#technical analysis basics

[strategyapex]

Binge-Worthy Trading: When Technical Analysis Meets Your Watch List

Hey streaming fanatics turned traders! Ever notice how your chart analysis skills improved after watching 47 episodes of your favorite show in one sitting? No? Let me explain this hilarious connection between your Netflix addiction and trading success!

Remember how you predicted that plot twist in your favorite series because you noticed all the subtle hints? That's exactly what technical analysis is - except instead of predicting who ends up with who, you're predicting where prices might go. And trust me, both can be equally dramatic!

Think about your favorite crime series. You know how detectives look for patterns to solve cases? Well, traders are basically market detectives! Instead of looking for clues at a crime scene, we're searching for clues in our charts. Though sometimes the market commits crimes against our portfolio, but that's another story...

The best part is how similar chart patterns are to TV show formulas. You've got your reversal patterns (like season finales), continuation patterns (like mid-season episodes), and those false breakouts (like clickbait episode titles that promise more than they deliver).

And don't even get me started on double tops and bottoms - they're like those classic "evil twin" episodes. Just when you think you know what's happening, the market pulls a soap opera move on you!

Concluding paragraph: So next time someone tells you you're watching too much TV, just tell them you're actually studying advanced pattern recognition for your trading career! And remember, just like you wouldn't skip to the last episode of a series, don't rush your trading journey. Enjoy the show, learn the patterns, and maybe keep some popcorn handy for those volatile market days!

[mxmarsbars]

made a little analysis thread on twitter and thought I’d share it here too if that’s chill ^_^

anyways traffic!impulse using self destruction and the destruction of others as a way to cope with his own frustration and resentment throughout the life series: a messy ramble-y post because I’m crazy.

most of this behavior really only starts after third life. his destructive behavior before then is usually outward and not with malicious intent. instead, he hurt others in third life because he was asked to. it was a part of a greater plan he was undoubtably loyal to and that would later get him killed and tarnish his reputation for seasons to come.

that’s why in last life, he’s much more open to antagonistic behavior (which he barely partook in before and only would if asked of). this mostly includes all the stealing he did that season, the numerous break ins, and of course, spawning the wither. this could also include his personal insistence on becoming the boogeyman and even planning it out in advance (which would later get him killed, his own hubris). he was itching for it to be his turn.

it’s such a huge shift from how he acted in third life, and why? personally, I think it’s because of all the strain and pressure put on him by others and their disdain towards him. specifically the rumors spread about him and the reluctance of others to believe and trust him after what he’d done the season prior. which for some people is justified, like ren and etho, but for others, like bdubs, is not. and this was shown to upset impulse a lot, given how it resulted in him being thrown under the bus, even by his own teammates.

but he’s supposed to be nice and considerate and smart to make up for all he’s done, right? that’s why he sticks with his alliance the whole time and makes a point to be loyal to them and them only. but that doesn’t stop the resentment and anger boiling, and he can only take so much before he has to let off some steam, and destructive behavior seems to be a means to do so.

it turns from him doing bad things because he’s asked to to him doing it because he wants to, to cope. which is why when all else fails and the southlands fall apart, despite him taking the measures to prevent it earlier on, he helps grian spawn the wither, even with the risks and deaths. and he insists on doing it at best’s base, because they ruined him. it gets him killed. he should’ve been smarter.

it gets worse in double life, specifically when homewrecking is proposed. while he’s not the one to bring it up or start the rumors, he soon grows comfortable enough to start talking smack himself. him and bdubs deliberately try to ruin the relationships of others, and they tell themselves it’s to steal away half of each pair for their own benefit, but maybe there’s more to it. maybe they ARE projecting, just like joel had said.

it doesn’t help that impulse is having his soulbound questioned and bdubs “needs” a clock and the horns won’t shut up. when they’re exposed, he takes his destruction to the deep dark. he throws snowballs, he spooks unsuspecting people, he yells into the dark when he finds out his voice can trigger the sensors. throughout the season, he makes multiple efforts to cause distress in the deep dark, malicious intent or not. and maybe it’s to cope with the fact that bdubs keeps sending him down there or etho won’t stop yapping about how bdubs doesn’t want him or how bdubs put a major target on their backs.

and this is when self destructive behavior really starts, too. impulse gives away valuable resources when he realistically could’ve not, he takes risks he absolutely doesn’t have to take (despite how much he values his and, by extension, bdubs’s life), when he’s linked to the fishing rod sequence of death, all he says to bdubs is that it was fun while it lasted. and then he loses their first life trying to get a music disc.

whether he means to or not, he’s slowly killing himself and his soulmate, too. and eventually, by the time he’s red, he just gives in. he starts blowing horn (surely there’s some symbolism there), he terrorizes those better off than him, he wants to cause problems. yet there’s always still some humanity in him that shines through, regardless of his destructive ways of coping.

but this isn’t about that. before the final fight, he even grabs the golden apple him and bdubs had been stashing away, saying if they can’t win, no one can. he would’ve ate it. he should’ve ate it. yet he didn’t, and he died by bdubs’s hand again. more resentment grows.

by limited life, it’s obvious he’s open to dabbling into more chaotic pastimes. bdubs’s ignorance and unwillingness to see his flaws and apologize only fuels the fire. when he’s chosen as the boogeyman, he has a time with it. but he still has the mind to know not to hurt his team, even refusing to use skizz’s accidental death to cleanse himself. but he bombs bread bridge freely, somehow even getting tango and skizz to help him. it’s almost concerning how much fun he has with it.

