#catherine keener should be in everything | Explore Tumblr Posts and Blogs

x--daughters-of-darkness--x · 4 years

Text

Evanescence's Amy Lee Talks Musical Evolution, Growing Up & Life Under Quarantine

The frontwoman opens up to the Recording Academy about the hard-rock mainstays' forthcoming album, 'The Bitter Truth' and its lead single, "Wasted On You"

The current coronavirus quarantine has turned out to be a mixed blessing for Evanescence leader and singer Amy Lee. While she is elated about the new music her band is producing for their first album in nearly nine years, they have to figure out how to finish the project being apart. They also had to postpone touring Europe with Within Temptation and cannot interract with their fans anytime soon. That feels ironic given the anticipation for their new release. At least Lee did not have to face being separated so soon from her five-year-old son Jack and explain why his mother had to go away on tour, and she got to jam virtually with Lzzy Hale on the Halestorm song "Break In." At the same time, Lee admits, her immediate family members are driving each other a little bit crazy. That's to be expected.

Lee and her bandmates have been adjusting to the circumstances. They decided to change the choice for the lead single off of their forthcoming album The Bitter Truth by swapping it out for the song "Wasted On You." Thematically, however unintentionally, it feels like now and features all five band members in their own homes engaging in various activities from contemplation to playing music. The video is very fitting for a band whose singer frequently channels inner emotional turmoil that people struggle with alone. Thus the clip feels like a natural extension of their work.

"Yeah, this is the place I always put myself in," concurs Lee, speaking on the phone to the Recording Academy from her home in Nashville, which fans are seeing for the first time through that video.

"Most of us in the band are very private," notes Lee. "Showing my home is a big deal for me. Just being our real selves without makeup, just living in real life, not acting. What's powerful about that is that everybody around the world is doing the same thing. The idea behind it was to show that at our core we're all still connected even though we're not physically together."

When she saw the first edit of the clip from director P.R. Brown, whom she praises highly, it made her feel very connected to her band. "I missed them," admits Lee. "I pulled the trick on myself, feeling all these emotions about being close to you guys and how we're going through the same stuff. I guess it was going to be effective because it totally worked on me."

Given how depressing life feels for many people right now, Lee believes that new music is extremely necessary, and there are new Evanescence songs still in the making. The Bitter Truth is not actually finished yet, and Lee is not sure how many songs will make up its entirety. Individual tracks will just be released when they are and eventually be collected as a cohesive whole.

"I like living in the moment, and I don't have it all planned out," says Lee. "And that's beautiful. We always wanted to do it this way. It's lucky because we got to continue down our path. We went in for the first batch of songs with Nick Raskulinecz in the beginning of February. We have that batch, but I'm not sure exactly when we're all going to be able to get back together again since we live all over the world. Jen's in Germany. But whether we're going to have to do some things remotely, we still have to get together to some degree."

Usually, the band records new music and it takes a year or so for it to reach the public's ears. They started working on "Wasted On You," a break-up song of sorts about freeing oneself from routine and toxic patterns, the day before New Year's. Sharing it with fans and getting feedback so soon after it was completed feels like a gift of instant gratification that they find special and rare.

Naturally, many fans have been anxious for a new Evanescence album, but they have continued to snap up concert tickets and have remained loyal throughout the near decade-long duration. "It's not like they got pissed off and left," remarks Lee. "They still want it whenever it's going to come, and that's a huge gift. Especially now. There's just so much music out there that you can only find if you're searching for it."

Lee has continued making new music over the last nine years. Following her emancipation from her previous label Wind-up Records in 2014, she jumped into many new projects. The first was the Aftermath album that served as the soundtrack to the movie War Story starring Catherine Keener as a war zone photojournalist. That was done in collaboration with cellist Dave Eggar, who also worked with her and producer/composer/drummer Chuck Palmer on music for the 2015 short film Indigo Grey: The Passage by Irish/hip-hop dance troupe Hammerstep. The musical trio further collaborated on scores for the documentary short I Am Her (2016) and the feature film Blind (2017). In 2016, inspired by the birth of her son two years earlier, Lee did an album of children's music songs entitled Dream Too Much.

Such diversity should not be surprising considering that at the core of Evanescence swirl goth, metal, and pop sounds that commune without overriding each other. This makes the band less easy to tag and simply reflects Lee's diverse musical tastes. Last year, they released a cover of Fleetwood Mac's "The Chain."

