#one of their biggest moments on the highlight reel!

[doortotomorrow]

memori in every episode » perverse instantiation part two

[simplysparrow14]

I’m going to say more later but dragging out Percy’s resurrection and having placed right beside Scanlan’s Bards Lament for the final 3 episodes is both a clever choise and a sad Adaptation sacrifice.

First off, I can see *what* they’re trying to do — it was always going to be hard to tackle TWO big resurrection rituals in the show, especially back-to-back, especially since resurrection rituals are so similar in nature (you die, everyone says their praises, you come back to life) So the natural thing to do is to highlight one while overshadowing the other — literally what they’re setting up: Percy’s resurrection is going to be this big, emotional, group event. Vex is going to say that she loves him, it’s going to be sad and angsty and all that jazz.

Meanwhile Scanlan only gets to be in a coma for a second time (or he might actually be dead— the episode wasn’t very clear as to what it was)

And it’s like, that’s so Bards Lament!!! It’s literally all of the build up for Bards Lament packaged into one event — Percy gets the emotional confessions and praise and the big group resurrection while Scanlan only gets his rinky-dink little ritual with Kaylie, and maybe Pike where she tells him to come back from his coma.

And no one else in the group is going to give a shit because PERCY’S BACK!!!

Scanlan was in a coma and they didn’t even give two shits if he’s truly rotting on a death bed or simply asleep in a coma, because everyone else is more concerned about Percy.

and I’m like, that’s so clever and smart!!! Good writing!!!

But also I can’t help but feel that it undercuts Bards Lament — C1 Bards Lament was a sock to the face to the cast/characters who did not understand Scanlan’s emotional; it’s supposed to be this sudden, unexplained, telegraphed beyond the stars but still hits you like a fist to the eye moment, one where it leaves you reeling from its intensity.

TLOVM Bards Lament is feeling more like a kick to the groin — still hurts, mind you, but it’s not going to leave me cowering in a corner.

I can understand that in a show where you have to tie up loose ends, you can’t really leave out in such an emotionally charged moment —Seasons have to have a beginning, middle and end, after all. And for what TLOVM is worth, it has been paying those Bards Lament moments forward.

And like I get it, I GET IT — trying to condense 1000 hours of live-play into twelve 20-30 min episodes was always the biggest obstacle the show was ever going to try to handle. It’s not an easy task and I certainly don’t blame the writers/story supervisors or WHOEVER is in charge of making sure that the storybeats get hit in service to the show. Some things are almost always going to be either cut, rebound, repackage etc.

But it feels somewhat lackluster. I’m willing to see how these last few episodes stick the landing.

[fibula-rasa]

Cosplay the Classics: Nazimova in Salomé (1922)—Part 2

My cosplay of Nazimova as Salomé

As the studio system emerged in the American film industry at the start of the 1920s, many of the biggest stars in Hollywood chose independence. Alla Nazimova, an import from the stage, was one of them. In 1922, she made a series of professional and creative decisions that would completely change the trajectory of her career.

In part one of CtC: Nazimova in Salomé, I described how Nazimova’s independent productions were shaped in response to trends and ideas surrounding young/independent womanhood in America after World War I and the influenza pandemic. Here in part two, I’ll fit these productions, A Doll’s House and Salomé, into the broader context of the big-money business of film becoming legitimate in America.

While the full essay and photo set are available below the jump, you may find it easier to read (formatting-wise) on the wordpress site. Either way, I hope you enjoy the read! Oh and Happy Bi Visibility Day to all those who celebrate!

My cosplay of Nazimova as Salomé

Artists United? Allied Artists and the Release of Salomé

When Nazimova made her screen debut in War Brides (1916), the American film industry was undergoing a series of formative changes. Southern California became the center of professional filmmaking in the US—fleeing New Jersey (where War Brides was filmed) largely because of Thomas Edison’s attempts to monopolize the business. Preferences of audiences and exhibitors shifted away from one and two-reel films and towards feature-length films. The Star System emerged in full force. Nazimova soon relocated to Hollywood, signed a contract with Metro, and reaped the benefits of this boom period for American film artists.

The focus on feature-film production and the marketing of films based on the reputations of specific filmmakers or stars required a greater initial outlay of resources—time, money, and labor. But, it also paid dividends—the industry quickly grew into a big-money business. The underlying implication of that is that a larger share of the profits were shifted from the people doing the creating (artists and technicians) and towards other figures (capitalists). In practice, this also meant film companies would become eligible for listing on the stock exchange and could secure funding from banks and financial institutions, both of which were rare or impossible before the mid-1920s. The major players on the business end of production, distribution, and exhibition, therefore, wanted to consolidate their power and reduce the power and influence of the filmmakers.

To illustrate how momentous this handful of years was in the history of the US film industry, allow me to highlight a few key events. Will Hayes’ office was set up in 1922 to make official Hollywood’s commitment to self-censorship. Eastman Kodak introduced 16 mm film in 1923, a move which, while making filmmaking more accessible and affordable, also widened and formalized the division between the professional industry and amateur filmmaking. Dudley Murphy’s “visual symphony” Danse Macabre[1] was released in 1922—considered America’s first avant-garde film. Nazimova’s Salomé was considered America’s first art film from its initial release in 1923. That these labels were deemed relevant in this period illustrates the line being drawn between those films and film as a conventional, commercial product. The concept of art cinemas in the US was first proposed in 1922 spurring on the Little Cinema movement later in the decade.

from Danse Macabre

from Salomé

As any industry matures, both the roles within it and its output become more starkly delineated. That is to say that, as the US industry began differentiating between art/avant-garde/experimental film and commercial film, the jobs within professional filmmaking also became more firmly defined. Filmmaking has always been a collaborative art, but in the period prior to the 1920s, it was common for people in film to do a little of everything. As a result, what sparse credits made it onto the final film didn’t necessarily reflect all of the work that was done. To illustrate this using Nazimova,[2] at Metro, she had her own production unit under the Metro umbrella. While her films were “Nazimova Productions,” she didn’t have full creative control of her films. However, Nazimova did choose her own projects, develop said projects, and contribute to their writing, directing, and editing. When those films were released, aside from the “Nazimova Productions” banner, her only credit would usually be for her acting. Despite that impressive level of creative power, the studio still had the ultimate say on whether a film got made, and how it would be released. As studios grew and tightened control of their productions, this looser filmmaking style became much less common.

The structure of the industry at this time was roughly tripartite—production, distribution, and exhibition. Generally speaking, the way studio-made films traveled from studio to theatre—before full vertical integration—was that the production company would make available a slate of films of different scales. (Bigger productions with bigger names attached would have a special designation and come with higher rental fees.) Famous Players-Lasky was the biggest production house at the time, though other studios, like Metro, were quickly catching up. Distribution companies would then place this slate of films on regional exchanges, centered in the biggest cities in a given region. Exhibitors (this could be owners of chains like Loew’s in the Midwest and Northeast, the Saengers around the gulf coast, or individual theatre owners) could then rent films through their local exchanges. (This was an ever-shifting industry, so this process was not true for every single film. This is only meant as a quick overview of the system.) As the 1920s wore on, exhibitors began entering the production arena and producers further merged with distribution companies and exhibition chains. Merger-mania was the rule of the day.

My cosplay of Nazimova as Salomé

As merger upon merger took place and a handful of businessmen tried to monopolize the industry, American filmmakers responded by championing the artistic legitimacy of filmmaking in the US. Leading this charge were the very filmmakers on whose backs the big business of film had been built. As noted in Tino T. Balio’s expansive history of United Artists, The Company Built by the Stars:

…Richard A. Rowland, president of Metro Pictures, proclaimed that ‘motion pictures must cease to be a game and become a business.’ What he wanted was to supplant the star system, which forced companies to compete for big names and pay out-of-this-world salaries for their services. Metro, he said, would thenceforth decline from ‘competitive bidding for billion-dollar stars’ and devote its energies to making big pictures based on ‘play value and excellence of production.’”

It’s notable for us that these ideas were espoused by Rowland, head of the studio where Nazimova was currently one of those “billion-dollar stars.” (“Billion-dollar” is obviously a massive overstatement.) It was a precarious time for any filmmaker who cared about the quality and artistry of their work. It was this environment that birthed United Artists, a new production company built around the prestige and reputation of its filmmakers, Douglas Fairbanks, Mary Pickford, Charlie Chaplin, and D.W. Griffith. As the statement announcing the formation of UA detailed:

“We also think that this step is positively and absolutely necessary to protect the great motion picture public from threatening combinations and trusts that would force upon them mediocre productions and machine-made entertainment.”

It’s an accurate assessment of industry trends at the time. If the desired product is a high-quality feature-length film, production is necessarily more expensive. As the UA statement intimates, monopolizing the entire industry and sacrificing quality for quantity to fill the exchanges and theatrical bills was the studio heads’ solution to rising costs. Not a great signal for filmmaking as art in America.

My cosplay of Nazimova as Salomé

So, Nazimova was in good company when she chose to go independent, believing in film as art and that American moviegoers deserved better than derivative, studio-conceived films. Some of the other artists who went independent included George Fitzmaurice (one of the most revered directors of the silent era, though most of his films are now sadly lost), Charles Ray, Max Linder, Norma Talmadge (in alliance with Sam Goldwyn), and Ferdinand Pinney Earle (whose massive mostly-lost artistic experiment Omar Khayyam, I profiled in LBnF). If these filmmakers shared the motivation of UA to create higher-calibre productions, where would the money come from? For Nazimova, the answer was her own bank account.

In 1922, Nazimova’s final film for Metro, Camille (1921), was still circulating widely due to the rising popularity of her co-star, Rudolph Valentino, after the release of Four Horsemen of the Apocalypse (1921) and The Sheik (1921). While Nazimova had the funds to complete A Doll’s House and Salomé, there was no sure bet for the films’ releases. Nazimova’s initial concept for her independent productions was the “repertoire” film. This scheme would have seen A Doll’s House released as a shorter film with Salomé as a feature and the two could be rented as a package by exhibitors.  It was a creative response to growing tensions between producers and exhibitors over a practice called block booking. Block booking was a strategy studios employed to leverage the Star System to its fullest. They would take the most in-demand films associated with the biggest drawing stars and only make them available in a package deal with productions that were perceived as less marketable. Nazimova was aware that her films at Metro had been rented this way (as the special feature). It’s not completely clear from my research if the decision to release Salomé and A Doll’s House as two features was creative, practical, or a combination of the two. The “repertoire” concept may not have gone according to plan, but it was an early indication that Nazimova was well-informed of the nuances of distribution and exhibition.

Nazimova’s need for proper distribution was met by United Artists’ distribution subsidiary, Allied Artists. United Artists’ first few years were a struggle. Fairbanks, Pickford, and Griffith[3] needed significant time and money to finish the high-quality productions that they promised and Allied was their solution. This distribution arm would release the work of other independent talent using the same exchanges as UA, but under a different banner. Though Allied used UA’s exchanges for distribution, the subsidiary had its own staff. Allied having different branding would also protect the prestige of the UA name. (An unkind, but not entirely inaccurate summary: the money your work brings in is good enough for us, but your work is not.) Allied would have a full release slate to generate the revenue that UA needed to remain in operation.

Nazimova was one of the filmmakers who signed a distribution deal with Allied and had reason to regret it—though she and Charles Bryant didn’t openly rag on UA/Allied.[4] Notably, Mack Sennett had arranged the release of Suzanna (1923) through Allied and was vocal about the company bungling its release. Differences over distribution and exhibition would also lead to Griffith’s exit from the company and a major rift between Chaplin and Pickford-Fairbanks. After 1923, Allied reduced its operation, at least in part because of the bad reputation they were garnering with other filmmakers. Despite numerous independents losing money on productions released through Allied, by 1923, Allied had netted UA 51 million dollars in revenue!

Trade ad for Salomé from Motion Picture News, 10 March 1923

The questionable deals that these independent filmmakers received with Allied are often mentioned in discourse about the period, but very, very rarely does anyone offer details of what Allied’s inadequate distribution looked like. Using the information available to me via Lantern, I collected and analyzed data regarding the release and exhibition of Nazimova’s final two Metro films and both of her Allied films.[5] Looking at the trade publications Exhibitor’s Trade Review, Moving Picture World, Motion Picture News, and Exhibitors Herald, I categorized every item I found about the release or exhibition of Billions (1920),[6] Camille, A Doll’s House, and Salomé. The “release” items are primarily advertisements, reviews, and news items about release dates or pre-release screenings. The number of these items for all four films were comparable. 

The items in the “exhibition” category, however, reveal a marked difference between the Metro and Allied releases. This category includes items like first-run theatre listings, exhibitor feedback, and advertising advice for theatre owners. Only counting exhibition items from the first two years (24 months) from the initial release of each film, Billions and Camille had twice as many items as A Doll’s House and Salomé!

While this isn’t necessarily hard data on how many theatres ran each film, it is a rough indicator of how well the films circulated. This data suggests that neither A Doll’s House or Salomé had distribution comparable to the Metro films. In order to compensate for the Rudy factor—Valentino’s major rise to stardom in 1921—which could have affected Camille’s numbers in a big way, I included Billions as well. Billions was sold as a special (a bigger production with premium rental fees) on Nazimova’s name alone. It was not especially well received. Exhibitors/theatre owners had mixed feelings on the film because Nazimova’s previous film, Madame Peacock (1920), had underperformed. Many exhibitors viewed Billions as an improvement, though it still did not meet their perception of Nazimova’s standard of quality. Despite that, Billions had 76 exhibition-related items across its first 24 months of availability to Camille’s 80.

To get a little deeper into this data, I wanted to see how the feedback from exhibitors and theatre owners compared. I broke down the exhibitor feedback for each film as positive, middling, or negative based on how the exhibitors assessed audience response and/or box office receipts. (I discounted feedback that only reflected theatre owners’ own personal assessment of the films without mention of their patrons or receipts.) Positive feedback could be good reception and/or good receipts, middling suggests only average business and no noteworthy reception, and negative indicates poor response and/or poor ticket sales. Since there are so many more items about Camille and Billions than A Doll’s House and Salomé, I compared ratios as an indicator of exhibitor satisfaction. The results were truly surprising.