then of course there’s the complete destruction of bread bridge, which he happily takes part in. and tango’s boogey kill on bdubs, in which he lures bdubs to his demise (something he had been itching to do for seasons). he amasses a huge kill count over the season, his first time murdering anyone since third life.

most of his behavior this season turns more outward, and he grows more keen on sustaining himself the more faith his team puts in him. he is also shown to hold other alliances much less dear than ties, even if they benefit him. this results in the betrayal of many, most notably mean gills in the finale. he fights like hell, he gets his final revenge on bdubs and ends his season, and yet it still isn’t enough.

he begs martyn to kill him, because he’s alone, and he’s scared, and he did all he was asked to do. but they keep him around, despite his pleas. he’s given the illusion of free will, a chance to win, to be given a fair fight. martyn slaughters him in cold blood. a cruel betrayal.

secret life feels like a reset, and most scores are settled, and secret tasks heavily dictate how the sessions go. he isn’t given the chance to cause mass destruction like he could the season prior. he’s not sure if he wants to. most of his mistakes are honest, no self destructive or malicious intent, same with his tasks.

he’s with a team he can trust and confide in. they help him. they care about him. his first two deaths are consensual and willing, something’s he’s never known. the season is rough, but he’s happy. he tries to use his trap as he’s being chased, risky as it was, a final act of stubbornness.

he dies, alone and scared, hearts quivering. nothing’s new. he’ll just have to be ready to cope again tomorrow. get some blood of his hands, whether it’s his enemies or his own.

[computer-gummy-worm]

putting my Awesome Extreamly Self-indulgent Deltarune Idea TM on here: think itd be really fun if they did like a spoof on touhou and to have the boss like Actually be played like a touhou game, like u can shoot (maybe even use bombs) and the UI changes and everything and the screen is longer and vertical (maybe they can do a simular thing like they did for queens final form where u first get a small minigame in that style early on so u can kinda get used to how it works before the Actual fight)

also id love if for just this bossfight, the characters got fullbody portraits for dialogue like this (dont worry about the context here smile)

[mikkelo]

The Boston's Finest

FADE IN:

INT. BOSTON - DAY

In cassettes and broken tapes, there lie the cityscape of Boston with ambivalence no matter how distorted it may be. Every bouts of liberty and free spirited wanderings surged along the poster filled brick stone walls where the stifling humidity clouds the painted asphalt road. The Central Square neighborhood where shots of kaleidoscopes spread wide on the walls of Modica Way. The dewy petrichor from the cobblestones of Beacon Hill after the rain. The windowpanes in the porch reflect the teetering memories where life expands in the humble avenue. It is where the clip ends but the soul refuses to relent.

It was the 1980s and the world witnessed an uprising in the cinema industry where Die Hard (1988) and Rambo (1988) revolutionized discourse about on-screen violence, Flashdance (1983) and Purple Rain (1984) transformed the power of melodic storytelling, and David Lynch and the Coen Brothers reinforced the auteur theory of directive control. Before the glamour of the groundbreaking dawn of their careers, Hollywood stars Matt Damon and Ben Affleck once chased their shadows in the pavements with their faces smeared with dirt and splotches of heat in their linen shirts together. With their houses blocks apart from Auburn to Cottage Street, the two crossed paths in the latter’s residence while their mothers, Nancy Carlsson-Paige, an early childhood education professor, and Christopher Anne Boldt, who taught in public school, respectively had a wonderful chat. As they confront the tides of fame together with their youthful ardor, their relationship has become a cornerstone for defining a strong platonic bond, a losing art in the mainstream media, where Boston etched itself as their refuge both in conjoined grievances and relief.

CUT TO:

Title: The Warrior and the Clown

INT. CAMBRIDGE - DAY

One can say that the water holds memories for young Affleck who spent a great deal of his childhood under the fins of humpback whales and the dangers of rushing waves. He began his career as C.T. Grandville, the grandson of Captain Grandville, who was played by the scientist Peter Marston, in PBS educational series The Voyage of the Mimi (1984). For the grade schoolers watching, venturing into this journey was met with no trepidations as the show provided valuable information about the physical and biological processes of the planet. After the series ended, he went on to attend Cambridge Rindge and Latin School, where he would encounter Damon again (calling him Matty D.) since they became fast friends due to their shared interests for baseball and movies.

BEN (V.O.) I was 8, he was 10, he was a big kid, he played baseball, he was really cool, he had a bowl cut—those little feathered ones that we all wanted, of course—and he— And he was, you know, nice to me. And we were both interested in the same things.

Having a tad advantage to his age, Damon showed a more mature and passionate outlook for acting, which gave Affleck the boost to take it seriously. This difference in intensity of the mutual linkage they have gave Affleck the affinity to put Damon in a pedestal, who embodied a total control in his limbs and motions the moment when he was possessed by the role he played. In both admiration to his craft and character, Damon’s words were like ancient knowledge to Affleck who looked up to someone whom he believed had a superior integrity in the art of acting than him.

BEN (V.O.) I would periodically go off and do a little Voyage of the Mimi. So Matt was a little threatened by that. And when I got to the high school, he kind of pulled me aside. He said, “Listen, man! All right? This is the theater. It’s not about your looks, okay? It’s about the work.” And I took that very seriously. I thought that I was hearing something real, like the words of wisdom from a guy who understood it.

Granted, it was not a bond fully realized, yet their childish vigor and innocent wonderment were already the first step of what was anticipated. However, what made their friendship soar in a vast degree was in the January of 1987 when the blade grasses crunched in every step as the soles of leather boots left myriads of trails on the coated pristine snow. A shift in dynamics which catapulted their connection into a newfound nature of commitment where it evolved from baseless competition towards the unequivocal dedication to be with each other in whatever shenanigans one might be.

