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notthatiwilleverwriteit · 4 years

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Hello! Can i ask you something ,Mo was first introduced as this jerk who didn't hesitate to hit XiXi with a rock ,It was quite a shocking sight , But later on he started to look like just a nice awkward boy surrounded by bad people ,And that fight was the only instance of him being that violent ,He only ever attacked people provoking him like those shitty adults , So this made me think That maybe the reason Mo acted in such an extreme manner with XiXi [ Part 1]

Hello, dear anon!

I’m sorry I have kept you waiting for so long but I have been taking a break from the inbox. Thank you for patience!

There are a couple of previous asks in which I have briefly talked about the fight between ZZX and MGS:

My thoughts on ZZX and MGS’s friendship (and HT and JY’s)

Did people forgive MGS too easily? (and why I think people love MGS)

“maybe the reason Mo acted in such an extreme manner with XiXi Was maybe Mo remembering that old guy in the same position almost killing him”

I see where you’re coming from but personally, I don’t really see that kind of connection between these two moments (ch. 127, 319):

I’m not saying it’s not possible. The physical positions are similar, and I’m sure almost being killed by someone who’s mentally unstable must have been traumatizing. However, I see MGS picking up the rock having different kinds of motives. Also, these two panels are so far from each other publishing-wise that I would be hesitant to draw that many conclusions between them.

The way I see it, MGS was in a position in which he had to win that fight against ZZX. He was the boss of his group of delinquents, and if people didn’t respect him (or rather, fear him) why would his underlings? You can see that if you look at the situation that ultimately led to the fight (ch. 116):

JY bumped into MGS, and it seemed like his “sorry” was somewhat half-hearted. At least to MGS. He made an issue out of it and stopped JY in his tracks. The thing is, as soon as he did that, he put himself in a corner. The only acceptable outcome for him was that JY apologized properly, at the least. Otherwise, someone clearly weaker than MGS had just refused him in front of his own group.

As we know, HT stepped in and raised MGS’s challenge forcing him to back off. After which MGS basically stomped around school cursing and punching walls.

I see MGS being in a similar situation when fighting with ZZX. Only this time, it seemed to be amped up more (ch. 125, 126):

It sounded like MGS had threatened to get JY later and the whole group seemed geared up and ready to go at it. In that fight, MGS had everything to lose. If he couldn’t come out on top, his underlings could start questioning his position as the boss.

All of that is what I see as the buildup for MGS to pick up the rock and smash ZZX in the head with it (ch. 127):

I don’t think he was remembering traumatizing things from the past but rather it seemed he was losing a fight he couldn’t afford to lose. I would say MGS is a good fighter but it seemed he was being overpowered (and taken aback?) by ZZX’s strength now that he was standing up for JY. Surely he would have won against JY but ZZX proved to be another matter. To me, picking up that rock was an act of desperation in terms of making sure he won rather than him having some kinds of flashbacks of the homeless man attacking him.

Another reason why I’m hesitant to draw such conclusions is that ch. 127 and 319 were published years apart in real life. I often refrain from putting much significance on the author’s intentions when forming my own interpretations. And I think this case follows that principle of mine, too. I’m not being hesitant to make this kind of PTSD connection between 127 and 319 because I’m not sure if OX intended it. I’m doubtful because due to the overall nature of 19 Days as a publication, I don’t think I can realistically expect the characters to stay that consistent for 5-or-so years. I’m hesitant to put the begin-versions of them next to the current versions and treat them the same without considering the realistic possibility that there have probably been some afterthoughts in their development. To suddenly have the context of ch. 319 for the fight in ch. 127 doesn’t sound likely to me.

But I’m not trying to make it sound like you couldn’t or shouldn’t see a connection between those two chapters. I guess it would make an interesting path to build from there. To me, though, there are other possibilities that sound more likely.

“But later on he started to look like just a nice awkward boy surrounded by bad people ,And that fight was the only instance of him being that violent”

I think that’s simply because we didn’t know MGS when he was fighting ZZX. Immediately after the fight, though, his character starts to gain more sides in our eyes (ch. 130, 138, 144):

His short fuse and threats gain a more comedic vibe when he gets dragged around by HT. His anger towards humanity and HT especially seems to be fueled by some kind of personal conviction. We’re called to feel sympathetic towards him when his family’s situation is revealed. All of those introduced us to think “hmm, maybe there’s more to him” but they were already factors in his character even when he was fighting ZZX, we just weren’t aware of them yet. When he bashed ZZX with the rock he was the same kid whose family was struggling and who felt like the whole world was rejecting him.

As far as MGS being violent goes, I don’t think he magically started to shy away from it even though it wasn’t as bad as hitting someone with a rock (ch. 130, 138, 148):

He was still very much physically challenging HT and being overall threatening. But his violence was pretty much rendered useless against HT and the more he threatened to beat anyone up, the more it started to sound like emotional defense in our ears. The violence in MGS gained new sides, and against those discoveries, him bashing ZZX with the rock seems extreme to us. But if you look at the rock situation from the perspective I suggested, it starts to make more sense. MGS’s character development in our eyes starts after his fight with ZZX, but we don’t know how violent he was before that while still being the kid we now know him to be. I doubt he was a stranger to fights given that he was the leader of his group.

It should also be taken into consideration that the overall portrayal of MGS’s delinquent group has changed dramatically over the years. We went from this (ch. 125, 126):

To this (ch. 264, 273):

In our eyes, they went from a gang of delinquents seriously ready to beat someone up to a rather comedic group of “followers” who seem almost endearing the way they call MGS their “boss”. I can’t really see the current version of them beating anyone up in the same way as the first time we met them. (This is another example of why I don’t feel like I can comfortably compare the “beginning” of the comic and the “now”. It makes me feel like I’m not really comparing the same characters.) The difference is even clearer if you compare them to the group surrounding SL. He’s very much the antagonist of the story, so his followers are portrayed according to that.

I would say the PTSD/trauma is a nice idea that you could continue to build fan-made material upon but personally, I don’t see that connection in the canon chapters.

Thank you for your question, dear anon! And again, thank you for your patience!

#19 days #mo guan shan #zhan zheng xi #answered ask

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lovehaswonangelnumbers · 4 years

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New Post has been published on https://lovehaswonangelnumbers.org/intuitive-astrology-forecast-september-2020/

Intuitive Astrology Forecast September 2020

By Tanaaz

September 2020 is a big, bold month with some strong cosmic energy on offer. The main feature of the month is Mars Retrograde, which begins on the 9th and lasts up until November.

Along with Mars Retrograde, we have two major planets- Jupiter and Saturn, ending their retrograde cycles and moving forward into a new chapter.

Both Jupiter and Saturn have been major cosmic players in the events that 2020 has brought our way, so to have them moving forward again is likely to reveal more of the story to us.

2020 was always destined to be a highly transformative year, and as the year comes to a close, things are amping up.

It seems we are walking deeper into the changes and revolutions that are required, to shift and elevate this planet to higher levels of consciousness.

Transformation is difficult but it’s always worth it in the end. It requires some destruction, some chaos, and some endings in order for the rebirth to occur, but from these ashes, we rise.

Even though September offers strong transformative energy, it also offers cosmic protection too.

No matter what transpires in the months to come, the Universe is shining down a protective light. We see this in the astrological alignments that take place. While we have some heavy alignments, they always seem to be met with some protection, some silver lining, and some- “I got your back”- from the Universe.

To support you through the energies of September, try my Soul Soothing Cosmic Guided Meditation.

Let’s take a deeper look into the astrology of September 2020:

September 1-2: Pisces Full Moon

The month begins with the Pisces Full Moon. This Full Moon carries awakening energy and opens us up to new realizations and information. This Full Moon may heighten our emotions and sensitivities, especially in our relationships. If irritability or anger comes up, be sure to sit with it and find healthy ways to express and work through it.

Your September Full Moon Forecast is here.

September 2: Sun Trine Uranus

This alignment will be activated by the Full Moon and brings soothing, harmonious energy. A trine occurs when two planets are within 120 degrees of each other. The Sun Trine Uranus indicates whatever comes our way under the Full Moon, can offer unexpected opportunities. Here is a good example of where we are being protected. Lean into this energy by focusing on the bigger picture, especially if hardships or challenges come your way.

September 2: Venus Opposite Saturn

This alignment will also be triggered by the Full Moon and will be shining a spotlight on where we feel held back, limited, or controlled by another person or event in our lives. We may feel like something is bearing down on us, or that we are being restricted. This energy asks us to take responsibility and ownership of our actions and to put solutions into place. We are being called to step up and create long term solutions rather than just short term fixes.

September 9: Mars Retrograde

Mars enters retrograde in the sign of Aries. Mars moves retrograde every 2 years, however, this is the first time in Aries in over 30 years. As Mars moves retrograde, we are going to feel things slowing down. We may feel our energy levels are a little muted or we may start questioning whether our actions are aligned with what we truly desire for ourselves moving forward. We may also find ourselves challenging some of the goals and dreams we have held or been working towards.

Your Full Mars Retrograde Forecast is here.

To support you through the energies of September, try my Soul Soothing Cosmic Guided Meditation.

September 9: Sun Trine Jupiter

Again, the Universe comes to support and protect us with this harmonious alignment that falls on the same day as Mars stations Retrograde. Sun Trine Jupiter is peaceful energy, that reminds us that we are powerful. We have within us, the courage, strength, and determination we need to create and live a beautiful life. This energy reminds us that we are abundant and abundance is always on offer to us, as long as we attune our mindset towards it. Use this energy to focus on the abundant blessings of your life and the world around you. It will help ease any tensions or sluggishness that Mars Retrograde may bring.

September 11: Sun Opposite Neptune

Neptune is sometimes associated with viruses and “unseen” things. At this time, we may receive some news or updates about the pandemic. Alternatively, we may feel confused and receive conflicting information. While this could be about the pandemic, it may also manifest in our personal lives too. We may feel a sense of conflict about whether to do something or not or what the best course of action is. When we feel uncertain, it is always better to wait until clarity arises. This energy is very good for intuitive work, so pay attention to that small, still voice within.

September 13: Jupiter Direct

The largest planet in our solar system is turning direct in the sign of Capricorn. This is great energy, however, we may have to wait a few weeks before we can really harness it. Jupiter is the planet of expansion, so we may find that an area of our life that we have been working on suddenly expands in some way. Maybe we are able to reach for more opportunities, or maybe we find that our hard work starts to be rewarded. Think back to what you were working on or focused on around May, as this may receive a beautiful boost in the weeks to come.

