#reproducing bailey

[i-am-the-oyster]

Fully insane behaviour

“I only ever asked two people to work with me as a partner. One was Paul McCartney and the other Yoko Ono” -John Lennon “The Beatles are over. It has been exploded, partly by what we have done, and partly by other people. We are individuals - all different. John married Yoko, I married Linda.” -Paul McCartney “I think that it’s like [John] was married to Paul, and now he was married to me” -Yoko Ono “John’s in love with Yoko, and he’s no longer in love with the other three of us.” -Paul McCartney “I don’t think Linda is a substitute for John Lennon, any more than Yoko is a substitute for Paul McCartney.” -George Martin

[servancastillo]

I got the go ahead to share my boards. It'll be out of order. This is one of several of my episode 304 sequences from the Legend of Vox Machina: Season 3 storyboards. Boarding to Ashley Johnson's performance is always a treat for me, I am such a fan of her work, and I wanted to deliver.

These are my boards Pre-revisions pass, (pre-lock) as will be for all my future boards. Some parts, may differ from the final release. *

This episode was so much fun, and a neat challenge to be part of boarding a card game with stakes. Directed by Eugene Lee, who was our Episodic Director, and such a great guide along with Sung Jin. Thank you guys for your trust and your wisdom, always. I learned so much this season and your kindness and understanding during a tough time in my life was met with the most respect and time I needed.

It was cool to do some Calamity related work with the voice talent of Luis Carazo as Zerxus Ilerez.

My fellow and incredibly talented, Team Flesh Tree, from this episode from which our Team name was born! Isa Chaves, Jack Anderson, and Aki Yun.

Fellow board artists: Erin Won, Siae Jung, Bryan Pak, Marvin Britt, William Rowe, Cassey Kuo

And revisionist team at the time: Mary Thompson, Meg Howes, Book Jackson, Harim Oh (apologies if I missed anyone it has been a long while)

My fellow amazing directors Karen Guo & Young Heller.

Our art director Arthur Loftis, viz dev, Ed Vargas, Arthur Tang, our character design lead, Phill Bourassa, CG Lead Eddie Gonzales, Compositing lead Todd Raleigh. And another huge, shout out to everyone on the series in Production and art department this season, colour design, bg design, paint, character design, editorial, wanna tag you all, but please accept a general mention. Production Reve. The episode came out amazing, thanks for giving us your incredible animation power! Titmouse inc, our EPs Travis Willingham, Sam Riegel, Brandon Auman

Music by Neal Acree

Thank you Critical Role, Matt Mercer, Marisha Ray, Laura Bailey, Taliesin Jaffe, and Liem O'Brien, Sam Riegel and Travis Willingham for lending us your talent and making one of my fav shows to be part of.

Property of Critical Role

Prime Video

And Titmouse inc.

Do not reproduce, steal, or re upload.

[rubra-wav]

Various Adam headcanons

A/N I'm not an Adam simp, I just have been thinking abt him since the last post I did.

A lot of these are just things I feel in vibes and are completely baseless haha.

Cw: SFW, angsty in parts, misogyny, slight reference to disordered eating, uhhh idk man it's mixed

He's very messy and his house is like a bombsite of unwashed dishes and laundry.

Think messy roommate horror stories: that's him, and he doesn't give a single damn about it. Thinks he shouldn't have to clean up his house because that's a 'chick thing'

He's naturally really warm and overheats a lot because of it. Due to this, he has his house cold so he isn't sweating his ass off at all times.

He's really good to sleep next to during cold weather, but is God awful during hot weather.

Will not stop bitching about it being too hot when he's slightly uncomfortable and laughs at people who are easily cold, calling them weak.

His favourite things to watch are shitty b grade movies - especially comedy ones.

Prides himself on knowing current lingo, memes, and jokes (and actually pulls off not sounding like an old person trying to be 'hip with the kids' and cringey)

Follow up: makes deez nuts and ligma jokes out of everything and finds it hilarious. Sera sent him out of a meeting for doing this to Emily one time.

He's the type of mf who is pretentious asf about beer being superior and believes any guy who likes sweeter drinks / doesn't like beer are pussies.

He secretly doesn't believe this in the slightest and actually hates beer, he'd never admit it though. He has a sweet tooth and actually really likes drinks like Baileys.

Constantly talking, even if it's just to himself.

He likes AC/DC a lot. Ironically, 'highway to hell' is one of his favourite songs of all time.

He always wears his mask because he feels more vulnerable without it.

If you're close with him, he'd likely feel more comfortable to take it off around you - would fight to keep it on at all times if he doesn't trust you or feel safe with you.

I headcanon he put on weight after getting to heaven because after he was kicked out of Eden he didn't have nearly as much food, so he began binging when he finally had it again. It kind of just stayed a comfort for him.

He's really insecure about his weight gain too. If you point it out he's gonna get really upset. (Like how Lucifer does in ep 8)

Follow up: he literally always has snacks and is an absolute bitch about sharing them. If he does share them with you, he expects you to be really grateful.