"I like a lot of pop music," says Lee. "I like a lot of dark, trippy, trap-pop weirdness. Even if that just comes out in the way that I'm crafting a melody, it's there for me enough that I feel it in the way that I want to feel it. Then all those other elements that play a role, like cool guitar riffs and things from other genres, it's when it all blends together that it really sounds right. That's a picture of who we are."

While she knows people certainly expected certain new music from her, Lee has needed to scratch that creative itch that led her to such outside explorations. She felt that denying herself these opportunities would make her feel like she was not being true to herself, even though her fans craved a new Evanescence album. Lee felt compelled to work on that "weird song idea" or collaboration with a cellist. "If I don't let myself do it, then I get frustrated," she concedes. "There was something else I needed to get off my chest first."

The singer and pianist mentions that when she was pregnant, she thought her mom phase would outweigh work, but her need to create only got stronger because it was such an emotional time for her.

"Up until the week before Jack was born, I was working on that Aftermath album which was so great because it was moody and weird and creative, and it didn't all rely on the same old tricks," recalls Lee. "A lot of it was instrumental. People want me to sing a ballad. I actually wanted to play the piano live with Dave [Eggar] and write as we play and record that, then create the song that's totally weird, electronic, Africa-inspired. There's all kinds of weird stuff on there."

Ten months after Jack was born, a lot of emotions were welling up inside of Lee, which naturally led to Dream Too Much. "I just felt like I had a whole new chamber of my heart that started up that I didn't know about before, and I needed to express it," she elaborates. "Weirdly, becoming a mom made me need to create a lot more. There hadn't been an all original Evanescence album until now, but it's just been everything else." She chose to jump onto all of those "someday, I want to do..." projects.

When Lee did return to making music with her main project, it was for 2017's Synthesis album featuring Evanescence songs reworked with a full orchestra and electronic music elements along with two new songs and three instrumentals. She notes that many people thought that that release was a clue as to where the band's music was heading, but in fact, it was the opposite.

"Because we got to do that very different thing, I felt so motivated and inspired to run the other direction and really dive headfirst into the rock part of our music and our current sound as a band," says Lee. "I think allowing yourself to do all the things that your heart wants to do as an artist is just healthy. It's not like there won't be more fuel inside you that's going to want to create more the next day."

The long break between albums certainly helped feed her fire for the band. Further, Lee's artistic life has been augmented lately by two special musicians. The first is aforementioned cellist Eggar, whose resume includes The Who, Josh Groban, Beyoncé, Carly Simon, Bon Jovi and Manhattan Transfer, has been a great collaborator for her.

"He's just got such a bright energy and is so encouraging but also really, really talented," enthuses Lee. "He pushes me to the next level without it being painful, if that makes sense. We were talking about wanting to make a documentary of his life because you just sit down and listen to him talk about stuff like living on a beach in the south of France and playing a million dollar cello."

On the recommendation of Eggar, Evanescence guitarist Jen Majura came into the fold back in 2015 following the departure of longtime member and songwriting collaborator Terry Balsamo. She is the other key player.

"What I've learned over the years is the harder thing about finding a person that's going to be in your band family is the way they fit as a person," explains Lee. "There are a lot of people that can play amazingly, and Jen is a great musician, but for somebody to really fit into your family dynamic is hard. I called her and flew her to New York, and we just spent time together. We went to guitar shops, went to lunch, got drunk, and had conversations about music and jammed a little bit. But mostly it was just becoming friends, and it happened really quickly. It just felt right. We knew that. I knew that I liked her, and I could see things in her that reminded me a little bit of myself. It's been really nice to have such a cool jolt of positive energy that she inserted when we needed it a lot. Now we can also have background vocals. We've never been able to have that before with me being the only girl, and I wanted it to be a female voice."

Circling back to the new song "Wasted On You," there is reference to being "six feet low" that reminds one that on first two Evanescence studio albums there was one song apiece that referenced Lee's late sister, who passed away at the age of three when the singer was six. It turns out that Lee recently lost her younger brother, who died at the age of 24.