CONAN (inquiring) I know that you’re from the Boston area as am I, and there’s this reputation that like, Boston guys know how to fight. […] Did you ever get in any fights as a kid? MATT (reminiscing) I’m like you, I really tried to avoid them because there are people in Boston who really do know how to fight and you know if you’re one of them or not. But the last fight I got into, who would’ve been in the mid-80s, and I remember we had a snow day at school so we would all meet in the Cambridge Common and play tackle football because there would be a foot of snow on the ground and so you can’t really get hurt. It was a really fun thing to do and I mouthed off a kid that I knew but he was like your height. He was six-foot six, right? And I might have been 5 (foot) 3 at the time. And I said some—I scorned on him or something, I don’t know—but he came for me and it was like a mountain of a guy came at me and I was like, ”Oh, man.” So before I knew it, I was on the ground. He was above me and I was like, “This is gonna be bad.” And it was right then that little five-foot two Ben Affleck tackled this dude off of me like out of nowhere. I was like a junior and he was like a freshman and he tackled this kid off of me, literally at the risk of his own life. Really quickly, everyone had [broken] it up because they wanted to get back to the football game. That was fun and this was ridiculous and that was the end of it. The kid was reasonable and he was, “God, I’m not fighting. Let’s play.” But I remember, that was like a big moment going like this guy, he will put himself in a really bad spot for me like, this is a good friend.

The proclaimed drama geeks dominated the corners of the school’s theatre department as they consistently turned themselves into a blank slate of a paper vessel where the letters to be imprinted on it gave birth to the soul of the character they portrayed. Once they return to existence after breathing differently through living many lives, they came back as different entities where all the emotions they played amounted to the hope of bringing it on a larger stage. Regardless of how they were perceived in the social circles within the school, they always remained to be thick as thieves for whatever context, which was enough for them.

BEN (V.O.) I’ve established that we were very nerdy and a little weird. We used to have "business lunches,” in what was called the Media Cafeteria, which at the time there was a big ESL portion of our public high school—it was like 2,600 kids—and that was where the ESL kids— I don’t know why that was where we— We liked to be surrounded by people who spoke other languages. I’m not sure what it was. Maybe we didn’t want them to actually hear our business lunch, because no business was conducted. But we plotted things. We planned our careers.

The Cambridge Rindge and Latin School produced and adapted various stories which the department invested their efforts in. Some of the plays the school had in the time period where the two were involved were Guys and Dolls in the Summer '85 where Damon, still a freshman, played one of the gamblers, and The Visit in Fall-Winter '86 where Affleck, now a freshman, played a character as Damon’s son. Additionally, Damon’s “confrontation” with Affleck on how “acting is not about the looks, but the work” happened in this time frame. Another plays they performed were Pippin in Summer '87 where Damon played the lead role and Affleck worked behind the scenes because his voice was not for the audience. And lastly, the Alice in Wonderland in Fall '89 where Affleck took the role of the Caterpillar.

MATT (taunting) Say, Ben, why don't you tell us about the time you played the caterpillar in Alice in Wonderland? BEN (gearing up for a cutting contest) Yup, I was the zany, hookah-smoking caterpillar. I chose to play the role wrapped in garbage bags held together by Scotch tape. Now, if I were to play that caterpillar today, I might do it another way. CASEY (commenting) It was an underrated performance. Those trash bags were a bold choice. BEN (retaliating) So, Matt, why don't you favor us with your version of Morning Glory from Pippin?

After their eventful years inseparably playing various roles in high school, the two would bid each other farewell as Damon decided to continue his education in Harvard University. When Affleck completed his last two years, he attended the University of Vermont because of his attachment in his high school girlfriend who was not even studying in the same university he was in. Nevertheless, the two never broke contact and remained close as ever.

BEN (V.O.) Matt was definitely more… of a kind of achiever. It was inconceivable to him that you wouldn’t get an “A” or do really well. So I did really well [in] my first two years in high school and then when Matt left, I would cut class and… get in all kinds of trouble.”

In retrospect, their escapades as children of theatre might earn them some cringe looks. However, their joint experiences watered the seeds of their dreams they planted themselves, as well as their friendship that helped it to germinate much quickly by always having each other’s back. This was also the time where they made discoveries about themselves that sealed their brand as a person.

JIMMY (pulling out the picture) This is a photo, I think, you sent it to Matt just the other day just to go “Hey! Remember these dudes?” Here’s 17-year-old Matt and Ben in a photo booth. Look at this. BEN (laughing) Now, listen. Hard not to see that those guys are gonna make it. MATT (agreeing) Yeah, those guys clearly have “star” written all over them. JIMMY (amused) That’s awesome. MATT (pointing something out) You know, I think it was the matching puka necklaces that give it away. JIMMY (affirming) Best buddies. That’s BFFs right there. Come on. That’s BFFs for life.

CUT TO:

Title: The Crumbs on the Manuscript: Part 1

INT. UNITED STATES - DAY

It was a paradise for some, but a rabbit hole for those who only have their baggage, a couple of penny, and a dream. Done were the days where the two would cross the suburban homes in Somerville, roaming in the Assembly Square Mall where the big pictures were as avid moviegoers, and frolicking in the Harvard Square; it is the transitional period from their sentimental film reviewing antics to making appearances in wide screens, albeit a small one in their fresh start. This consisted of moving back and forth in different borders of United States for auditioning countless roles. Kevin Costner as Ray Kinsella in Field of Dreams (1989) recalled the remarkable enthusiasm of Damon and Affleck as two of the extras among the thousands in the movie. Even though they were one with the blurry heads and said that they only did it “to go to Fenway,” the sheer exhilaration of partaking in the film gave a lasting impression on what it was like to be in front of the camera.