His masculinity is fragile as it gets.

Would physically wilt if you even slightly imply he's not masculine and then become extremely angry and try to prove he actually is.

The main reason he is misogynistic is due to his experience with Lilith.

Before Lilith ran away from him, I think that Adam actually had extremely high respect for women.

His whole purpose was to reproduce. Women do a hell of a lot more then men during the whole process of reproduction and dude worships pussy even now (he named his best soldier after it. Not after dick, vag)

I imagine that it was a much larger appreciation for women in general before Lilith screwed him over.

This soured into misogyny, though, after she ran away and likely grew much, much worse with Eve due to her actually being made from him.

Eve then proceeded to eat the apple given to her and resulted in them being kicked out of Eden, which made it even worse.

He's the definition of that one reddit incel who had bad experiences with a handful of women and now is an absolute misogynistic cunt lmao

Hella abandonment issues.

Also hella jealousy issues.

Doesn't matter if you're a friend or a partner, he's going to be grappling to be number one and the only one in your life.

He's not manipulative or slick about it even a little though, it's obvious as it gets. Will vy for your attention by being literally as obnoxious as possible constantly.

Literally so clingy.

If you ever point it out, he'll deny it though and get very flustered.

Bro needs reassurance so bad you aren't gonna leave him if you're his partner.

Will sometimes just get really quiet and ask if he did something if he even slightly senses a tone shift to negativity.

Pretends it never happened afterwards and will downplay his fears massively if you call him out on it.

He's the type of sleeper who moves around a lot and ends up upside down somehow. Also a sleep talker.

Is the type of mf who has the skill to transcribe songs into guitar simply by ear.

He never shuts up about it, so although it is actually a really incredible skill, you want to not praise it because of how annoying he is over it.

Follow up: can play most types of guitar.

One of those extremely annoying rock fans who scoff when you put on anything but rock.

Also acts like he knows more about rock than anybody.

If you put on country music around him, he will forcefully grab the aux from you to turn it off.

He knows he actually isn't very smart at all and is super insecure about it.

He's had it used against him time and time again by people like Lilith and overcompensates to deter this by acting like he is actually the smartest person at all times.

When someone treats him like he's stupid, especially about something he actually knows/is knowledgeable about, he's extremely defensive about it (like when Lute points out the shield to him in ep 8)

Would be the type to go "Mansplaining means 'man explaining things'" to you with complete lack of self-awareness.

I need to draw Sera looking absolutely horrified as he screams the lyrics to highway to hell so bad.

Got possessed with the energy I had to suddenly write this omg.

[joannechocolat]

Mermaids and Mr Freud...