"It's really hard," says Lee, turning somber for a few moments. "This has been a crazy time, the last few years. A lot has happened to us within the band. Since the last album, there's a lot to say. We are still who we are, but there have been things that have caused us to change our perspective, and the way that we see the world, the way that we see other people, and the way that we think because of the losses that we've suffered. I'm speaking in plural because our bass player Tim just lost his stepdaughter."

Lee adds that this has been a time during which, in so many ways, she had to grow up and didn't want to. "I just want to be a kid again," she concedes. "I just want to be a kid with my siblings and my mom and dad, and somebody else I know at the end of the day is going to take care of it. Somebody else is going to be the dad, somebody else is going to be in charge. It's a really shitty thing that when you grow up, you have to be the one who does that. You have to be the one to make everybody else feel okay. And sometimes it's not okay. That's the bitter truth."

This moment dovetails into the Recording Academy's recent conversation with Tori Amos about how one does not really understand another's pain unless they have experienced it personally. And a person does not need well-meaning but cliched platitudes from others to deal with pain. They just need to process it in their own way.

"That's a huge part of this band and making music for me from day one," declares Lee. "I just need to process the fact that I hurt right now, and not say, 'But it's gonna be okay.' I still have hope after all, but I think it's important sometimes just to say, 'Hey, I hurt' and let that be the message because other people are hurting too. Instead of being fixed immediately, we need to process our pain, we need to feel the pain. It's important. It's part of what is eventually going to let you get through it. The only way out is through."

That concept might seem anathema to many people caught up in a social media and mass media world where everyone wants to put on a happy face and does not admit to feeling wounded or defeated.

"Right, we don't show the pictures," acknowledges Lee. "I don't Instagram when I'm having a horrible day. We're just showing little clips of life when something was awesome, so when you look through that window into somebody's life you're not getting the full picture. You're just getting the highlight reel. That isn't real."

Funnily enough, the music and videos of Evanescence represent the opposite aesthetic. They show when they are not having a good day.

"That's true," concurs Lee, laughing out loud. "You just listen to my album, and you hear how horrible everything is."

At least that emotional sincerity has allowed her to produce some timeless tunes, with more on the way.

#Amy Lee #Evanescence #2020 interviews

1 note · View note

kainosite · 6 years

Text

Les Misérables 2018, Episode 3

Les Mis fandom: Andrew Davies is a scoundrel. What is he?

Me: ... Scoundwel.

The Good:

• I can’t believe the BBC actually filmed the “Now the people of this town can see you for what you really are” scene of a thousand Valvert fanfics. They know what the people want.

• The Thénardiers are still fantastic. Somehow the BBC has achieved the impossible feat of portraying them as loathsome abusers whom you hate with every fiber of your being, while simultaneously making them the fun comic relief you’re sort of rooting for in their capacity as the wacky crime duo. On Christmas Eve I wanted the Seargeant of Waterloo to burn to the ground with everyone inside it, except for Cosette who was out getting water, Éponine and Azelma who were playing on the swings and Gavroche who was out back playing with Chou Chou or something. I still grinned when Madame Thénardier cheerily reminded her husband to bring the pistol the next morning. Striking this balance is a truly impressive achievement that I’ve only seen equalled by the Dallas production of the musical.

Their family dynamics are also coming across very well, sometimes through very subtle touches. The differential treatment of Éponine and Azelma vs. Cosette and the way the Thénardier girls have been trained by all the adults around them to see Cosette’s abuse as a hilarious game, Gavroche being conscripted to fill Cosette’s role as household drudge once Valjean takes her, Mme. T slipping a bill out of Thénardier’s stash once he goes after Valjean – it’s all really good.

Their reactions to Valjean were good too. Mme. Thénardier was thoroughly unimpressed with this roughly dressed man she’d decided was a hobo and only reacted with hostility when he was kind to her little whipping girl, but Thénardier as the criminal mastermind of the outfit decided the moment he noticed Valjean paying inordinate attention to Cosette that he must be a pedophile and they’d stumbled upon a lucrative financial opportunity. I know some people don’t like this change, but honestly it makes a ton of sense. Valjean’s interest in Cosette is strange, and considering the usual clientele of the inn cheer whenever Mme. T hits the kid with the strap, the Thénardiers aren’t used to seeing other people regard her plight with compassion. Unlike in the Brick, this Cosette is a very pretty child, something discernible even beneath the dirt. And it’s Thénardier, so of course he thinks the worst. Valjean doesn’t volunteer that he’s representing Fantine (perhaps in this universe where he knows Javert is so fixated on him, he’s worried that would make him too easy to trace?), so really, what else is Thénardier meant to think?