Jupiter 2020 Retrograde Forecast here

September 17: New Moon in Virgo

The Virgo New Moon sends powerful waves, reminding us to connect with the wisdom and power of our bodies. It guides us to not live in fear and to remember the innate strength and wisdom we all have within. This New Moon brings waves of healing energy and the promise of a fresh new start.

More to come on this soon.

September 22: Equinox and Libra Season

The Equinox brings the start of Libra Season and equal hours of night and day. We are moving out of earthy Virgo into an air sign that is all about balance. There will be a focus on others and how our actions and even thoughts are impacting the world around us. The Equinox is also a power day where the veil between dimensions is thin. We can use the Equinox energies for intuitive work and connecting with our loved ones on the other side.

September 28: Saturn Direct

Saturn turns direct after being retrograde since May. As Saturn begins moving forward again, it will be covering the last few degrees of Capricorn and preparing to make its way into Aquarius come December, where it will remain for the next 2.5 years. This is a huge energy shift and definitely one to watch as it gets closer. With Saturn moving direct, we may notice information around governments, authority figures, or those in positions of power coming to the surface. We may also experience a revisit of events that were taking place around February 2020.

Saturn entering Aquarius 2020

Saturn Retrograde 2020

29: Mars Square Saturn

This is the second Mars Square Saturn alignment this year and it indicates growing tension and unrest. With Saturn just moving direct yesterday, its energy will be strong and we may see a push-pull with those in power positions. We may also feel a growing sense of irritability on unrest in our own lives. This alignment challenges us to go within and clear all that is making us feel insecure, fearful, or unloved. It wants us to sit with our angst so we can understand what it’s trying to show us.

More on Mars Square Saturn here.

September is a big month that kickstarts a journey into wrapping up the transformative energies of 2020.

Even though we may feel the shifting energy strongly, we can also tune into the energy of protection that is on offer too.

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metaphoricallyroger · 5 years

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With Love, From Me to You - ii of iv [R.T.]

Summary: One-hundred ways to say ‘I love you’ over twenty-seven years.

Words: 3,511

Warnings: Implied smut. Swearing. Vomit mentions.

Note: This follows both Bohemian Rhapsody’s and real-life events (generally for dates, minor plot etc.), picture whichever Roger you fancy! The title is taken from ‘From Me To You’ by The Beatles.

26. (1971):

“How’d he work out?”

You’re swept into a hug that lifts you off your feet as you’re spun around by Roger, who’s buzzing with excitement after Queen’s first gig with John.

“I could kiss you you’re that brilliant!”

“Don’t get too excited there! I take it I was right?” You grin knowingly, having watched the performance yourself.

27. (1972):

Roger almost couldn’t believe the lecture he was getting from John. Having feelings for you? Him? You’ve been best friends since you were fifteen, weren’t these things supposed to crop up in your teenage years rather than punch you in the face in your twenties?

“Don’t worry, it’ll go away soon.” Roger sniffs and looks away from where he’s been staring at you talking to some shaggy-haired Jim Morrison knock-off. What did Morrison have that Roger doesn’t? Oh yeah, Roger thinks, a successful band with numerous albums, and he wrote like a poet. Who wouldn’t be in love with him?

“If you say so,” Deacy replies in a honeyed tone, not looking so convinced.

“Oh God,” Roger continues, ignoring John, “she makes me crazy all the time, I can’t stop thinking about her, even when I don’t think I’m thinking about her, guess what? I still am!”

“Yeah, so you like her, Roger.”

28. (1972):

Roger sits and waits outside your flat, growing more anxious as the night wears on and you still aren’t home. He knows he should have called, should have made himself open up, but the only thing he can focus on is how he let your relationship become so strained.

“Roger? What are you doing here?” You weren’t expecting to see him tonight, the blonde man sitting, hunched on the stairs in the cold.

Roger has been distant for the past few weeks. You haven’t seen him as much as you normally would and you put it down to band stress, but for him to not even call? There had to be something else going on.

“I’m not going to let our friendship fail just because I’ve been an arse these past few weeks.”

“An arse,” you scoff, “that’s putting it lightly. Why have you been ignoring me?”

“I’ve been going through some stuff.”

“Girl stuff?” You don’t want to assume, but Roger does like women.

“Yeah. That’s not an excuse to avoid you, I can’t do that to you. Our friendship matters too much to me to do that.”

“I’m glad you came,” you whisper and pull him into a hug that makes your heart flip.

29. (1972):

“All we’ve got is an almost empty box of Corn Flakes.” Your stomach growls at the idea of not getting anything to eat.

“You eat it. You’ve got to start recording an album, you’ll want all your strength.” You get a bowl out of the cupboard and set it down in front of him.

“We can share.”

30. (1972):

You sit on the lounge in the control room with Mary and the new friend Roger has brought along. The band is trying to record tracks for their first album, and are using all of their allotted late-night time to the best of their advantage.

You enjoy the way Roger looks when he’s focused on his creative processes, the small crease between his brow, the tapping of his fingers. You can’t take your eyes off of him.

“He’s really something isn’t he?” The girl, Emma, says. You watch as Roger uses spoons to play a beat on pots and kettles he’s borrowed from who-knows-where.

“Yeah,” you agree, “he is.”

Mary watches the exchange with a knowing pair of eyes, too wise beyond her years.

31. (1973):

In the bathroom of the crappy flat that all of the boys share, you help Roger with smoking his eyeliner out.

It is Freddie’s idea that they should all try out eyeliner to ‘spiff’ up their boring looks, as he so delicately put.

“There. Very beautiful.” You wipe your finger on a piece of toilet paper to get rid of the remaining dark stains.

“You think so?”

“I know so,” you grin as Roger preens over himself in the mirror, fiddling with his blonde locks. The darkness of the eyeliner brings his blue eyes out so that they look like liquid silver.

32. (1973):

You sneak up on Roger who’s sitting on his flats outside stairs, smoking. Brian has banned all smoking indoors and you haven’t heard the last of it from Roger since that battle.

“Close your eyes and hold out your hands.”

“What?” He turns to look at you but you push his head back to the front.

“Just do it.”

An odd-shaped bundle lands on his palms and he immediately opens his eyes, not wanting to wait to see what you got him.

“You bought me flowers?”

You bounce lightly on your toes as you gesticulate in an excited manner.

“Yes! You bought me some when I got my first job, so I wanted to return the favour for your first album!”

“Well, thank you. They smell nice.” You can see that he does sincerely mean his thanks, but you know it wasn’t what he wanted.

You sit down next to him.

“Don’t worry I also got you a bottle of wine,” you purr, “you can give the flowers to Brian.”

“A woman after my own heart.”

33. (1973):

“This is bollocks and I can’t understand why I need to dress up,” Roger whines as he adjusts his blazer in the mirror.

“Probably because this party is to celebrate your first album and being signed for the first time? I think they need the whole band there, not just three-quarters. You look very nice, this is your night, and you should enjoy it.” You smile, knowing you can win him around.

“I don’t even have hairspray left. There. I can’t go now,” he huffs.

“You can use mine.”

“Why are you suggesting things that will actually get us there quicker?!” Roger physically refuses the hairspray so you spray it all over his blonde mane for him, causing him to grumble under his breath.

34. (1973):

“Oh fuck, oh no,” you drag out.

“It’s alright, Y/N.” Mary tries her best to console you by rubbing your back where you’re hunched over on her and Freddie’s lounge.

“Maybe you should talk with one another? You’re best friends, you should be able to talk to one another about this stuff.”

“Best friends shouldn’t get feelings for each other, Mary!” You can’t help but yell.

“What does he mean to you, Y/N?” Despite you yelling at her, Mary replies in a calming, loving voice.

“He means the world to me. Like he was made just for me. To be the best thing.”

“I think you’ve got your answer,” she smiles gently.

35. (1974):

On one of your rare days off from the small publishing firm you work at, you sit on the lounge next to Roger in the space Queen had rented to practice in. The band are preparing to travel to America for their first international stint thanks to John Reid.

“Are you excited about going to America?”

“Course, we get to support a great band and bring our music to the American fans.” You glance at Brian where he sits on top of his amp, watching his curls bounce as he agrees with his bandmate.

“You aren’t excited to meet all the American ladies?”

“Did I not mention that was the only reason I’m going?” You dig your elbow into his rib cage and he jolts before settling down again.

You both fall into a comfortable silence and you shift on the lounge, leather creaking with age. You’re jostled due to your close proximity as Roger sits up straight and begins to fiddle with his shirt buttons.

“I want you to have this.” He hands you the necklace you’ve seen around his neck since he was eighteen that looks like a medallion from the Olympic Games.

“But, you love this necklace!”

“Consider it a memento, so you don’t forget about me.” He winks and crinkles his nose.

“I don’t think I could forget about you even if I tried.”

The necklace sits against your chest as you see Roger and the rest of the boys off at the airport the next week.

36. (1974):

The phone connection isn’t great, and you struggle to pick up on the story Roger is telling you.

“Wait, so you’re coming back early?”

“Brian’s sick, think he picked something up from a needle.” You hear him stammer and know that it can’t be something as mere as a cold. Not if they cancelled their openings for Mott the Hoople.

“How are you all getting home?”

“Dunno, we’ll have to work that out once we get here. Got to get Brian to the hospital first, that is if we get through immigration. He’s bright yellow.”

You nibble at your lip before speaking. “I’ll pick you up at the airport.”

“You don’t have to-”

“I want to.” You both say a quiet goodbye after that and lie back on beds in rooms encased in early sunlight and late darkness.

37. (1974):

It’s not a particularly romantic atmosphere, a hospital, that is, to think about kissing someone. You stand with Roger as he smokes after visiting with Brian, who is finally starting to look his normal, still pale, colour.

“Can I kiss you?” You swallow constantly and try to avoid eye contact, wanting to shrink under the inevitable shattering of a friendship.

It’s something you’ve been thinking about a lot in the recent months, especially since he gave you his necklace. That gesture made you think he might have feelings for you too. Your wildest thoughts could not have prepared you for his answer.

Roger answers you with a kiss of his own.

38. (1974):

“I’m sorry it was such a shit date.” The restaurant was terrible and the movie even worse, but this is your first date with Roger, and that made it perfect overall.

“It wasn’t all shit.”