KEVIN (remembering) They were sitting in the stands, like college guys, and they came up, and they both leaned in at the same time, leaned back at the same time, looked at each other at the same time as we talked. And they had this big enthusiasm. They were on fire. I do remember them, absolutely.

After three years of their first exposure from the said film, the two made their new appearances in School Ties (1992). This time, Damon played one of the antagonists against Brendan Fraser who played the lead role. On the flipside, Affleck played a smaller role as one of the bullies as well who performed violent acts to Fraser’s Jewish character.

BEN (remembering) I knew my nine lines back to front. I loved every day I was on a call sheet, every day I got to come to work. You were there, in Boston. It was one of the best experiences of my life. We literally were next to a dump and thought we were kings. I knew I was playing the one shitty antisemitic bully character, so I figured it was probably not going to be great for me career-wise, but I loved it.

Other films that contributed to their foundation in acting together were first, the college comedy Glory Daze (1995) where Affleck starred as the lead role named Jack, an art student who was driven by the post-college angst of the fleeting whiff of liberty before graduation, and Damon had a non-speaking role as one of Affleck’s former roommates. The other was Chasing Amy (1997), another lead role for Affleck who played Holden McNeil, the love-stricken comic book writer chasing his love of his life that turned out to be a lesbian. Damon had a cameo role and played as one of the executives who helped Affleck’s character pitch a business offer. The contrast in their perception of each other’s fame was intriguing to behold as Affleck jokingly claimed that he and Kevin Smith, a well-known director and believer of the two, were riding the coattails of Damon’s larger stardom, whereas Damon was more laid back about himself and only “tried” to get in Affleck’s films with Smith. Both also revealed to auditioned for Dead Poets Society (1989) but failed to secure a role and worked in a local movie theatre.

BEN (humorously) I slept on Kevin's couch, and it was like, “You got a buddy, this guy Matt, will he be in it?” And Matt was better known than I was. [Smith] was totally happy to exploit Matt’s stardom, for his own benefit, and so was I.

Most notably, the two disclosed the fact that they opened a joint bank account with “RiverP” as the code based from River Phoenix’s rising influence in the film industry. Both Damon and Affleck set forth a new adventure in the incongruous lands of New York where they were repeatedly hustling in the bustling audition sites for various television roles, some Burger King commercials, and local voiceovers that were not documented thoroughly for public viewing. Both their devotion for acting far transcended from only achieving success to also making sure that they were part of each other’s moments of triumph and lament.

MATT (V.O.) It was unusual, but we needed the money for auditions. BEN (V.O.) We were going to help each other and be there for each other. It was like, “You’re not going to be alone. I’m not going to be alone. Let’s go out there and do this together.”

Just like when they were two small naivetes discussing baseball mechanics on a bench of the local park, a candy bar from one will be shared willingly, cheerfully, obligingly with the other.

BEN (V.O.) If either of us needed money he could borrow it from the other. Neither one of us ended up taking. It was never one-sided. MATT (V.O.) If one kid had enough for a candy bar, then the candy bar was bought and split in half—that’s just the way it’s been.

That being said, the two will always be embedded in each other’s life whether they recklessly wallow in the pools of Napa Valley wineries or they open a hotdog stall at the Dodger Games while tracing the stars through their sparkling squinting eyes.

BEN (V.O.) Matt and I had identical interests, so whether we ended up successful or making hot dogs at Dodgers games, we knew we'd end up doing the same sort of thing. The remaining friends part was pretty consistent. We saw each other all the time, we talked on the phone all the time.

CUT TO:

Title: The Crumbs on the Manuscript: Part 2

INT. LOS ANGELES - DAY

While spending his time in the halls of Harvard, Damon conceived an original story that was a waiting ticket for a momentous future. He requested a favor for Affleck to act out the scenes of this story with him in front of the class. Consequently, this project gave him one of the reasons to drop out from college in 1997 in addition to them being unable to get the roles they wanted for themselves. They reckoned that if that was the case, then they could make their own film even if it would only be available in cheap cassette tapes.

BILL (V.O.) Were you guys always okay with you being the lead and him being the sidekick? MATT (V.O.) Yeah. I mean, I started it in college in a playwriting class, and so it was all established by the time—That as my final—My final paper was, I was supposed to write a one-act play. And instead I handed in the first act of a movie. And I said to the professor, "I think I failed your class. This is not what you asked for, but this is what came out and I really like it." He gave me an A in the class. Yeah, it was really cool, because I didn't get a lot of straight A's at Harvard. And he went, "No, wherever this goes—I don't know where it's going, but stay with it." And it was really great, because I didn't think of myself as a writer. I was an actor. And neither did Ben, for that matter.

After starring in various roles and earning their wages, the two promptly rented a house in the neighborhood of Venice Beach, Los Angeles where they reportedly wasted their money away for hedonistic pleasures and decided to get an apartment in Eagle Rock neighborhood. Damon and Affleck lived together as broke in-and-out of role actors after spending a whole lot of their earnings in drinks and taxes. Subsequently, this is where they ultimately decided to work on the script of Good Will Hunting (1997) seriously.

BEN (V.O.) I lived all over the place. I lived in Hollywood, then I moved. [Matt Damon] and I got money from School Ties, and we blew it all in a couple of months. We made $35,000 or $40,000 each and thought we were rich. And we were shocked later on to find out how much we owed in taxes.