• There are some priceless interactions between the protagonists and Thénardier: when he’s trying to haggle and Valjean keeps ignoring him and just repeating “How much?”; Javert’s baffled “Nothing!” when he asks Javert what Javert is planning to do for him.

• Javert and Gavroche’s preliminary encounter over the coffee cup was a nice, subtle touch.

• A+ hair analogy between Fantine last week and Valjean this week. A+ removal of the godawful ponytail. That prison barber in Toulon deserves the Légion d'Honneur.

• I’m enjoying Javert’s meteoric rise at the Prefecture and I love Rivette. “But Kainosite, you love every long-suffering lieutenant.” Yes, what’s your point? Javert deserves a long-suffering lieutenant and so do I. Although it’s hilarious how much Oyelowovert is Fanfic Javert, in his relationship with his subordinates as much as in everything else.

I also enjoyed Javert’s phrenology skull, which I hope he sometimes monologues at Hamlet-style. A black Javert might hesitate a little before going all-in on phrenology, but I do appreciate his commitment to cutting-edge criminology research.

• LMAO at Javert’s fanart commission.

• Valjean and little Cosette are adorable together, and I really appreciate how much time Davies devoted to just depicting them interacting and letting the relationship breathe. The strength of their bond is going to be very important later on, especially to Valjean, so it’s worthwhile to establish it now. And they were suuuuper cute. This adaptation tends to cut out Hugo’s humor sections, so it was nice to get a bit of relief from the grimness with endearing family time.

• I rather like Cosette calling people “nosy bitches”. I mean, who socialized this kid? The Thénardiers, that’s who. It makes her seem more like a real child and less like a perfect little doll designed to reward first Valjean and then Marius for fulfilling their roles as protagonists.

It’s also an early hint at Valjean and Cosette’s unhealthy isolation and codependency. The principal tenant is actually fulfilling her duty of care here in a society without any proper system for child safeguarding. Cosette never seems to leave the apartment, certainly not to attend school or to learn a trade. There’s no family resemblance between herself and her guardian. (Incidentally, I’m impressed by how much Mailow Defoy really does look like the child of Lily Collins and Johnny Flynn. All the matching between the kids and their “parents” has been superb.) They give inconsistent stories about their relationship. And Cosette is, as previously mentioned, an exceptionally pretty child. The principal tenant should be worried - she doesn’t want Hector Hulot taking up residence in her building, and this pair are deeply suspicious. But they can’t perceive her attention as legitimate concern, just as an unwarranted and unwanted intrusion into their little idyl.

• Similarly, Valjean’s early worries that he’s isolating Cosette too much by denying her all contact with the outside world or other children her own age are a nice piece of foreshadowing, as is her blithe answer that the only friends she needs are Valjean and Catherine. Of course she’s content: she has food and warmth and security and the undivided attention of a loving adult. To a child whose previous experience of the world has been so traumatic, their isolation must seem like paradise. But this isn’t healthy and it isn’t sustainable, and the show is flagging that up early. In many adaptations Valjean’s Cosette Issues seem to come out of nowhere, so it’s great that they’re laying the groundwork here.

• The whole “For a dark hunt, a silent pack” sequence is very well done. There’s a nice piece of foreshadowing with the lamplighter hoisting up a candle as Valjean and Cosette are coming into Paris. (Most of the Parisian lamps are nice flickery ones, although you do occasionally see those peculiar white ones we saw in Montreuil.)

I also appreciate Davies cutting Valjean’s canonical “Be quiet or Mme. Thénardier will catch you and take you back” line to Cosette from the Brick, which was an awful thing to say to a traumatized child.

• Things continue to look right. The courtroom setup was really quite good.

The Meh:

• After watching the episode twice I think I finally understand what was going on with Javert at the trial.