Theatre owners who rented Salomé may have been in significantly smaller numbers than those who ran Camille, but their satisfaction with ticket sales and audience feedback was roughly equivalent. (Though slightly more positive for Salomé!) The numbers for Billions line up with the qualitative assessment I summarized above, displaying a roughly equal 3-way split. A Doll’s House was the most divisive with the highest proportion of negative feedback of the four films, yet with a higher proportion of positive feedback than Billions.

Taking all of this into account, it’s clear that Salomé did not flop because it was too artsy or esoteric for the American moviegoing public. Such assumptions are obviously not very thoughtful or informed by reliable data.[7] A more historically sound reading is that, as professional filmmaking matured into a “legitimate” industry in the US, the various arms of the business were rigidly formed to fit conventional output. The conservatism that this engendered made the American industry ill-equipped at marketing anything too unconventional or experimental. While Hollywood insiders were lamenting European filmmakers artistically outdoing Americans—especially following the US release of The Cabinet of Dr. Caligari (1920)—very few people with the power to shape the industry did anything to support experimentation. Given this environment, Salomé could only have been produced independently, but the quickly ossifying distribution and promotional systems didn’t have the range to give it a proper release. Two films contemporary to Salomé, Beggar on Horseback (1925) and The Old Swimmin’ Hole (1921) offer further evidence of the industry’s limitations.

The Old Swimmin’ Hole is a feature-length production by Charles Ray, experimental in that it uses no intertitles. The story is simple and familiar with Ray playing the Huck-Finn-type character he was well known for. Ray’s experiment was not an expensive one and the film was successful. However, decision makers at First National, the film’s distributors, felt that The Old Swimmin’ Hole was simply too complex for small-town Americans to comprehend and it wasn’t released outside of cities. To put it plainly, the distributor’s unfounded concept of ignorant yokels meant that a film about country living was largely inaccessible to anyone actually living in the country. Though the film was well received and turned a profit, this distribution decision likely limited its audience as well as possible revenue from small-town exhibition.

Stills from The Old Swimmin’ Hole from Motion Picture Magazine, April 1921

Beggar on Horseback was produced by one of the biggest studios in Hollywood, Famous Players-Lasky, and distributed by Paramount. Starring comedian Edward Everett Horton, Beggar was an expressionist comedy based on a popular play. The film had a popular star, popular source material, and was made and released by a major company, but Beggar was apparently too unconventional for that major company to adequately market it. (Unfortunately, only a few minutes of the film survive, so we can’t fully reassess it unless more is found/identified!)

Stills from Beggar on Horseback from Picture-Play Magazine, August 1925

With all these complicating factors at play, how might have Salomé found its audience in 1922-3? Nazimova and Charles Bryant had innovative ideas for the film’s release that might have done the trick, if they had been able to act on them. Nazimova and Sam Zimbalist had finished cutting Salomé in late-spring 1922. Having spent practically all of her money to finish the film, and following A Doll’s House’s disappointing results, Nazimova was eager for Salomé to hit theatres. Though the film was in the can and private preview screenings had been held by Bryant by summer ‘22, Salomé wouldn’t be released until February of 1923. In studio filmmaking, holding a film in extended abeyance wasn’t ideal but it was not disastrous. Studios had significantly more resources and revenue streams than independent producers. If, for example, the release of Billions had been delayed for seven months, Nazimova still had two films on the Metro exchanges (and therefore in theatres) and Camille would have entered production in the meantime. But for Nazimova as an independent producer, this situation was wholly untenable. (In fact, Pickford, Fairbanks, and Griffith were in a similar untenable situation when they founded Allied.)

Initially, Bryant proposed roadshowing Salomé. Roadshowing is a release strategy for notable film productions where a film is toured around major cities, often with in-person engagements by stars, writers, and/or directors. Nazimova expanded the idea of touring with Salomé not simply as a roadshow, but paired with a short play in which she would star. Double the Alla, double the fun. As far as I can tell, there isn’t publicly available information about why Salomé wasn’t roadshowed. However, we do know that Griffith, as the only non-performer in UA, wanted to utilize different approaches for the release of his films—like roadshowing—and it became one of the major points of disagreement with his fellow UA decision makers. That could be taken as an indication that something similar might have occurred with Nazimova and Allied.

As time dragged on without a release date for Salomé and Nazimova returned to theatrical work—openly admitting to audiences that she was broke—Bryant took matters into his own hands. At the end of December 1922, Bryant negotiated with the owner of the Criterion Theatre in New York City for Salomé to run on New Year’s as a special presentation. In two days, Salomé grossed $2,630, setting records for the theatre. Adjusted for inflation, that’s $48,988.96. It was successful enough that the owner of the Criterion opted to hold the film over. This bold move must have lit a fire under Allied’s tuckuses, as Salomé finally had its first-run release a little over a month later.

In the 1920s, the first-run booking of a film was a crucial part of its further success. Concurrent nationwide release of films wasn’t the norm yet, and if a film was a big production, getting booked at high-capacity motion picture houses in major cities was a necessity. These big city releases would, in theory, generate interest in the film with exhibitors across the country and internationally. Basically, if you spent a lot on a movie but couldn’t land a first-run release, you weren’t likely to turn a profit or even break even. Salomé had a handful of first-run bookings and local reviewers from those cities believed the film would succeed. A reviewer from the Boston Transcript in February 1923 wrote:

“…this newest Salome is something far better than a photographed play. Considered both as picture acting, and as an interesting experiment in design, “Salome” is a notable production. It will have a far and wide reaching influence on future films in this country.”

But, as I mentioned, only a handful of first-run theatres played Salomé, and, taken collectively, the notices I analyzed from contemporary trades imply that it didn’t gain traction once it was made available beyond its initial run.

My cosplay of Nazimova as Salomé

During this regrettably short theatrical run, exhibitors and reviewers from trade publications advised that Salomé was a unique film that called for unique promotion. The overall assumption was that theatre owners knew their patrons and recognised whether out-of-the-ordinary movies were popular with them. Rather than purely judging a film’s quality, exhibitors and trade reviewers had concerns specific to exhibition when providing feedback. These concerns cannot be overlooked if you want to understand their assessments. For example, exhibitor feedback was very often informed by how high the rental fees were for a film, even if exhibitors don’t directly mention said fees. That is to say, a mediocre film might be rated highly if the rental fees were modest (and if block booking wasn’t an issue). Reviewers in the early 1920s, both for popular magazines and trade publications, were already accustomed to the formulaic nature of most studio output. Their reviews commonly expressed fatigue with studio films’ lack of originality. And, perhaps surprisingly, this sentiment was shared among theatre owners as well—particularly when a run-of-the-mill film was sold to them as anything other than a “programmer” (a precursor to B-movies).

What I have learned, not just by analyzing feedback for Salomé, but also for all of the films in my LBnF series, is that when a 1920s reviewer calls out bizarreness in a film, it’s not always a negative quality, even when the review isn’t positive. In the case of reviews written for exhibitors/theatre owners, focussing on what makes a movie different is purely pragmatic. It guides how exhibitors might market films to patrons and helps exhibitors judge if a film would be suitable for their audiences. And, from that same research, I’ve found significant indications there were numerous markets throughout the US that were hungry for novelty—contrary to what studio apparatchiks wanted to admit. So, pointing out Salomé’s bizarreness was a recommendation for those markets to consider renting it as much as it was a warning against renting for theatre owners who only had success with more conventional films.

Cover of the Campaign Book for Salomé reproduced in Exhibitors Herald, 9 February 1924

In the case of Salomé, reviews and feedback upon its release focused on two major points:

 The film isn’t “adult” in nature. Well-known productions of Strauss’ opera and the 1918 Theda Bara film of the same name led to a presumption of salaciousness. (I talked a bit about that in Part One!)

The film deserves/requires a build up as an artistic event film.

Nazimova’s company helped exhibitors with the latter point in a few ways. The company provided Aubrey Beardsley inspired art posters conceived by Natacha Rambova and executed by Eugene Gise. They printed a book to guide promotion of an artistic spectacle. (So far, I haven’t been able to find a physical or digital copy, so I can’t assess how good the advice was!) Salomé was also distributed with an official musical score, apparently written for a full orchestra.

Art Posters designed by Rambova and painted by Gise as reproduced in Exhibitor’s Trade Review, 10 February 1923

The exhibitors who ran Salomé—and put at least some of this advice into practice—were satisfied with the business it did. By these accounts, the American moviegoing public was attracted by the novelty of Salomé, but what chance were they given to see it?

While this evidence of Allied’s poor distribution work may be circumstantial, it certainly complicates the narratives that Salomé was an unqualified flop or that average Americans weren’t (or aren’t) receptive to artistic experimentation. Given that Nazimova was not the only independent filmmaker who suffered from Allied’s inept distribution, it does seem like the underwhelming business Salomé did was due more to a poor choice of business partners than to any quality of the film or of American moviegoers. That said, with the increasing monopolization of the industry, Nazimova did not have a wealth of options.

Though Salomé was made and released at an tumultuous period for the US film industry, it did eventually find its audience through circulation in art cinemas. As the gap between experimental/avant-garde film widened in the US and the professional industry became less and less tolerant of departures from convention, Americans concerned with film as an art form rallied around amateur filmmaking clubs and art cinemas began popping up in cities by the middle of the decade. Salomé played in these theatres even after the advent of sound—occasionally even today. This is likely the key reason that Salomé survives and we’ve been able to continue to enjoy and reevaluate it one hundred years later.

Salomé is a significant film made at a significant moment in American film history. Nazimova took a major risk in going independent and personally funding two artistic projects. These films were founded on the beliefs that American moviegoers wanted art made by human beings with unique imaginations, feelings, sensibilities and that there was an audience for more than derivative, “machine-made” film. In my opinion, through close analysis of the circumstances of Salomé‘s release, we can see that Nazimova was likely correct, but didn’t get a genuine chance to prove it in her lifetime. Additionally, it’s important to note that Nazimova’s risks did not “ruin” her as is occasionally said. The state of her finances were more greatly affected in the 1920s by her fake husband’s habit of spending her money and by getting swindled by a pair of con artists over her estate, The Garden of Alla. Soldiering on, Nazimova continued to work in both theatre and film for the rest of her life and found more stability with the partner she would meet at the end of the 1920s, Glesca Marshall.

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Once I finished this “Cosplay the Classics” entry, I realized that it would way too much for me to include a section on another relevant topic to Salomé: Orientalism in Hollywood. But, I feel that the topic is too important to just edit that writing out. Look out for a shorter “postscript” entry soon!

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☕Appreciate my work? Buy me a coffee! ☕

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Footnotes:

[1] Danse Macabre is also thought to be a major influence on Walt Disney animating to music, as seen in “Silly Symphonies” and later Fantasia (1940) and Disney’s other musical anthology features. It was also in this period that Disney fled from his debtors in the Midwest to California with his first “Alice” movie. However, the wide-ranging effects of Disney’s business practices were not felt until much later, so that’s another story for another time!

[2] Nazimova was one of a handful of women in Hollywood at the time who held significant creative power. June Mathis and Natacha Rambova, both of whom Nazimova regularly worked with, Mary Pickford and her regular tag-team partner Frances Marion are among some of the others.

[3] Chaplin wouldn’t produce a film for UA until 1923’s A Woman of Paris, as he was fulfilling a pre-existing contract with another studio.

[4] According to Gavin Lambert’s biography of Nazimova (which I discussed as a largely unreliable source in Part One), Robert Florey supposedly advised Nazimova against signing with them, citing Max Linder and Charles Ray as artists who had been “ruined” by their deals. However, the timeline does not quite match up. Though Florey did visit the set of Salomé, Nazimova had already signed the Allied deal by then and Ray had not finished The Courtship of Miles Standish (1923) when Salomé was in production. In fact, there was almost a year and a half between the completion of Salomé and the release of Standish. Whether this was a lapse of memory by Florey or misreporting by Lambert, I can’t be sure.

[5] Originally, I wanted to include Madonna of the Streets (1924) in my comparisons but, at the moment, Lantern has gaps in their Moving Picture World archive for 1924-5. I didn’t want to draw conclusions from incomplete data.

[6] Billions was also a Rambova-Nazimova collaboration. Rambova designed a fantasy sequence for the film.

[7] A mindset that’s still common among commercial media outlets today unfortunately. I could rant and rant about “content” and “content creation” all day but that’s another story for another time.

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Bibliography/Further Reading

(This isn’t an exhaustive list, but covers what’s most relevant to the essay above!)

Lost, but Not Forgotten: A Doll’s House (1922)

“Nazimova in Repertoire” in Motion Picture News, 29 October 1921

“Alla Nazimova Plans for Her New Pictures” in Moving Picture World, 29 October 1921

“Nazimova Abandons Dual Program for Latest Film” in Exhibitors Herald, 24 December 1921

“Plays and Players”in Photoplay, February 1922

“PICTORIAL SECTION” in Exhibitors Herald, 4 February 1922

“New Nazimova Film May Be Roadshowed“ in Exhibitors Herald, 15 April 1922

“Newspaper Opinions” in The Film Daily, 3 January 1923

“Splendid Production Values But No Kick in Nazimova’s ‘Salome’” in The Film Daily, 7 January 1923

“Claims “Salome” Hit New Mark at N. Y. Criterion” in Exhibitors Herald, 27 January 1923

“Salome” in Exhibitors Trade Review, 20 January 1923

“Nazimova in SALOME” in Exhibitors Herald, 27 January 1923

“Nazimova Appeals To Exhibitors In Behalf of ‘Salome’” in Exhibitor’s Trade Review, 27 January 1923

“Novelty Features Paper and Ads for ‘Salome’” in Exhibitor’s Trade Review, 10 February 1923

“SALOME’ —Class AA” from Screen Opinions, 15 February 1923

Nazimova: A Biography by Gavin Lambert (Note: I do not recommend this without caveat even though it’s the only monograph biography of Nazimova. Lambert did a commendable amount of research but his presentation of that research is ruined by misrepresentations, factual errors, and a general tendency to make unfounded assumptions about Nazimova’s motivations and personal feelings.)