“It wasn’t?” A bashful smile graces his features and he stops rubbing his fingers along the bleached pocket of his jeans.

“No, you were with me, remember?”

39. (1974):

You don’t want to rush into things with Roger. After having been friends for almost ten years, this next step in your now-relationship seemed almost too intimate.

“I’m scared.”

“Why are you scared? It’s just me.” His eyebrows crease, worrying that he has done something unintentionally to scare you.

“That’s it. It’s you. I never thought this would happen in a million years.”

Your eyes shift around the room, trying to focus on anything except for the angelic features of the man in front of you.

“We don’t have to do anything if you don’t want to.”

“No, I want to. I really want to.”

“Are you sure?” His hand timidly traces your sternum where the priceless necklace lies. It’s as if he’s trying to imprint it to your skin. An angel’s kiss.

“Yes. Just be gentle?”

You share one small kiss and pull away. A moment passes, a flicker of the eyes before you’re devouring each other.

40. (1975):

“So, we’re together,” Roger states, gripping your hand tightly should the band have a bad reaction. You both agreed, that after being in a relationship for months, it was high time to tell the people Roger (and you to an extent) considers himself closest to.

“We know,” John says in that deadpan way you wouldn’t expect from the often-quiet man.

“What do you mean ‘we know’?”

“It’s glaringly obvious, darlings.” Freddie also pipes up, not pausing his motions as he plays a nameless tune which seems to boost the mood of the room.

“But we tried so hard to hide it.”

“That was the problem, geniuses, neither of you are subtle.” It’s also Brian’s turn to add his two quid apparently.

“Anyways,” John continues, ignoring Brian, “we’re happy for you, Roger.”

“I’m happy too,” his lips curl into a beatific smile.

41. (1975):

“Are you enjoying Japan?”

You talk quietly into the receiver behind your desk at work. Although it was your lunch break, you didn’t want to go to a telephone box where the connection wouldn’t be so great and you’d have to keep feeding a machine to ensure you get to talk to your boyfriend. Talking quietly was to ensure the gossiping women around you didn’t overhear.

“It’s very overwhelming, but exciting, you know? We have to keep leaving the hotel through the kitchens!”

“Why are you doing that?” You laugh.

“People keep coming into the hotels looking for us!”

“Seriously?”

“Yes! People were even waiting for us at the airport with pictures and signs all screaming their heads off.” You know the boys are used to a moderate amount of success in England, but hearing about their reception in Japan sounds like what The Beatles experienced when they first went to America.

“Well, Mr Rock Star, I can’t wait to see you,” you purr.

“I’ll see you soon, okay? I’ll try to get you a present if I can escape the hotel prison.” He yawns through his last sentence.

“Go to sleep, Roger.”

“Go back to work, Y/N.” You can hear him grin over the connection.

42. (1975):

You and Roger were enjoying the peace and quiet that came with a bubble bath. He rests between your legs and swirls his hands through the bubbles, sometimes giving himself a beard with them and turning around just to hear you laugh. Said peace and quiet were interrupted by your boyfriend’s bandmates who’ve still yet to grasp the concept of privacy.

“Jesus, Brian!” You huddle yourself against Roger’s back to protect your modesty.

When Brian starts talking, he pointedly stares over the tops of both your heads, trying not to make eye contact that could make social interactions with you awkward for the rest of your lives.

“You weren’t answering your phone, Rog.”

“You don’t possibly think there was a reason for that, Brian?” Roger also adjusts himself and brings his arms back to wrap around your waist.

“We’ve got a meeting with Ray Foster again in an hour.”

“Can’t you see we’re a bit busy here, mate?” Roger gestures to the shampoo still in his hair where you were pampering him with a scalp massage.

“Yes,” Freddie now sweeps into the bathroom, “we can all see that you’re busy grooming each other, but time doesn’t stop for Roger Taylor. Let’s go.” He claps his hands together.

“Why are you so excited?” Roger scrunches his face, glaring at Freddie.

“Because my stroke of genius is going to get us another hit, darling.”

43. (1975):

“Recording studio?” Roger looks at the rooster that parades itself across the wall and the mud that’s seeping into the bottom of his jeans.

“Well, the idea was to get away from all distractions.”

Roger turns from Paul to look at you with a scowl on his face.

“Good thing I’m not a distraction then.” You grin and share a secretive kiss with Roger once all the other boys have gone inside.

44. (1975):

Sickness has made its way around the band and whilst Freddie and Brian were getting over their flu, Roger seems to have caught something else.

You sit backstage on the cracking lounge with Roger as he sips from a cup of water rather than beer, subconsciously letting you know how poorly he’s feeling.

“How are you feeling?”

He doesn’t respond and instead burrows himself into your side with a groan.

When they’re moments away from taking to the stage, Roger looks like he’s about to lose what little food he has consumed and you watch as he swallows heavily before walking on stage.

You watch the show with trepidation, but Roger’s adrenaline seems to be working as he doesn’t look ill enough that the audience will be able to tell.

However, when the lights go down, Roger is the first one backstage and heads straight for the nearest rubbish bin where you follow and pull his hair back from his face just in time.

“Here. Drink this,” you hand him your water, “it’ll make you feel better.”

45. (1976):

“Roger, you’re snoring,” you groan into the darkness.

“Huh?”

“You’re snoring, I can’t sleep.” The pillow you’ve placed over your face is removed and blonde hair swims in your vision.

“I’ll go sleep on the lounge,” he yawns out whilst you roll over to go back to sleep too tired to understand what he’s saying.

You aren’t asleep for long before you wake up cold and take your pillow to the lounge with Roger, who accepts you into his arms without waking up.

46. (1976):

You break up over something so incredibly mundane, you can’t believe it. You leave after Roger suggests you should move into a house together. It’s not that you aren’t ready, because you are, you just had a momentary panic. And broke up with your boyfriend in the process.

“I’m sorry, I’m such an idiot!” You turn up at his bedsit in the early hours of the morning, panting hard. You can barely look him the eyes as you continued your frantic ranting.

He pulls you inside and moves you over to his lounge, trying to get you to stop shaking.

“What? Don’t call yourself that, you aren’t ready to move in, it’s totally fine!”

“But I am,” you groan and put your face in your hands, “I don’t know why I broke up with you, I freaked out.”

“You broke up with me? I didn’t think I spooked you that much.” You take your head away from your hands and blink to get rid of the red spots in your vision. He’s grinning at you.

“Stop, I’m trying to get you to be in a relationship with me again.”

“Consider it done, on one condition.” He holds your hands, kissing the tops of them softly.

“That is?”

“You tell me when you’re ready to move in with me.” You look into his eyes and see such sincerity that you know he’d wait forever to live with you.

“I am so, so ready to move in with you, Roger Taylor.”

He kisses you gently and picks you up, carrying you off to his bed.

47. (1976):

“I’m really cold.” Roger’s teeth clattering are deafening in the dark, silent bedroom.

“That’s because you’re sick.”

In the first week of living together in your newly bought house (if it could be called that), Roger has unfortunately caught himself a nasty cold.

“Y/N,” he whines, “can you come closer?”

You roll your eyes and shuffle over to the man already buried under a mountain of sheets. He didn’t have a fever, you made sure of that, he was just cold.

“Do you want me to get you another jumper?”

“No, I’ve got you to keep me warm.” He wraps himself around you and nuzzles against your chest, snuffling slightly to make himself comfortable.

48. (1976):

Roger wakes up to fingertips dancing across his features.

“What’re you doing?” He whispers in his deep morning voice, without opening his eyes. He feels your hand tenderly withdraw before they ghost down his shoulder, tracing the veins of his forearm and the lines in his palms.

“Looking at you.”

“Why?” He forces himself to open his eyes with a yawn and looks up at your smiling face.

“Just because you’re pretty.”

49. (1977):

“I know,” Roger sighs, ready for the third degree as he makes his way into the restaurant.

“Only an hour and a half late,” You nod. You receive a kiss so deep that you’re surprised no one has noticed the rockstars entrance.

“I’m so sorry, the plane got held on the runway,” he whispers. “Did I miss the cake?”

You roll your eyes and slide a piece of your friends birthday cake across the table as her husband gives a speech about how proud he is of her thirty years on earth.

“I saved you a piece, aren’t I sweet?”

“You are, without a doubt, the best thing that’s happened to me.” Your eyes nearly get stuck in the back of your head from their rolling as you smile with that soft one reserved only for Roger.

50. (1977):

“What the fuck did you do to your hair?”

Without saying hello to Roger, you immediately blurt out the first thing that comes to mind when you see his new appearance.

“Hello to you too, love.”

“Why-why did you cut it?” Shock glimmers in your eyes as you stutter in your state.

“Because I can? Everyone else has too!”

“Brian still has the same hair!” You point at the tall man stood off to the side, who still has the same hair as when you met him.

“Brian is a ninety-year-old in a thirty-year-olds body. I can’t expect him to look after himself.”

You hear Brian’s groan of protest and grumble under your breath as Roger moulds himself to your side.

“Do you hate it?”

“I’m sorry, I didn’t mean to freak out on you.” You pause for a moment and quietly stare at his hair.

“I think it’s growing on me.” You run your hand through his hair and enjoy its new softness.

