance 2024 FuLLMovie YTS Torr𝚎nt Downl𝚘ad Movi𝚎s Available Now

27 minutes ago — [woɹᙠɹǝuɹɐZ] While several avenues exist to view the highly praised film Venom: The Last Dance Onl𝚒ne Strea𝚖ing offers a versatile means to access its cinematic wonder From heartfelt songs to buoyant humor this genre-bending work explores the power of friendship to upl Venom: The Last Dance t communities during troubling times Directed with nuanced color and vivacious animation lighter moments are blended seamlessly with touching introspection Cinephiles and casual fans alike will find their spirits l Venom: The Last Dance ted by this inspirational story of diverse characters joining in solidarity Why not spend an evening immersed in the vibrant world of Venom: The Last Dance ? Don't miss out! # Venom: The Last Dance

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Where to W𝚊tch Venom: The Last Dance: A Multiverse-Shattering R-Rated Romp

Venom: The Last Dance, the highly anticipated 2024 superhero film, has smashed box office records and left audiences in stitches with its irreverent humor, over-the-top action, and surprisingly heartfelt moments. This R-rated Marvel Cinematic Universe (MCU) entry, directed by Shawn Levy and starring Ryan Reynolds and Hugh Jackman, takes the Merc with a Mouth and the clawed mutant on a wild ride through the multiverse. But where can you W𝚊tch Venom: The Last Dance now? Let's explore the details of this blockbuster hit and its availability.

Is Venom: The Last Dance Based on a True Story?

While the film's themes of friendship, sacrifice, and the complexities of heroism resonate with audiences, Venom: The Last Dance is a fictional narrative. It's a superhero action-comedy that draws inspiration from Marvel Comics, blending over-the-top action with irreverent humor and a surprisingly heartfelt story.

A Star-Studded Cast Brings Venom: The Last Dance to Life:

Venom: The Last Dance boasts an impressive cast, led by the dynamic duo of Ryan Reynolds and Hugh Jackman:

Ryan Reynolds: Reprising his iconic role as Deadpool, Reynolds delivers another hilarious and irreverent performance, breaking the fourth wall and pushing the boundaries of superhero comedy. Hugh Jackman: Returning as Wolverine after his supposed final appearance in Logan (2017), Jackman brings a gruff and reluctant charm to the role, showcasing the character's iconic claws and healing abilities. Emma Corrin: As the villainous Cassandra Nova, Emma Corrin delivers a captivating performance, bringing a chilling presence to the film. Morena Baccarin, Rob Delaney, Leslie Uggams, and a host of familiar faces from the X-Men franchise: These talented actors round out the supporting cast, adding depth and humor to the narrative. Why You Should W𝚊tch Venom: The Last Dance:

A Hilarious and Action-Packed Adventure: Venom: The Last Dance delivers a perfect blend of over-the-top action, irreverent humor, and surprisingly heartfelt moments. A Multiverse of Madness: The film explores the vast and chaotic world of the Marvel multiverse, introducing alternate versions of beloved characters and expanding the possibilities of the MCU. The Return of Wolverine: Hugh Jackman's return as Wolverine is a major draw for fans, offering a fresh take on the iconic character and his dynamic with Deadpool. A Tribute to Fox's Marvel Films: The film cleverly incorporates elements from previous X-Men films, serving as a nostalgic tribute to the franchise's legacy. Available on Disney+: You can easily Strea𝚖 Venom: The Last Dance Onl𝚒ne on Disney+, making it accessible to a wider audience. Don't miss the opportunity to experience this hilarious and action-packed superhero adventure. W𝚊tch Venom: The Last Dance now on Disney+ and prepare for a wild ride through the multiverse.

Venom: The Last Dance #Venom: The Last Dance #Venom: The Last Dance #RyanReynolds #HughJackman #Marvel #MCU #Superhero #ActionComedy #WhereToVenom: The Last Dance #Venom: The Last Dance ReleaseDate #Venom: The Last Dance TamilMo𝚟ie #Venom: The Last Dance TamilMo𝚟ieOnl𝚒neW𝚊tch #IsTheVenom: The Last Dance Mo𝚟ieARealStory #DisneyPlus

Remember to check your local Strea𝚖ing platforms for availability and get ready for a dose of R-rated superhero mayhem with Venom: The Last Dance.