What do you think when you hear the word “mermaid”? Chances are, you’ll imagine a beautiful girl with a sparkling fish tail, naked breasts, flowing hair, gazing into a mirror: a scene straight out of early 20th-century Golden Age illustrators Arthur Rackham and Edmund Dulac. Or perhaps you see Ariel, Disney’s 1989 cartoon version of Hans Christian Andersen’s The Little Mermaid, with her cherry-red hair and purple shell bikini. That romanticized – and Disneyfied – picture of a mermaid seems fated to endure with this year’s live-action The Little Mermaid film (though the casting of Halle Bailey in the title role has prompted as much racist backlash as it has celebration. The mermaid of Andersen’s 1837 fairytale was white, say the purists.) But Andersen himself drew on a far older, stranger, and more subversive folklore to write his story. His tale of a mermaid who, falling in love with a human prince, is forced to sacrifice her tail and her voice in order to become human, was deeply influenced by Undine, the 1811 novella by Friedrich de la Motte Fouqué, which in turn was inspired by the 16th-century occultist Paracelsus, who coined the word “undine” to describe an elemental water spirit who can only gain a soul by marrying a human. And mermaid legends, like so many other fairytales, have been shared in many parts of the world for millennia. One of the earliest mermaid stories dates back to sometime around 1000 BC. In Assyrian mythology, the goddess Atargatis, who was venerated for thousands of years all over the Middle East, attains a half-fish, half-human form after throwing herself into a lake. The Yoruba spirit, Yemoja, who is represented as a mermaid, appears under other names as an ocean and river mother goddess – Yemaja, Yemanjá, Yemoyá, Yemayá – across half the world. Mami Wata – a water deity sometimes known as La Sirène - revered in Haiti and many parts of Africa, often appears as a mermaid, with a mirror that allows the passage from one plane of reality to another. And so it goes, from the ningyo of Japanese folklore to the sjókonar of Norse sagas. It is one of the most powerful archetypes in our shared dreaming. Nor were mermaids always understood to be mythological. Throughout the Middle Ages and beyond, European bestiaries and illuminated manuscripts portrayed mermaids as real creatures. On several occasions fishermen have claimed to have caught them in their nets. Early explorers reported mermaid sightings – although it is more likely that they were dolphins, seals or manatees, mistaken for mermaids by sailors expecting to encounter exotic beasts on their journey. Since then, humans have stubbornly continued to look for proof that mermaids are real (so far, without success).  What does the mermaid mean? Why is the half-fish half-woman such a potent, enduring legend? At the heart of these stories is the question of women’s power. Fairy tales and folklore have played an important role in challenging societal roles and giving people opportunities to discuss difficult or taboo subjects through the safety of metaphor – in this case, through the image of a woman whose irresistible sexual power over men is balanced by her own inability to function sexually or to reproduce. And in the days when pregnancy and childbirth often proved fatal, that might not have been such a bad thing. The mermaid cannot be raped, or forced to give birth. Not being human, she is not bound by the conventions of human society or the laws of the Church. She enjoys both the freedom and the sensuality of her element without any of the attendant dangers or discomforts. In folklore, the mermaid has independence, and can exercise sexual power over men, which makes her ultimately dangerous, unnatural: a monster. Perhaps this is why so many ancient myths and medieval bestiaries depict mermaids as untrustworthy, deceitful creatures, leading sailors to their doom. Their bodies are all sexual promise, but no sexual reward; and their voices are so enchanting as to drive men to madness. Unable to fulfil what some believe to be a woman’s biological destiny, they are often portrayed as soulless. Because a woman who uses without being used, who seduces without being seduced, who moves through water and air – whereas men are doomed to drown if they venture into the mermaid’s world – is a challenge to God, to the patriarchy, and to order itself.  In The Little Mermaid, Andersen tamed this older, more radical tradition. The moralism of his tale serves the dual purpose of mastering the mermaid – of making her fall victim to a human’s charms, rather than the more traditional way around – and taking away her power. The mermaid, made helpless by love of her prince, gives up her native element and the autonomy that comes with it, and exchanges it – via a witch’s spell – for a pair of feet, though walking causes her terrible pain. She also relinquishes the power of speech, which means that she is incapable of expressing her love in any way but the physical. And if her prince falls in love with someone else, then the mermaid is doomed to die on the instant, and to forfeit the soul for which she has sacrificed everything. Her entire being – her very existence – becomes dependent on the love and approval of her prince. Her independence, her challenge to the patriarchal status quo is gone. Though the ending of Andersen’s tale is – to a certain degree – redemptive (the mermaid, refusing to take the life of her prince in order to save her own life, is borne aloft by spirits of air and promised an eternal soul), it seems very cruel, especially as the heroine is only fifteen years old. A contemporary reader might well see in Andersen’s telling a warning to an emerging women’s movement – women’s power has often been seen as fragile, unnatural, and at the mercy of emotion. Unlike the tragedy of Andersen’s mermaid and prince (and of Fouqué’s Undine), the 1989 Disney film rewards Ariel and Eric with a happily-ever-after ending. And it tells their story in a cheery, colourful palette (a stark contrast to Kay Nielsen’s original dark, eerie concept drawings for the film), which while being pleasingly child-friendly, also reduces the mermaid’s essential alienness, and minimizes her sacrifice, thereby making her tale into little more than a love story with a little added jeopardy.

 But Disney also perpetuated other tropes. It is meaningful that the sea witch who provides the mermaid with the spell fits the older-woman archetype well represented in fairy tales: embittered by age, envious of the little mermaid’s youth and beauty. She is the one who demands the mermaid’s voice as payment for her services: a potent image of an older generation, silencing the voices of youth. (In Andersen’s telling, she too is the one who demands that the mermaid’s sisters cut off their hair in order to save their sibling.) The older woman is filled with rage and contempt for the younger woman; taking pleasure in their humiliation and the loss of their power. And as the tentacled Ursula in the Disney version, she is especially monstrous. 

  Over the centuries, fairy stories have always been reinvented to serve the needs of the changing times. And people have often fretted about this. (In 1853, Charles Dickens criticised the trend for rewriting fairytales to fit didactic, contemporary concerns.) But perhaps that the meaning of the mermaid has drifted further and further away from its origins in ancient folklore should not be cause for too much concern. Today, the mermaid has become the symbol of the trans community, whose members often feel the generational divide especially keenly. And there are endlessly imaginative ways to retell the tradition. (In 2008’s Ponyo, Hayao Miyazaki spins his tale of a goldfish who longs to be human into a charming meditation on childhood.) 

 Like the ever-evolving traditions of fairytales, magic, too, is transformative. In stories, magic acts as a metaphor for the change we seek to effect in our lives, in ourselves, in the world around us. Perhaps that is why fairy tales resonate so deeply with us. Why else would we cling to them, retell them in so many ways? They teach us not that magic exists, but that change is possible. They teach us not that dragons exist, but that monsters can be overcome. And they teach us to hope, in the face of a world that seems to be getting harsher and more confusing by the day, that sometimes love can save us, and that, even in the face of the cruellest kind of tyranny, we can still keep control of our fate, and hope for a happy ending –not just a Disney wedding, but something perhaps more satisfying. In films like Moana - or more recently Ruby Gillman, Teenage Kraken – the love story is with the sea; a story of claiming, rather than giving up power. Mermaids – in all their aspects – are still working their magic on us. And now, perhaps more than ever, it’s time to listen to their song.