#roger taylor imagine #roger taylor x reader #ben hardy imagine #ben hardy x reader #bohemian rhapsody imagine

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aliensandidentity-sp22 · 2 years

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Praying - Isobel Evans

When it comes to the assortment of Roswell, New Mexico fan videos that I viewed, only one really caught my eye, and my ear. Praying | Isobel Evans, a video published on Youtube by someone by the name of “Katie”, pairs Isobel’s identity crisis and subsequent spousal betrayal with Ke$ha’s song, “Praying”. When the song was released, buzz swirled around the meaning of the lyrics, which Ke$ha confirmed to be a reference to her rape by music producer Dr. Luke. In this fan video, the creator takes the meanings of sexual assault and control from the song and pairs them with scenes chronicling Isobel’s struggles throughout the first season of Roswell, illustrating a theme of independence and strength in the wake of severe trauma. The lyrics, and the shots of Isobel that coincide with each note paint a picture of how Isobel grew stronger in the aftermath of uncovering how Noah violated her, as well as how she began to grow into her abilities and autonomy. The video is also unique in that it incorporates dialogue from Roswell while still maintaining a constant sound level from the song. The video does this better than many I had seen throughout my viewing of other fan videos, the sound editing is not violent, and the lines of dialogue used add to the overarching meaning. For example the beginning of the video starts with the lyrics “well you almost had me fooled” and the dialogue “I trust my husband Max” coinciding with a shot of Isobel and Noah sharing a kiss, establishing the depth of Noah’s lies. Later, shots of Rosa’s murder and Isobel’s shock and confusion play as Ke$ha’s lyrics “cause you brought the flames and you put me through hell, I had to learn how to fight for myself” and Isobel’s dialogue “you used me like a sock puppet to prey on a lost teenage girl” play side by side. These moments convey the horror of the violations and abuse that Isobel had to endure. The “Praying” lyrics mentioned above mark a point in the song where Ke$ha’s tone shifts in an angrier direction, and the energy in her voice is amped up. This shift pairs almost perfectly with the anger in Isobel’s voice as she calls out Noah’s crimes. Another shift in the song occurs with the lyrics “the best is yet to come”. Scenes show Isobel taking control of her struggles, first with her influencing Kyle to inject her with the serum, and then with her allowing herself to be put in stasis. Isobel’s words during these scenes show how she recognizes the danger she poses, and how she will not allow herself to hurt anyone else. The video continues utilizing groupings of similar lyrics, dialogue, and scenes which paint a complete picture of Isobel’s season 1 journey in only 3 minutes and 45 seconds. The video begins to come to a close as Ke$ha bellows out the chorus to her song with the repeated lyrics “I hope you're somewhere praying, I hope your soul is changing” playing over quickly changing shots of Isobel throughout the season. This coincides with a voiceover from Isobel that has her telling Michael that “from now on, I make the decisions about my own life”, signifying how she is a woman who doesn’t need to be controlled or protected. She needs independence, and room to grow in her strength, as well as to grow into herself. The final shot of the video has Isobel focusing her powers on a photo of her and Noah, as the song comes to a close and as she tells someone to “call me when he’s (Noah’s) dead”. She obliterates both photo and frame as the screen fades to black, displaying how Isobel came out of such a horror far more powerful than ever before.

#johntharp #fan blog post

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your-dietician · 3 years

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NBA Draft Profile: Michigan State’s Aaron Henry

New Post has been published on https://tattlepress.com/nba/nba-draft-profile-michigan-states-aaron-henry/

NBA Draft Profile: Michigan State’s Aaron Henry

Here we are a year later and Michigan State’s Aaron Henry finds himself on the precipice of his NBA career. Where last year I had some questions and ultimately predicted that he would return for his junior season, this year there is zero doubt in my mind that he is more than ready to have a terrific NBA career and to be a rotation-level player right away.

NBA scouting report for Aaron Henry

General info and initial scout:

Height: 6’6” (in shoes) Weight: ~210 pounds Date Of Birth: August 30, 1999 (~22 years old and one month at the start of 2020-21 NBA season).

Official measurements (NBA Draft Combine):

Height: 6’4.5” without shoes, 6’6” in shoes

Wingspan: 6’10.75” (nearly plus-five inches)

Standing Reach: 8’7.5”

Standing Vertical: 29”

Max Vertical: 35”

(Note: you can check out all of Henry’s NBA Draft Combine numbers here)

Henry improved significantly as an athlete this past year — showing better leg strength and explosion than he displayed as a sophomore. He has NBA-level athleticism, solid, positional strength, and can hold up against bigs, but that is not a strength at this point. Henry still shows the very quick feet and excellent technique both in his slide and drop-step and in his turn-and-run that he did last season. He continues to show an excellent understanding of when to use which technique on defense, he gets skinny over picks, and is good in trailing around screens.

My critique of Henry previously was his tendency to float through games, or get mentally knocked out of games due to foul trouble. That critique is no longer remotely applicable. This past season, Henry played on a truly bad team by Michigan State standards: this was the worst Tom Izzo-led Michigan State team since his second season at Michigan State and the only Izzo-led team in the Kenpom era to rank lower than No. 45 (the team finished No. 64!). Henry was the alpha all season long and, in the second half of the season, single-handedly (at times) dragged and willed the team into the NCAA Tournament. With no other shot-creators, terrible point guard-play, woeful three-point shooting around him, and generally poor defensive contributions from players other than Marcus Bingham Jr., Henry was the offensive focal point all year and played engaged basketball all season (bar a couple of blowout losses after the team returned from its two-plus week COVID pause).

Henry projects as a rare plus on-ball defender at the next level — even more so than he did last year. He has terrific feet, hands, length, timing, and understands when and where to use his physicality. There were games that Henry simply dominated on the defensive end where he improved his steal and block percentages to 2.4 and 4.1, respectively. He proves adept at reading the game, understanding other teams’ actions, and blowing up plays on-ball and off-ball. This will be his calling card initially as a professional.

His shooting form has improved significantly since the end of his junior season:

He is much smoother and has a more natural dip and release from behind the three-point line in this catch-and-shoot drill from the combine, a smoothness that he already had (all season) off the dribble in the mid-range. Despite his guide-hand looking a little funky, it appropriately does not influence the ball; this is a replicable form for catch-and-shoot situations in the NBA where teams will initially, at least, shade off of Henry until he shows he can hit three-pointers (and even then Henry will likely be low on the scouting report).

Henry’s shot is far from broken; in fact, there is strong statistical evidence to pair with this improved visual data that indicates that Henry will be an at-least-average three-point shooter for his position (i.e. that he will get to around 35 percent as a professional).

Henry’s off-the-dribble creation improved dramatically this season (evoking his high school years where he played as a point-forward). Often going against set-defenses, Henry proved able to beat players off-the-dribble, and to slash off of catches and curls from the wing.

Henry remains an excellent and confident finisher with both hands on a variety of reverses, off-foot finishes, push shots, tear-drops, and hooks. Significantly, Henry also showed the ability to play off of two-feet and off of one-foot in the paint — an athletic dynamism that is important in the NBA. Henry had 10 dunks this year (on 13 attempts), but he continues to finish well around the rim when he isn’t dropping off passes, which is one of his underrated skills: for his entire college career Henry has been a terrific paint-area passer through and around help— and this will really maximize his NBA role as a secondary creator and paint-breaker (see below).

When he runs the wing Henry is a terrific transition player: he reads the court well, understands best angles to attack, and finds open teammates on the perimeter, but this year Henry was often the one bringing the ball up the court or having to work with a delayed break (due to the point guard struggles on the team). I expect him to be a potent transition player and finisher in the NBA in a call-back to his first two seasons at Michigan State. While Henry’s free-throw rate still leaves a bit to be desired, he does not rely on free-throw generation the way some college stars do, which will benefit him in the much more physical NBA, where he will not get a lot of calls.

In his junior year, Henry stepped into a much bigger role this year than was anticipated, as evidenced by his massive leap in usage and the percentage of shots he took while on the court (in his second and third years Henry’s usage, role, and minutes-played took huge leaps each season, a strong indicator that he can handle and even thrive in a bigger role as a more veteran NBA wing — a not-insignificant consideration).

By the end of his junior year he was playing his best basketball on both ends of the court and finished the year as one of the most impressive juniors to ever play for Tom Izzo. Henry remains very smart, very engaging, cerebral, humble, and highly teachable, but, as noted earlier, he developed an absolute killer-edge and alpha mentality this year.

After this past season, Henry’s ball-handling and individual shot-creation and finishing (in the mid-range and at the rim) should put NBA teams on notice. In fact, Henry finished as a top-five mid-range shooter in the entire nation (see below) an extremely valuable long-term proficiency as Henry’s three-point shooting begins to percolate, and as his creation role and finishing acumen lead teams to encourage mid-range shots from him even more.

Henry’s strength, length, quickness, and explosion are all at-least-average in the NBA, if not genuine positives (his length — nearly a plus-five wingspan — and lateral quickness — he should test very well in the athleticism drills at the combine — are real selling points). And, with his “killer” mentality secured this season, the only actual weakness that I still have for Henry is his three-point shooting — an important weakness, but not a fatal one, nor one that should scare NBA teams away given some positive indicators: his impressive second-half-of-the-year shooting (see below), steady free-throw shooting improvement, and excellent form and comfort on mid-range shots.

Statistical profile:

Aaron Henry. Three-year detail

Barttorvik.com

Note: the impressive step-function increase in Henry’s usage, assist rate, and free-throw percentage. Also of note: Henry finally “putting-it-all-together” on defense this season; on a poor defensive team, generally, Henry posted terrific block and steal percentages.

Aaron Henry. 2020-21 shooting statistics

Barttorvik.com

After a more quiet year last year in terms of dunks, Henry amped up his transition dunks and landed (and attempted) far more dunks in the half-court (almost all off of one foot; to complement his jump-stop finishing). Henry’s self-creation and efficiency at the rim and in the mid-range is impressive, particularly considering the awful spacing he had to deal with.

While the three-point percentage looks ugly on its face — especially given Henry’s solid 35.6 percent mark over his first two seasons (129 attempts) — the granular detail of Henry’s shooting season tells a far different story. In non-conference play, adjusting to the absence of fans, a new, much-larger role, an unexpectedly bad team, and dire shot-quality due to poor point guard-play, Henry started the year making just six of 26 shots from three-point range (23 percent). But over the rest of the season, Henry shot 18-of-55 from three point range, for 32.7 percent from beyond the arc. In fact, in the second half of the year (from the Iowa game onwards; i.e. the last 14 games of the season) Henry shot 15-of-38 from three-point range, for a superb 39.5 percent — while maintaining a high degree of shot-difficulty.

Henry’s selling points on offense:

Passing: Henry is a terrific passer, particularly in tight-quarters and in-and-around the painted area. If a big is open near the rim Henry will make the right pass and get the big-man an easy dunk — he is a willing and capable passer.

Creation: this past season, Henry’s self-creation and creation for others was a revelation, and he produced excellent looks out of the pick-and-roll as well. On a bad team that did not generate high quality shots, Henry was at the heart of almost all of the good things that did happen on offense. His ability to beat his man off the dribble using complex cross-over combinations, hesitations, spins, and aggressive jump-stops won Michigan State games to the extent that Henry became a go-to a drought-breaker and closer (see his 10-straight clutch-points against Indiana down the stretch of that must-win game) even in the face of intense defensive attention.

Mid-range and paint-scoring: Henry’s mid-range output (roughly six mid-range attempts per game at 46 percent) is in the same range as guys like Khris Middleton, Jamal Murray, and Jeremy Lamb (current NBA players) — I am not saying he will be those guys, but from a mid-range scoring perspective he is not dissimilar coming out of college, and, in fact, is a better mid-range shooter than those players were in college.