Is ‘ Venom: The Last Dance’ Strea𝚖ing?

No, Venom: The Last Dance is not yet available to Strea𝚖. Venom: The Last Dance will eventually be available to Strea𝚖 on Disney+. It was recently reported that the sequel will be given a 100-day window before landing on Disney+. If Venom: The Last Dance arrives on Disney+ exactly 100 days after its theatrical release, that would mean the sequel will be made available on September 22, 2024. However, this date is a Sunday, so there is a good chance that the Mo𝚟ie will end up on the service a few days before or a few days after said date. Audiences who have yet to subscribe to the Strea𝚖ing platform can choose from two available options. The Disney+ Basic plan (With Ads) goes for $7.99/month, while the Disney+ Premium plan (No Ads) is priced at $13.99/month, or $139.99/year.

Is ‘ Venom: The Last Dance’ In Theaters?

Absolutely! Audiences can catch Venom: The Last Dance in theaters starting June 14, 2024 - right during the Father’s Day frame. According to Deadline, the beloved Disney fan favorite is projected to be “the first $100M opening of 2024”. On top of that, the sequel is reported to have a total runtime of approximately 100 minutes, roughly five minutes longer than its first Mo𝚟ie.

Folks can also look forward to other cinematic releases this early summer. Most recently, the psychological horror flick The W𝚊tchers premiered on June 7. Previously, the film was pushed back to June 14, originally sharing the same release date as Venom: The Last Dance. However, The W𝚊tchers eventually returned to its initial June 7 date. Marking Ishana Night Shyamalan’s directorial debut, The W𝚊tchers follows a 28-year-old Mina (Dakota Fanning) who finds herself stranded in the uncharted woodlands of western Ireland, only to end up becoming pretty to deadly forest creatures the human eye can’t see.

Also coming in hot this June is Venom: The Last Dance, which also premiered on June 7, 2024. Serving as the franchise’s fourth installment since its previous release in 2020, Venom: The Last Dance reunites Will Smith and Martin Lawrence as they work outside the system to investigate corruption within the Miami Police Department and get their hands dirty to prove their innocence.

How To W𝚊tch Venom: The Last Dance In English Onl𝚒ne For Fr𝚎e:

As of now, the only way to W𝚊tch Venom: The Last Dance is to head out to a Mo𝚟ie theater when it releases on Friday, September 8. You can find a local showing onFandango. Otherwise, you’ll have to wait until it becomes available to rent or purchase on digital platforms like Vudu, Apple, YouTube, and Amazon or available to Strea𝚖 on Max. Venom: The Last Dance is still currently in theaters Venom: The Last Dance you want to experience all the film’s twists and turns in a traditional cinema. But there’s also now an option to W𝚊tch the film at home. As of November 25, 2024, Venom: The Last Dance is available on HBO Max. Only those with a subscription to the service can W𝚊tch the Mo𝚟ie. Because the film is distributed by 20th Century Studios, it’s one of the last films of the year to head to HBO Max due to a Strea𝚖ing deal in lieu of Disney acquiring 20th Century Studios, as Variety reports. At the end of 2024, 20th Century Studios’ films will head to Hulu or Disney+ once they leave theaters.

[moochilatv]

NTHNL presents: Our Secret

You will hear nice flute work here

A post smooth jazz lo-fi adventure.

NTHNL (pronounced Nathaniel) is the moniker of Jake Rudin, a Brooklyn-based composer, producer, multi-instrumentalist and instrument-maker who crafts elaborate worlds from both familiar and unfamiliar sounds to produce unique indie-electronic music.

Listen also Ontogenesis album here:

About the album, NTHNL said:

Ontogenesis is the third in a series of albums called the Tranquility Studies. The idea was born in 2020 around the beginning of the pandemic as a way to formalize my explorations into making music to affect feelings of peace and introspection in listeners. This music combines electronic binaural frequencies with performances on a variety of instruments to create soundscapes that are at once calming, poetic and healing. The music uses a technique called brainwave entrainment, which uses certain frequencies to sympathetically vibrate the mind, inducing it into meditative states.