Lovers of Cinema: The First American Avant-Garde 1919-1945 ed. Jan-Christopher Horak (most notably, “The First American Avant-Garde 1919-1945” by Horak, “The Limits of Experimentation in Hollywood” by Kristin Thompson, and “Startling Angles: Amateur Film and the Early Avant-Garde” by Patricia R. Zimmermann)

United Artists: The Company Built by the Stars, Vol. 1 1919-1950 by Tino Balio

[stuckinapril]

i’m finding it so difficult to detach myself and cut off a person who i am very much still in love with but who has repeatedly hurt me and strung me along only to dump me when reality hits and they remember im a real person with flaws and emotions and not some fantasy they created

i’m about to be really mean but this person doesn’t give nearly as much of a fuck about you as you do about them. you’re probably romanticizing them, playing a highlight reel of their best qualities in your head, rewinding all the good moments you might’ve shared w them. meanwhile they weighed your best qualities, replayed your best memories in their head, considered the value you add to their life as a person—and still decided it wasn’t enough and chose to dump you.

this was my biggest blind spot when i was going through things like friendship fallouts or my breakup w my ex. i was like but how can i live without them now!! as if they didn’t choose to severe our connection w their whole chest. you might be like “but they might’ve really struggled to do it” and it’s like okay, but they still chose to go through w it. their reasoning to them was more important than having you in their life, regardless of the tremendous energy and emotion that got expended into the decision. that or it took no energy at all, which just means that they were playacting their care for you and never actually gave a fuck. far more sinister.

from the way you described them, they’re still not mature enough to realize that love is hard work. that it’s not just convenience and feeling good all the time. why do you want someone like that in your life? someone who always goes into fight or flight whenever push comes to shove? not sustainable whatsoever. they literally did you a favor by walking out of your life. they saved you more wasted time and effort and pain that would have no doubt stemmed from their avoidant, erratic, wishywashy nature.

you have to get into the habit of not wanting people who don’t want you, whatever the context. i feel like a bit of narcissism is healthy when it comes to this bc i legit don’t care what a person’s attributes are; to me that’s such a fundamental difference in thinking between us bc i’m the dopest bitch i know. and they still don’t want me in their life ?? like ik what i bring to the table and that would be such flawed, ludicrous logic to me. it just gives me the ick and makes me lose interest in them as a person instantly, even if they were great listeners or had a good music taste or were funny or played the guitar really well. doesn’t matter, they still were shortsighted enough to think a life without me in it was a good choice. romantic and platonic breakups do bother me, simply bc i’m very honest w my love and i genuinely value the people in my life, but these days i’m not hung up on anyone for more than a day bc i will never want someone who doesn’t want me. never never never. i don’t have the compulsive urge to make people who don’t like me like me. i have such a don’t let the door slam you on your way out mentality about it. i’ll simply find someone who’s funny and a good listener and plays the guitar well and still cares enough about me not to dump me when it gets hard. doesn’t have to be one or the other.

also do yourself a favor and don’t fill the gaps for them or try to guess what’s going on in their minds. they dumped you? okay they don’t care about you. they cut you off? okay they don’t care about you. they’re not trying to send you subliminal messages on their ig story about how much they still care—and on the very small chance that they are, you shouldn’t want that. you shouldn’t want someone whose peak effort when it comes to you is posting a sad quote about how lonely they are without actually putting the effort into approaching you, apologizing, owning up to their mistakes. until they actually act on it, their feelings pretty much irrelevant & it’s best to assume they just don’t give a fuck. you don’t want someone in your life who always prioritizes their comfort over maintaining their connection w you. ruthlessly remind yourself of that and move on to someone who doesn’t just give you breadcrumbs, if anything at all.

[from-izzy]

the warmest winter | tbz choi chanhee | new

"She has a date with me tomorrow."

​PAIRING » tbz choi chanhee (new) x fem!reader​ TROPE/AU » ​childhood friends to lovers, fake dating au, non-idol au!, high school au! GENRE​ » fluffy fluff with a touch of angst, reader is a skater! (has her hair up in a bun), chanhee is very jelly of juyeon (hehe), but also chanhee is just jealous in general (...hehe), fake dating (i tried my best ahhhh), juyeon makes an appearance as jealous chanhee's rival WORD COUNT » 5805 ESTIMATED READING TIME » ~21 mins WARNINGS (lmk if i missed anything!) » very inaccurate depiction of skating in general (writing this made me miss skating...), very fast proofreading (twice)

navi/masterlist!! 🤍

hi @astrae4 !! yes, i'm your secret santa!! 🤭 sorry (not really hehe) for tricking you into thinking otherwise 🫢 it was very cute and funny to hear you say "it's definitely not you" when we were on call 🤣 had my camera been on, i wouldn't have gotten away with it 😫 just to let you know that @heemingyu was also playing along too (thanks for that and reading this, honey bee!) 😁 don't be too mad, dek! 😭 i'm innocent—

There are many good things about having a best friend who has known you since you were in diapers. 

For you, the funniest reason would be how you would dead stare him across the room, with the straightest and plainest face, him directing one back at you. It sends the others into a fit of confusion, worries and frustration as none could ever figure out what’s in the duo’s minds. The chaotic reason would be that you would both wreak havoc together. Like that one time during the last day of primary school when you both decide to fill up thirty water balloons to their full capacity and throw them to any of the teachers in the outdoor field, fearless of the possibility of getting in trouble as graduation was around three hours after. The embarrassing reason would be that Chanhee would come to cheer you on your sport, luxuriously with his branded clothes from all his hard work, holding his big handmade slogan to support you as you glide across the ice to your routine. He would always get an earful from you after but he got his karma when you came in, dressed in highlighter yellow, sitting on the front row seat to his singing performance. 

It’s the day that everyone has realised that the two of you are menaces to society. 

The comforting reason, and is one of the biggest reasons why you two are still stuck to the hip after a decade, would be that when your lips are pouted, eyes glistening with tears, hugging your knees to your chest and whimpering your worries in the night, Chanhee would sit beside you wordlessly. Patiently waiting for you to cry your feelings out, patting your back rhythmically as he sometimes let time pass by scrolling through his phone, occasionally showing the funny reel on his screen to get you to join in his laughs. For him, the moment of calmness when you both would hit the breaks to your chaotic lives would be the best ones too with Friday nights becoming obligatory ‘brake time to get a break from society’ which can sometimes be too much.

But this Friday is a bit different. 

Your final skating competition before you graduate high school is coming up in less than a month and despite the nervous butterflies growing in your stomach, you’re still very much excited to participate. You’re somewhat confident that you’ll do well, especially with all the experience that you have and the achievements and trophies that show off your hard work. But all of that didn’t stop you from agreeing to the voice in your head that tells you to put your blades on and just bask in the cold. Feeling nervous is a given but you have to believe in yourself that you can win this scholarship to your dream university. 

The blades of your skates glide smoothly across the new ice sheet that has recently resurfaced once more. This is the second time that you had to step out of the rink and it shows the duration that you’ve spent without thinking much. Even when the doors to the public were closed, through your coach and her connections to the people who work at the rink, you were able to stay for even longer. Staying on the ice also meant that you were separated from your phone, leaving everyone on delivered for another two hours. 

But Chanhee knows your habits, driving to the ice rink and pushing the still-unlocked front door to see you skating leisurely without a care in the world. He smiles warmly behind his blue scarf, delighted at the little smile and satisfying self-cheer when you land correctly, scratching the ice with your achievements once again. Silently, he sits down on one of the benches, going on his phone but still occasionally looking at your dancing figure once in a while.

You don’t know how you missed a whole hour of another person’s presence—or maybe it’s because you’re so used to and comfortable with him that you don’t notice him—but you literally almost trip from the ice and the edge of the ice rink when you spot your best friend with his Hello Kitty beanie that you gifted him this year for his birthday.

“Slow down.” He tries to hold his laughter when you let out a puff of air, annoyed at your clumsiness. “You should come eat. I’m sure you forgot about that.”

The mention of food and the familiar takeout bag from your favourite place brightens your face, the corners of your lips lifting immensely and you kick off your shoes, tiptoeing in the cold and wet puddles to quickly fill up your stomach after a successful practice session. 

“Knew I could count on you.” 

“Duh.” He rolls his eyes playfully. “I feel so bad for your stockings, I swear.” Commenting on your slightly damp black fabric. 

The only response he got was the way you rub the watered part onto his pants, him shrieking and sliding himself away from you on the bench, only for you to of course follow him. In the end, when he reaches the end of the aluminium seat, he only groans and tells you off, giving an empty warning that he’ll never pick you up and buy you food ever again. When you put your tongue out, making a funny face to him, his cheeks blush hues of red and pink in the dimly lit seating area—you didn’t see it though as you were too focused on the flavours bursting in your mouth. 

When you fully focus back on your food once again, leaving him in his little world, Chanhee buries his lower face further into his scarf, away from your field of vision. He leans a little bit back to make sure he can just admire you without being too obvious. His heart flutters when his mind replays back to your mischievous and cute face, and the way you didn’t mind being so close to his face—though he was freaking out about it all. 

But how could he ever tell you? Because he can’t even explain to you when he started to fall for you. Was it that time when you ran to him at primary school, winging about how you needed a friend to get ice cream? Or that time when you stayed by his side and continued to support him when he hit the hard times while he was preparing for his first performance in high school? What about that time when you would just lay on his shoulder and listen to his worries, completely understanding his thoughts, never judging him through words or facial expressions?

He can’t even make sense of it to himself. Let alone with you.

“I’m annoyed.” Your voice trails off in the big area but it reaches his ears easily.

Judging from the way your feet kick the air and the accommodating tone of your voice with your words, Chanhee’s lips pull into a straight line. “Another one?” followed by a deep chuckle and a frustrated sigh from you. 

“It’s not that funny, okay? You know I’m bad at rejecting…”

He ponders the thought behind your words, nodding as his memories play the series or tears after politely and in some cases, not as kindhearted, rejecting the ones who made an advance for you. When asked why those tears were showing, you commented how “it didn't feel right” and alternatives to “he didn't feel at home. He likes me because of my appearance. He's never even talked to me!” 

Chanhee wishes that it would never be like that for him. But it's okay, for he would never tell you his feelings for you anyway.

The realization weighed deeply in his heart, resonating hurt throughout his entire body. He glances over at you, hopefully discreetly, with how much love he could give you at any time. Impulsively, acting with a tinge of jealousy and possessiveness, the suggestion curled out from his tongue without another thought.

“Date me instead.”

Your feet stop kicking the air and both of your bodies are now stiff with widened eyes, as if the cold finally got to you guys.

“What?”

It sends Chanhee into a momentary faze and the blush on his cheeks spreads through not only his face but his entire body.

“Fake!” 

“HUH?”

“Like, fake dating!”

Then the implications behind his words finally sink into you. You didn’t realise this before but the idea does seem great for someone like you who has been trying to get people off your case. It’s tiring, especially when you can’t find a proper connection with either of them—none of them was better than your connection with Chanhee.

“For once in your life,” Your hand gives him a firm pat on his shivering shoulders, “you have come up with a great idea.”

Playing off the slight hurt in his heart, knowing that from your words that you didn’t see him anymore than just friends, Chanhee bravely flashes you a smile. “Do you want to or not?”

“...what’s the catch?” The growing grin on his face tells you everything. “I know you, Choi Chanhee. There’s no way something as taxing and effortful as dealing with me, has no catch to this agreement. Tell me!”

“The catch is,” he takes off his scarf, exposing the lower half of his face to you. Carefully, he wraps the dark blue material around yours, no longer seeing the exhaling white air, “that you get to listen to whatever I say.”

Adding a little touch to this, he bops the tip of your nose earning a deep grunt and shove from you but your hands still held on to the top edge of his scarf, enjoying the familiar scent and warmth that came from it. 

“Does that soothe your chaotic mind?”

“Mhm.” You hum in agreement, feeling your neck loosen from all the tension from the previous regular meetups that you both will have. Especially with you being so busy the entire time, it was nearly impossible to meet up with Chanhee unless he was the one going all the way for you. 

“Nothing will change.” Chanhee shrugs. “We’re just…us. Everyone is already thinking that we’re dating anyway so the only thing that'll change is more hand-holding and all that.”

“No kissing!”

“W-Wha--Of course not!” This time, you were shoved back. “Who wants to kiss you anyway? You literally drool in your sleep!”

“Hey!” With each growing rebuttal, so did the echo that bounced within the walls, “Don’t say that! You know how lonely, I am! That’s so mean!”

The laughing boy didn’t do much to ease you, just sticking a tongue out at you. He did, however, reach out to hold your icy hand. It made him frown, the little mountain growing on his lips. Suddenly, the gap between your body closes with him wrapping a secure hold of your waist. Confused by the sudden proximity, you let out a string of stutters as you look up to see him already staring at you.

“W-What are you…doing…?”

“We’re dating now.” He shrugs nonchalantly, “You have to get used to this.”

“No one is here, Chanhee.” 

He has never been one to initiate skinship. It has always been you cuddling up to his side like a koala, clinging and dragging him to every single place that you wanted to go.

“J-Just…leave me alone and let me hug you.” And he did. Your upper body twists to completely face him and your chin goes over the scarf to rest on his padded jacket. The height difference is why he had to bend to your figure, basically slumping over you but neither of you minded. With a clear of his throat without another word or action, he lets you go, stands up and asks for your hand. “It’s too cold. Let’s go, I’ll drop you home.”