[degrees-of-lili]

I think the biggest questionable point regarding Sirris making Sydney and PC reproduce is more the fact they go on about trying to avoid pre-mature/unplanned pregnancy and then forcing that on their own child. But, like, Sirris could just be a hypocrite. FYI Sirris had Sydney when they were a teen. They know how difficult teen pregnancy can be. I have to wonder if they're like "Well, I went through all this I can support them even when things get tough" except y'know I don't think Sirris is prepared to deal with Bailey???? But, I don't think they realize Bailey is actually a concern when it comes to PC lmao.

[talonabraxas]

The One Life manifests through all form within the universe as fiery energy; and the three main streams of cosmic energy, differentiated into seven systemic rays, are shown in relation to the three aspects of fire controlling all manifested life: Electric Fire, the Fire of Spirit; Solar Fire, the Fire of Mind; Fire by Friction, the Internal Fires. --A Treatise on Cosmic Fire - A.A. Bailey

Cosmic Fire ש Talon Abraxas

[zarithial]

the ambient music of Half-Life

 There’s something about the ambient music of Half-Life (not counting Alyx for this) that is so... oppressive, depressing and haunting. 

much of it I think can be attributed to how Kelly Bailey uses dark and otherworldly synths and dull droning sounds to perfectly capture the reality of the half life universe in music

I think a few of the songs that capture this the best are Lab Practicum, Nectarium, Suppression Field, Nepal monastery and Dark Interval. which I will briefly go into detail about what the songs encapsulate and the emotions they inspire, at least for me. Lab Practicum is a hauntingly beautiful song that plays while traversing the underside of a bridge during the Highway 17 chapter. This track gives the player (and Gordon) time to breathe and reflect on what has transpired as this is one of the few moments of downtime.

This song is nostalgic, tragic, ghostly in tone and its perfect for this moment in time, a break in the action but still you must be cautious or slip into what remains of the waters below or fall victim to the creatures laying in wait up ahead.

Nectarium is alien, strange and imposing like an environment you can’t quite understand before fading into a distant and almost familiar melody. It plays as a vortigaunt harvests larvae to save Alyx’s life, its daunting and instils a sense of dread and a bit of urgency as if its saying you’re not meant to be here. this place is alien to you and this world but it is home for others and sacred to yet more.

Suppression Field is i feel the most oppressive song in half life, it is a slow suffocating song that fades in and out like fading consciousness. as it plays you meet your first rebel ally in the ruined playground and move into the almost completely destroyed city. it encapsulates the sheer power of the combine to level a majority of the city in response of the uprising and the choking nature of the titular suppression field, completely preventing humans from reproducing and make them subservient.

Nepal Monastery is true to its name, a foreboding track comprised mainly of the few non-synth or electronic instruments featured in the soundtracks and a droning synth. you hear this as you hear the tentacles in blast pit for the first time, in a way the test silo has become a sort of monastery for the creatures.

I don’t have much more to say on this song but it is incredibly unique for the soundtrack with minimal distortion making it one of the most haunting tracks at the same time.

Dark Interval.

It is the last thing you hear in episode 2.

13 years of silence and decay.

A song that embodies the slow atrophy of humanity in this world.

Haunting, Ghostly, Powerful.

This song encapsulates everything that makes Half-Life so... atmospheric, the people, the story, its all a slow decay. 

and while it plays, you hear nothing else but Alyx grieve over the loss of her father.

The tragic end of a story that will never be finished and the end of a beloved character.

Dark Interval *is* Half-Life to me, and that dark, sorrowful yet slightly hopeful tone is everything that the games represent. But that’s just my opinion.

Thanks for reading, have a good day or night.

Bye.

[maurypovichofficial2]

not to drag this out again but I really cannot believe that halle bailey didnt use her butt and reproduced with that man when she really was just about to have a good career like gurl you let all that go to waste and now you are connected for him forever

BDYHFEFUYHFEGHUBD!!!!!!!!!!!! honey that pillowtalk really have you going crazy and you can tell that man is the first like real cute guy that ever paid her attention. she'll learn. And hopefully she will pack it up take her son and go

[rookielover]

The better man

when Lucy finds herself with an invitation from her ex-boyfriend, and her ex best friend to their wedding, she finds herself spiraling, knowing that she had really gotten nowhere since their last interaction. So she decides to go, bringing along a very aggressive hot man. Who just so happens to be her TO.

True love never dies

Lucy is presumed dead, while on an undercover mission and Tim struggles for months coping with the aftermath. little did he know that Angela, Nyla and Grey all knew the truth, hiding it from him, that his fiancé really wasn’t dead.

(inspired by Criminal Minds)

My boot

The wedding process of chenford, proposal, dress, shopping, and most importantly, first dance. These two would definitely have a very beautiful and loving wedding.