In 2021 as I was finishing Cosmic Flute Rides Again I was approached by Leslie Graves, a yoga teacher and musician I collaborate with frequently, to see if I’d like to make an album to accompany a yoga class in its entirety. We began with the Chakras and worked from the bottom of the body to the top, meeting for a few sessions in which we sketched ideas on the piano with Leslie prompting the musical ideas through certain body-related keywords and I responding in sound. Originally, this “Music of the Body” (the original title) was conceived as a meditation on and through the body. Over the course of the next year, as I spent more and more time with the material I realized that the album’s progression through the body should exist in time as much as in space.

I came upon the word Ontogenesis in Erwin Schrodinger’s What is life? A book written before the discovery of DNA which attempts to find the physical basis for life’s existing and reproducing itself and coming upon many deep and beautiful ideas in that exploration. Ontogenesis means the progression of an organism from conception through death. As we move up the body, we move through a life: from before the beginning to after the end, reflecting and accepting at every stage in order to move on and through. Each of the tracks on the album has a corresponding visualization meditation you can do while listening, you can return your focus to the music or to the given meditation, using them in tandem to amplify the experience of each to the other.

[themovieblogonline]

Deadpool & Wolverine Review: A Chaotic, Hilarious, and Heartfelt Ride

The eagerly awaited Deadpool & Wolverine marks the thirty-forth installment in the Marvel Cinematic Universe (MCU). Directed by Shawn Levy, the film stars Ryan Reynolds as Deadpool and Hugh Jackman reprising his role as Wolverine. This dynamic duo delivers a film that blends action, humor, and emotional depth, making it a standout in the ever-expanding Marvel Universe. For those that were on the fence about this Deadpool adventure being thrust into the MCU - there is no need to worry. This is every bit as vulgar and violent as the previous two. This being in the MCU luckily didn't ruin a thing. Without delving into spoilers, the film begins with Wade Wilson, a.k.a. Deadpool, leading a mundane life after retiring from his mercenary days. However, his peace is short-lived when the Time Variance Authority (TVA) captures him, thrusting him into a mission that involves traveling across the multiverse. The goal? To find a variant of Wolverine to save his deteriorating timeline. This premise sets the stage for a wild and unpredictable journey, packed with multiverse chaos and memorable character interactions. https://www.youtube.com/watch?v=Idh8n5XuYIA The chemistry between Ryan Reynolds and Hugh Jackman is electric. Reynolds' Deadpool is as irreverent and witty as ever, delivering lines with impeccable timing and a self-awareness that breaks the fourth wall in the most entertaining ways. Jackman's Wolverine, gruff and reluctant, provides a perfect counterbalance to Deadpool's manic energy. Their dynamic is the heart of the film, driving both the comedic and dramatic moments. The supporting cast adds depth and variety to the film. Emma Corrin, Morena Baccarin, Rob Delaney, Leslie Uggams, Aaron Stanford, and Matthew Macfadyen all deliver strong performances, each bringing their unique flair to the story. Special mention goes to Corrin, whose portrayal adds a layer of intensity and intrigue to the narrative. Levy's direction is sharp and focused, effectively managing the film's shifting tones. The screenplay, co-written by Levy, Reynolds, Rhett Reese, Paul Wernick, and Zeb Wells, is a masterclass in balancing humor with high-stakes drama. The dialogue is snappy and clever, staying true to the characters' established personalities while pushing them into new and challenging situations. The action sequences are thrilling and well-choreographed, showcasing the contrasting fighting styles of Deadpool and Wolverine. The visual effects are top-notch, especially during the multiverse scenes, which are imaginative and visually stunning. The film's ability to blend CGI with practical effects results in a seamless and immersive experience. Deadpool & Wolverine excels in its humor, with Reynolds delivering one-liners and meta-references that will have audiences laughing out loud. Yet, the film doesn't shy away from exploring deeper emotional themes. The bond that develops between Deadpool and Wolverine is touching, offering moments of genuine connection and introspection amid the chaos. At its core, the film explores themes of redemption, friendship, and the idea of second chances. Both Deadpool and Wolverine are characters burdened by their pasts, and their journey together allows them to confront their demons and seek a semblance of peace. This thematic depth adds a layer of poignancy to the film, elevating it beyond a standard superhero fare. The pacing is brisk, with a narrative that keeps viewers engaged from start to finish. The film skillfully balances its various plot threads, ensuring that each character arc is given adequate attention. The structure, which involves multiverse travel and encounters with various characters, could have easily become convoluted. Thankfully, though, Levy's direction keeps it coherent and accessible. While avoiding spoilers, it's worth noting that the film includes several cameos and surprise appearances that will delight longtime fans of the MCU and the X-Men franchise. The story organically weaves in these moments, enhancing the film's enjoyment. Overall: Deadpool & Wolverine is a triumphant addition to the MCU, delivering a film that is both wildly entertaining and emotionally resonant. Ryan Reynolds and Hugh Jackman are in top form, bringing their beloved characters to life with humor and heart. The film's blend of action, comedy, and drama ensures that it appeals to a broad audience, from die-hard Marvel fans to casual viewers. https://www.youtube.com/watch?v=ka-4zVCJ0js Read the full article