Good Will Hunting (1997) turned out to be an opportunity for them to combine their creative outputs and transform it into having a life on its own. They wrote the script largely influenced by their own personal upbringings in Boston through their spontaneous and completely erratic improvised sessions of jotting down details. Writing, even admittedly not their forte, was an intuitive process for them, and just how they meticulously carve the path of Will Hunting’s fate, they were also unknowingly writing a new chapter to their wondrous epic of Hollywood breakthrough.

MATT (V.O.) And so that was in late January, and then in March I came out here [to L.A.] for Spring Break to audition for stuff, and stayed on Ben's couch and showed it to him. I was like, "Hey, I wrote this thing, I don't know what the fuck to do with it." And Ben read it and goes, "I don't know what to do with it either, but we should do it together." And I was like, "Sold! I'm in!" And so that was really the—I trusted no one in my life more than him. And we were just, you know—He was as close a friend as I’d ever had in my life or ever could imagine having. And I respected him, and I respected his taste. I mean, we—Our taste kind of formed together, you know what I mean? Those teenage years where you’re spreading your wings and gaining your own independence: we did that together. And so I know he would read a situation the same way I would. You know what I mean? We were just very compatible, in that way.

The film starred Damon as Will Hunting, the titular protagonist who was a troubled genius working as a janitor in the prestigious Massachusetts Institute of Technology (MIT) alongside Affleck as Chuckie Sullivan, one of Hunting’s closest confidants, and Robin Williams as the therapist Sean Maguire. Damon and Affleck sold the screenplay to Castle Rock Entertainment in 1994 for $675,000 where its president, Rob Reiner, told them to drop the thriller aspect and instead focus on the emotional ties of Hunting and Maguire. However, due to a conflict, Miramax Films bought the screenplay’s rights and put it into production with Gus Van Sant as the director. True to their nature, their earnings from the film were gone in few moments after it became a hit classic and a commercial success.

BEN (talking in front of the curtain) We sold it for $600,000, we split that, $300,000 each, and then the agents got $30,000. So we had $270,000, and we paid about $160,000 in taxes, so we had $110,000, each bought $55,000 Jeep Cherokees, and then had $55,000 left, which naturally we decided to rent a $5,000-a-month party house on Glencoe Way by the Hollywood Bowl, and we were broke in six months.

In their many attempts to rewrite every course of action and applicable dialogues, the crumbs on the shared candy bar remained sitting idly on the many drafts of manuscript, and still was the arrival of the sprinkling mess that was a testament of their love and camaraderie.

CUT TO:

Title: The Fortune Favors the Fools

INT. SHRINE AUDITORIUM - NIGHT

The pillars of Hollywood are where the gods and monsters of the industry were ensconced. Here they carve their legacy in all its pulchritudinous grandeur where they race their cars in Sunset Boulevard and Vine Street. Settled in the Shrine Auditorium, Los Angeles, the commencement of the 70th Academy Awards in 1998 propelled the trajectory of their future in an unimaginable heights. It was a turbulent period in the picture palaces where contenders such as James Cameron stirred the tides of cathartic grief with his poignant depiction of tragedy in Titanic (1997) and Kim Basinger’s seductive charisma in L.A. Confidential (1997) worked like a charm to the mass. Damon and Affleck paved their way into the culmination of the grand clockwork inside the movie industry along with the elite A-listers who took their seats on the fine cushion chairs. Billy Crystal, with all of his entertaining antics, sang an ode to the honorable artists.

MATT (V.O.) To go from that experience where, you know, we filled out the (Oscar ballot) sheets and we were betting on who was gonna win, to being in the front row of the Oscars together with our moms—in one year—it felt like warp speed. And to have Billy Crystal singing a song about us.

Damon and Affleck, in their plain tuxedos and bow ties, managed to claim their unexpected Academy Award for Best Original Screenplay in Good Will Hunting (1997). The crowd was masked with massive shouts of uproar and sheer delight the moment when Jack Lemmon and Walter Matthau presented the award, which can be liken into them, a comedic duo, passing the torch of friendship to the young novices. The two of them were remembered as sweethearts for bringing their mothers as their dates to the said event. Such gesture, even if it was seen as juvenile to some, garnered them an appreciation from the public for looking back at the pioneers among their fans and also their first pillars of hope when they partook in the tumultuous road of acting.

BEN (V.O.) We were sitting next to our moms and we won, and we kind of hugged our moms. And I remember, how everyone had made such a big thing out of it. As if this was such a novelty. And I remember thinking, being insecure, like, “Why? Why is it weird that we’re bringing our moms?” Like, “Who else do you think we would bring?” You know what I mean? There was nobody else that was going to go. That was it. Of course our moms were gonna go. That was, really was innocent and not faked.

Their signature impromptu speech was a blabbering mess and their words were caught up in a maze, yet the innocence emanating from their still neophyte minds inside the logistics of Hollywood was a testament to their authenticity as starting actors in the realer side of the business. Up until the present times, Affleck boasts his pride as he still remains to be the youngest winner to bag this prestigious award.

MATT (V.O.) Ben and I talked about it recently. We were younger than we felt. I was 22 and Ben was 20 when we first started writing it. And then it came out when I was 27 and Ben was 25. I mean, Ben’s still the youngest writer to ever win an Oscar for screenwriting. I’d be the youngest if it weren’t for Ben. Fucking asshole.