His plan to entrap Valjean is no less incredibly stupid and risky than it was last week, but at least Javert has finally realized this. He looks increasingly worried as each convict gives his testimony and identifies Champmathieu because they’re getting closer and closer to the end of the trial and Valjean still hasn’t acted. Unlike Étienne in the 1952 movie, Oyelowovert has already testified and perjured himself, so he has no failsafe – if Valjean refuses to take the bait then Champmathieu is condemned in his place, the real Valjean is protected from legal pursuit forever, Javert’s perjury has real, long-term, perverse consequences, and Javert needs to find a new career. The shock we see on his face when Valjean finally confesses is relief and the shock of seeing a scenario he must have played out a hundred times in his dreams becoming a reality before his eyes, or possibly a consequence of him coming in his pants, not shock at the revelation that Madeleine is Valjean.

But there are few members of the audience who are keener observers of Javert’s face than I am. Most of those people are probably in the Valvert Discord chat, and none of them could figure out this scene on their first viewing either. We should not have to analyze Javert’s microexpressions to determine the answer to a question as fundamental as “Did Javert sincerely believe Champmathieu was Valjean?”

• On the whole the trial was bad but I did appreciate Brevet just yanking out his suspender to show the court. Although @prudencepaccard is gonna be mad it wasn’t checkered.

• The amount of time it takes Valjean to escape from Toulon is really of no great importance to anything. Maybe this Javert gave them specific instructions to search him with care so his files kept getting confiscated and it took him longer to file through his chains. We know the Orion incident never happened in this universe, so maybe it took two years for Valjean to spot a good escape opportunity. Who knows? Who cares? It has zero impact on the plot.

People concerned about the extra time Cosette was left languishing with the Thénardiers should direct their complaints to Brick Valjean, who faffed around in Montreuil for a month while her mother lay on her deathbed constantly asking for her, and only decided to go pick her up once he was under arrest and it would obviously be impossible. Davies’ sins pale in comparison to Hugo’s in this regard. At least Westjean tried to send someone to retrieve her.

• ‘Rosalie’? Okay, fine, but I’m not sure why this adaptation feels compelled to give everyone first and last names. Thénardier could just call her ‘Darling’.

• I know they also abandon Catherine in the Brick, but in the Brick Valjean doesn’t pause in their flight to pack the candlesticks, the objects that are precious to him, and Cosette doesn’t specifically ask about bringing her. Put the pillow under the blankets to fake out Javert like a normal person and let your child keep the one toy she’s ever had, what the fuck is wrong with you, Valjean?

On the other hand, the doll is made of dead people and it may be possessed, so perhaps this was just responsible parenting. I’m calling it a draw.

• It’s not that I have any great objections to giving Simplice more screen time or letting the Mother Superior of the Petit-Picpus convent decide to shelter a convict, but there was no particular reason not to use Fauchelevent for the Fauchelevent plotline. It’s a small instance of a good deed being paid forward that underlines the main theme of the book, as does Simplice’s act of self-sacrifice in lying to Javert to protect Valjean. All of that has been lost and nothing has been gained in its place. (Also is Cosette just... “Cosette Valjean” in this adaptation? “Cosette Thibault”?)

The Bad:

• If Javert perjures himself to trap Valjean that is an incredibly big deal and we should see it. I accept that this Javert might do it: Oyelowovert cares about his career and about ruining the lives of criminals, not about the rules. If he can trap Valjean, superb. If Champmathieu ends up in the galleys because of it, well, he’s a filthy apple thief and he deserves it. Javert is subverting the course of justice in the service of a greater social justice. But this monumental deviation from his Brick characterization, this enormously consequential lie, should not occur off-camera, for fuck’s sake!

Also it’s not clear what reason a Javert who is happy to lie under oath would ever have to throw himself into the Seine.

• Why the hell was Valjean so hostile to the other convicts? He assumes they’ve been paid off, but... by whom, and to what purpose? By Javert, to entrap him? We the viewers at least know that can’t be true – Javert only found out about Champmathieu from the Prefecture, after Champmathieu had already been identified as Valjean. By the public prosecutor at Arras, who is desperate to close the case of a minor highway robbery that happened almost a decade ago on the other side of the country completely outside his jurisdiction? By the many enemies of Champmathieu the random hobo, who really want to see him go down for a felony? It makes absolutely no sense.

Possibilities that make more sense: a) the convicts are sincerely mistaken about the appearance of a guy they’ve not seen in eight years, b) they just wanted to get out of Toulon for a month and they’re willing to say anything to do it because Toulon is a hellhole, as the first episode made exceedingly clear, c) they know perfectly well Champmathieu is not Valjean and they’re lying to protect the liberty of their old comrade by condemning a stranger in his place. The whole dynamic of this scene – Madeleine, the respected mayor and factory owner, who’s been clean and well-fed and safe for years, yelling at these filthy men in their convict uniforms, Chenildieu with some kind of open wound across his forehead, quite possibly a lash mark – is deeply unpleasant. It makes Valjean look like a complete asshole and sets a sour tone for the whole episode.