Highlights:

youtube

There are not a lot of prospects with a more impressive set of highlights in terms of winning basketball, variety, and ability to produce smart basketball plays despite a high degree of difficulty or pressure. Henry’s smooth handle (much improved from his sophomore year), calm under-pressure, and keen awareness of time, score, and personnel saved Michigan State’s season, and indicates that Henry will thrive as a secondary creator, paint-player, and primary wing-defender.

Henry’s point-of-attack defense and help defense (in terms of his help-awareness and positioning, timing of his rotations, and completing of plays) really pop in this film where he stifles nearly every player he guards. Take a look at this play against prospective first-round pick Ayo Dosunmu:

Aaron Henry on-ball defense: just devouring Ayo Dosunmu, going to his left. Rugged at the point of attack, quick feet/fluid hips. Glides over screens. pic.twitter.com/elSKTrtP4c

— Brian Geisinger (@bgeis_bird) May 14, 2021

Henry’s defense is a real weapon, and while many NBA evaluators may not value it, his offensive game also pops on the film, too.

While Henry is not a lottery-level offensive creator, he really is not that far off: on a team with negative spacing, and often lacking any semblance of rhythm, Henry’s ability to generate shots for himself and his teammates was pretty incredible in the half-court. Take the second Indiana game, at home, for example. You can see a series of highlights from that game in the above videos, but some context is required.

Both teams were fighting for their NCAA Tournament lives, and Indiana’s entire defense was focused on stopping Henry after he destroyed them in Bloomington in the first matchup. In the first half, the Hoosiers bottled him up pretty successfully, holding Henry to four points. In the second half, Henry scored 18. With Michigan State down 49-48, with 4:35 left in the game, Henry scored 12 straight points (from all three-levels), grabbed an offensive rebound (for a put-back), had a crucial steal, and a defensive-possession-ending rebound, to put Michigan State up 60-52 with, 25 seconds left in the game. He dominated the game and there was nothing Indiana (with the No. 43 defense in the nation, per Kenpom) could do to stop him.

youtube

This same story played out in all five of the season-defining wins against Indiana, Illinois, Ohio State, Indiana, and Michigan — these high-level teams, two of them with excellent defenses (defensive ranks of No. 43, No. 7, No. 82, No. 43, and No. 4, respectively) were geared toward thwarting Henry, and simply could not keep him out of the lane, or off of the scoresheet as he put up 27 points and two assists, 20 points and five assists, 18 points and four assists, 22 points and five assists, and 18 points and three assists in those five season-defining wins.

Henry’s feel for the game and the rhythm of opposing defenses is superb, and while he did at times struggle with getting stripped (often getting raked across the arms) on drives into traffic, the NBA game and spacing will benefit him tremendously in this respect. Like Miles Bridges a few years ago, Henry’s game will absolutely thrive in the NBA where defenses are stretched, driving lanes are wider, teams are not putting their best defenders on him and not helping towards him, and his passing awareness and skill will punish teams that do help on his drives and curls.

In the second part of my discussion of Aaron Henry as an NBA prospect, I will dive into some more granular player comparisons and show why Henry is such a unique prospect as a point-wing whose role, usage, creation, defense, and two-way excellence place him in a tier of his own making. Part two will also include a discussion of his NBA role and his potential “fits” for teams. Be on the lookout for that article soon.

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peachybeancinema · 3 years

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Week 1

Exercise

1 film that’s stayed with me and remembered. The Secret Garden, 1993, dir. Agnieszka Holland.

Cinematography wide shots and beautiful establishing shots, opening shot is a lone girl that can’t clothe herself, left in dead centre with lots of space around her, the closeups of hands feels very innocent and intricate- they feel like a soft, innocent female gaze.

Lighting contrast between the stale dark inside and the light garden

Editing not noticed so much

The script, partly cheesy cause it’s about children trying/forced to grow up too fast, and a period like flick

Production design, old timey and frilly, but oh boy their green set designer went OFF 👏🏻👏🏻👏🏻

Tone, lonely and hollow to a slow burn hope

Theme….

theme? Did it speak to me? Yes, the absence of parents- chosen to or not, running around finding wonder, kindness and strength in a garden

How did I feel? Loved and seen- a lost and lonely child that internally begs for love but has an inability to regulate her emotions- Collin too!

What kind of film would I like to be a part of HORROR or like something that can incite hope and make all types of children feel seen

EXERCISE 2

Director that inspires me: Gia Coppola

Resource on their process: ‘everything was trying to reach out to as many people as I could.’ Many of them stayed at Coppola’s mother’s house during filming. “I would drive them home after work and we’d all have dinner,” Coppola says, “It was like camp. I loved it.”

https://www.google.com.au/amp/s/www.washingtonpost.com/news/arts-and-entertainment/wp/2014/05/09/gia-coppola-talks-directing-james-francos-palo-alto-and-the-pressures-of-her-last-name-qa/%3foutputType=amp

https://www.google.com.au/amp/s/www.vogue.com/article/gia-coppola-palo-alto-personal-style-and-james-franco/amp

Notes on script:

Does the camera show that she’s dead?

When do we learn that she’s dead- same time as him or before?

Rewrite in program with proper formatting

Week 3…

I was able to get together with a crew member and get the new draft of the script done. I have a bit of trouble understanding sometimes how to properly structure a script after coming from a book writing background, so I was really thankful that she was able to help me understand even better. The feedback from previous classes has centred around its general ‘look’ as a script and whether the viewer is in on knowing that Alexis is dead, and from the strat I’ve wanted the audience to know to further their distaste towards Ross, otherwise the audience could say ‘well hey I missed it, I get why he did’. Her choking will take place on camera, close up, so we can watch her leave us.

Week 4…

Getting ready for the pitch has been a huge mental struggle for me, but I keep holding onto the idea of actually making this film and that definitely gets me into our team meetings on the days it feels impossible. I’m already so happy with the crew and their thoughts and contributions, but it doesn’t kill my anxiety of presenting. I feel like the script is at a good point based on feedback, so when we presented and the main concern was finding a production designer, I felt immediate relief… okay we can tackle that. There is a pressure I’ve found quite uncomfortable so far in my journey in this class, and it’s even after filling the crew roles, a certain student not even in this class has become quite intense in getting involved as camera operator despite that role being VERY explicitly filled. I plan on keeping polite but firm, but god why should I have to?

Week 5…

So… despite the previous week's tiny rant of someone trying to vulture a filled role, our original DOP is now the 1st AD and someone else within our crew has taken on DOP, a choice we were actually all really content with. A search for a production designer continues, but we have to focus on scouting our potential Ross and Alexis. Unfortunately none from the team- including myself, could make it to crewing night, however, another student pitched on our behalf. The main goal is to obviously fill the production designer role, so fingers are crossed in the meantime. There was no class this week so I definitely spent the week taking care of myself and finishing off my slides for the pitch for next week, and I’m pretty happy with my slides and that most in the crew have stuck to the same aesthetic through the slides (minus points for memes).

Week 6…

Pitch week, so I’m ill with anxiety for it, but nonetheless, meds taken, train caught and standing before the panel. After the comments from the panel on how it very obviously pulls away from the serious nature of content, I was pretty bummed I didn’t just quickly delete people’s memes before the pitch. Overall I felt pretty good about how it went, but that’s only because that’s how my crew told me to feel about it. My anxiety was so bad while presenting, that I blacked out. In moments of intense anxiety I will disassociate entirely, I know I spoke, but I know nothing that I said or that was said to me. This is an incredibly frustrating process for me, especially because I have had to rely on my crews memories on the pitch, which definitely doesn’t feel fair. They assure me we are on the right path, and just that we should get a move on with casting. Still no production designer.

Week 7…

Mental health and substance abuse are taking a bad turn this week and it is affecting how easily it is for me to communicate effectively with my crew. I won’t be able to open messages or even show I’m online out of fear of disappointing and giving wrong/no answers. I feel entirely overwhelmed and I can feel myself falling behind. There’s still no production designer and at this point I’m willing to do it because I fear it’ll turn into a shit show anyway. I have been experiencing the worst internet from home and it’s been making getting anything done when I’m finally mentally available, impossible. I’m tired and as much as I love this script, I just want this trimester over.

Week 8…

This week for The Silent Treatment, we’ve been taking a look at Producer Sina’s Starnow casting calls for both roles, as well as looking at AirBnB’s for possible locations, which has lead to playful but extenuating bickering on the dop and producers part over ‘apartment or house’, which honestly, it’s quite easy reigning them in when they get a little too passionate. But I’ve actually found their bickering and passionate opinions on options for the film and helping restore my own fight for this film too. We have a few meetings coming up over our discord and we’ve been polishing up our previous presentation slowly.

Week 9…

We’re cutting down through our pickings for actors as well as getting excited over the possibility of taking James Lewis on as production designer. He actually appears to listen and understand quite well and he’s always writing notes in his book for props and decor. I’ve shared my ideas and I’m hoping he can fulfil my needs. This week was a really difficult one for me mentally (big shock and huge surprise) so I’ve actually been trying to make a plan to stay well and that’s by putting together a rehab stay, a huge and terrifying step I’m still not sure I’m going to actually take.

Week 10…

I’ve lost all of myself and my motivation this week. A rehab stay is officially scheduled and I’m afraid and trying so hard to reignite my passion for film and my own words and stories, but I don’t think it is worth it. I know I’ll look back in a week to a few weeks and struggle to understand why I hated my work so much, but I think when you hate you, everything you touch looks disgusting. I’ve been incredibly fortunate for my friends- some on my crew- and I’m INCREDIBLY fortunate for the crew members that don’t really know me from a bar of soap being exceptionally soft and kind with me during my low period. Knowing my team are such lovely people is actually a much better reason to get off my ass and do this- for them- not for me and my silly story…

Week 11…

We finally have short listed actors AND location and now we have those last auditions to wade through. Internally I definitely have decided on my location and actress, but for the male actor I’m not so sure yet. One guy auditioned and while he played it quite well, it was his in between chats that had me slightly off, as he kept feeling the need to drill in that he isn’t ‘this guy’, which of you arent, you don’t feel the need to tell everyone, which is why I’m keen to give another actor a whirl and see where to go from there. My fashion designer friend is still keen to make the scrubs and we’ve all worked out a decent pay for her services- I love bringing friends from other art disciplines into my films, eg placing crazy art from my painter friend, decorating the sets with my friends published books and even my nursing friend belinda wants to give me a bunch of medical supplies to set dress!