In another but shared spotlight, Robin Williams also snatched the Academy Award for Best Supporting Actor from the same film. His performance cemented his legacy as one of the most beloved actor-comedians who ever graced the common folk with his winning smile and witty sense of humor. Williams’ roles as Sean Maguire in Good Will Hunting (1997) and John Keating in Dead Poets Society (1989) resonated to the young souls through his earnest warmth of devotion in the form of paternal love. The integrity of his characters, which was molded from his own, poked the bubble of pressure that led to vulnerability.

ROBIN (V.O.) There's an emotional core to Good Will Hunting that came from Ben and Matt. They have this unspoken twins thing. They care for each other, yet they bust on each other. And that was a great bass line to work with. I'm very proud of this movie. It has a resonance.

The accolades for Good Will Hunting did not stop in its tracks as it emerged victorious in other award-giving bodies. Damon and Affleck also won the Golden Globes Award for Best Screenplay - Motion Picture and the Critics’ Choice Movie Award for Best Original Screenplay. The disbelief hung in the air but the emblems of their cherished faith in their line of work brought a newfound admiration in each other’s professional work.

MATT (V.O.) It’s been really helpful to check in with Ben throughout this whole surreal process over the last 25 years. I think the shock of becoming famous is so… I mean, that messed me up for a couple years because the whole world just starts to treat you differently. And so your subjective experience changes. It’s like somebody rewrites your code in the Matrix, but just your code. It’s like, “Oh, my whole experience has been altered in this really overwhelming way.” And so to have somebody who I’ve known my whole life, who I can be like, “Hey man, is this happening to you? Are you…” And to check in with him, it was really, really helpful. Stabilizing.

All of a sudden, they climbed up the ladder of prestige and in the throes of loneliness at the top, they basked in the presence of one another.

CUT TO:

Title: The Best They Ever Were

EXT. THE STREETS - DAY

As they walk in the arduous path they earnestly tread on, Damon and Affleck solidified their careers as one of the most prolific actors and filmmaker collaborators. Their fates were sealed in a fervid turmoil after that eventful night while carrying their early designed bulky cell phones in one hand and the golden trophy statuette in another. Time went on and success found its way running towards them in multitudes. Damon then had won the Screen Actors Guild Awards (SAG) for Outstanding Performance by a Cast in a Motion Picture in the movie The Departed (2007) with the cast, as well as two Critics' Choice Movie Awards for Best Actor in The Talented Mr. Ripley (2000) and Best Actor in an Action Movie in The Martian (2016). On the other hand, Affleck won the Screen Actors Guild Awards (SAG) for Outstanding Performance by a Cast in a Motion Picture in the movie Shakespeare in Love (1998) shared with the cast, another Academy Award for Best Picture as a producer in Argo (2013), and Santa Barbara International Film Festival’s (SBIFF) Modern Master Award for Argo (2013). Furthermore, the two also accepted the award for Guys of the Decade at the 10th Annual Guys Choice Awards in 2016.

The nature of their relationship has always been a sweet spot for breeding malice and amusement of many, yet both are secured enough to define what they are for each other amidst the public’s scrutiny.

WOMAN IN BLACK (gesturing with her hands) I didn’t know what your relationship is with Ben. Seeing you or to get, you know, known him your whole life— MATT (standing on the stairs) He’s my hetero-lifemate.

It goes to show how the concept of platonic bond is subjected to different interpolation because of how malleable and loosely defined its boundaries are. Moreover, histrionic commentaries over cultural norms and prejudices thrive in competitive capitalism where journalists are put in a game of catch to get a scoop on celebrity scandals with twisted headlines.

ELLEN (sitting cross-legged) So we're going to talk about it. I just heard it this morning, if you want to address it somehow. It's like when we do interviews, you say something and then people write it and it depends on—it’s out of context and it gets twisted around and something you said is getting twisted around and I want you to address it. MATT (sitting on the opposite couch) Yeah, it was just an interview with The Guardian that I just literally found out. I was talking about [how] actors are more effective when you know less about their personal lives and was talking about it in the context of when Ben and I first started, and people wrote all these articles when Good Will Hunting came out that we were gay because it was two guys who wrote the script, and feeling like “Oh, we can't even—.”Then you have to address it and then you would and then it's like, I’m not going to throw my friends under the bus who are gay and act like it's some kind of disease, you know. How do you even address it? […] I said this thing in The Guardian and it got turned into—I was just trying to say [that] actors are more effective when they're a mystery, right? And somebody picked it up and said gay actors should get back in the closet, which is, like, it's stupid. It's painful when things get said that you don't believe.

The mere fact that both Damon and Affleck remained to withstand the tribulations of exploitative industry, where privacy is compromised, speak volume to their commitment and loyalty towards each other. Writing their bond as a simple romance where they fit the conventional bill of being one is reductive in its essence because it takes away all nuances and intricacies of an outstanding platonic bond. Their relationship is supposed to remodel the foundation of a healthy friendship as it is a connection that is not codified through marriage contract or sexual attraction, but a shared mutual interest in something where both can celebrate and be dismal together. However, the public is not in the same page in terms of appreciating this kinship that rivals the so-called be-all and end-all type of love that is romance.

Decades passed through thousands of sunsets and millions of seconds, and their bodies had changed to match their shifting attitudes. However, their reverence and love for acting continue to stand unwavering in the midst of tempestuous conjectures and flashes like lightning strikes in their very faces. Currently, Damon lives in Brooklyn Heights, New York in a penthouse with the top two floors of a building spanning over the stunning views of the Manhattan skyline where he lives with Luciana Barroso and their daughters. Affleck, on the other hand, lives in a mansion in the Beverly Crest area of Los Angeles with Jennifer Lopez that stretches over 38,000 square feet, including a 12-bedroom main house and other amenities. The endless fields and valleys in between their locations were irrelevant against their will to collaborate again and screen write The Last Duel (2021) and co-found a studio together, the Artist Equity, to produce Air (2023).