• The entire trial is just off. Valjean’s off-putting and inexplicable hostility to his fellow convicts, Javert’s mystifying facial expressions, the audience who keep laughing at unfunny lines – the scene just doesn’t work, it doesn’t come together. It was at something of a disadvantage because I came into it having just watched the 1952 trial scene for the previous episode’s review post, which is the best ever adaptation of the Champmathieu trial, and any other version was likely to pale by comparison. But this one was particularly poor.

• I said last week we’d have to see what the series made of Valjean’s externalization of his emotions. Well, what it has made is an awful lot of shouting at everyone, starting with the poor convicts and continuing from there, and also an excess of violence. Valjean charges into the soldiers in Montreuil-sur-Mer and bowls them over, he threatens to knock Thénardier down and then to blow his head off, he gets Thénardier into a headlock and grapples with him. Even when Westjean is coming into the convent he has to practically break down the doors. Everything is violent action with him. It’s OOC to the point where it’s becoming a problem rather than merely a different interpretation of the character.

All this aggression isn’t even effective at making him seem dangerous! The thing he does in 1978 where he gently removes Javert’s hand from his collar is vastly more intimidating because it showcases his superhuman strength. He should have just plucked the gun out of Thénardier’s hand like he was taking it away from a child instead of all this undignified scuffling.

• Tumblr, a humble reviewer has failed in accuracy, and I have come to bring this matter to your attention, as is my duty.

I argued last week that Westjean is not a misogynist: he yells at everyone in his vicinity regardless of gender. Well, you were right and I was wrong. That menacing lunge he takes towards Victurnien while screaming at her, calling Mme. Thénardier “woman” and shouting at her to bring his supper, the way he bursts in on the nuns at the end – it all adds up to something pretty unpleasant.

• I have never in my life seen an adaptation that makes Fantine’s death so much about Jean Valjean’s manpain.

If you look a 1978, an adaptation that gives if possible negative fucks about Fantine, it still manages to make the confrontation over her deathbed a conversation between three people, in which she has agency and reacts to what people are saying and is present in some capacity other than that of an object to make Valjean sad. Someone compared Collinstine to a substitute Coin of Shame, and I think that’s really apt: Valjean is distressed and guilty because he’s failed to rescue Cosette, so he goes to Fantine’s bedside to sear the image of her despairing face onto his retinas in the same way he seared the imprint of Petit Gervais’s forty sous onto his palm. He’s punishing himself by deliberately upsetting her. For both Valjean and the camera, this scene is all about Valjean’s feelings and not about Fantine’s.

The person in this room with the biggest problems is not Jean Valjean, for pity’s sake. I like to see the man cry as much as the next fangirl, but this was vile.

• Valjean’s visit to Fantine on her deathbed is a stupid, irresponsible thing to do and a direct cause of her unhappy death in the Brick and in every adaptation where she survives long enough for Javert to turn up. Valjean knows he has no good news to give her, he knows that the criminal justice system will be after him sooner or later, he knows that having Fantine and Javert together in the same room is a phenomenally bad idea, and he has urgent business in Montfermeil, or if he’s resolved to stay in Montreuil-sur-Mer to await arrest then he urgently needs to designate some representative to go and pick up Cosette in his place. Instead he loiters by a sick woman’s bedside until Javert shows up and predictably traumatizes her to death. As a result, Fantine dies in misery and Cosette suffers under the Thénardiers for another year.

But in the Brick it was at least not an insane thing to do. When he left Arras he was not being pursued, and he reached Montreuil well ahead of the news about the trial. The magistrates in Arras were in two minds about how to handle the situation. Given Madeleine’s status, the widespread affection and admiration for him in the region, and the fact that he turned himself in, it’s not inconceivable that had it not been for his little Bonapartist slip in the courtroom, they wouldn’t have issued a warrant for his arrest at all and would simply have sent him a summons to appear at the Var Assizes to stand trial, or directed him to surrender himself at the prison in Montreuil rather than sending Javert after him. I’m not sure it’s likely, given that he’s a known flight risk and parole violator illegally occupying a public office and they seem keen to get their hands on his fortune, but it’s not inconceivable.

