#sarah jung.

[ruerecs]

fanfic writers NEVER contemplate or apologise for your fic being over 3-5k words long, we readers LOVE longer fics!! anyways have a good day/night 🙂‍↕️

[vertiny]

HAPPY BIRTHDAY ATEEZ'S TRICKSTER | 241126

#ateez's wooyoung through the eyes of my wooyoung (happy birthday shai-lee ♡)

[616witch]

So you want some? Let's see how much you can handle.

[asa6iri]

“ no sé, dicen que los borrachos no mienten” afirma, comiéndose de un bocado un puñado de maní que reposaba sobre la mesa. Luego de cruzar una pierna sobre la otra, le miró con una intención juzgadora. “ En vez de reclamarme deberías estar reflexionando, vamos. Si te digo que tomas decisiones dignas de un primate es porque te quiero, eh”

' estabas mintiendo, ¿no? ' habla, aún conserva la última esperanza. ' realmente no piensas lo que me dijiste ayer ' ── junto a @asa6iri

[nonvoice]

(🧠)

[mcqicons]

[theweirdkidinside03]

Ariana Grande returned to number 1 spot with a new single from Eternal Sunshine

we can't be friends (wait for your love) - Ariana Grande

Training Season - Dua Lipa

Beautiful Things - Benson Boone

Popular - The Weeknd, Madonna & Playboi Carti

Lose Control - Teddy Swims

Doctor (Work It Out) - Pharrell Williams & Miley Cyrus

Whatever - Kygo & Ava Max

Selfish - Justin Timberlake

yes, and? - Ariana Grande

Overcompensate - twenty one pilots

Love wins all - IU

Never Be The One - Olivia O'Brien

MY MIND - Sarah Geronimo & Billy Crawford

HISS - Megan Thee Stallion

obsessed - Olivia Rodrigo

B.A.D. (feat. P-Lo) - Denise Julia

Hands On Me (feat. Meghan Trainor) - Jason Derulo

Truth or Dare - Tyla

Like What (Freestyle) - Cardi B

Not My Fault - Megan Thee Stallion & Renee’ Rap

exes - Tate McRae

Love On - Selena Gomez

greedy - Tate McRae

My Love Mine All Mine - Mitski

Ruin - Usher & Pheelz

Don’t Let Me Go - mgk

Deeper Well - Kacey Musgraves

No Angels - Justin Timberlake

Agora Hills - Doja Cat

Friendly Fire - Linkin Park

In Your Hands - Halle

Back To You - B1A4

Lovin’ On Me - Jack Harlow

Sunday Service - Latto

Risk It All - Usher & H.E.R.

REWIND - B1A4

Hate You - Jung Kook

Enough (Miami) - Cardi B

Feather - Sabrina Carpenter

Can’t Catch Me Now - Olivia Rodrigo

[13-wonder-writer]

Borowski und Brandt haben echt so ne Vater-Tochter Beziehung. Wie er mit ihr in "Borowski und der freie Fall" gesprochen hat hatte echt was von genervter alleinerziehender Vater, der mit seiner Tochter unterwegs ist

[twittercomfrnklin2001-blog]

A Dangerous Method

The Internet Movie Database classifies David Cronenberg’s A DANGEROUS METHOD (2011, On Demand) as a period drama, a biography, a drama and a romance (!). Contemporary reviews run along the same lines. Did nobody get the joke? Christopher Hampton’s adaptation of his play “The Talking Cure” dissects the relationship between Sigmund Freud (Viggo Mortensen) and Carl Jung (Michael Fassbender), poking fun at their pretensions and prejudices, particularly misogyny. Watching the two actors subtly dig at each other is like watching a good production of “The Women” played by two men, only they’re sparring not over Stephen Haynes but rather the source of neuroses. And the winner may well be a patient-turned-psychiatrist (Kiera Knightley) out to establish her own identity.

The film starts with the arrival of Sabina Spielrein (Knightley) at the psychiatric hospital in Zurich where Jung is trying to apply Freud’s talking cure to his work. Over time he assigns Spielrein, who had aspired to study medicine, a position as his assistant and then takes her as a lover. Theirs is a sado-masochistic relationship in which Jung spanks her as foreplay while he also works on correcting the flaws he finds in her dissertation, which he appropriated within the theories he was developing at the time. He also travels to Vienna to meet Freud, but the two almost immediately start jockeying for position, with Freud first viewing Jung as his heir apparent and later, as their theories diverge, his rival. These scenes are both witty and balanced; both men come off rather juvenile in their need to be top dog.