BEN (sitting cross legged) I find the most wonderful thing about it was I loved coming to work everyday. I loved seeing Matt. I love—first of all, he's a genius. Having him as your anchor of your movie just makes it— MATT (gesturing Ben) See, 40-something-years it took you to— BEN (cont’d) No, I didn't use to think this. But that just makes it so easy, and it was just so much fun. It kinda felt like just us and getting to do the thing that we wanted to do. I did. I loved it. I miss it everyday since. It was the best work experience of my life. In fact, that's the beautiful thing about this. It's that happiness was being able to be here everyday in Los Angeles, where my children are and see them everyday and have them come visit the set, work with my best friend my whole life. There's nothing more that I want in my life. I thought, well, this is it. This is what I've always wanted, you know. And then I thought that might mean I'm about to die. MATT (laughing) I literally had the same thought. I was like this is it. We've actually reached the mountaintop.

Though their milestone launched them into separate houses of big screens and magazine covers, all America’s crossroads and thoroughfares and boulevards and avenues attempt to intersect at one point despite their convoluted systems to lead their lavish vehicles together in taking the high road.

BEN (V.O.) Yeah. It is bizarre to have gone this far. And definitely a lot of—I don’t think I would be sane—or as sane to the extent that I am—had I not had somebody who was from where I grew up, and who was my best friend, and who was going through the same thing. So you could— Because I’m sure you guys all know: there are these moments in this business where you look around and go like, “Is this completely insane? I feel as though I’m coming unglued.” And having that, someone share that perspective—and then so, as we went on and on, so finally got to a place where—like with The Last Duel—it was like, “Why haven’t we just—? We had so much fun! Every day on that set was so much fun! Let’s just do this: let’s just do movies together and with people we like.”

No matter how high the altitude of their dreams had come to, the streets of Boston will always have a perpetual flame into the hearts of two actors fueled by their shared ambition. Their eyebrows are the Storrow Drive with the way they are on fleek, their lips are the undulating waves in Plymouth's Fresh Pond when they curve upwards, and their torso is the Fenway Park where the Boston Red Sox is. When they gaze into each other’s faces, the two natives would recall all their hilarious mischiefs and lasting jubilations as if they are themselves the incarnation of the place they will always call home.

GRAHAM (pointing Matt) And what was the phrase? There was a phrase that you heard. Was it in a movie you heard a phrase? “There goes...” MATT (realizing) Oh, yeah. Yeah, I said it to my mother. This is funny. I said—in the movie, The Natural, Robert Redford, and it's based on something the baseball player Ted Williams once said. But so his character, Roy Hobbs, in The Natural says, “All I want is to walk down the street, you know, and when I walk down the street for people to say 'There goes Roy Hobbs, the best he ever was,'” And my mother—and I love that movie—and I love Robert Redford, asked me one day, “What is it that you want, Matthew?“ and I said, “Look, all I want is to walk down the street someday and have people say, 'There goes Matt Damon, the best he ever was.'”

The streets will be just like the way they rode their Jeep Cherokee Sport once. Only this time, the babes with their mothers and the strangers in all varying places will notice what the glint in their eyes is. And here, in the venerated bastion of media, there goes the finest of them all, the best they ever were.

FADE OUT.

THE END

[relicsongmel]

Being a music-based synesthete with absolute pitch is wonderful but so frustrating because the vast majority of people have no context for the way I experience music and thus whenever I try to explain it it makes no sense to them. What do you mean you can't tell what color this song is. What do you mean you don't hear a Bb minor chord and feel your body react to it before your brain does. What do you mean you can't feel the warm sunbeams of D major dancing across your face. My world is filled with musical color but even if people think it's cool they will never really see it and it makes me sad

[alientitty]

american economists will do anything to call as many people as possible middle class. ive seen some measures go straight from "poor" to "lower middle class" so they can avoiding even saying the word "worker." it's a great way to try and convince everyone that they're a potential business owner so that they side with policies that benefit million-dollar megacorps and real estate cartels because it's "good for business"

[cannibalismyuri]

hey sara when you read rwrb did you also assume alex knew he was bi up until his sexuality crisis revealed the truth to you or was it just me who labored under delusions for the first 25 percent of the book, a whole quarter of the way through, before getting the shocking surprise that alex claremont-diaz, main character of nyt bestselling debut novel red white and royal blue, by author casey mcquiston, was NOT an out and proud bisexual man?

no actually, because im not delulu like u are . anyway .

[isekyaaa]

If you need ideas for politics for Ayato, you don't necessarily need to research like... government politics for example. You can just consider the corporate equivalent, like how people need to deal with customers/ clients, bosses and coworkers. There's dealing with personality differences, value differences, power dynamics, people with more charisma and influence, rude customers, lazy coworkers... I don't know if this is helping at all, but I hope this might give you some ideas. (But I guess the hard part is setting all that up and figuring out how Ayato would respond...)

As for what the reader would do to be able to interact with Ayato... maybe a collaboration or a vendor??? Except I think he deals more with security??? I can't remember at the moment and I'm supposed be asleep now. 😂 It might have been mentioned in one of his video demos/ trailers.

- @mimi-cee-genshin

Yeah, I was thinking about that? Because if there's anything I do have knowledge on, it's money and the way businesses use money? But where I'm having trouble with this is converting my work knowledge to plausible political events. Reader is supposed to be from a notable clan that works in politics, either in the shogunate or in one of the commissions. They're not someone that works directly with Ayato, even at all.