“Wait Chanhee…” 

You drag the last syllable and the hand that reaches out for you slowly lowers. Chanhee sighs, knowing that it can't be good judging from the tone and the way your lips pull sideways.

“I need to rant about my upcoming duet routine.”

“Oh.”

He remembers the first time when you did perform once with someone else. Of course in group work, your effort and contributions matter just as much as theirs would matter to you. But your first (and what you hoped to be your last) partner ruined all potentially happy thoughts about performing with someone else. It sucked that even though you both did win a place at the podium, the stress and effort of basically choreographing at least ninety percent of the routine was not worth the bronze medal on the podium.

For a short while, it killed you to be on the ice and you refused to even step back there without a pressing reason. You're thankful that your coach has always been an understanding one because if she wasn't, your career in figure skating would be shredded at this point. Chanhee did help too, reminding you of the joy and laughter, even making himself borrow some skates from his friend. It led to bruises and him face-planting into the pile of snow but at least he got to see the way your eyebags disappeared over time.

That's more than worth it for him.

“You'll be alright.” He reassured first, kneeling to get into eye level with you even though yours is downcasted. He knows that your mind would go back to the past. “You got a shit partner but you'll be fine. I promise you that you'll do better this time.”

“I hope…”

“Who is it with this time?”

Despite breathing the cool air whenever you could, you could never get enough of it. 

“Lee Juyeon.”

Something inside him stops. Time didn't though because from his peripherals, he noticed how you stood and skipped your way down to the ground floor, patting your outfit dry as if some sort of ice or dust had dirtied it. He hears your announcement, shouting that you will get your things ready from the back room and miraculously, he lets out a croaked answer in return.

Lee Juyeon. 

Everyone in school loved him, Chanhee included. Most wanted to date him, others wanted to be him while the remaining loathed the way he was perfect in every way. In short, Lee Juyeon is the total opposite of Choi Chanhee. 

He prefers to spend his days quietly in the library alone while Juyeon prefers to attend parties. While Chanhee would be in his bed sleeping in the morning, Juyeon would be taking his daily morning run before rushing back home to shower and get ready for the school day. When Juyeon would be in his weekly student council meetings, Chanhee would eat ice cream at that nearby restaurant, basking in the sweetness after a stressful day.

This unfamiliar feeling sends Chanhee into a slight brain freeze when he imagines you both not only close physically but the fact that you will be near the perfect boy for the majority of your time—and the fact that he won't be able to spend time with you because you'll be busy with other priorities—makes the green feeling inside his chest grow with the devil snickering inside his head. He was still so deep in thought that he didn't even notice you wave your hands infront of his face despite having his eyes seemingly on your face.

“It's almost midnight.” You say, opting to drag him out of the building with a hold of his clothed wrist. “Daydream later, loser.”

Oh, you're so right about that. And he's in deep trouble about it all. 

What he didn’t truly prepare for, however, is the number of times that you would leave him on delivered, responding to his messages from the beginning of the day to the end in one go, buzzing his phone repeatedly when he’s doing his final skin routine before sleep takes over him. He’s still understanding, knowing how the competition is important for you. At least she still answers me back right? He reassures himself while throwing the face mask away, the cooling air on his face suddenly turns his mind back to the short ‘date’ from the other day. 

He still remembers the pink checkered shorts that you paired with a simple button white long sleeve. Your hair is freed in the wind, taking the scent of your shampoo—to him. The struggles of keeping his palm dry when it’s around yours, and the bigger struggle to keep his skin neutral void of any redness whenever he catches a glance of your smile.

“Once more!” You plead, handing your phone back to him after switching back to the camera app. 

Despite the roll of his eyes, he’s thankful that the device hid his face from yours, even if it’s only a while. He focuses on the screen and your figure, arguably more than the technology. He directs your poses: hands collecting your hair into a bun, looking down at your feet while the other shot is one of you puckering your lips, looking to the side with a quick peace sign.

Both became his lock and home screen using the excuse of making the relationship more believable—we know more than that though.

It fuels his hate for himself and Juyeon when he texts you that he finished the final part of the routine, asking if you’re free to test it out with him.

After that, school was the only place where you would exchange smiles, stick out tongues, share food, hugs and even kisses on each other’s cheeks, Chanhee only found himself in deep trouble. The public display of affection did make other boys leave you alone, gulping and scurrying away in masses when he would throw them a side glare, his hand on your waist tightening his hold each time. 

It would drag your attention to him, whenever he does that. Such a new feeling, yet fluttering and intimate. You would clutch the loose fabric of his shirt, hand once relaxed on his chest. Brown eyes would run over the creases of disgust and the lines of fury across his usual soft, kind face. Whenever you would ask him for a peek inside his mind, his eyes would quickly turn to the ones that he would usually show whenever he would laugh and nag you to put your upper body back inside his car in the late-night drives. Or when you would do your night routines together every single time, without fail—for your information, it’s been two weeks since then.

Sure it’s all for show, but two weeks ago when he proposed the idea, it seemed that nothing had changed for him and even though he’s glad that no one is crazily chasing after you anymore, it hurt that he feels like he’s been abandoned by you. Heck, he hasn’t even taken you out for a ‘date’ yet. Friendly date, ‘fake’ date. The label that you would put on it didn’t matter much for him as long he took some of your time.

So now, with the owl hooting outside his window, dressed and ready to sleep with his Hello Kitty pyjamas, something is telling him to pick up his keys from the handmade bowl that you both messily painted as kids, go for some drive-through to pick up your favourite food and drive to the ice rink.

The sight that greeted him when he did reach his destination caused the paper cup in his hand to spill all over the rubber of the ice rink. The low-pitched clatter stops the laughs that erupt from you and the male who had his arms wrapped around your waist, his defined chest pressing comfortably against your exposed back due to your outfit, is the one who straightens his back first, noticing the painful gaze from outside the rink.

But again, Juyeon is everything Chanhee isn’t. 

The way that Juyeon let out that signature ‘oh’ of his with the sickening way that he hollers a greeting to the envious boy, not even bothering to throw a discouraging comment that would hurt his pride and would then rightfully give a reason to hate him that has a glad upturned smile on his face, Chanhee would’ve run straight back to the door that he opened excitedly before. Just like your skating partner, you also let out an ‘oh!’ at his presence and he couldn’t help but think that now, Juyeon isn’t taking away his time with you anymore but also the way you speak. 

Leisurely gliding your way towards the railing of the enclosed rink, the anterior side of your forearm rests, your feet still making little circles on the part of the rink that wouldn’t usually be given that much attention to professional skaters like you.

“Having fun?” It came out more venomous and spiteful than he thought. Even his eyes widened slightly in fear, seeing a similar look in your eyes. But he maintains eye contact with you, the paper of the takeaway scrunching rapidly under his hold.

“I’ll leave you two lovebirds alone. See you tomorr—”

“She has a date with me tomorrow.”

“Wait, Chanh—”

“Right?”

It’s so impossible to miss. Not with the way that maybe if Chanhee blinks, the normal act could’ve probably sent his eyes into a newfound breakdown that he has been trying so desperately to hide. Especially not in front of Juyeon, he’s not about to cry now. 

Your chest raises, inhaling the stuffy air to your beating lungs. Lips parted to start speaking your thoughts and Chanhee watched with a more definite crease between his eyebrows as you could only articulate the sounds of some familiar words, unable to audibly tell him anything. For what seemed like forever, you both just looked at each other. You tilt your head every single time your best friend directs his attention away to his house slippers back to your eyes. Beneath the tough exterior that he’s putting on, it’s easy for you to see how something is troubling him. 

The first one is his attire. Unless you were in a life-or-death situation, there is no way Chanhee would stain the white satin button-up and long pants. There was one time when you were begging profusely for a late-night snack and spontaneous hangout but even then, he just nodded and hummed into the phone, telling you that he needs to “keep the white pure, away from the sins of the outside world.” 

Juyeon quietly leaves the scene, hand giving a tight squeeze before disappearing for the night.

“Let’s sit down?” You offer, uncertainty clouding your judgement. 

The bench awaits patiently for you, the jacket lazily slopped over it. You’re so tense and unsure about the situation that even taking the steps up the dry stairs was so quiet—more silent than the shaking exhales that the puff of coloured air made due to the cold. Your fingers brush against the fine hair of the material but you didn’t put it on yourself. The tips of your hair flip around to see your best friend not even anywhere near the bottom step, still frozen in the same place as before.

Knowing that you won’t be in the mood to skate after whatever confrontation and conversation you’ll have with him, you pack your bags, slipping off into comfortable shoes for running—if you really have to. Chanhee’s bangs fell over his eyes easily with the downward tilt of his head, a miracle that his neck wasn’t cramping right now. From the shadows on the ground, a long line goes over his head and his shoulder lazes a new heavy material. The body part tries to shake the warmth stubbornly but a click of your tongue is what stops Chanhee from flopping around like a dying fish.

“Did you know my dad used to be in the mafia?”

It’s supposed to take you both out of this challenging atmosphere but you know that even though his eyes are hidden because of his posture and his grown strands, he isn’t going to return the playfulness. The strap of your backpack is the only one that knows your nervousness, croaking due to the leather material, your nails probably engraving this moment into its skin.

“Juyeon…huh?” 

A broken laugh comes out from you, eyes wandering to the background space around his head area. Has the wall always had that crack on the wall? Oh…how is the fly surviving in this weather? Is it raining outsi—

“Do you like Juyeon?”

“W-What?” Why did the question hurt so much to hear? “I’m dating you, Chanhee.”

“I don’t think anyone believes it to be honest.” He shrugs, adamant about staying focused on the topic. “I just wanted to know,” His eyes dart around the place, anywhere but to you, “wanting to know if you’re part of the ninety percent of our cohort that likes him.”

“Oh.” It was out of nowhere but being suspicious isn’t the right word to describe it. It was more to curiosity as to why Chanhee would just ask such a thing all of a sudden. “I do think he’s attractive.” You shrug leisurely, unaware of the screaming in his head. “He’s a good partner too.”

Chanhee tries his best to mask the growing ache in his chest, blankly nodding. “He is your type after all.”

“I have a type?” One of your eyebrows rises, “I didn’t even know that myself.”

“Right…” Finally, the food is shoved into your chest, just like how it’s always been. If so, then why did it hurt you when he told you, “Date him then.”

An immeasurable kind of clench was made by the muscles around your heart.

“W-What?”

Thank god you changed shoes because he stormed out right after.

Your phone also became silent, no more life was given to Chanhee. What annoyed you most wasn’t the ‘good’ news that spread to the boys but the fact that he would make it so obvious that he hated you whenever you would make your presence known to him.

“Talk to him after this.” Juyeon encourages you, handing your bottle of water from his hand.

“I can’t.” You huffed. “He treats me like a plague.”

You quite literally cannot have this in your mind right now. The competition is in a few hours and you messed up both of your rehearsals for tonight. The slight pain that throbs from your lower palm will be, you swear, used to slap someone who truly deserves a wake-up call. As the sun rose each day for the past week, it also burnt along your hopes that Chanhee would talk and ease your worries so that you could dance freely, marking your perfect twirls on the ice that shines along with you. 

Juyeon’s eyes relax, sending you a slumped smile with half-lidded eyes. “Does he know about tonight?”

You did indeed send him a message about today but you’re doubtful that he would come. You even tried bribing him with free food but maybe the boy knows that your anger might turn to something more, saving himself from your hits and complaints. 

But you’re just unaware of what he’s truly trying to save himself from.

The sunset marks the start of the open doors. Relatives, schoolmates, acquaintances and even strangers bustle through with their appropriate clothes—including a young girl with short sleeves that you are sure would throw a fit to ask her mother for a jacket—all gathered to support the skaters, especially those who have university representatives to impress.

With the cute bright pink mittens, the waving hands catch your attention quickly. You send a quick wave back to your sister who waves the supportive banner she made, along with your parents who gave you thumbs up, placing their hands around the circumference of their mouth to shout and holler at you.

It’s all so awesome.

But it would’ve been perfect had someone else come.

The realisation makes your heart drop. Chanhee has always come to all your competitions without fail but this one, when everything is on the line. Before you have to completely push your phone away, your thumbs search for his contacts, automatically just checking in your recent section. Even though the relationship between you is ambiguous, you couldn’t find it in you to change his name which implies a romantic title for him.

It seems right.

It seemed that no one should have that title but him.

Your eyelids collect as much water as they can before it spills onto the phone screen. It seemingly glitches the words on the glass, distorting your spam messages for him. “Just come…please…” you whisper before texting him the same exact words that you just said.

But he decides to crush the final hopes that you ever had in him, leaving you on seen once again. The familiar shout that gathers all the players rings through your ears and Juyeon’s figure behind you also tells you that it’s time to push Chanhee aside for now.

“He’s not my boyfriend, Ju…” The truth spills out and even though the boy has things to ask, he decides to let you rant before going. “But I want him to be.”

You know this now with the distance he puts between you. 

It’s suffocating. 

More than dehydration. More than the minus temperature. More than the scratch on your hand.

“I just want him, Juyeon…” Beads in your eyes, shaking lips and true feelings. “I’m sorry.”

“It’s okay.” He nods, wishing the best for you. “I knew that my feelings wouldn’t be reciprocated.” 

It lifted off a weight in your chest, knowing that Juyeon’s reassurance that you would both still stay friends. You both sway beautifully on the ice, balancing and leaving the audience in awe, judges in amazement and competitors in envy. If there is one thing you can take away from this, is that for you, being on ice with someone else can truly be fun. You both promise to meet each other on the ice next time, in the future, professionally and relieve this perfect teammate chemistry once again.

And now, you’re shaking your limbs, trying your best to ease your nerves.

Still no sign of him.

You force your neck to look down, just focusing on the marks of the moulded plastic and leather, plunging the front spikes of the shoes into the floor.

“That’s…going to make a mark.”

That voice.

The one that could ever stare at you with a blank stare and contain his laughter. The one that would leave others in fear whenever a sinister smile and wiggling of eyebrows would be sent to each other. The same one that stands beside you, taking the blame alone when the drenched teacher finds you both.