Take flight with me

What if Lucy and Tim had actually had sex in the airplane on the way to Vegas, and how would it affect the rest of their lives after the flight and case

Oh darling besides you

On her last day of training Lucy “confesses” to Tim but he doesn't realize it was a joke and ended up telling her that the two also had feelings

When I see you again

At Bailey and John's wedding, Tim realized just how much Lucy meant to him but before he could propose she's sucked into a long-term UC

All American girl

Tim finds himself slowly, falling in love with a junior girl, his sister‘s best friend, a girl, who lived not even a block away from him, and every time he tried to deny it, his feelings for her only grew more

Mrs and Mr

Lucy and Tim go undercover as a married couple and it leaves Tim with a lot to think about now that Lucy was actually his to have

Donor my love

(Rewrite)

Lucy and her boyfriend Keith want nothing more than to settle down and start a family ,but her boyfriend can't reproduce. Lucy takes to a sperm donor who years later ends up as her TO.

That's Christmas to me

Tim hates the holidays but for twelve days his rookie spends some time with him and restores his heart

[catsniffer420]

hilma af klint exclusively painted in series from 1906, when she received a ‘commission’ from a higher consciousness being known to af klint and the her fellow members of De Fem (The Five, a group of women including af klint who performed meditation, automatic writing/drawing, and seances to communicate with higher spiritual dimensions) as “Amaliel”. between 1906 - 1908, she painted over 100 pieces. 

i was inspired by this, since i realised that i usually nurse my ideas for paintings for a really long time because  i feel pressured to culminate the idea into One Single Perfect Piece. reading about hilma’s methodology helped me to realise that i don’t have to commit to that. i can produce and reproduce my visions as many times as i want, in a series. a series of paintings can be cohesive, a way to explore an idea, theme, concept, or design, without the final ultimate pressure of bringing the idea into the world only once. 

“In the arts a gaudy excess is usually a sign of genius. [...] Such fecundity results from a kind of inner exuberance, the ceaseless overflow and shaping of personal energy characteristic of the artistic temperament at its most glorious. Shakespeare never blotted a line because he was already scribbling the next one.” - Anthony Bailey, 2001.

so i think this has changed me, and the way i view my art process. i hope to incorporate this idea of painting in series into my process, when i can get back into art. since moving last month, i no longer have a painting table/art studio space, which makes it difficult to fully immerse in my craft. for now, i am limited to doing smaller pieces, using gouache or acrylic which is a lot easier to clean up (and can fit on my desk where i study) as opposed to my old setup, which had a big easel next to a table covered in stinky oil paints and solvents and rags. 

i can be patient and do smaller exercises for now. but i really look forward to the expansion and evolution of my ideas when i do have the opportunity to set up an easel and stuff again. need to finish my science thesis so i can return to where my soul keeps pulling me!

[subterraneanmothra]

The opening line of the first chapter of Capital: "the wealth of societies in which the capitalist mode of production prevails appears as an immense collection of commodities."(129), initially implying a sort of real materiality to the being of the commodity. But the proceeding section seems to follow the question to a paradoxical conclusion, that what defines the commodity-form is precisely not material, but an invisible, social quality(a mysticism that he names later the fetish of the commodity). "Because they had a superficial conception of this fact, i.e. because they considered that in the equation of value the equivalent always has the form of a simple quantity of some article, of a use-value, Bailey and many of his predecessors and followers were misled into seeing the expression of value as merely a quantitative relation; whereas in fact the equivalent form of a commodity contains no quantitative determinant of value."(148).

This rejection of the hypothesis of a quantitative material "soul" that links all commodities ultimately leads to the discussion of Aristotle, where Marx then positions this question as one of history. After all, what Aristotle misses in his comprehension of the commodity is not a mere oversight or mistake, but only a reflection of a fundamental difference in the ontological form of labor(Ancient Greek slave labor/proletarian labor). To return to the Manifesto, Marx begins by describing how the broad societal onset of capital and its ideological superstructure was one that is presented by bourgeois historicists as a mass demystification on all fronts, a demystification modeled in a Fichtean upward path towards "Enlightenment". At the center of this process is of course the perceived gutting of class to its irreducible economic dualism.