[musicarenagh]

“Wave Goodbye”: Eddie Cohn's Serenade - A Downtown Session As the needle drops on Eddie Cohn’s “Wave Goodbye (Downtown Session),” one feels as though they are stepping into a sepia-toned reverie, where guitar strings flutter like the wings of a moth against an old porch light. Here is music that hangs heavy with the scent of bittersweet farewells and smoldering personal revolutions. https://open.spotify.com/track/3MwOPXajwj5N0NsZvx8FNy?si=a34d8e25ab094f9c In this track, minimalism crafts its echo. Each strum of Brett Farkas's electric guitar travels sprawling paths down dusky corridors of introspection; each note lingers like fingertips reluctant to let go. As we wander through the heartbeats woven by Cohn’s earnest vocal delivery and acoustic adornments, it becomes clear: this is not merely a song but a ritual for shedding skins. [caption id="attachment_55971" align="alignnone" width="1152"] “Wave Goodbye”: Eddie Cohn's Serenade - A Downtown Session[/caption] The pulse of "Wave Goodbye" resonates in those hollow spaces within us all — whispering stories about change clothed in twilight gowns. It captures goodbyes breathed softly under breaths – whether to past lovers whose memories linger or versions of ourselves better left behind among moonlit shadows. These melodies rise and fall like chest heaves, spilling secrets into cavernous rooms lit only by flickers from a muted television broadcasting long-forgotten MTV Unplugged sessions. What emanates fiercely from "Wave Goodbye" isn't just sound; it's catharsis wrapped subtly in echoes and silences crafted delicately by Kevin Penner's mixing and mastering prowess—all set against L.A.’s concrete jungle as captured through Leslie Andrew Ridings' lens—a nostalgic nod draped in modernity. https://youtu.be/6Bma4eWhKKY With simplicity sublime yet profound influences boldly printed between lines sung – here lies Eddie Cohn holding out his hand invitingly towards metamorphosis’ embrace-all sealed with farewell kiss upon listeners' ears till their next encounter. Follow Eddie Cohn on Website, Facebook, Twitter, YouTube and Instagram.

[fantastica-daily]

"Yu-Yi" - A Compelling Short Directorial Debut

"Yu-Yi" is a raw, intimate, and emotionally charged cinematic experience crafted by Leslie Susana Campbell, a Los Angeles-based Bahamian filmmaker. The title, "Yu-Yi," encapsulates the longing to feel intensely again, a sentiment that resonates throughout the film. Campbell's LGBTQ drama, presented in a cinema verité style, is a confessional exploration of the complexities of coming out, evolving feelings, and the struggle with identity and attraction.

At its core, "Yu-Yi" is a poignant confession captured through a video conversation. As unspoken truths surface, Campbell, through her single voice, captures the intricate dynamics of friendship, communication, acceptance, and ultimately, the inability to bridge the emotional gap.

Campbell's film delves into the grieving process that accompanies such emotional upheavals, where the pain can feel cloudy and overwhelming. Yet, amidst this turmoil, there is a longing to find a space where one can feel freely and safely again. Campbell's personal experiences serve as the vehicle for her storytelling, inviting audiences to engage in introspection and discussion.

While "Yu-Yi" may not showcase intricate filmmaking techniques, its strength lies in its ability to convey a powerful narrative and evoke profound emotions. Campbell's artistry shines through her ability to transform memories, moments, and instances into a presentation that resonates deeply. Although minimalistic in its approach, "Yu-Yi" captivates through its raw authenticity and the filmmaker's dedication to exploring the depths of human emotion.