The same one that would usually sit by your sister and make the banner with her, splashing on extra glitter and Hello Kitty stickers. The same one that would lend his luxury brand accessories, not getting mad if you accidentally broke it.

It propels you forward to his already half-opened arms, waiting for you, always reserved for you. Just as you promised to yourself, Chanhee takes the hits on his chest, listening to your words and letting his clothes seep your cries.

“I know, I’m sorry.” One hand encircles your waist from behind, the other patting your hairsprayed scalp. “I won’t lie that I skipped the one you did with Juyeon but I know your parents recorded it so,” he shrugs, “but I’m here for the main performance. Yours.”

Your small chuckle made him do the same. “You’re not wearing a stupid outfit.”

Chanhee hums. “I thought I would be a very supportive friend and won’t embarrass you for this event.”

“Boyfriend.”

“W-What?”

“You’re my boyfriend.”

It leaves him in a daze but he knows that you weren’t joking. To him, his gulp seemed a bit loud but maybe with the way you slowly left his arms, you might’ve missed it. 

“I love you, Chanhee.” Your eyes searched for rejection but all he did was blink at you rapidly. You took this as a sign to keep going. “I think I always have and you being idiotic just made it clear to me.”

“O-Oh…”

“D-Do you—” You shake your head, waving your hands the same way to him. “Actually don’t tell me! Let me skate first. J-Just watch me…”

When was the last time Chanhee has seen you so flustered? It leaves him breathless and his heart soaring and he knows within himself that he wants to be the only one to ever put you in that state. He gives a nod, a smile plastered on his face. You thought he would join your parents on the bench but he stays near the entrance of the rink, giving your lower back the lightest touch, whispering you a final message before you enter the spotlight.

The message rings in your ear the whole time. The music suddenly fades but every time you could catch a glimpse of Chanhee, you know that he didn’t say it for you to feel flustered and fail. 

And fail, did you not. 

The reward on the podium with a gold medal hanging around your neck sends you many obstacles of representatives who want you to join the team. But they could wait.

Just like a few minutes ago, your arms circles his neck, pushing Chanhee’s lips to your own. A few seconds before your lips meet him, the boy lets out a little ‘hmph’ before he softens, his eyes closing in the same time and way yours does. The way the cold replaces the warmth of his lips leaves you both chuckling even when he momentarily pushes you away to save himself from the tickles that you gave his waist. But once again, the words that he whispers against your shy lips remind you that his eyes have always held the same love that you have given him and the way your lips move passionately in sync with his, tells you that he wasn’t playing around with his words.

With your heart.

With you.

“I love you,” he tells you with his lips.

The motives behind his proposal with this whole fiasco become clear and the redness on your face is no longer due to the energy-consuming routine that you just performed. It deepens when he gives you his mittens, slipping them through your fingers and messaging each one with care. It deepens further when he lends you a fabric to keep your throat healthy so that you can confess to him again. It deepens even more when he realises that you’re shivering after the adrenaline of your sport drains you and he wraps his scent around your uniform.

“Thanks for making my winters warmer.”

navi/masterlist!! 🤍 tags (send a dm/ask if you would like to be here!): @deoboyznet 📢❤️ @k-labels 💙🤍 @k-films 🤎🎞️ @kflixnet 📺🍿

[omegalomania]

some kind soul uploaded the full q&a that fall out boy did the other night! here is a highlights reel of things that grabbed me while i was watching for those who don't have time to watch:

they have a rapport with the interviewer and have hung out with him a bunch. patrick says they spent like 30 minutes making fun of couches last they hung out lmao

pete describes working with neal avron as being held like an enchanted forest creature with him standing inches from pete's face and saying "what. are. the songs. about." and pete going "oh my god he's looking into my fucking soul rn"

when asked what their favorite meal is, andy says "mom's spaghetti" and doesn't elaborate, patrick says "sushi" and doesn't elaborate. pete says that he's like the joker and he's a simple man and today he had a full english breakfast and he didn't know what to do with half the stuff that showed up.

pete talks about discussing the name of "the beatles" with elliot ingham (their photographer) and says he finally understood that their name was a pun. he says about this "i'm not the sharpest tool in the shed" and doesn't realize he's referencing a meme. the crowd immediately fills him in that it's a lyric by smash mouth. andy clowns on him for this right after: "he's NOT the sharpest tool in the shed"

the host says that pete seems very intellectual. pete says "i PROMISE you that's not true."

when asked about formative musical influences andy and patrick both cite familiar names (andy namedrops drummers for bands like slayer and metallica, patrick says his dad being a folk singer was a huge influence and the 1989 danny elfman batman score). pete says joy division but says he's a visual person and most of his influences are movies.

there's a moment where patrick and pete banter and pete points at the host and says "he just told me i'm smart, i'm trying to live up to it!!" and patrick says in this very small high pitched voice "please be nice to pete!"

anyway pete says his biggest influences are "all the twilight movies except for the one where they introduce [i have no idea what he says here because the crowd promptly goes apeshit]" and also lego batman.

for newer artists patrick says he really likes the new zulu record and the new incendiary song. he says he also likes MSPAINT, alvvays, and another band i couldn't catch the name of

pete says he likes all of patrick's recommendations and says he also likes games we play. andy doesn't give any artists but says patrick gave a "great list" because he's VERY jet-lagged. he's keeping it together as best as he can tho lmao

when asked about if they would ever do a fashion runway show like they did in 2013, patrick says he was embarrassingly short for the whole thing. "i'm at like, bellybutton level." so he says he doubts they would ever be invited back to do something similar "unless they want a bunch of hobbits"

someone asks about producing and patrick gets really in depth with what producing is like and uses "from under the cork tree" as an example - "nobody puts baby in the corner" was barely adjusted from demo form but "sugar we're goin down" had totally different verses at first until they got better direction from the producer.

when asked about what their favorite video to film was, pete says youngblood chronicles WASN'T a lot of fun to make because it was like 9 months with fake blood in your hair and clothes that haven't been washed oNCE. he also didn't love doing the prosthetics for "love from the other side"

the host asks if they've seen the last of us and pete says yes but points at andy and says "he hasn't seen the last episode though so no spoilers!!!" which i thought was very sweet. he then follows that up with "just watch the fuckin episode so we can talk about it!"

patrick and andy said they shot a music video recently that was a "blast" but it's not out yet. pete calls it "very fun, very funny." the crowd starts cheering and patrick hastily says "YOU HAVEN'T SEEN IT! you're under NO obligation to like it! but if you do then that's good :)"

patrick says one of the best parts of being in a band is that they all have imposter syndrome but in different ways so they can build up each other's ideas even if they don't believe in their own.....

pete's very nervous about the lyrics to this album cause he's not sure they'll be relatable since he has a lot of "insane fears day to day about not existing." he went to a lot of places that were terrifying to him and he was like "should i talk about this to my therapist" but his therapist said "put this in your lyrics"

"heaven, iowa" was the song that took the longest to come together on this record. this is followed by a rly long anecdote from patrick that im putting in another post cause it honestly made me howl.

when asked about who they'd most like to collaborate with, andy without hesitation says "ourselves" and nothing else. pete says he wanted a kid cudi feature on the album but it didn't work out since he was either busy or ghosted them fldjflkdf

when asked what song are they tired of playing that they can't cut from the setlist and they DON'T want to answer. patrick says some songs have really high notes that are demanding physically for him but that's as specific as he gets lol

pete's like "well we've got this punk song we end all our shows with from one of our earlier albums and it gets very chaotic and sometimes it's a bit of a fancy crowd of people who are like 'i like centuries, i like some of their other songs....i write sins...' and before we start the song i'm like. oh god this is gonna be bad."

when asked about the songwriting process, patrick says: "pete sends me lyrics, i mine them for stuff i like, and....i hate starting answers like this i feel like i've been saying this all MONTH. so i have ADHD - " [crowd fucking goes wild]

when asked about which projects they're proudest of outside of fall out boy, patrick turns to andy and says "andy is very quiet about being in like thirty bands" but andy says he's proud of "all of it"

patrick remarks that he's heard some love for soul punk but is also super grateful he gets to do film and tv scoring now too! he says he likes that when he's talking to people and they ask what he does and if they don't know bands or anything he can say he likes scoring for film and tv and their eyes glaze over and there are no follow-up questions LMAO??

pete is proudest of the bands on his record label!

for favorite songs on the new record, patrick says he likes "what a time to be alive" and says the lyrics are "so tremendously pete"

pete likes "baby annihilation"

when asked about the most difficult song to play live, patrick said headfirst slide wasn't really that difficult even though he expected it to be. he says a lot of songs on mania were very challenging to play live, like young and menace. pete says "what a catch, donnie" was very hard for his "little brain" to play

at the end pete shouts out the host for being fantastic since they've hung out like 3 times now and he thinks he's a great dude to hang out with. andy inexplicably follows this up with "you look like a DAMN fine cup of coffee" and doesn't elaborate but patrick thinks that's his way of saying thank you too

[littlesheeneffect]

She's My Husband (Part 5)❤️

Miles Maitland x y/n (AFAB Genderfluid)

One day, a couple months later, the gang and I all got together for a dinner party at Miles's home. Though by this time I'd learned that it was owned by his beloved mother Lady Maitland.

I was wearing a blue dress, the light silver accents of the floral pattern highlighted by the silver clip-on earring on one of my ears. Miles wore a similarly eccentric blue suit, and had the other earring on his left ear. We'd helped eachother get ready for the party, me curling his hair, and him fixing me all up. He'd joked in spite of our extreme resulting flamboyant outfits, that he was the look of '"discretion herself", compared to what he did to me!

The gang found us "a quaint couple", though we got a bit agitated from their constant bemusement. Aggie's jokes never quite subsided though, and I had to take Miles mind off the whole thing by presenting my gift to the party.

Pulling a large case of Dad's Old Fashioned- Blue Cream Soda out of a bag, the room silenced before filling with the enchanted coos of excitement. Treats such as those were few to behold in those pre-war years, much more a American brand with such delectable taste.

We all had a wonderful time and eventually began to each find one thing or another to do. Nina for example slowly danced with Adam, as Aggie tuned into the radio.

At one point, the music paused and a news reel came through. Miles was about to protest but immedinently silenced upon hearing the message.

The message that brought tears to my eyes, and ushered in a immence change for all of us.

"Today, the Évian Conference, attended by 32 countries, has failed to reach an agreement on accepting Jewish refugees from Nazi Germany- I repeat, the confrence resulted in many countries denying Jews fleeing from Nazi Germany refuge. This news comes as leaking evidence from Nazi held Germany that Jewish residents are being begining to be arrested and encamped in Nazi concentration & evidence is now showing- death camps. Please keep everyone in your prayers tonight, please do not turn your back on those who are suffering. 'Continue to remember those in prison as if you were together with them in prison, and those who are mistreated as if you yourselves were suffering'. This is UK News, good night!"

"Oh my!" an undecernable voice whispered. "How awful," Nina muttered agast, looking at me with deep hurtfilled eyes. Unable to hold my composure, fled from the room.

Out in one of the halls far down and away from the gang, I crumpled down against the wall and cried.

"I am such a fool." I muttered though the tears.

"A bit crazy, perhaps. But no fool. Not by a damn sight."

I turned my head ever so slightly, to see Adam with a pained expression standing in the dark hall. "You are far from a fool, y/n. Trust me- you never get drunk at our parties and put up with our wildest of shenanigans. Moreover, you have the biggest heart anyone's ever held. And that's no fool." I attemped to nod though tear soaked lashes, and he plastered a grin before turning to leave.

It wasn't till then that I noticed Miles had been standing right behind me the whole time. His hand was brased on the wall just above my shoulder, as though waiting for permission to console me.

"I just, I feel so guilty, like a betrayal." I sobbed, not fully raising my gaze to meet him. "O' my darling, please don't," his deep rich voice all the more gravelly in his sympathy. "You are a heaven sent angel my love." "It's just, I never even told you Miles- I, I'm, Im," I shuddered, turning to his bent over gaze. "- that you are Jewish, my love? I always believed you were, something in the brandy I suppose," he smirked, though tears glinted in his eyes. "Y-you, you knew?" I trembled. "O darling, of course I did. You have the same features as my third uncle on my deceased father's fourth cousin's line-" I broke his humorous rant by thowing my arms about his neck.

As though starved for this moment all our lives, he tightly wrapped his arms about me as I squeezed him. Buring my face into the crook of his neck, we remained there till my tears were all gone. Or at least till the comfort of his arms eased all my pain.

I slowly let him go to find, that he had been holding me up off the ground a few inches. As he lowered me down, our eyes locked.

"M-Miles?" "Yes darling?" We said, eyes never moving. "Are we, what, what are we? Why are we so different than everyone else? I mean, everything!" He pulled his arms closer about me once more. "We are bright young things, my love. It's just us, in this world."

That answer was just so much to us at that time, so very very much.

In that second moment of embrace, Nina and Aggie walked up. "I'll say, if you aren't a couple, then what are you?! Man girl and girl man- lovers true and to the end!" Agatha laughed, but Nina elbowed her in her ribs. "Y/n, Miles- I just wanted to apologize for earlier and tell you, I am so sorry for all that's happening. The terrible things going on in Germany and around the world, it is just so despicable." Miles and I nodded to the pair, through our embrace, "Thank you."

Once they left, Miles and I were alone once again.

This time, I hardly moved away but looked up to his soft face when he called my name, "Y/n, I'm here for you forever. No matter what." I grinned and said what I'd longed to since the first moment we met, "I love you Miles." He stared into my eyes with an ineffable honesty and depth, "I love you more than you may ever know, my darling."

With that and nothing more we returned once more to the party.

....... To Be Continued.....