Hampton has layered the work to deal with various issues in Jung’s relationships. It’s not just the need for dominance, but also elements of anti-Semitism (both Freud and Spielrein were Jews), classism (when Jung sails to America, his wealthy wife books him a first-class cabin while Freud is stuck in second) and sexism. At times, the film seems to be about the erasure of women from history. Jung treats his wife (Sarah Gadon) as an extra in his life, dropping in to visit when she has as child and casually using her as a test subject to be discussed dispassionately with Spielrein. Years later, he informs his former lover that he has a new mistress, whom he describes as the perfume in his life while his wife is the foundation. Both women are reduced to inanimate objects rather than being seen as human beings.

Cronenberg packages all this very handsomely with cinematographer Peter Suchitzky filming the Viennese locations in picture postcard colors and Howard Shore scoring the film with snippets of Wagner, whose mythic plots and leitmotifs seem to echo Jung’s more mystical approach to psychiatry. All three leading actors do quite well, with Knightley taking top honors with her committed physicality. She enters in a state of hysteria that modulates throughout the film as she conquers her mental problems and becomes increasingly confident in her status as both psychiatrist and woman. It’s a fiercely modern performance on a par with her work in ATONEMENT (2007).

[hollywoodfamerp]

UNFOLLOW (5+ DAYS OF INACTIVITY: THE FOLLOWING HAVE BEEN REOPENED)

Cillian Murphy ( @thecillianmurphys ) *at players request

Jenna Ortega ( @jcnncs )

Jessica Lange ( @jessiicalange ) *reclaimed within 24 hrs

Jordyn Woods ( @hollywoodwoods ) *reclaimed within 24 hrs

Maika Monroe ( @maikeymonroe ) *reclaimed within 24 hrs

Natalia Dyer ( @thatnattyice ) *reclaimed within 24 hrs

Sarah Paulson ( @srahpaulsons ) *reclaimed within 24 hrs

Tate McRae ( @taterosncr ) *reclaimed within 24 hrs

WARNING (3 - 4 DAYS OF BEING INACTIVE/INCONSISTENT ACTIVITY)

Aaron Taylor Johnson ( @aarontaylorjohnscn )

Alex Gumuchian (bbno$) ( @bbnofame )

Austin Butler ( @ausinbutler )

Bella Hadid ( @isabellaskh )

Choi Minho ( @minhochvi )

Christian Yu ( @dprivn )

Damiano David ( @ykaaarr )

Danny Amendola ( @dannyamendcla )

Glen Powell ( @glenpowcll )

Hwang Hyunjin ( @hyvnjinhwang )

Jeon Wonwoo ( @wvnwoos )

Jung Yoonoh (Jaehyun) ( @jcehyns )

Kathryn Hahn ( @kahahns )

Kim Jongin (Kai) ( @kmjcngins )

Kim Minjeong (Winter) ( @mvnjeongs )

Kim Taehyung ( @kvcnte )

Lauren Jauregui ( @famejauregui )

Lee Soojin ( @scojin )

Lee Sunmi ( @sxnmis )

Madelyn Cline ( @clinesmaddie )

Mark Lee ( @mxrklees )

Maxence Danet-Fauvel ( @famemaxence )

Min Yoongi ( @tvnymontana )

Nick Robinson ( @robinsonjnicks )

Olivia Culpo ( @oliviaamendola )

Olivia Rodrigo ( @olvivarodrigo )

Sana Minatozaki ( @mvnatozakis )

Taron Egerton ( @tarondavideggerton )*

Travis Kelce ( @killa--trav )

Vanessa Merrell ( @ncssam )

Yoo Jimin (Karina) ( @kvrinas )

BUBBLE WARNING (DO NOT UNFOLLOW)

Josephine Skriver ( @josiejohnscn )

Meryl Streep ( @merylstreep-fame )

Ryan Gosling ( @gosry )

Tom Hardy ( @tcmhcrdy )

*Inconsistent activity, only answering memes, signing on the day before an activity check, reblogging/posting social media and photos do not count as activity. Bubble warning is for members who fall under what HFRP considers to be bubble rping. Further explanation of bubble rping is defined in our rules.

Those who have been unfollowed are more than welcome to return! You have 24 hours to message us via ask box POLITELY if you’d like to reclaim your character before it officially gets reopened. Don’t forget, if you feel like you need to step away - you can always ask for a hiatus!