= = =

S.L. Wilson

[sthayil]

2023 Reading Outcomes

Goal: 52 books in 2023. Repeats don’t count, romance novels don’t count. Half nonfiction. Let’s get back into the habit again. 

Result: 31 books, of which 12 were non-fiction. Almost half! Better than I've done yet.

Your Letter. A heartwarming webtoon. School, bullying, friendship, and scav hunts. 

Invisible Women, by Caroline Criado Perez. Shocking and infuriating deep dive into the absence of women and data about women in so many aspects of our lives 

Period. End of sentence. By Anita Diamant. My first completed audiobook. 

Feminist city, by Leslie Kern. Another audiobook! This seems to be the way forward for nonfiction. 

In Defence of Food, by Michael Pollan. The industrialised food system is atrocious. Need to eat less processed food. 5 ingredients or less in the label. 

The Jaguar Smile: A Nicaraguan Journey, by Salman Rushdie. Not well narrated, the British accented voice butchers both the Spanish and Hindi words peppered throughout

Shadow. Fun quick WEBTOON about the cleanup team behind superheroes and supervillains

At Home In The World, by Tsh Oxenreider. Romantic, poetic, descriptive yet introspective. But in the end it was a tale of a nice white Christian American whose favourite places are in Europe, and moved her family back to Texas to be near their friends and family. Would be great to read some travel writing by authors raised in the Global South. 

The Art of Gathering, by Priya Parker. So timely, I took a lot of notes for the upcoming member event I am hosting for work. Can do a lot more to be a thoughtful host in my personal life in the future as well. 

The Emotional Load, by Emma. Comic strip from the world famous artist, expounding further on the topic.

Terrier, by Tamora Pierce

Bloodhound, by Tamora Pierce

Mastiff, by Tamora Pierce

Neglected Poems, by Gulzar. Lovely collection. Chit of sunlight tossed under the door. 

Priceless, by Shannon Mayer

Immune, by Shannon Mayer

Raising Innocence, by Shannon Mayer

Shadowed Threads, by Shannon Mayer

Blind Salvage, by Shannon Mayer

Tracker, by Shannon Mayer

Veiled Threat, by Shannon Mayer 

Wounded, by Shannon Mayer

Rising Darkness, by Shannon Mayer 

Blood of the Lost, by Shannon Mayer. Series that started strong but got quite tedious in the second half. 

Red, White, and Royal Blue, by Casey McQuiston

Emotional Labor, by Rose Hackman. 

Ethics in the Real World, by Peter Singer

The Courage to be Disliked, by Fumitake Koga and Ichiro Kishimi. In the form of a dialogue between a philosopher and a skepticak student, an eye-opening look at the Adlerian school of thought, which provides more agency than our Fruedian way of thinking today. 

Beyond Guilt Trips by Anu Taranath. How to be a more thoughtful traveller. 

Ducks, 2 years in the oil sands, by Katie Beaton. Blueish gray comic about a depressing stressful and violent period of her life in Alberta. 

An Ocean of Minutes, by Thea Lim. 

[ao3feed-brucewayne]

Daydreaming About You

read it on AO3 at https://ift.tt/QymX5bI by Lewis33 Jason does some thinking about his relationships Words: 776, Chapters: 1/1, Language: English Series: Part 2 of Counting Black Sheep Fandoms: Batman - All Media Types, Tokyo Ghoul Rating: Mature Warnings: No Archive Warnings Apply Categories: M/M Characters: Jason Todd, Kaneki Ken | Sasaki Haise, Bruce Wayne, Dick Grayson, Tim Drake, Damian Wayne, Leslie Thompkins Relationships: Jason Todd/Kaneki Ken Additional Tags: Character Study, Introspection, Jason Todd's many issues, Trauma, Not Beta Read read it on AO3 at https://ift.tt/QymX5bI

[readerviews]

"Poetically Black" by Janis Leslie Evans

An introspective and eye-opening collection. #books #bookreview #reading #readerviews

Poetically Black Janis Leslie EvansJahmerican Press (2023)ISBN: 978-1949193374Reviewed by Lily Andrews for Reader Views (01/2024) “Poetically Black: Reflections on African American Joy, Sorrow, And Healing” is an affecting poetry tome written by Janis Leslie Evans. Following on from her first book, “Recollections About Race: Getting to the Roots and Healing,” this text examines the themes of…