[lunar-years]

I don't necessarily want to be too hard on Sudeikis because like, I've never written a tv show, but at the same time I will be because I don't think he had the skill level to lead the 3rd season on his own the way he did, and it shows. I Know the show is called Ted Lasso but it honestly felt like he was too wrapped up in providing himself with moments to shine that he forgot about wrapping up huge plot points for other characters and for some reason decided their time was better spent wasted on weird side plots. If I was a suspicious person, I'd honestly say that it felt like he was sabotaging other actors by either turning them into one dimensional cut outs of themselves with no depth (Roy), dropping huge issues for the character and then completely washing over them, and also forcing a highly emotional moment by a great actor to be a farce (Jamie), or neglecting any actual potential character development and sacrificing a well developed character for a cheap shot at "yas girl boss" (Keeley)

hmm i know a lot of people blame the bad pacing and super long episodes on Bill Lawrence's departure and Jason's lack of show-running knowledge. I'm not saying he didn't make the problem worse in s3, but to be fair I think that was already well underway as a problem in s2 (when i think Lawrence was still involved?), so I don't really blame him alone. The pacing was only tight and great in the first season and then it went downhill from there.

As for the character stuff...I disagree that Sudeikis was only concerned with writing himself moments to shine (and if it’s true he did a terrible job of it lmao), because imo Ted's character is just as much of a sloppily-written mess in s3 as the rest of them (and also I think Ted's plot was less central in s3 than it was in s2 especially). Apart from the scene with Ted and his mom at the end of Mom City and maybe his season finale locker room speech, I can't really think of any scenes that are standout in terms of really emphasizing Jason's acting range/serving as award-fodder.

I also strongly disagree that he was intentionally sabotaging his fellow actors by giving them bad plots LOL. Actually I think it was quite the opposite, in that he was extremely focused on giving each of the others a “highlight reel" episode to present to the Emmys committee. Like, you can look at the season and immediately pick out which episode was written for each emmy submission (Paris is Juno's episode, Chelsea is Brett's episode [still shocked he didn't submit it tbh], International Break is Hannah's episode, etc.) Like, Mom City was clearly written with Phil winning his emmy at the forefront of the writer's room minds, and that's not necessarily a bad thing. heck, that's my favorite episode of the season! (side note that I agree with you that Jason is to blame for THAT jamie boot room scene though because like wow was that bad directing, and the bts video shows he was the one telling Phil to play it like that lmao). But i do think the segmented structure of the episodes probably did contribute to the pacing problems and the lack of cohesiveness in the season as a whole.

(I also don’t think Roy was one-dimensional in s3 🫢. Apart from a few things that didn't quite land for me, I really liked where they took Roy's arc this season on the whole. IMO they gave him more depth by really diving into his insecurities, showing him as a leader with Isaac, learning to be a friend to Jamie, coming into his own as a coach and a person, going to therapy and becoming manager. And his ending was ultimately satisfying for me).

ANYWAY, in my opinion Jason's biggest crime was being so rigidly committed to the three season vision of the show he dreamt up in the beginning, even when the show and plots had gotten too big for that original vision to contain. Season 3 could have been separated into two seasons easily and it would have given them the time they desperately needed to address many of the characters and relationships in a much better and holistic way, as well as dedicate more time to thoughtful endings for all of the main plots. Instead they tried to do way too much with way too little space. And also gave a weird amount of screen time to pointless characters (cough Zava cough Shandy...)

[purplecrkl]

(Wrote this two years ago and never posted it. Now that I have free time, I want to practice writing again!! I have no idea where this was going, but it’s my first time writing something, so hopefully it makes some sense 💀)

Also I pictured Daniel as Aaron Taylor Johnson from that one BLACK AND WHITE AD URGH 😩 #freeATJ 😔✊🏼

—————————————————

(10 years earlier)

“Tell me to stay. Tell me, if I choose to walk away, you will never speak to me again. Tell me I’m making the biggest mistake of my life. Tell me-“

“Tell me you know how to start a sentence without using ‘tell me’, right?”

“Tell me you’re an asshole without *telling* me you’re an asshole. How’s that?” I say back. Daniel, unfazed by remark, reaches for a pillow on my bed, hurling it at the side of my head. Carefully dodging the laptop showing the unfinished script of my latest story.

“I’m just saying, you’re reaching. I mean come on, no one actually says this stuff. Let alone out loud in an airport. Imagine the looks you’d get if we held up the line like that at Heathrow. I’d barely have time to spit the second line out before security kicked us out. Not to mention the ‘No Fly List’ we’d be put on, and rightfully so.”

This has been our routine since we met in 8th grade. Now, both in college, Daniel remains the only person I share my stories with. The path to becoming a screenwriter is long and treacherous but Daniel had always been supportive of my dreams. If there was anything I could count on him for, it was his brutal honesty. He would never tell me what I wanted to hear, and was always careful to reel me in whenever I was too harsh on myself.

While I wrote, Daniel would sketch quietly on my bed. He had dreams of becoming an architect and could talk my ear off about the ingenuity of various finite materials, how brutalist architecture is his least favourite style and why he’d move to Japan in a heartbeat because timber burnt houses had proven to increase the lifespan of its tenants.

Truthfully I think his desire to create a home that stood the test of time had to do with the fact he hadn’t experienced one himself. Mr and Mrs Keating weren’t bad people per se, they were just bad parents. Daniel didn’t remember much about his childhood. Bringing up the past never bode well for him. A feat Daniel was cruelly reminded of when he was asked to recall his favourite part about his seventh birthday at school the next day.

“My Lego bike”, he said proudly.

“And when I saw daddy kissing mummy in the library.”

The kids in his class let out a chorus of ‘ews’, whilst sneaking glances at who they’d declare their love for in the playground later that day.

Mrs Keating apparently cherished that moment too, going as far as giving it its own highlighted section in the divorce papers she served Mr Keating with the following weekend. A memory she would have no recollection of, if it weren’t for Daniel’s reminder. And after both parties agreed to sell the house, cashing in a hefty cheque large enough to erase 7 years of marriage, Daniel had barely managed to pack his favourite toys before he was waving goodbye to the house he grew up in. To hell with that library, he thought.

Though I didn’t know him back then, anyone could have guessed using your child to communicate the failings of the other parent; then shipping him off to boarding school when he refused to choose a side would end in serious emotional unrest in said kid. To this day, Daniel refuses to subject himself to any notion of love in fear of repeating his parents mistakes.

“God, I cannot wait for the day Daniel Keating confesses his undying love in the middle of an airport” I say, while crawling my way into the space beside him. A loud scoff erupts from his chest and it’s my favourite sound I’ve heard all day. But then it’s silent for a beat too long and I’m afraid I’ve offended him with such a preposterous idea. Daniel, capable of love? Ha.

In a second he’s up on his feet, pacing the room with my laptop in hand. He studies my script for a few seconds and it takes all I have to not stare at him too long. But it’s Daniel Keating. And in the last six years I’ve known him, I’ve stolen enough glances to confidently recite every part of him in my sleep.

Almost, every part.

A quiet chuckle brings me back and I’m scared he’s finally caught me staring this time. He hasn’t. And although it’s impossible to see anything beyond the dark cesspool of cocoa in his eyes, I still catch that devilish glint when he stalks towards me.

“Tell me to stay Lex,” he says.

If his head full of curls weren’t brushing against his ears, I’m sure he would’ve heard my heart stop.

“Tell me you’ll never speak to me again, if I choose to walk away.”

That’s impossible, I want to say. You could walk away a million times and I’d welcome you back a million and one.

Daniel reaches me on the bed and I’m certain if I don’t take a breath in the next second my respiratory system will take ‘you’ll never speak to me again’ quite literally. Does Heaven give out ‘do-overs’ for misunderstandings like this? It’s not like I meant to stop breathing. Blame the boy currently intertwining my hand with his.

“Tell me, I’m making the biggest mistake of my life Lex.”

He cups my cheek, and I wonder if he’s noticed I’ve come undone in the palm of his hand. I wonder if he knows everything I’ve written up to this point has been about him.

About us.

I’m certain I’ve stopped breathing. But I’m not worried. There are worse ways to go out, than having Daniel Keating here with me, like this. So with my hand in his right, and my heart in his other, I make a vow right then and there. To love him with everything I have.

Daniel.

I will love you when you stay.

I will love you if you choose to walk away.

But most importantly, I will continue to love you even if it turns out to be the biggest mistake of my life.

And it is.

[rocketspinsblog]

Game Like a Pro: Strategies for Higher Wins

Achieving higher wins in online gaming like on Casino Rocket Spin requires more than just luck; it demands skill, strategy, and a focused mindset. Whether you're aiming for better performance in competitive games or maximizing your winnings in skill-based games, applying pro-level strategies can give you a significant edge over the competition. Here are key strategies that will help you game like a pro and secure more wins.

1. Focus on Mastery, Not Multitasking

One of the biggest mistakes many gamers make is trying to master multiple games at once. To consistently secure higher wins, it’s better to focus on mastering one game at a time.

Why It’s Important: By focusing on one game, you can learn its mechanics, meta, and strategies deeply, allowing you to outplay opponents who spread their time across multiple games.

Tip: Choose a game that you genuinely enjoy and dedicate time to mastering it. Work on improving specific aspects of your gameplay—such as aiming, positioning, or strategy—until you’re consistently winning.

2. Understand the Game’s Meta

In competitive online games, the meta (the most effective tactics available) is constantly evolving. To increase your chances of winning, it’s essential to stay up-to-date with the latest meta and adjust your playstyle accordingly.

Why It’s Important: Sticking to outdated strategies can put you at a disadvantage, especially against opponents who are using the most effective tactics. Staying current with the meta allows you to compete at the highest level.

Tip: Follow patch notes and community forums to track changes to the game. Watch professional players and streamers to see how they adjust to the latest meta, and experiment with new tactics yourself.

3. Focus on Consistent Wins Over Big Plays

While flashy plays and high-risk maneuvers may be tempting, consistency is what truly leads to long-term success. Pro players prioritize smart, calculated moves over risky plays to ensure consistent wins.

Why It’s Important: Taking unnecessary risks can result in costly losses, while playing consistently gives you more control over the outcome. Pros focus on steady performance rather than going for highlight-reel moments.

Tip: Stay patient and stick to proven strategies. Focus on building small advantages over time, such as securing objectives or controlling the map, rather than trying to make a single, game-changing play.

4. Improve Your Game Sense and Awareness

Game sense refers to your ability to read the game and make smart decisions based on what’s happening around you. This includes positioning, anticipating enemy movements, and understanding the flow of the match.

Why It’s Important: Having strong game sense allows you to avoid mistakes, capitalize on opportunities, and stay one step ahead of your opponents. It’s a key factor that separates pros from average players.

Tip: Keep an eye on the mini map, watch for audio cues, and pay attention to enemy patterns. Over time, you’ll develop the ability to predict enemy actions and respond appropriately, giving you a strategic advantage.

5. Master Communication and Team Coordination

In team-based games, communication and teamwork are essential for winning. Pro players excel at coordinating with their teammates to execute strategies, secure objectives, and outmaneuver opponents.

Why It’s Important: Even the most skilled individual player can’t win without good teamwork in team-based games. Clear communication helps teams work together effectively and avoid costly mistakes.

Tip: Use voice chat or in-game communication tools to relay critical information to your teammates. Be concise and constructive in your communication, and focus on coordinating strategies that will benefit the entire team.

6. Track Your Performance and Analyze Mistakes

Improving your performance requires more than just playing the game—it also involves analyzing your gameplay to identify mistakes and areas for improvement.

Why It’s Important: Reviewing your gameplay allows you to see where you went wrong and what you could have done differently. Pro players are constantly looking for ways to refine their tactics and strategies.

Tip: Record your matches or use built-in replay tools to review your gameplay. Focus on specific moments where you lost control of the game or missed an opportunity to win, and work on improving those areas in future matches.

7. Optimize Your Settings for Maximum Performance

Professional gamers understand the importance of having an optimized setup. From graphics settings to control layouts, fine-tuning your settings can improve your reaction time and overall performance.

Why It’s Important: Suboptimal settings can slow you down or make it harder to react in high-pressure situations. Optimizing your setup ensures smoother gameplay and faster response times.

Tip: Lower your graphics settings to prioritize frame rates if necessary. Adjust mouse sensitivity and key bindings to suit your playstyle, ensuring you have maximum control and precision during gameplay.

8. Stay Calm and Maintain Focus

Gaming under pressure can lead to mistakes, especially if you let emotions get in the way. Pro players know how to stay calm and composed, even in high-stakes situations.

Why It’s Important: Staying calm allows you to think clearly and make better decisions, while getting frustrated or "tilting" often leads to poor choices and unnecessary losses.

Tip: If you find yourself getting frustrated, take a break to reset mentally. Practice mindfulness techniques, such as deep breathing or short walks, to help you stay focused and composed during intense matches.

9. Learn from the Pros

One of the fastest ways to improve is by studying how professional players approach the game. Watching pro-level gameplay can give you insights into advanced strategies, positioning, and decision-making.

Why It’s Important: Pros have spent thousands of hours perfecting their gameplay, and learning from their tactics can accelerate your own improvement. By observing their movements, strategies, and reactions, you can adopt similar techniques.

Tip: Watch streams, tournaments, or tutorial videos from top players in your game. Pay attention to how they handle various situations and try to incorporate their strategies into your own play.

10. Adapt to Your Opponents

No two games are the same, and part of winning consistently is knowing how to adapt to your opponents' playstyles. Pro players are skilled at adjusting their tactics based on how their opponents are playing.

Why It’s Important: Sticking to one strategy in every match can make you predictable and easy to counter. Learning to adapt to different opponents keeps you versatile and harder to beat.

Tip: Pay attention to how your opponents play during the match. Are they aggressive or defensive? Do they favor certain strategies or characters? Adjust your tactics based on these observations to exploit their weaknesses.

11. Capitalize on Small Advantages

Pro players know that games are often won by capitalizing on small advantages. Whether it’s controlling the map, securing resources, or pressuring your opponents, building small leads can eventually lead to victory.