In this adaptation Valjean breaks away from the police in the street and leads them straight to Fantine’s deathbed. There is no fucking excuse for this. NONE. Brick Valjean was a fool to come at all and a bigger fool to stage a massive confrontation with Javert while he was still in the infirmary, but his mistakes were those of a man under immense stress who never bothered to think about Javert long enough to construct a working psychological profile of him. Westjean’s mistakes were the mistakes of a selfish asshole too caught up in his own feelings of guilt and shame to have any regard for the people he allegedly cares about and wants to help. Valjean is an extreme deontologist and his actions are always self-absorbed to a certain degree, because they’re fundamentally more about whether he can feel he’s done the right thing than about the actual effects of his actions on other people. (He and Brickvert have that in common.) But it should never get to the point where he’s actively harming people to this extent.

• Brickvert doesn’t seem to care for firearms much, and Oyelowovert looks like a jackass waving his two giant pistols around, but he’s a different character and if he’s decided they make him look cool then fine, I guess. But in that case he should not be intimidated by Valjean’s strength in the infirmary. You have guns, idiot! If he threatens you just shoot him in the leg!

Guns completely change the dynamics of this scene, as the Dallas staging of the musical conveys very well. The BBC handed Javert some pistols and then forgot he had them.

• In 1862 people would probably have found the implication that Catherine has Fantine’s hair to be sweet and charming, because the Victorians loved toting bits of their dead relatives around and hair mementos were so common that no one would have considered it weird. In 2019 it is CREEPY AND GROSS. I know there’s no ethical consumption under capitalism but we did not need to know that Cosette’s doll was made from the body parts of desperately impoverished and now dead women, really.

• Oh, so we’re flipping over beds when we fail to catch our favorite fugitive convict now, are we? Great, now everyone is yelling. FFS, Javert, I thought you were supposed to be the emotionally continent one.

• Where was Marius this week??? If Davies was happy to cut that leg of the stool out of whole episodes then why the fuck not just let Georges die when he’s supposed to and let Marius have a coherent character arc? It makes no sense whatsoever.

I’ve got to be honest, I was not a fan of this episode. But it did get Valjean and Cosette’s relationship right, and that is the most important relationship in the story.

#Sick of hearing people complain about this week's episode?#Come watch me complain about... last week's episode!#Because I write reviews in a timely manner #Les Misérables 2018 #Les Mis Adaptations #Les Misérables

33 notes · View notes

scrawnydutchman · 6 years

Text

Incredibles 2 Movie Review (Spoiler Free)

Pixar has become somewhat infamous for releasing nostalgia pandering sequels in recent years. Cars 2 & 3, Toy Story 4, Finding Dory, Monsters University. These all have their fans to be sure but many people, myself included, wished for more fresh and original ideas from Pixar that made them so great to begin with, rather than friendly reminders of how great they once were. So needless to say I’ve never been horribly interested in a great deal of the Pixar sequels . . . that is except for Incredibles 2. After the third Toy Story I’ve been saying for years that Incredibles is the only Pixar property that actually needs a sequel. Why? Because it’s a premise that’s ripe for continuation. I’m a huge fan of the first Incredibles, so much so that it’s my favorite 3D animated film ever. I loved the family dynamic, the performances, the dialogue, the design, the action. It was cool, slick, charming and heartfelt. It had the stylish edge of a spy thriller with the action of a superhero blockbuster. To put it simply, I wanted to see the Parr family do more superhero AND family antics. So needless to say I was as pumped for this movie as anyone. Did it live up to my expectations? Hell yes it did. It was everything I was hoping to get and improves on a great deal of where the first film left off in fact . . . while also being weaker in some other areas. Let’s break it down.

Story:

Synopsis: The Parr Family is back in action, continuing their superheroing despite the fact that doing so is still illegal (why the legalization of supers wasn’t even considered after the family saved the city from Syndrome, I have no idea. But whatever. Just go with it.) Things might change for the better though when Elastigirl gets an offer from a telecommunications expert to share her superhero perspective on why these heroic acts shouldn’t be shunned. While she takes up her new job, Mr. Incredible fights his own battles of being a stay at home dad and realizes it isn’t as easy as he thought it was going to be, especially since Jack Jack demonstrates a new superpower every second. Things for Elastigirl get complicated as a mysterious new villain called Screenslaver makes their appearance. Can she get to the bottom of Screenslaver’s new plan before things turn for the worst?