Capital appears distinct from these earlier texts, as in the Economic Manuscripts and Hegel's Philosophy of Right(and of course the Manifesto), and as we spoke in the previous discussion, Marx's shift from the humanist issues of the proletariat's self-actualization deferred by the bourgeoisie, into an analysis of the commodity and its distinct status and ability to reproduce capitalist relations of production simply by nature of its existence, reads in a deeply unsettling manner! Marx's Gothic inclinations seep through as he arrives at the end of the fourth section, a black hole that warps the light around it into unbelievable patterns, the culprit of Marx's detective story. On a final note, what ultimately provides the commodity with its "spectral" power is its existence in a sort of speculative dimension. To return to a rather small footnote near the beginning of the chapter, "In bourgeois society the legal fiction prevails that each person, as a buyer, has an encyclopedic knowledge of commodities"(126). Later on, Marx, in analyzing exchange-value, expresses the fact that commodities can only be actualized as such by their being placed into contact with other commodities. Does this then imply, per Marx, that capitalist ideology hinges(at least partially) on the belief that anyone, regardless of class, need merely to attain an "encyclopedic knowledge" of commodities to master them? Where class systems of previous epochs in Europe had based themselves on internalized, metaphysical class strata, capitalist modes of production re-wire these codes to be necessarily external, where the commodity, with its ability to be used for a vast array of activities such as financial investment, trading, etc. due to its masked origin in labor-time, allows it a speculative quality on the part of the buyer, an uncertainty that can easily have projected onto itself some sort of interpellative character. Therefore, in a stark development on the Manifesto, bourgeois ideology, amidst its broad dissolution of transcendent strata, engaged in the work of formulating a molecular ideological system(nearly monadic). Unusual!

[thelastofusfansa]

How to Install and Download The Last of US

The Last of Us: Part I Video Game 2022

The Ravens were cautious with him last week, but he seems to be trending in the right direction. LaPorta had a solid debut in Week 1 against the Chiefs, finishing with 39 receiving yards. His five catches were the most by a rookie tight end in their debut since 2019. A broad variety of weapons, crafting items, skills, and upgrades allows you to personalize Ellie’s capabilities to your play style. A total overhaul of the original experience, faithfully reproduced but incorporating modernized The Last of US PC Download gameplay mechanics, improved controls and expanded accessibility options. Dolphins wideout Tyreek Hill had a huge 215-yard Week 1, but I like the way Waddle's route tree matches up against the Patriots' coverages.

Development began in 2014, soon after the release of The Last of Us Remastered. Neil Druckmann returned as creative director, co-writing the story with Halley Gross. The themes of revenge and retribution were inspired by Druckmann's experiences growing Where i Can Download The Last of US up in Israel. Ashley Johnson reprises her role as Ellie, while Laura Bailey was cast as Abby. Their performances included the simultaneous recording of motion and voice. Gustavo Santaolalla returned to compose and perform the game's score.

As they flee, Sarah is shot by a soldier and dies in Joel's arms. Chubb also sprained the MCL in his right knee in 2020 and missed four games while on injured reserve. In other tight end news, Baltimore's Mark Andrews (quad) is hopeful to play after practicing in full Friday. With the help of Bill (W. Earl Brown), a smuggler and survivalist who owes Joel a favor, Joel and Ellie acquire a working vehicle from Bill's neighborhood in Lincoln. Driving The Last of US PC Download into Pittsburgh, Pennsylvania, Joel and Ellie are ambushed by bandits, and their car is wrecked. They ally with two brothers, Henry (Brandon Scott) and Sam (Nadji Jeter).

Dating back to last season, Waddle has run corners (8% of his routes), deep crosses (6%), digs (11%), posts (11%) and slices/deep overs (7%) all at higher than average rates for a wide receiver. With the exception of posts, these route types all perform well against single-high coverages in terms of yards per route run. How to Download The Last of US And that's relevant because the Patriots have run single-high 65% of the time since the start of last season, second-most in the league. At gamepass you have all, where with Sony the games are first sold (sony takes cut) and after a while those are in ps plus (where sony pays, but takes the subscription fees).

The game's 46.5 total implies a high-scoring affair, which bodes well for Jones' sleeper appeal. Carr started slowly against the Titans in Week 1, but things eventually clicked with Chris Olave, Michael Thomas and Rashid Shaheed. He completed 69.7% of his passes for 305 yards and is well-positioned to have a strong performance against a Panthers secondary that is currently dealing with multiple injuries. Over the past five seasons, Carr averaged how to download the last of us 16.2 fantasy points per game, and his ceiling is much higher in this matchup. Looking only at plays around the league when win probability was between 15-85% (i.e. the game was still in question), the Chargers had the lowest designed pass rate in the NFL in Week 1 at just 49%. I’m not saying that you can’t start by playing Part 2 before everything else, but you will have a tough time catching up with all the details needed for the gameplay.

Well, I guess I can understand why Sony doesn't want to put new games on PS Plus day 1. But, if MS wants to throw money down the drain, I guess go ahead. There's even exclusivity on those services with what's released. Ultimately, subscription model is reliant on the quality of the content.

[eazy-group]

‘Grown-ish’ Stars Chloe x Halle Share Beauty Products They Swear By as Neutrogena's Newest Ambassadors

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‘Grown-ish’ Stars Chloe x Halle Share Beauty Products They Swear By as Neutrogena's Newest Ambassadors

(Photo : Matt Winkelmeyer/Getty Images for The Recording Academy)

Chloe and Halle Bailey, the duo behind Chloe x Halle, have reached another milestone in their career.

The sisters, whose claim to fame is their role as Jazz and Sky Forster in the comedy sitcom “Grown-ish,” announced that they had been officially named as Neutrogena’s newest ambassador.