Why It’s Important: Small advantages, when accumulated over time, can snowball into game-winning leads. Pro players focus on making incremental gains throughout the game, rather than relying on big plays to win.

Tip: Look for ways to create small advantages, such as controlling key areas, denying resources to your opponents, or playing strategically around objectives. Over time, these small victories will add up.

12. Maintain a Balanced Mindset

While it’s important to aim for wins, maintaining a balanced mindset and staying motivated through losses is crucial for long-term improvement. Pro players focus on the learning process rather than getting discouraged by defeats.

Why It’s Important: Gaming at a high level can be mentally taxing, and if you let losses affect your confidence, it can negatively impact your performance. Focusing on progress, rather than short-term results, helps you stay motivated and resilient.

Tip: Celebrate small improvements in your gameplay, even if you lose a match. Each defeat is an opportunity to learn, so embrace the process of getting better rather than focusing solely on the outcome.

Conclusion

To game like a pro and achieve higher wins, you need to focus on strategy, consistency, and adaptability. From understanding the meta to refining your game sense and maintaining effective communication with teammates, the path to success is about more than just mechanics. By implementing these expert strategies, you’ll improve your performance, outsmart your opponents, and secure more victories in your online gaming journey.

[timekeepersnz]

How Does Wedding Videography Fit into Your Wedding Budget?

When planning a wedding, one of the biggest considerations is how to allocate your budget effectively. While venues, catering, and attire often take the spotlight, wedding videography is a crucial component that should not be overlooked. 

Capturing the essence of your special day through film adds a dynamic element that photos alone may not convey. Here’s a breakdown of how wedding videography Auckland fits into your wedding budget and why it’s worth every penny.

Understanding the Value of Wedding Videography

Wedding videography captures not just the still moments of your day but also the sounds, emotions, and movements that bring those moments to life. From the tear in your father’s eye, as you walk down the aisle to the laughter shared during the reception, a video preserves the ambience and the details that photos alone might miss. 

Investing in a professional videographer ensures that these precious memories are documented in a high-quality, cinematic format that you can cherish for years to come.

Budgeting for Videography: What to Consider

Determine Your Priorities

Before diving into the specifics of videography costs, establish your wedding priorities. Determine if capturing your day on film is a top priority for you. If it is, then allocating a portion of your budget to videography makes sense. 

If you’re unsure, consider the long-term value of having a high-quality video to relive your wedding day. Many couples find that having a video is invaluable, as it allows them to experience their day from new perspectives.

Research Videography Packages

Wedding videography packages can vary widely in price based on the experience of the videographer, the length of the film, and the services included. On average, couples spend between $1,500 and $5,000 on wedding videography. 

Basic wedding videographer Auckland packages often include a highlight reel of 3-5 minutes, while more comprehensive packages may offer full-length films, additional edits, and drone footage.

When researching videographers, compare their packages to see what fits within your budget. Look for reviews and samples of their work to ensure you’re getting quality for your money. Remember, the cheapest option isn’t always the best—investing in a reputable videographer can make a significant difference in the final product.

Consider Your Overall Wedding Budget

When allocating funds for videography, keep your overall wedding budget in mind. The total cost of a wedding can easily exceed your initial estimate, so make sure to adjust other areas of your budget if necessary. For example, if videography is a high priority, you might need to cut back on costs related to decor or floral arrangements.

Look for Packages and Discounts

Some videographers offer wedding videographer packages that bundle services together, which can be a cost-effective way to get additional value. Additionally, booking early or during off-peak seasons may lead to discounts. Don’t hesitate to negotiate or ask about special offers—many videographers are willing to work within your budget if you communicate your needs and constraints.

Budget for Additional Costs

When budgeting for videography, be aware of potential additional costs. These might include travel fees if your wedding is outside the videographer’s usual area, extra hours if you want extended coverage, or add-ons like raw footage or custom edits. Be sure to clarify these potential costs upfront to avoid surprises later on.

Why Videography is Worth the Investment

Wedding videography is more than just a luxury—it's an investment in preserving your memories. A well-crafted wedding video captures the unique essence of your day, from the intimate vows to the energetic dance floor moments. Unlike photos, which are limited to still images, video offers a dynamic representation of your celebration that can be shared with friends and family who couldn’t attend.

Moreover, a wedding videographer allows you to relive the day in a way that photos alone cannot. Hearing your vows and the music from your first dance adds a layer of nostalgia that is simply irreplaceable. As time passes, the value of having a living, breathing record of your special day becomes even more apparent, making it a treasured keepsake.

Final Thoughts

Incorporating wedding videography Auckland into your budget requires careful planning and consideration, but the benefits are well worth the investment. By understanding your priorities, researching options, and adjusting your budget as needed, you can ensure that you capture your wedding day in a way that truly reflects its significance. 

Remember, your wedding video is more than just a recording—it's a heartfelt representation of your love story that you’ll cherish forever.

Source From : How Does Wedding Videography Fit into Your Wedding Budget?

[frontproofmedia]

Jalen Hurts and Jordan Love Struggle in Explosive Eagles vs. Packers Showdown

By: Joseph Correa

Quarterback Struggles Highlight Uneven Performances

It was a rocky start for both quarterbacks in Friday night's showdown between the Philadelphia Eagles and Green Bay Packers. Jalen Hurts had a nightmare opening series, throwing an interception on the Eagles' first possession, followed by a fumbled snap that turned into a second turnover. He eventually found his rhythm, leading the Eagles on four consecutive scoring drives, but his performance was a mixed bag. Hurts still showed signs of nerves, occasionally panicking under pressure, and made a critical error with a red-zone interception that could have sealed the game in the fourth quarter.

On the other side, Jordan Love's evening wasn't much smoother. While he delivered some highlight-reel moments, including a touchdown pass to Christian Watson and a few impressive deep throws, he, too, took unnecessary risks. One of those resulted in an interception by Reed Blankenship. Love's inability to hit open targets consistently was a reminder that, despite flashes of brilliance, it's still early in the season, and there's plenty of room for growth. His night ended on a concerning note when he limped off the field with a lower leg injury in the game's final moments, leaving Packers fans on edge.

Big Plays Electrify São Paulo Crowd

Fans in São Paulo were treated to a thriller, with the game delivering plenty of fireworks. Long touchdowns lit up the field, including a 70-yard grab by Jayden Reed—his second score of the night—and a 67-yard sprint to the end zone from A.J. Brown. It was a night where explosive plays stole the show, but there was little in the way of long, sustained drives. The Eagles' final possession, which chewed up over seven minutes of clock, was the exception, while most other drives lasted less than five and a half minutes.

Jalen Hurts was efficient with his short game, completing 18 of 22 passes under 15 yards for 193 yards. But it was the game's highlight-reel moments that kept fans on the edge of their seats. While the coaches will indeed be looking to clean things up, no one could deny that this was a fun game to watch, with plenty of moments worth replaying.

Running Backs Shine in Their Debuts

Two of the offseason's most talked-about additions, Saquon Barkley and Josh Jacobs, made immediate impacts in their debut performances for their new teams. Barkley, the Eagles' prized acquisition, wasted no time showing why he was so coveted. He opened the scoring with an acrobatic catch in the corner of the end zone and powered the Eagles' ground game all night, racking up 109 rushing yards on 24 carries, along with two touchdowns. Even behind an offensive line that struggled to consistently create running lanes, Barkley's burst and vision were on full display.

Josh Jacobs, meanwhile, was just as effective for the Packers. Known for his bruising, tackle-breaking style, Jacobs didn't disappoint, ripping off a pair of long runs of 16 and 25 yards en route to an 84-yard performance on 16 carries. He also contributed two catches for 20 yards, proving himself to be a valuable dual-threat option for Green Bay.

Eagles Defense Delivers When It Counts

Though the night was marked by big plays and high scores, the Eagles' defense deserves credit for stepping up in the game's biggest moments. Green Bay reached the red zone twice in the first quarter but had to settle for field goals on both occasions. Blankenship's second-half interception was a momentum-shifting play that set up an Eagles score, allowing them to take the lead into the fourth quarter. And with the Packers threatening again late in the game, Philadelphia's defense held firm, forcing another Brayden Narveson field goal to preserve the lead.

While there are still concerns about this defense, especially given how they struggled in crunch time last season, their ability to rise to the occasion on Friday night was a positive sign for Eagles fans.

Early Season Rust Evident in Brazil Matchup

As exciting as the game was, it was also far from perfect. Both teams showed signs of early-season sloppiness, with the Packers struggling with poor tackling and the combined 17 penalties resulting in 128 yards. The quarterbacks, too, made their share of questionable decisions. Add to that the quality of the playing surface, and it was clear that this Week 1 clash had its fair share of wrinkles. Traveling more than nine hours to Brazil surely didn't help either squad, but both teams will be looking to clean up their performances as the season progresses.

Stat to Watch: Jalen Hurts vs. the Blitz

According to Next Gen Stats, Jalen Hurts showed notable improvement against the blitz in Week 1, completing 6 of 7 passes for 91 yards and a touchdown while averaging just 2.46 seconds to get rid of the ball. After struggling with pressure in 2023, this was a promising start for Hurts in his first test of the new season.

NFL Research: Barkley's Historic Night

With two rushing touchdowns and a receiving score, Saquon Barkley became the first Eagles running back since Miles Sanders in 2019 to score both on the ground and through the air in a single game. It was a debut to remember for one of the Eagles' most hyped offseason acquisitions.

Feature Photo: Kirby Lee/USA TODAY NETWORK

[thesocialstarter]

Turn Clicks into Customers: A Digital Marketing Blueprint By Leaders

A learner’s leap roadmap in digital marketing from theory to traffic

This semester was truly power-packed! But, what I truly love is conversations and interactions that switches your brains bulb on! My digital marketing seminar experience with Professor Jennifer Branco was more than just a course; it was an immersive journey into the heart of the industry. Each week, seasoned professionals shared their battle-tested wisdom, offering a unique lens into the digital realm, shaping my perspective and inspiring my aspirations. Let’s unpack the invaluable insights gleaned from these experts.

Learning From The Ground Up

Trix, Ricardo, and Sean, our alumni speakers, shared their career paths and valuable lessons learned on the job. 

Trix, a Marketing Coordinator at Pinball Foundation, emphasized the importance of attitude in the workplace. Her advice to prioritize attitude over skills and continuously learn on-the-job resonated deeply with me. It's a reminder that adaptability and a willingness to learn are crucial in our fast-paced industry.

Ricardo, an Event Planner at Toronto FC, highlighted the significance of preparation and attention to detail. His emphasis on having backup plans and the importance of surveys in measuring event success were key takeaways. His calm demeanor and strategic approach to crisis management were particularly impactful.

Sean captivated us with his confidence and networking prowess. His assertion that "finding a solution is the biggest transferable skill" stuck with me. His approach to seizing opportunities and adapting to any situation was truly inspiring.

These insights resonated – success requires more than just technical skills; a willingness to learn, adapt, and collaborate is key. 

Actionable Insights: I'm committed to seeking out new learning opportunities, both within the program and through online resources like Girls in Marketing on LinkedIn.  I'll also practice active listening and build strong professional relationships.

The Rise of Social Media and the Future of Marketing Technology

Jason Pomerantz, Head of Technical Operations at Reel One Entertainment, provided a thought-provoking session on emerging marketing technologies. His assertion that "TV will become the new Instagram" was a standout moment, highlighting the evolving nature of media consumption. Jason's insights into the disruptive potential of AI in marketing over the next five years were both exciting and challenging.

Key points that resonated:

The shift of ad revenue to social media due to changing attention patterns

The critical role of personalization through dynamic ads

The potential for AI to revolutionize audience targeting

This session challenged me to think beyond traditional marketing channels and embrace the dynamic landscape of social media and emerging technologies.

His IMDb page a worth a watch!

Actionable Insights: I'll stay updated on the latest advancements in AI and their potential impact on marketing strategies. Social media is king – I'll prioritize developing strong social media marketing skills.

The Power of Storytelling and Data-Driven Strategies

Matt Houghton's (Director of Digital and Integrated Marketing for Interac) session on mid-size campaigns stressed the importance of emotional connection and storytelling. His insight that "emotions and storytelling create value in the audience's mind" was particularly impactful.

Matt's approach to crafting budget-conscious campaigns resonated with my creative side. The concept of a two-layered messaging framework for smaller campaigns made perfect sense. Learning about Mix Media Modelling and its role in analyzing market effects was a valuable addition to my marketing toolkit.

Houghton's mantra of "sweat the work" struck a chord. The importance of meticulous attention to detail ensures a polished final product that resonates with the target audience.

Actionable Insights: When developing marketing materials, I'll focus on crafting compelling narratives that resonate with the target audience. I'll also advocate for data-driven decision making within any marketing team I join. Professor Branco's emphasis on "SWEATing the Work" resonates deeply – I'll strive for excellence in every detail of my marketing endeavors.

AI – The New Marketing Co-Pilot

Peter's session on AI in digital marketing was eye-opening and thought-provoking. He emphasized how AI is revolutionizing the industry, from content creation to predictive analytics. One of his key points was that AI tools like ChatGPT are not replacing marketers, but rather augmenting their capabilities. Peter stressed the importance of understanding AI's strengths and limitations, urging us to view it as a powerful tool rather than a threat.

His discussion on AI's role in personalization particularly resonated with me. The ability to analyze vast amounts of data to deliver hyper-targeted content and experiences is transforming how we engage with audiences. However, Peter also cautioned about the ethical considerations of AI in marketing, reminding us to maintain transparency and respect user privacy.

This session challenged me to stay ahead of the curve by continually educating myself on AI advancements and their applications in marketing. It's clear that embracing AI will be crucial for marketers who want to remain competitive in the rapidly evolving digital landscape.

Actionable Insight: AI is not just a trend; it's a strategic imperative for modern marketing. AI is poised to revolutionize marketing, but its successful integration requires a balance of technological proficiency and ethical responsibility.