[addictivecontradiction]

아가씨, 2016

[vertiny]

240604 ☆ wooyoung ☆ 'work' ending fairy

[sloshed-cinema]

The Handmaiden [아가씨] (2016)

It’s kind of cute when movies have only one twist, right?  The basic outline of Park Chan-wook’s elegant and depraved adaptation of the Sarah Waters novel Fingersmith is simple enough: a poor Korean duo aim to swindle a naive Japanese heiress out of her wealth, seduce and marry her, and then ditch her in an insane asylum to enjoy the spoils.  But as the story unfolds, it is more of a fractal in its structure.  A triptych of perspectives taking in each of the co-conspirators slowly unfolds in turn, revealing the myriad ways in which we are all manipulating and manipulated.  Layers build, folds of pleasure and pain intertwining and overlapping, revealing secrets and exposing intimate truths which had always been apparent but perhaps not immediately noticed.  A simple enough ruse is revealed to be a double-game, but it’s not even so simple as that.  Betrayal begets betrayal, and between Sook-hee, Lady Hideko, and our so-called Count Fujiwara, everyone thinks that they hold an ace up their sleeve at all times.  Escape can be promised, for escape is what is needed: both Hideko and Sook-hee have had traumatic upbringings, and “Faux-jiwara” asserts he suffered greatly to become the conman that he is in the narrative.  But as structured by our Count, escape is a self-serving plot.  He claims to go through the motions to help at least one woman in this ménage à trois, but finding him lying in a bed of money reveals his true self-serving motive.  When people say what their interests are, believe them.  Rather, Hideko and Sook-hee find release in their collusion and companionship, forging a genuine partnership as they plot to break free of their oppressive influences and make a new life for themselves.  This requires great sacrifice on both of their parts, but represents the only true emotion experienced by any two characters in this film.

Pleasure and pain, as experienced by Sook-hee and Hideko, is the crystalline structure at the center of The Handmaiden.  The two are inextricably linked, by circumstance and desire alike.  These two women’s love is clouded not only by heteronormativity, but by their desires to break free.  In a certain regard, the apparent betrayal at the asylum is asexual; “Sook-hee” as an identity simply wants not to suffer, whomever that woman may be.  But this is true of the greater sexual superstructure built into this remote and twisted world.  Hideko is always greatly tired by her reading sessions for her uncle-cum-husband, though the reasons for this initially remain clouded.  As the dark secrets of this household are revealed, as the film steps past the snake guarding the gate of knowledge in this reading room, the true nature of these sessions are revealed.  This is puppetry, the usage of a woman groomed for pleasure from an early age, allows for imaginative role-play by the men attending these sessions.  No matter how aesthetic you make the reading room, no matter how performative the augmentation to the reading itself, this is the work of impotent men seeking to control and fantasize about women, manipulating them like marionettes.  Uncle Kouzuki is an entirely false man, a self-hating Korean turned Japanese national who tortures individuals for pleasure.  His tongue and lips are stained with book ink, indicating his literary sexual proclivities.  Even when torturing Fujiwara in the close, he has to rely on fictional reference points to describe sex, recounting and taking revenge for texts which he lost by the women’s sexual rediscovery on this man he’s captured.  Fujiwara, too, operates on a field of lies, viewing himself a domineer and yet wholly incompetent.  At least our two antagonists mutually self-annihilate.  I only wish I knew what Kouzuki would have done with that octopus.  Park Chan-wook, you have your kinks…

If much of the film dedicates itself to the notion of nurture (if it can be called that) triumphing over nature, at least the close offers a rebuttal.  Throughout the dramatic cycle of ruses and lies that informs much of the structure, everyone is a false actor.  Lies flow freely and everyone is bound by their previous experiences.  Everyone uses words and phrases which they’ve heard before in other contexts to garner favor or sow fear.  Sook-hee assures Hideko about her troubled birth by using things she’d heard before, and Hideko preys on Sook-hee’s smitten nature by stealing how she’s “alone in this world” to seem more vulnerable than she really is.  The initial sex scene between Hideko and Sook-hee, initially organic and erotic, becomes manipulative once we know that Hideko has read out plenty of scenes of this nature and is not, in fact, a complete naif.  And yet there is release.  In a closing scene of passion, Hideko and Sook-hee enact the “bells” erotic novel, but it’s just for their mutual pleasure.  They’re united and freed from this toxic and controlling death-spiral even as their supposed masters destroy themselves.  I can only hope that in the future, Hideko becomes a drag king, because werk, bitch.