Chloe X Halle X Neutrogena

  Over their social media, the “Don’t Make It Harder on Me” hitmaker surprised their fans with their bubbly and energetic campaign ad while flaunting their uber flawless skin.

“SURPRISE! we are so excited to announce that we are the new faces of @Neutrogena! Finding the perfect skincare routine is not easy, but with Neutrogena, we glow from the inside and out. we are so happy to be a part of such a beautiful family, and we are even more excited to share this journey with you all!” Chloe x Halle Instagram caption reads.

In the short clip, the older Bailey can be heard describing the brand as a total “game-changer.”

Following this, celebrity friends and fans expressed their support over the duo’s new collaboration.

 Japanese-British singer-songwriter Rina Sawayama mentioned how they “both look glowing.”

The same goes with the “Star” actress Ryan Destiny, who wrote, “Yesss! bc the skin is too beautiful. Ahhh, so f’n happy guysss.”

On the other hand, one fan threw his support for “Do It” singers and said, “..and Suddenly my skincare routine has all changed to Neutrogena.”

READ MORE: The Best Acne-Fighting Products Under $25

Chloe X Halle’s “Dream Come True” Team-Up

Following this, Chloe X Halle has a short Q&A as they celebrated their “dream come true” project.

“So thrilled to be @neutrogena brand ambassadors together! SUCH A DREAM COME TRUE!” they tweeted.

In the video, she recalls her little obsession with the brand and its famous face splashing commercial.

Moreover, Halle asked her sister what’s the three essentials things in her bag, to which she replied cellphone, Neutrogena Skin Balancing Cleansing Towelettes for “refresher,” and lastly, her dark shades.

Chloe x Halle Beauty Secrets and Holy Grails

In an exclusive interview with People magazine, the “Happy Without Me” hitmakers spoke about their beauty must-haves and learning to embrace their individuality.

During their candid chit-chat, the sisters were asked about their skincare go-to and products that they swear by.

For Chloe Bailey, she shared that she has been using Invisible Daily Defense Sunscreen, and it helps her address discoloration and scarring on her face.

Moreover, she also learned not to pop her pimples because they will only leave stubborn marks.

Another product that she mentioned is the Skin Balancing Micellar Cleansing Cloths to easily get rid of makeup residues.

On the other hand, her sister, Halle Bailey, shared that they both have different skin types, and unfortunately, she is more acne-prone.

With this, she uses Neutrogena’s Oil-Free Acne Wash and Stubborn Acne AM Treatment, “especially when I get anxiety about a closeup or something,” she explained.

READ MORE: How to Get Rid of Dark Marks from Acne Breakouts

See Now: 100 Most Beautiful Women In The World

TagsChloe Bailey, Halle Bailey, Grown-ish, neutrogena

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[berezina]

"Re-Entry"

Grapevines have a tendency to grow every which way but straight. They dip, curve, and curl tightly in a tangled web. For sound to travel along such a vine and be reproduced without distortion is impossible: that is how rumors and gossip travel.

Bob was in England to do a television show, with a side trip to Italy, as I was returning by ship to New York City at the end of 1962. Our letters had crossed in the mail. The dates and plans made with an element of surprise for each other backfired and by the time my ship docked in New York he had already left. We wouldn't reconnect until mid-January.

I spent a short time in New Jersey with my mother and Fred and then headed to the apartment in the Village. I was excited to see everyone after such a long absence.

Just being in the little Fourth Street apartment again brought me to tears. I couldn't wait to see Bobby. I didn't regret the long separation, but I had suffered it. I had no idea, though, of the extent to which he'd suffered it in public.

When I went around to some of the clubs, I did not get a friendly reception. Instead I was greeted with accusations that I was cold and indifferent to someone who loved me. I was not there for Dylan when he needed me most. Some deliberately sang songs he had written about his heartache as well as any ballad that pointed a finger at a cruel lover.

The gossipy insinuations by the folkies around the Village hit hard. Bob had suffered publicly and as a result I was the villain, the Barbara Allen to his Sweet William. I did not handle public involvement in my private life well. I had been looking forward to reconnecting with people and had not expected this unwelcome home. It was as if every letter Bob had written to me and every phone call he had made had been performed in a theater in front of an audience. Now I was the second act, standing alone on the stage after intermission; it was open season on my performance. I was booed and panned, while the guy from the first act had received a standing ovation.

Intimate friends like Lillian and Mell Bailey didn't treat me this way. Truly close friends who knew Bob and me understood not to judge. They paid no attention to the twists along the grapevine. With these friends I spent real quality time until Bob got back a week or so later in January, when we made up for lost time.

~Suze Rotolo [buy]

[modalities-of-care]

https://mommuseum.org/mom-conference-cpf-2023/?amp

MoM Conference 2023

REPRODUCTIVE LANDSCAPES- Undoing m/otherhood; who has the right to talk about motherhood, who claims that status, and how do we create words, art, and scholarship moving forward?