Week 12...

Big pitch next week and I’m terrified- how can I actually feel so prepared but terrified. The last male actor to audition BLEW me away and I felt a real chemistry when talking to him between the breaks which means I’m really looking forward to directions BOTH actors, as they’re super lovely and open and very relaxed to speak with! Location is LOCKED and I couldn’t be happier with the pick made! We just keep polishing away at the presentation, and yes, the memes are still coming out of the woodworks...

Week 13…

I'm not angry over the pitch, but I wouldn’t say I left happy… some of the ‘criticisms’ felt so empty and UTTERLY devoid of actual meaning. I mean, and I’m sorry, but this script was the same script written 1 year ago. No changes were made because I didn’t receive criticism through these weeks to do so- sure structure of the actual script itself changed but the scene where he imposes himself in her space was ALWAYS there, and I know the lecturers can have a lot to remember, but DO NOT ever say ‘this part wasn’t always here’ and ‘no I think we would’ve noticed’ had me boiling. It’s important to not talk with so much confidence in these kinds of times, as we all can forget things, but to stand and tell someone what they wrote and didn’t write in front of a crowd of people in higher positions than them, that’s insulting. I’m happy to take the criticisms about that ‘rape implication’ exert VERY easily, but it could have been addressed in week 1. I also do believe that younger lecturers NEED to be in these pitches, as it is a crowd of older people and senses of humour and film are changing and that should be fairly judged by a RANGE of ages.

APA REFERENCING

Gia Coppola talks directing James Franco’s “Palo Alto” and the pressures of her last name (Q&A). (n.d.). Washington Post. Retrieved June 25, 2021, from https://www.washingtonpost.com/news/arts-and-entertainment/wp/2014/05/09/gia-coppola-talks-directing-james-francos-palo-alto-and-the-pressures-of-her-last-name-qa/

Nast, C. (2014, April 4). Gia Coppola On Palo Alto, Personal Style, and James Franco. Vogue. https://www.vogue.com/article/gia-coppola-palo-alto-personal-style-and-james-franco--

#212

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edeisenberg · 4 years

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This is a memorial website for Ed, a timeline of his life, with links and pictures. This is a very incomplete work in progress. Please check back later for more.

1951-04-04 Ed is born in Brooklyn

1970s Ed is a member of Gay Youth & Gay Activists Alliance

1980 Ed helps found PAD/D at El Bohio

1983-05 PAD/D's art show, Not for Sale: A Project Against Gentrification, at El Bohio.

"It included an exhibition of some two hundred art works, a film and video program, guerilla street-stencil brigades, assorted Punk bands and a cabaret series hosted by the Wow Cafe and Limbo Loung" - Greg Sholette

1983-06-23 NYT mentions the PAD/D show under a column titled "A GALLERY SCENE THAT PIONEERS IN NEW TERRITORIES" and calls it:

an elaborate socio-political roundup - produced by Political Art Documentation/Distribution - of work by artists protesting neighborhood upgrading that sacrifices low-cost housing and its occupants.

For the event organizers, this article prompted soul-searching and fears of cooptation. Janet Koenig joked they had accidentally created "SoHo’s Off-Off West Broadway"

1984 PAD/D's next show, Art for the Evicted: A Project Against Displacement at the boarded-up corner of A & 10tht

For this show, Ed created a poster called Reaganomic Galleries (upload picture from pdf) which was later the subject of Greg Sholette's paper

Craig Owens critiques the show in his article, The Problem With Puerilism, published in the magazine Art In America. (waiting on a copy)

picture of Ed with committee, need to copy

1987-07-14 Ed helps occupy Stapleton, as part of the Coalition for a Nuclear-Free Harbor

They are all arrested, becoming known as the "Stapleton 38"

1988 Ed and the other protesters are tried and convicted. Howard Zinn testifies at their trial. Shortly after, he gets the idea for Groundwork.

1988-12-01 The first World AIDS Day

1988-12-14 First Groundwork flyer drafted

1989 During the spring & summer, Ed leads a team of artists in spraypainting antinuclear messages as part of Groundwork. They will eventually spray 10,000 stencils in all 5 boroughs

Ed helps found REPOhistory

1989-10-21 The Artists for Nuclear Disarmament hold a show for a Nuclear-Free Harbor. Ed sells art at this show. While planning for this show, Ed meets Tom Klem.

1989-10-27 Groundwork press briefing at the Isaiah Wall

1989-12-01 The first Day Without Art, coinciding with World AIDS Day. The Organization of Independent Artists sends out a card, reading:

A National Day of Mourning in Response to the AIDS Crisis The Organization of Independent Artists mourns the loss of our friends and colleagues throughout the art community. This is an announcement card for shows we will never get the chance to see by those who are now gone but live on in our memory.

1989-12-18 Newsday article mentions Groundwork:

Elsewhere, 28 artists are making a political statement about a nuclear-free city harbor in an exhibition called "Groundwork: The Anti-Nuke-port Stencil Project." Images stenciled on streets throughout the five boroughs express the artists' opposition to the navy base being built on Staten Island, which will serve as home port for the USS Iowa and other ships capable of carrying nuclear weapons. Each stencil indicates the distance to the base site.

Village Voice also had an article, Just Say No, with picture of Ed spraypainting a sidewalk. Need to find a copy.

1992-06-23 REPOhistory's Lower Manhattan Sign Project. Ed makes a sign about NYC's underrepresentation in the US Senate, and hangs it on Wall St with Tom Klem

another picture on page 211 (copy from pdf)

1994-05 REPOhistory get permission from NYCDOT to hang temporary signs on streetlamps from June 18 to August 31. The project is called Queer Spaces: Places of Struggle, Places of Strength. Ed helps pressure DOT by threatening a rogue press conference. The signs commemorate queer history landmarks.

1997 Queers in Space published. Ed co-wrote the chapter called Queer Spaces in New York City, along with Betti-Sue Hertz and Lisa Maya Knauer

1997-09-01 Ed dies of complications from AIDS

1997-12-01 REPOhistory members spraypaint ED in red letters on NYC sidewalks, at least 60 times

2005-03-18 Gregory Sholette writes the paper: Trickle Down Bohemia and the Anti-Capitalist Art of Ed Eisenberg

2007-02-20 Collectivism After Modernism published. Chapter 7, "Artists' Collectives", mentions PAD/D and Ed. (pdf)

2013-11-05 A People's Art History of the United States published. Chapter 25, "Antinuclear Street Art", tells the story of Groundwork. Nicolas Lampert describes Ed as:

a radical Marxist, a gay activist, an artist, and a musician, the type of person whose practice and activism could not be easily categorized

2016-06-22 Surviving REPOhistory members give a panel discussion, Marking LGBT History in the Village and Beyond: A Panel Discussion with REPOhistory Tom Klem's talk begins at 48:55, mentioning Ed several times.

archival sources to research post-plague:

NYU

MOMA

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allenmendezsr · 4 years

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Figure Competition Secrets

New Post has been published on https://autotraffixpro.app/allenmendezsr/figure-competition-secrets/

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ladyloveandjustice · 7 years

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OK, it’s bugging me, because I need to talk about Grant Morrison vs Original Wonder Woman and how Morrison failed at homaging it.

It ties into stuff that’s been discussed elsewhere, like with the Star Trek reboot- if you really want to capture the spirit of something that was socially challenging 40 or 70 years ago, you can’t just reproduce that thing. Because what was groundbreaking or shocking 40-70 years ago isn’t socially groundbreaking now. Instead, you’ve got to look at what IS groundbreaking in today’s society and go with that.

Wonder Woman was genuinely controversial when it came out in the 40s.Some parts of it were standard for it’s day- the jingoism and racism was typical bigoted white guy bullshit that dominated most of media- but the core message of it was genuinely shocking. Emphasized over and over again was this idea women are just as good as men but society was holding them back, that women can break free of that and be strong if the help each other, that they don’t have to aspire to being submissive to a man, that they can be dominant. It depicted marriage as a form of oppression, it has a main character whose WORST NIGHTMARE was being married to a man, if was dripping with so many queer implications Frederick Wertham declared it the spawn of Satan and the worst of all comics.

The bondage stuff was also genuinely pushing the envelope as far as controversy goes, people were very upset about it and believed it would encourage perversion. Sex wasn’t talked about openly back then. But the feminism and gay panic were just as huge. Marston would explain the deep (and often bullshit) psychological reasoning behind all his decisions with the utmost sincerity. He truly believed the bondage thing was essential

Letters came pouring in. Professionals denounced it. The editor was constantly frantic and concerned, he kept talking to psychologists to make sure this was okay. He friggin’ interviewed Lauretta Bender, the head child psychologist at Bellevue hospital, who was so impressed by the feminist aspect she didn’t even mind the bondage aspect and espoused the then-radical idea that kids can’t “learn” to be kinky or “perverted” from media, it just makes them aware of desires they already had. If they aren’t actually interested in bondage, this comic will not awaken that interest and they likely wouldn’t even really notice the bondage. What was more important to her was that the comic taught kids women and men should be equal, since she did very passionately believe comics could educate, comfort children and teach morality.

In contrast, another women thought the sex stuff was unforgivable and the feminism aspect was uncomfortable. But note how women were consulted about this. Note how Alice Marble, a female editor, was bought in, and it was her idea to do a back-up that highlighted “Wonder Women of History” which gave information about badass historical ladies to further inspire girls and impress on boys women have always been awesome (there is even a later story where a young boy complains to Wonder Woman he hates studying women in history because “girls are sissies”, so she makes him time travel with her and introduces him to all the amazing, overlooked things women have done, at which point he changes his mind and becomes interested in women’s history).

So let me say it first- if Morrison really wants to reproduce the feel of 1940s Wonder Woman, he has to involve women in the process somewhere, because even in the 19-fucking-40s a woman was involved with producing Wonder Woman. He also would have to tie his comic deeply with the modern feminist movement. Stuff in Wonder Woman was deliberately evocative of first wave feminism and tackled first wave feminist issues. But those issues aren’t as relevant today. You can’t just have a stereotypical gross guy make some sexist comments and have Wonder Woman throw him to the ground and be like “there i’ve addressed feminism just like Marston did”. It has to be GENUINELY CONTROVERSIAL FEMINISM. For today, that would mean weaving in commentary about abortion, about toxic masculinity, about rape culture, trans issues- being blatantly opinionated about stuff that’s genuinely controversial.