In a fic like this, I want reader to prove themselves to be an equal to Ayato. So in order to do that, they will have to deal with things similar to what he has to deal with. The difficult thing is that in terms of finances, that's the Kanjou Commission. And in terms of security, that's actually the Tenryou Commission. Yashiro Commission deals with rituals, festivals, and matters concerning the people.

However, your idea actually did give me an idea that instead of making reader's clan having something to do with festivals, perhaps they're actually more alongside the Kanjou Commission dealing with money.... And they can hmm....

[daychiie]

. by the way I'm very slowly making a new account @daywoutmoon lol.

[strategyapex]

RSI: Your Secret Weapon for Better Trading Decisions

You know that feeling when you're always catching the market at the wrong time? Yeah, me too. That's until I discovered the Relative Strength Index (RSI), and boy, what a game-changer it's been! Let me share some real talk about this awesome tool.

First off, RSI is like having a market GPS - it helps you figure out if you're headed for overbought territory (above 70) or oversold land (below 30). But here's the kicker - it's not as simple as "buy low, sell high."

When I first started, I made the rookie mistake of treating RSI like a magic 8-ball. Every time it hit those magic numbers, I'd jump in without thinking twice. Let's just say my trading account wasn't too happy about that strategy!

Here's what actually works:

Watch for RSI trends, not just numbers

Pay attention when RSI and price are telling different stories

Use multiple timeframes to confirm your analysis

Don't forget about the overall market trend

Want to learn more? Check out my detailed guide on Relative Strength Index (RSI) for the full scoop!

[aapkainvestments]

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[stockexperttrading]

Unlock the Secrets of Trading with Top Chart Patterns! Explore the world of chart patterns with Funded Traders Global. From understanding the basics of technical analysis to recognizing common chart patterns like head and shoulders, double tops, and flags, our blog equips you with the knowledge to enhance your trading skills. Discover advanced patterns like pennants, wedges, and harmonic patterns, and gain practical tips for effective trading. Improve your risk management, pinpoint entry and exit points, and combine chart patterns with technical indicators. Start your journey towards trading success today with Funded Traders Global!

[bhartisharmarket23]

Why Choose Bharti Share Market Institute in India?

Here are some additional details about Bharti Share Market:

They were founded in 2008 by Prof. Ravindra Bharti.

They have over 550+ franchises all over India.

They have trained over 2 lakh+ students.

Their courses are taught by experienced and qualified faculty.

They offer a variety of courses, including beginner, intermediate, and advanced courses.

They also offer portfolio management services and demat account opening services.

If you are interested in learning about the share market, Bharti Share Market is a good option. They offer a variety of courses to suit your needs and their faculty are experienced and qualified.

[tradesenseinstitute]

Learn with us the structure of these patterns, where they are found, how to confirm them, and most importantly how to trade with them.

Which involves:

Where you can take an entry position in the market,

Where you can put the stop loss,

And at what point an exit can be beneficial.

Three outside up, three outside down, three inside up, and three inside down patterns are the most commonly used candlestick patterns in technical analysis. As the name suggests they are three candlestick patterns and often signal trend reversal.  Either a bullish reversal or a bearish reversal. The appearance of these patterns indicates that the market's trend either upward or downwards is going to change....

[tysonrooney06]

How To Commerce The Inverse Head-and-shoulders Sample

With the investor loosing interest in investing in shares, the volume drops and the inventory worth starts to decline. The heart trough is the deepest and the opposite two are of roughly the same depth. An inverted Head and shoulders pattern occurs when the price of a security drops marking the bearish pattern and reaches the bottom level. Then the bullish development kicks back in and pushes the worth upwards.

In this case, the inventory's price reaches three consecutive lows, separated by momentary rallies.

This breakdown ought to be convincing, occurring on robust volume and coinciding with momentum indicators pointing towards sturdy bearish momentum.

If the value advance preceding the top and shoulders top is not long, the following worth fall after its completion may be small as nicely.

All expressions of opinion are subject to vary without discover in response to shifting market circumstances.

Some progress on the US debt ceiling talks is lifting the general market mood. The Relative Strength Index indicator turned bearish, warranting that additional downside is expected, whereas the 3-day Rate of Change , continues to slide beneath its neutral level. Futures and futures choices buying and selling includes substantial risk and isn't appropriate for all investors. Please read theRisk Disclosure Statementprior to buying and selling futures merchandise.

Figuring Out The Pinnacle And Shoulders Trading Pattern

The neckline can additionally be an essential part of the pinnacle and shoulders sample as it is the stage of resistance that merchants use in order to set up the world vary to put orders. So, to find the neckline, first, find the left shoulder, head, and proper shoulder. Then connect the low factors after the left shoulder with the low after the head, which creates the neckline.

It can be difficult for newbies to determine the altering developments.

Is Your Risk/reward Enough?

Chart patterns Understand the method to learn the charts like a professional trader. Live streams Tune into day by day live streams with expert merchants and transform your buying and selling abilities. A catalyst is something that can move traders or buyers to buy or promote a stock. That’s as a outcome of you must use this sample to discover out a significant change in development. Ascending triangle pattern need a lot of traders to see the sample, so they act accordingly and the price sample plays out.

[signode-blog]

Market Structure Basics: Understanding Supply, Demand, and Price Action in Technical Analysis

Market structure forms the backbone of technical analysis in the stock market. Understanding how supply, demand, and price action interplay is crucial for making informed trading decisions. This article unpacks these concepts, explains how they shape market behavior, and provides actionable insights for traders. 1. What is Market Structure? Market structure refers to the framework or layout of…