MoM Conference 2023 – SCHEDULE –FINAL PAPERS & TITLES; MARCH 24-26

FRIDAY: ZOOM THANKS Creative Grape! 3100 3rd Ave N, St. Petersburg, FL 33713

9 AM Martha Joy Rose ZOOM: Intro

9:30 AM Batya Weinbaum ZOOM: Contextualizing Motherhood: Notes on the Power We Might Not Want to Give Away, Drawn from the Second Wave

10 AM Justyna Wierzchowska ZOOM: A Mother-Artist’s Work: Reclaiming Black Motherhood in Renée Cox’s Yo Mama and American Family Photographic Series

10:30 AM Emily Smith ZOOM: Sanctifying Pregnancy: Catholics and Natural Childbirth in the 1950s

11 AM Danielle Bell Procope ZOOM: The Collapsing Spheres of Black Working Motherhood at the turn of Twentieth Century

11:30 AM Emma Oslé ZOOM: Madres, Madonnas, and Malinches: Maternal Imagery in the Latin American Diaspora

12 PM Natalia Laverde Osuna ZOOM: Who is allowed to be a mother in today’s western society?

12:30 Break

1:30 PM Rachel VanEvery presenting for Amy Wright ZOOM: The Indigenous Mother’s Healthcare Narrative: Her Story, Her Art, Her Way

2 PM Liz Kukura ZOOM: Embracing Maternal Ambivalence

2:30 PM Katherine Nolan ZOOM: Performing Miscarriage: Material Experiences of the Loss of Motherhood

3 PM Angela Beallor & Elizabeth Press ZOOM: Reproducing Queers: Queer Knowledge (Re)Productions and Learning with Our Gender Creative Child

3:30 PM Mary Nickel ZOOM: Who is She? Inclusivity, Language, and Pregnancy

4:00 PM Kate Golding ZOOM: Monumental care: Lockdowns, caregiving and collaborative creative practice

4:30 PM Bailey Higgins ZOOM: Without A Village: Motherhood, Child Care, and COVID-19

5-6 PM Open Discussion ZOOM: Discussion on the topics presented

SATURDAY CREATIVE GRAPE DINNER AFTER

9 AM Tiffany Valencia, Christina Enodien Supervisor Michael Kramp ZOOM: The Mothers of Sierra Leone documentary film

9:30 AM Aliesha Clark IN PERSON: A Megaphone for Black Mothers

10:00 AM Lyani Powers IN PERSON: Traditional / Indigenous practices and ritual as postpartum care as an act of Remembering and Revolution

10:30 AM Jill M. Wood IN PERSON: Birth Justice: Pregnancy Self-Help Literature as Disembodiment

11 AM Amanda Apgar IN PERSON: A new Mother Blame

11:30 AM Laci Mattison & Jordan Von Cannon IN PERSON: Everybody’s Mother: Post-Pandemic Parenting and the Second Shift in Academia

12 BREAK

1 PM Sally Butcher IN PERSON: (In) Fertile Embodiment: Revealing the Invisibility of Infertility between the Medical and the Maternal through a Feminist Art Practice

1:30 PM Rachael Grad ZOOM: Motherhood Moments: creating new aesthetic space

2 PM Valerie Smith IN PERSON: “We Were Never Meant to Survive”: An Autoethnography of Resilience and Black Motherhood

2:30 PM Rebecca Marcelina Gimeno IN PERSON: Mothering a Ghost: Bone Baby

3 PM JWells IN PERSON: “I don’t want someone dirty holding my baby”: Analyzing Misogynoir in Babies Behind Bars.

3:30 PM Michelle Hughes Miller IN PERSON: Woman, mother, Person- Dobbs and the Justices’ Understandings of Pregnant People

4 PM Brittany DeNucci IN PERSON: Emotional Support and Mindfulness in Motherhood

4:30 – 6 PM Discussion & Dinner Creative Grape

SUNDAY Zoom and Onsite

9:30 AM Lesego Linda Plank My Mother’s Absence was an Act of Love and Selflessness

10 AM Jennifer Maher ZOOM: Rescuing Maternity: Masculinity, The Child, and Queer Futurity in 9-1-1

10:30 AM Jessica Casey ZOOM: African American and Indigenous Motherhood in horror films

11 AM Estelle Philips ZOOM: Motherhoodlum

11:30 AM Laura Bissell ZOOM: Performing Matrescence: Becoming and Unbecoming

12 PM Sarah Sudhoff ZOOM: Mother Chew

12:30 PM Mateusz Kucab ZOOM: Duty – Fulfillment – Stigma. Motherhood in the Dramas of Maria Pawlikowska-Jasnorzewska

1:00 PM Caron Greenblatt ZOOM: Art Presentation

1:30 PM Open Reading/ Discussion Roundtable ZOOM: Portions of a text, poetry, spoken word

FYI – Additional Sharing Kiesa Kay LINK to Losing our Birth Centers – Let’s not leave rural woman out of academic conversations: article

RSVP & PAY FOR CONFERENCE

St. Petersburg, Florida & Online / March 24-26, 2023 / Museum of Motherhood