Depicting bondage isn’t controversial in modern day comics. it’s been done. Writers have put their kinks blatantly on display for quite a while. Depicting two women kissing in a super sexualized way isn’t controversial or pushing any envelope, we see it all the fucking time. Having the heroine ditch her girlfriend and literally stomp her in the dirt so she can mack a dude is not controversial either. Nothing in Wonder Woman: Year One by Grant Morrison is genuinely controversial. Women will be groaning about it because they’ve seen this bullshit so much, not because it’s new and shocking. It isn’t pushing any envelope.

If Morrison wanted to be genuinely controversial and groundbreaking, he could have had trans amazons. He could have had Wonder Woman take her girlfriend with her on her adventure and tell Steve she was going to have to accept she was polyamourous and her gf wasn’t going anywhere if he wanted a relationship. He should have done a story full of political commentary. He could have hired an artist who was involved in doing pro-feminist cartoons, because Harry Peter, the original Wonder Woman artist, caught Marston’s attention because of his pro-suffrage cartoons. He shouldn’t have hired someone who draws women like they’re constantly orgasming.

No stereotypical cis straight male is gonna read WW Year One by Morrison and feel threatened. They may feel pretty turned on by it, but it’s gonna be another in the pile of comics they masturbate too, no big deal.

And you know why they won’t feel challenged? Because Morrison doesn’t sincerely believe that people can find freedom through loving submission and bondage is the key of happiness, he doesn’t genuinely believe women should take over the world and also sexually dominate men, he isn’t a person with a lot of connections to the feminist movement and he doesn’t publish controversial opinions about queerness.

Marston once published an book that claimed “homosexuality” shouldn’t be treated as abnormal and being “perverse” was healthy. That was genuinely a huge, unusual, shocking opinion to have in the 1940s. Marston took a risk in publishing it. Has Morrison done anything like that? Is he living an “alternative sexual lifestyle?” No.

Morrison doesn’t actually buy Marston’s politics, which could be said of most people today and is largely a good thing because they’re deeply flawed even if they were groundbreaking in their day in some ways. Yet he still tried to reproduce them beat for beat and it resulted in a garbage precisely because he wasn’t sincere. He doesn’t actually believe in this shit. Marston’s sincerity is what made Wonder Woman groundbreaking, but it isn’t present in WW Year One.

Instead, he amps up the fetishy aspect, throws queerness in there solely for titillation, show a women being chained up and threatened with rape as sexy and alluring and there is no substance to any of it. It’s a shallow, rote recreation of the 1940′s comics with none of the good elements of it present, because the guy behind it doesn’t understand he has to be sincere for this to work.

You want to know how badly Morrison missed the point and doesn’t get what the original comics were doing? He states that he thinks it’s boring the relationships between the women in the original comics were so supportive, so he’s going to add in some antagonism.

Despite the fact “women supporting each other brings out their truth strength and if they do that they can overthrow patriarchal society” was THE MAIN POLITICAL MESSAGE of the original comics and is STILL so controversial today that every single adaptation really downplays it and tries to present the Amazons as “bad” for relying on each other instead of men. Even the movie drastically downplayed that aspect by having Diana mostly only interact and form bonds with men after leaving the island, with Etta getting only a bit role. It’s also why the "daughter of Zeus” thing has replaced her original origin, even modern day people cannot fucking stand the idea of a woman who doesn’t need a man to be involved in her life and to be the source of her power.

But no, Morrison thinks that part is bullshit and wants to depict women as holding each other back.He thinks “female oppression” should be depicted as some random woman being put on a leash by a guy as she sexily eats from a dog bowl with her ass on full display, and it shouldn’t get more nuanced than that.

If you really want to pay homage to Marston and reproduce what Wonder Woman means, you have to take risks. You have to trumpet a feminist idealogy you SINCERELY BELIEVE IN. You have to tie it deeply into the modern feminist struggle.

Morrison did not do any of that, and that is precisely why his comic failed at paying any kind of meaningful tribute to Wonder Woman and is instead an offensive mess.

#wonder woman #wonder woman year one #william moulton marston #diana of themyscira

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lovehaswonangelnumbers · 5 years

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New Post has been published on https://lovehaswonangelnumbers.org/intuitive-astrology-for-october-2019/

Intuitive Astrology for October 2019

By Tanaaz

October brings a few challenges and heavy alignments, however there is a lot of release and satisfaction we can experience this month if we view these challenges as nudges from the Universe to keep leveling up and moving higher.

We are so much stronger than we realize. We have so much wisdom within, and the Universe knows this, which is why it is amping up the energies in order to keep moving us to higher levels of consciousness. We are ready, and our souls chose to be on planet Earth at this pivotal time in order to do this work.

2020 is shaping up to be a mind-altering, life-transforming year not just on a personal level but on a global level too, and during the month of October, we are going to start feeling the stirrings of what’s to come.

The first and the most important of these stirrings happens on October 2nd with the planet Pluto moving direct in Capricorn after being retrograde since April 24th, 2019.

This is a pivotal moment as Saturn is also now moving direct in the sign of Capricorn and both these planets are marching towards each other with zero interruptions or blocks in their way.

They won’t meet until January 2020, but Pluto Direct is going to kickstart these huge transformational shifts. You can read more about this Saturn-Pluto energy here and here and I will definitely have more to come on this as we approach 2020.

For clues on how this Saturn-Pluto alignment may affect your own life, think about what was happening for you around April 2019 of this year.

Were you called to change or transform anything in your life? Were you called to rebirth yourself in some way? Did you experience a “death” or release of sorts?

A small clue was dropped at this time about what this major Saturn-Pluto alignment may bring and while it won’t give you the full picture, it can give you some inkling of what’s to come and what you are destined to be working with.

The following day, on October 3rd, Mercury enters the watery sign of Scorpio, but by October 11th, it will begin slowing down as it prepares to go retrograde at the end of the month on October 31st. This is the final Mercury retrograde of the year, and it comes at interesting timing.

During October we are really being encouraged to level up and advance our soul growth, and this final Mercury Retrograde seems to give us some breathing room to help us to digest, process, and work through any final lessons or gifts of the year.

All through Libra Season, one of the main themes we have been working on is our relationships. These include our relationships with others, our body, our mind, our soul, our money, and the world around us, and on October 13th, these lessons will peak with the Aries Full Moon.

At this time, we are going to be encouraged to think about what next steps need to be taken or what new strategies need to be put into place when it comes to how we view our relationships.

If we have been too harsh, we may find we soften and feel called to forgive. If we have been too soft and have struggled to stand up for ourselves, we may feel called to take a stand and set some boundaries.

This Full Moon may also encourage us to look at where we are giving too much or not enough in our relationships. If we have been treated unfairly or if we are treating others unfairly, this Full Moon will shine a light and encourage us to find a new way.

You can think of this Full Moon as illuminating a new pathway for us when it comes to our relationships. It illuminates a pathway that allows us to take care of our own needs while also being open, compassionate, and understanding towards others. With this balance in place, our connections can be healthy and more rewarding.

The energy of this somewhat heavy Full Moon will linger for a few days but eventually, we will find relief and be able to catch our breath and enjoy the rewards of our hard work.

On October 22nd, the Sun moves out of Libra into the watery sign of Scorpio and a few days following on October 27th, we have the Scorpio New Moon.

The Scorpio New Moon is also a bit of a challenging one, but we have to keep in mind that this is our month to level up!

Scorpio is the sign associated with death and rebirth and under the dark Moon, we are going to be encouraged to rebirth a part of ourselves and let go of the parts of ourselves that we no longer need.

While the New Moon will be intense, Scorpio energy is always a powerful time for ritual work and gives us spiritual strength to transform and raise our vibrations higher.

The end of October is always a magical time for as we transition to November, the veil between this realm and others becomes thin.

On All Hallows Eve, October 31st, Mercury will also go retrograde and we will be able to delve into the spirit realms with far more ease. We will also be able to tune into our intuition and receive downloads and inspiration from Spirit.

If you have loved ones on the other side, this is also a time to celebrate and honor their presence in your life and to hold close in your heart the idea that you will meet once again. You can also write them a letter or talk to them to let them know you are thinking of them.

While October is a slightly more challenging month, it does bring its gifts too. By the end of this month, we are going to feel stronger. We are going to feel more rooted in our being and more confident about our path ahead.

Like all things, cosmic waves are just temporary. No matter what comes, we can keep a sense of constant rhythm and connection through having a spiritual practice like daily meditation, journaling, gratitude work, and so on.

To help support you with your practice, try my Guided Meditation for the month of October. It’s designed specifically for the energies of the month and can be done daily or just a few times per week. There’s a small fee to download the meditation but all money collected goes back into running this site. Your support is always so appreciated!

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gamerszone2019-blog · 5 years

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We Played Marvel's Avengers And Finally Understand What It Is

New Post has been published on https://gamerszone.tn/we-played-marvels-avengers-and-finally-understand-what-it-is/

We Played Marvel's Avengers And Finally Understand What It Is

Marvel’s Avengers isn’t out until May 15, 2020, but Square Enix has already encountered one big issue: struggling to bring clarity to what the game actually is. At E3 2019, a trailer and description of the game left a lot of people confused. Explaining that it featured a “bespoke campaign,” cooperative play, and additional heroes who are not the core members of the Avengers didn’t help matters. At Gamescom 2019, Square Enix provided a much closer, less muddy look at Marvel’s Avengers, and now we have a much better sense of what it is: Think Marvel’s Spider-Man meets Destiny, and you’re pretty close.

We played the opening 20 or so minutes of Avengers at Gamescom, which consisted of the prologue portion shown at both E3 and San Diego International Comic-Con 2019. The A-Day level, which introduces the story of a mentally anguished and disbanded Avengers team who are trying to deal with the loss of Captain America, isn’t anything new. But actually putting hands on Avengers really cleared up how the game will play on a moment-by-moment basis, and Square Enix’s presentation helped us to understand what the larger picture of Avengers looks like.