Park Chan-wook is fucking funny.  There’s so much humor buried in this subversive narrative in the camera language and timing of the edits.  Pratfalls, people running about like dipshits, that fucking pussy-eating POV shot.  And yet he’s deeply erotic when the moment calls for it.  “Ladies are just dolls for maids,” Sook-hee muses as she unbuttons all of those buttons on Hideko’s dress.  It’s humorous, to a degree, but also sensual, especially when Hideko reciprocates the gesture.  Another layer of performance in this performative vision of sex, yet they can realize it in a constructive way.  That darkness haunts the periphery in the hangings of generations of women here.  It’s oblique at first, Sook-hee discovering the beautifully braided rope by which Hideko’s aunt allegedly hanged herself.  It remains with Hideko as a threat from her uncle.  Later, Sook-hee “hangs” her mother figure in a silhouette with her braid, and saves Hideko from suffering the same fate.  The bonds of control reclaimed by those meant to limit them.

I really need to call out the searing, lush, romantic and fraught score furnished by Jo Yeong-wook.  Fucking phenomenal.  As with the architecture of the home, the score melds flavors of English and Japanese traditions and instrumentation to create something achingly beautiful, bringing to mind the likes of James Newton Howard within the film world, or perhaps Samuel Barber within the classical canon.  The “My Tamako, My Sook-hee” cue is an all-timer, far as I’m concerned.

THE RULES

SIP

Someone opens a door.

Inner monologue begins.

Sook-hee has to come up with a lie.

A reading session begins.

BIG DRINK

A part intertitle appears onscreen.

Kozuki licks his pen.

TOO MANY BUTTONS

Octopus imagery.

[starry-solo]

the boys are in a good mood 😁

[thorstenlannert]

i'm a simp

und bonus gif (because he is so fuckin hot in that scene):

Richy Müller als Thorsten Lannert im Tatort "Happy Birthday, Sarah", 2013

[fuckyeahmarxismleninism]

There have been a lot of reports in the bourgeois press that give the impression that Saturday's large antiwar rally in Berlin was politically equivalent to the far-right-dominated "Rage Against the War Machine" event in D.C. And it's true that the organizer of the event, Sarah Wagenknecht, has taken some bad positions on social issues affecting the working class. However, this report from the German left daily Junge Welt gives a very different (and much more hopeful) impression of the event. - redguard --------- By Nico Popp Correctly adjusted political glasses help when counting demonstration participants to arrive at the required orders of magnitude. The expertise of the Berlin police in this business should be unrivaled in the Federal Republic. A demonstration for arms deliveries and a continuation of the war in the Ukraine up to a "victory" for Kiev, which marched through Berlin late Friday afternoon with around 7,000 people, was estimated by the Berlin police at 10,000 participants. The police named 13,000 participants for the much larger rally in support of the "Manifesto for Peace," which was signed by more than 679,000 people, and which took place on Saturday afternoon. They "misjudged" the numbers once again - this time, however, clearly downwards. ... The police communication was misleading in other respects as well: citing the police, the DPA news agency reported that "a group of left-wing counter-demonstrators" had had a "vocal argument" with Jürgen Elsässer, publisher of the right-wing Compact magazine. This gave the impression that Elsässer had been confronted by "counter-demonstrators" as an accepted participant in the Wagenknecht-Schwarzer rally. In reality, as soon as he appeared, he was surrounded by anti-fascist rally participants. The police evaded the request of the rally organizers to remove Elsässer.  According to the on-site inspection, there must have been at least 35,000 people on Saturday who followed the call from Bundestag member Wagenknecht and the publicist Schwarzer at temperatures just above freezing. The organizers called it 50,000. ... The rally on Saturday was reminiscent of the peace movement of the 1980s. Apart from a few flags from the Left Party, there were no party flags to be seen, but there were numerous symbols of the peace movement in all sorts of variants. The majority of the participants came without any flags or posters - an indication that a relatively broad mobilization was actually successful here. Of course, it must be assumed that the intensive efforts beforehand to denounce the rally as a "Third Position" event ultimately kept many people away. At the rally, Wagenknecht said to loud applause that one could now see “how many we are”. "We're also starting to organize now," she announced. The country finally needs a strong peace movement again. Once again she emphasized that "Neo-Nazis and Reich citizens" had no place at this peace rally. Excerpts translated by Melinda Butterfield