Beyond Marketing – Social Responsibility

Graham Roe's session on the role of social responsibility in marketing was inspiring. His emphasis on demonstrating an organization's positive impact on the community and environment is crucial in today's world. The strategic process involved in non-profit marketing, from crafting compelling presentations to measuring success, provided valuable insights. 

Roe's reminder that we're in the "emotion-delivery business" resonated deeply. Marketing goes beyond just selling a product; it's about connecting with people on a human level and making a positive impact. This session challenged me to consider the ethical implications of marketing and strive to create campaigns that not only sell products but also contribute to a better world.

Actionable Insights: When evaluating potential employers, I'll consider their commitment to social responsibility. In my future marketing endeavors, I'll ensure clear communication of a brand's core values and purpose.

The Psychology of Persuasion: Why We Buy

Eric Alper's (Owner at Eric Laper Public Relations) closing session focused on the raw, unfiltered nature of social media. His point about "nobody wanting to go to a social media site that came before them" highlights the need for constant innovation and audience engagement. His assertion that "there are no gatekeepers for social media" was eye-opening. This insight into the democratized nature of social media marketing, along with the need to evoke emotions for engagement, was enlightening.

Alper's reminder that "when the product is free, you're the one being sold" is a critical consideration for brands that depend on user data. He emphasized the importance of treating people with kindness and embracing the unpredictable nature of social media. This session challenged me to approach social media with authenticity and a willingness to learn from both successes and failures.

You're missing out if you don't follow his X account!

Actionable Insights: I'll prioritize understanding the "why" behind any marketing strategy I develop. Furthermore, I'll strive to ensure all my communication is ethical and fosters positive online interactions.

Network and Resources: Building Connections for Success

Throughout this program, I've been proactive in building a network and finding resources that will support my career in digital marketing:

Networking and Relationships: I've connected with professionals in roles I'm aspiring to, both vertically and horizontally within the marketing industry. I've reached out to hiring managers and professionals like Krista Kelly, who assists with recruitment, to build meaningful relationships.

Events and Activities: Attending seminars and workshops hosted by Girls in Marketing, HubSpot, and the Canadian Marketing Association (CMA) has provided me with valuable knowledge and contacts. These events have broadened my perspective and introduced me to emerging trends and technologies.

Groups and Communities: I've joined marketing-centric communities such as the CMA, Toronto Marketing Mic, and PR & Lattes. These groups have been a source of inspiration and have connected me with like-minded professionals.

Job Finding Resources: Conversations with industry professionals have enlightened me about insider job search websites like Workday Jobs and Bamboo HR. They also directed me to hiring managers and talent acquisition specialists who can help me find the right opportunities.

Maintaining Connections: I actively engage with my network by sending check-ins or posting content that might interest them. I make use of LinkedIn's catch-up feature to comment on posts and maintain regular communication.

Key Takeaways and Real-Time Application

Throughout this program, I've gained a comprehensive understanding of digital marketing principles. Here are my key takeaways and how I plan to implement them:

Focus on the "WHY": I'll clearly define the purpose behind every marketing campaign to ensure it resonates with the target audience.

Embrace Storytelling: I'll craft compelling narratives that connect with audiences on an emotional level, creating value in their minds.

Data-Driven Decisions: I'll leverage data analytics to inform campaign strategies and optimize performance, using tools like Mix Media Modelling.

Master Social Media: I'll stay up-to-date on trends and best practices to create engaging social media content, remembering that there are "no gatekeepers" in this space.

Think Outside the Box: I'll dare to experiment and embrace an agile approach to marketing in our dynamic digital landscape.

Social Responsibility: I'll consider the ethical implications of marketing and strive to create campaigns that not only sell products but also contribute to a better world.

Continuous Learning: I'm committed to seeking out new learning opportunities, both within formal programs and through online resources.

Attention to Detail: I'll "sweat the work," ensuring meticulous attention to every aspect of my marketing projects.

From Insights to Impact: Looking Ahead

In conclusion, this digital marketing seminar series has been a transformative experience. The diverse perspectives and real-time strategies shared by industry leaders have profoundly shaped my understanding and approach to marketing. I'm excited to leverage these insights in my future endeavors, contributing to building meaningful connections between brands and consumers in a way that fosters both growth and positive impact.

As I move forward in my career, I'll carry these lessons with me, always striving to create marketing campaigns that are not only effective but also ethical and emotionally resonant. The digital marketing landscape is ever-evolving, and I feel well-equipped to navigate its challenges and opportunities.

[erinsworld]

"You went to all this trouble…” Jack taunts, “why don’t’cha slither on out here and get this party started.”

“Where is the thumb drive?”

Ahh… So that’s what this is all about, Jack thinks. Not that he had any doubts that the stolen drive—chock full of the identities of American covert operatives, active missions, and locations of both—they were sent to retrieve is what this all about, but it’s always nice to have confirmation.

The heavily accented voice sounds from the shadows, the man behind it emerging a moment later, smug and arrogant in his thousand dollar suit and Jack already wants to punch him.

***

"You hush up over there too, homey. Don’t need no comments from the peanut gallery. And what’s with all this from all y’all?” Jack asks, looking around the firepit at each one of them.

“Thought this was a Welcome Back, Jack party and not some story time competition to see who gets the biggest laugh from their retelling of a highlight off the Best of Jack reel? Not that I mind, of course.”

“Of course, not,” Riley snarks with a shake of her head.

“I mean, they are fantastic stories,” Jack boasts. “But I know y’all have some too. Mac, I’m sure will take the prize for craziest. And if it’s childhood stories you want, well, I can share a few, shall we say, colorful ones that star a certain dark haired, fiery hacker.”

This week’s word is…

✨ PARTY ✨

Find the word in any WIP and share the sentence containing it. Reply, reblog, stick it in the tags, tag us in a new post, or keep it private. All fandoms, all ships, all writers welcome.

[blogsbysukhpreetkaur]

Social Media Apps

Social Media Apps

Introduction

Nowadays, people use the internet more than ever. Maximum people spend most of their time on social media apps such as Facebook, Instagram, and WhatsApp. These apps are included in their daily schedule. This is because they want to socialize with their friends online. In this article, some of these apps will be discussed. Also, their advantages and drawbacks are there.

WhatsApp

WhatsApp is the most commonly used social media app. It helps the user to connect to the people with their contact numbers. Also, this app includes many other features. Firstly, one can share his story on WhatsApp status. Secondly, it has the feature of instant messaging. Moreover, a recent new feature is the WhatsApp channel. So, one can create his channel on WhatsApp and share his videos and activities.

Advantages:

Instant messaging 

Voice and video calling

High-end encryption

Disadvantages:

Works on the Internet only

One can not contact without contact information

Instagram

Instagram is a highly used social app at present. With this, one can contact a person without any contact information. You can search a person’s name and all the people with the same name will appear. Then, you can find the one you want. Also, it has a messaging feature. Moreover, one can share his videos and pictures on Instagram. Then, content creators can collaborate with marketers and get ads. Therefore, it is also a platform for digital marketing.

Advantages:

Instant messaging

Video and voice call facility

Earn by creating content in reels

Disadvantages:

Works on the Internet only

Instagram addiction is the biggest drawback

Twitter (X)

Twitter is a popular application. Celebrities, politicians, and democrats around the world use this application. Nowadays, Twitter is known as the X app. On Twitter, users send and reply to the texts, videos, and pictures. These are called “ tweets”. Therefore, many people share their opinions on Twitter. For this reason, they believe that every tweet has a voice that many other people around the world hear. However, many controversies have been created by the tweets of famous people.

Advantages:

Real-time information

Every tweet is a highlight

Free social media app

Disadvantages:

Works with the Internet only

Character limit for a tweet

Snapchat

Snapchat is an American social media app. Firstly, this helps users to send snaps and instant messages. Its important feature is that the images and messages disappear after the recipient sees them. Secondly, people can share their moments on the spotlight feature. Thirdly, it allows the user to explore stories from around the world. Lastly, the camera lens feature helps the user to take beautiful pictures with different filters. This makes it the best app to click images at an event.

Advantages:

Instant messaging

Moment sharing feature

Avails filters to click pictures even without the internet

Disadvantages:

Works with the internet 

Messages disappear on their own

Telegram

Telegram is an app similar to WhatsApp. However, it has some features different from the later one. Similarly, Telegram also provides the instant messaging feature. On Telegram also users can create a group. However, this group has a capacity of 200,000 members which is way more than WhatsApp. Moreover, in the groups, the admin can make a poll over any topic. Also, one can import his chats to any other app. Moreover, it has a secret chat option with self-disappearing messages.

Advantages:

Instant messaging with video and voice call

Limitless people can join voice call

One can create polls in the group

Disadvantages:

End-to-end encryption only applies to secret chats

Works only with the internet

YouTube

YouTube is a video-sharing social media app. Google owns YouTube. This application is best for content creators. Additionally, Content creators can make their channels on YouTube. So, they can earn money by making and uploading videos on YouTube channels. Also, YouTube is a great platform for digital marketing. Users show paid ads on their channels. Recently, YouTube launched YouTube shorts. On this, users can share short videos as stories. Furthermore, YouTube contains all kinds of video content. Also, it is one of the most highly used search engines.

Advantages:

Educational videos are available

One can download videos to watch later offline

Content creators can make a profit from ads

Disadvantages:

Fake information is high

Advertisements run in videos

Conclusion

Today, social media is an important part of our lives. It offers opportunities to connect with the world. Besides, it helps to communicate with people sitting on the different poles of the earth. Also, it helps people in digital marketing. All in all, social media apps are a boon to the modern world if used wisely.

[govindhtech]

IBM Watson AI To Enhance Grammy Awards Ceremony 2023

IBM Watsonx GRAMMY Awards

How the Recording Academy improves the Grammy Awards fan experience with IBM Watsonx The Recording Academy aims to preserve music’s permanent place in our society by recognizing excellence in the recording arts and sciences via the GRAMMYs. IBM will be there once again as the biggest recorded artists in the world walk the red carpet at the 66th Annual GRAMMY Awards.

Like other renowned cultural sports and entertainment events, the GRAMMYs faced a similar commercial dilemma this year, in today’s increasingly fragmented media world, producing cultural impact entails delivering appealing content across numerous digital platforms. It’s a difficult assignment to honor the accomplishments and life stories of over a thousand candidates in around 100 categories.

IBM collaborated to create GRAMMY Awards

For this reason, the Recording Academy and IBM collaborated to create a content supply chain that would allow for simple review and creative flexibility while saving hundreds of hours of research, writing, and production time. Utilizing IBM Watsonx’s creative powers, the system offers fascinating insights into the personal histories and professional achievements of well-known GRAMMY nominees.

A content engine powered by generative AI and reliable data The watsonx.ai component of watsonx is home to a potent large language model (LLM), which is used in this year’s solution. The model was trained using trusted, private data from the Recording Academy, which included brand rules and artist bios and tales from the GRAMMYs website and archives.

The Recording Academy may create a broad range of material using natural language prompts using an AI material Builder dashboard. This content can subsequently be posted on social media or uploaded to the Grammy.com website.

Automating social asset generation using intelligence in GRAMMY Awards

In order to engage with fans and publicize the event throughout the run-up to the GRAMMY Awards and on the night of the show, the Recording Academy had to increase the scope of their social media presence. However, content creation was very manual and time-consuming up to this point. Watsonx AI Stories is the answer. The editorial staff can quickly and simply build rich materials to be shared in Facebook reels, Instagram stories, and Tik Tok videos using the AI Content Builder dashboard.

Editorial team members may choose templates including nominees or categories with different layouts and branding using the AI Stories interface. These templates use authorized pictures from the Recording Academy’s asset bank. Next, they decide which artist or award category to highlight, the content of the piece (biographical details, GRAMMY accomplishments, charitable causes, etc.) and which subjects not to include in the final product.

When a user hits the “generate” button, the true magic begins. AI stories are written using headlines, bullet points, one-liners, questions, and calls to action as the wrap-up elements. Any of these outputs may be readily modified manually and regenerated to provide other phrasings. After selecting “publish,” the text is converted into a video file and made ready for download and publication.

Improving the online experience in real time on GRAMMY Awards presentation

Beyond the network broadcast, the GRAMMY Awards presentation is an impressive spectacle. Global fans will also be watching a range of livestreams on grammy.com, including as the Premiere Ceremony (where most category winners are announced),GRAMMY Awards Live From The Red Carpet, backstage moments captured behind the scenes, celebrities pulling up in a “limo cam,” and more.

This year, underneath the livestream, there will be a widget called “AI Stories with IBM Watsonx” that will provide educational textual material about the artists and categories that are being recognized. The editorial team uses the same interface as for creating social assets to produce these insights via the AI Content Builder dashboard. The widget’s default display consists of brief headlines and interesting facts, but users may click through to learn more.

Tyler Sidell, Technical Program Director of IBM Sports and Entertainment Partnerships, adds, “This year the widget lets fans dive much deeper and read more about their favorites. In previous years, they provided one or two insights per artist.”

The benefit of IBM: Skilled direction and execution

There’s more to responsibly using a game-changing technology like generative AI than merely typing some code. Complete proficiency is needed, from preparation to implementation. over this reason, the Recording Academy and IBM Consulting have been working together over the last seven years to use the IBM Garage Methodology to kickstart technological projects.

Working with the customer, this outcome-first, human-centered methodology is used to design, implement, and manage processes. The procedure fosters techniques, tools, and talent to quickly translate ideas into company value while also accelerating digital transformation and facilitating innovation.

IBM Consulting worked with a number of Recording Academy stakeholders throughout the GRAMMY preparation process, often meeting with teams from the digital, marketing, and IT departments. Additionally, IBM will be present on-site on the big night as a production and editing team extension.

With the help of IBM Consulting, IBM Garage, IBM Watsonx, and the Recording Academy digital team, over 5 million music lovers across the globe are treated to an immersive digital experience.

Read more on Govindhtech.com