The A-Day level takes you through a cinematic battle on the Golden Gate Bridge in San Francisco, which is a fairly on-rails experience. As minions of Taskmaster attack the bridge, you take on the role of each of the Avengers in turn and get a sense for how they handle. The combat is mostly of the melee variety, and each Avenger has a light attack and heavy attack, as well as a quick dodge move that lets them get out of trouble. Incoming enemy attacks are marked with indicators on the screen to tell you when to move, and holding down the attack buttons triggers different versions of the attacks. In the case of Thor, your first character, holding down the light attack lets him spin his hammer around to pummel enemies with rapid hits, while holding down the heavy attack triggered a blast of lightning along the ground that could zap multiple enemies in front of him. If your character has a ranged ability, you can aim it by holding down the right trigger and fire it by hitting your attack button. Thor throws his hammer, Iron Man fires repulsor blasts, Cap hucks his shield, and so on.

You try out each of the characters on A-Day and get a sense of their strengths and weaknesses. Thor is great for crowd-control and dealing with groups of melee fighters, while Iron Man can hover over the battlefield and snipe away at more irritating enemies. Hulk is more or less a runaway train, picking up enemies and smashing them into each other to dispatch them quickly or leaping into the air for devastating impact attacks upon landing. Black Widow can whip a grapple at enemies to fling herself at them for melee combos, or fire away with a pair of handguns. And Cap’s shield means he can close distances on dangerous enemies and avoid their attacks.

The core combat of Avengers has the feel of something like Spider-Man or God of War. You have a handful of close-combat abilities, some ranged attacks, and some powerful “heroic” moves that charge up and let you unleash things like Hulk’s Sonic Clap or Iron Man’s Unibeam, rocking multiple enemies and dealing high damage. Everyone plays similarly enough that you can pick up any hero and go to work, with key differences based on their abilities and powers that make them all feel distinct.

Combat is satisfying thanks to the breadth of moves you have at your disposal. Avengers’ core combat encourages you to chain together moves to keep opponents off-balance. Walloping one guy with Thor’s hammer to send him flying before you throw Mjolnir at another and pin him to a truck has the same kind of tight fluidity as other big third-person action games. Each of the heroes has their own capabilities and requires a different style, adding variety to the fights. At least in the brief portion we played, Avengers did a pretty good job of making you feel you’re inhabiting one of Earth’s Mightiest Heroes, complete with their unique set of powers.

The prologue ends with Black Widow taking on Taskmaster alone, in a fight that’s full of prompts for quick-time events as she dodges the villain’s jetpack-powered dives. It’s a cool fight in which Widow has to constantly change her tactics to deal with Taskmaster’s ability to adapt to her style, but relies largely on prompts, and thus feels tightly controlled. According to Rich Briggs, senior brand manager at Crystal Dynamics, the game will move away from QTEs soon after the prologue. The focus is still on making a cinematic, story-driven action game, but don’t expect anything as directed as what’s been shown so far. Briggs said players can expect big, open levels.

Once you’re through A-Day, Briggs said, Avengers opens up. The game consists of two kinds of missions: story missions that will be somewhat similar to A-Day, but focus on one hero at a time; and Warzones, which are looser missions that you can play with up to three other people cooperatively. Working through the story campaign has you re-assembling your Avengers team by convincing each hurt, broken hero to rejoin the team to face a new enemy: longtime Marvel evil corporation Advanced Idea Mechanics, or AIM. In the absence of the Avengers, AIM has stepped in with “advanced synthoid AI soldiers” to protect the world from superpowered people. Of course, AIM is evil, and there’s a conspiracy afoot the Avengers will need to unravel to stop the bad guys and their world-dominating ambitions.

Recruiting the characters returns them to a reclaimed helicarrier you’ll use as a base of operations, adding them to the team you can then take into more missions. They’re going to take some convincing, though. Tony Stark has withdrawn from the world because he feels he’s failed it; Thor abandoned Mjolnir at Cap’s memorial site and no longer feels worthy of fighting as a hero; Black Widow is back to her life as a lone-wolf spy; and Bruce Banner’s anguish has him trapped in a Hulk state, unable to revert to his human form.

As you progress through the narrative, you’ll unlock additional story and Warzone missions that you can choose to play at your own pace, which are spread across the globe. Briggs said all the missions will feed back into the narrative; completing a story mission might give you access to new Warzones, and finishing Warzones might in turn unlock more missions of both types.

But while story missions make up what Crystal Dynamics previously referred to as Avengers’ bespoke campaign, Warzone games take on more of an open-world flavor. Playable alone or in co-op, they’re a bit more generic in that they send you out to cool down conflict “hot spots,” but have less of a narrative hook. You can take any hero you’ve recruited into Warzones, and the missions are dynamic based on which heroes you bring along for the fight and what powers and abilities they have. All the missions include a Power level ranking number when you see them on the world map, which gives you a sense of what you’ll encounter–but you’ll also set your own difficulty levels for missions.

This is where Avengers starts to approach the more loot-focused live-game end of the spectrum. Completing missions helps you level up your heroes, which allows you to customize them using skill trees, unlocking new moves, abilities, and combos. Over time, your Tony Stark will become different from another player’s Tony Stark based on your choices. At the same time, you’ll also earn gear during your missions to outfit your heroes. Like in Destiny, Anthem, or Assassin’s Creed: Odyssey, that gear comes in a variety of rarities, and the rarer it is, the more powerful it is. Briggs showed off some gear drops for Iron Man, including armor pieces that gave bonus perks to amp up some of his stats and abilities. You’ll also be able to grab complete sets of gear for additional bonuses.

Gear drops mostly come as mission rewards, and missions you take on tell you what kind of rewards you can expect for completing them so you can take on tougher challenges to chase better rewards. You can also expect some random drops as you play, though, and all the gear drops you receive will be specific to the character you’re playing–which sounds similar to Destiny and Anthem.

Your gear, skills, and decisions as you level up all work together to help you adjust your Avengers to match your playstyle for each hero. To customize how they look, you’ll use cosmetic items that range from both classic comic looks and new, original spins. Like in other live-service games, expect to earn some just through playing, while others you’ll purchase from Avengers’ marketplace. Cosmetics won’t affect how your heroes perform, but they’ll make them stand out more from other players’ heroes.

There are other elements in play we haven’t seen yet that further expand on the RPG-esque systems at work in Avengers. Briggs mentioned a resources system that Square Enix will explain further down the road. He also said that we can expect the story of Avengers to span years as new heroes and story missions are added along the way, all of which will be free. And we’ll also get more information about how the co-op experience works in early 2020, Briggs said, ahead of Avengers’ launch on May 15, 2020.

Source : Gamesport

#Game News

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sportsandfitnessinfo · 7 years

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New Post has been published on http://fitnessandhealthpros.com/fitness/barre-bootcamp-get-your-spot/

Barre Bootcamp- get your spot!

Hi friends!! How are you? Hope you’re having a wonderful day! I’m so excited for this spring and summer, and all of the newness that’s headed our way. I’m also excited to get back in the routine following this crazy move. I have a little special something to share with you, and I’m SO excited.

Barre bootcamp starts MONDAY, April 17! Join here.

Are you looking for motivation to crush your workouts this summer?

Are you struggling to find time to fit in your workouts?

Are you trying to aim for consistency and a balanced schedule?

I feel ya. With the move and everything going on, plus the kiddos constantly running circles around me, it can sometimes be tricky to dedicate myself to my workouts. This is one of the reasons I’m so excited to be joining you all with a barre bootcamp! This takes all of the guesswork out of creating a plan, especially for those of you who are also short on time, or need to work out at home. Time is so precious, especially when you have a busy schedule, so you don’t need to worry about driving to/from the studio/gym or getting ready. Hit play, and go.

Here’s a little bit about what to expect:

youtube

These workouts are short; all of them are around 25 minutes. They’re also KILLER. I spent a lot of time designing them to get the most bang for your buck, and Katie and I were drenched in sweat after filming each one. We were also a liiiiittle sore.

A little bit about each workout:

Barre Blast

Get yours here.

About this workout: this is definitely the most intense one of the group. It includes leg-shaking traditional barre work with cardio blasts (low impact options) for a sweaty, fun, and challenging workout.

Equipment needed: Bodyweight only

Workout length: 26 minutes

Total Body Barre

Get yours here.

About this workout: this workout is the most *classic* barre workout in the bunch. It includes bodyweight training with full range movements, tiny pulses, and cardio blasts.

Equipment needed: Something sturdy to hold onto for balance + your own bodyweight. Optional: resistance band loop

Workout length: 22 minutes

Barre Strength

Get yours here

About this workout: this workout is all strength work, focusing on endurance training. This builds lean, strong, beautiful muscles without having to lift super heavy weights. Fully fatigue your entire body in 23 minutes.

Equipment needed: a light pair of dumbbells (3-5 lbs)

Workout length: 23 minutes

Lower Body Burn

Get yours here.

About this workout: if you’re looking for a lean, lifted booty, and strong lower body, this is it. This workout includes some of the most challenging lower body work, at the barre and on the floor. These exercises are an awesome way to change up traditional lower body strength training, especially emphasizing the glutes, inner and outer things, and quads.

Equipment needed: Something sturdy to hold onto for balance + a mat

Workout length: 23 minutes

*Each workout is available for $ 9 (price will jump on Monday). This is less than half of the cost of one barre class at a studio, and you can do each one as many times as you want. Here are the links to each one: Total Body Barre, Barre Strength, Barre Blast, and Lower Body Burn. Purchase today and the video will appear in your inbox on Sunday night. It’s a nice little fitness treat for some workout pep in your step!

*If you’d like to join in our Barre Bootcamp challenge and get all four videos, plus a BONUS Pilates Abs video, a workout calendar, closed Facebook group access and daily emails, it’s $ 34. Spots for this are very limited, so if you want in, this is your chance!! The cost is less than one personal training session, and you’ll get four weeks of workouts, accountability, and motivation headed your way. Claim your spot here, and be ready to rock and roll on Monday.

More info about the bootcamp is here!

Who is this for:

Those who are looking for an exciting way to amp up their spring and summer training

Those who want to get more out of the workout time they have

Those who are struggling to find motivation, and consistency

Anyone who really loves barre workouts and the amazing results it provides

Who this is NOT for:

Anyone with health contraindications or injuries (especially knee)

Those who want to keep going their own thing at the gym or taking classes

Those who have plenty of motivation thankyouverymuch

Are you excited?! I definitely am, and am looking forward to sharing these workouts with you.

xoxo

Gina

A huge thank you to Julia of Luminous Lines for the gorgeous graphics you see above.

Videos: Grant Hunker

Locations: BreakOut Studios and Select Fitness