I mentioned before that Pixar has a known tendency to pander a lot to nostalgia in their sequels, and Incredibles 2 is no exception. There’s more than a few references and repeats of the first film including reused sound effects, shots, settings, cinematography and so on. While these certainly are present and are admittedly a touch distracting at times, make no mistake; this sequel has it’s own identity to it. The concept is interesting, I love the idea of the parents more or less reversing their roles from the first film and all the comedic antics those bring . . .and every scene involving Jack Jack got uproarious laughs in the theater. Admittedly the story has a few noticeable holes and isn’t as tight as the first film, but they weren’t nearly noticeable enough to ruin the experience as a whole. Also the movie kind of falls short in terms of pacing; by the end of it I was honestly kind of amazed that it felt over so quick. For whatever reason the first film felt way more like it took it’s time, despite the fact that there’s only a difference of 3 minutes between each films runtime.

Characters:

The characterization of each family member is arguably the Incredibles greatest appeal. It’s so much fun watching this family interact with one another. This time around the family dichotomy ups the anti with a handful of cute little moments between members. I loved all the interaction between the siblings and the parents and they have constantly great dialogue between each other just as the first film does. Mr. Incredible is probably the most accurately portrayed dad in the history of animated films; he reminds me so much of my dad it’s actually insane. There’s also one VERY small interaction between Dash and Frozone that I won’t give away but the moment I heard it I completely gushed. Also, while not as developed a villain as Syndrome in terms of motivation, Screenslaver is one hell of a cool bad guy. While Syndrome was a larger than life hamfisted manchild who loved to boast and brag, Screenslaver is a cold and calculated entity whose hidden behind layers and layers of intricate planning and espionage. Again, Screenslaver’s motivations aren’t as fleshed out or as interwoven with the family as Syndrome is but the villain more than makes up for it in aesthetic and outright creep factor. I kind of wish the movie spent more time keeping Screenslaver’s identity shrouded in mystery as that was when the appeal was highest IMHO but the twist is pretty good too. I won’t spoil it obviously, but I thought it was a pretty clever way to spread everything out. I do wish they gave Dash a bit more to do in the film though. While he has a memorable fast paced chase scene in the first movie Dash is unfortunately given next to nothing here; opting instead for more screentime for Jack Jack. In fact, both he and Violet pretty much get the shaft in favour of their baby brother when it comes to what is supposed to be their big action scene. All well. I still enjoyed seeing them again.

Visuals (Animation, Composition, Visual Storytelling, Etc.)

*this shot of Dash and Jack Jack running through a series of portals is among the most memorable.*

While the script and plot of this sequel all in all recaptures the appeal of the first Incredibles but falls just short in matching it in quality and pacing, one thing it absolutely improves upon this time around is the visuals. This film is gorgeous as one may expect it to be. The textures are beautiful, the use of the trademark Incredibles colour scheme involving shades of orange and red is great. The characters this time around are a bit more on the geometric and cartoony side whereas the first film was more rounded and mushy looking, which is a welcome change IMO. The animation is excellent as predicted. The characters move and behave their own charming ways and the facial expressions in particular are ON POINT in the film. Not to mention the slapstick is a lot better. The big thing where the visuals really shine though is the action. OH MY GOD the action in this film alone is worth price of admission. This is right up there with the first Kung Fu Panda when it comes to fight scenes oozing with creativity. The way characters utilize their powers, the way they interact with their environment, the way the stakes in every fight build as they progress, the way one action follows up another and it’s so clear despite it being so quick. It was simply excellent. The story developers have come up with stuff for this film I would have never thought of in a million years and it’s the coolest damn thing every time.

One minor thing to note; you may have scene a seizure warning floating around on the internet for a particular scene in this movie. I’m telling you right now; they weren’t kidding. I’m not epileptic but it was quite a bit for me. I’d take the necessary precautions before you see it thinking it’s safe. While the scene in question is definitely a bit of a strain on the eyes, it’s undoubtedly a really cool aesthetic regardless.

Voice Acting Performances:

Holly Hunter, Craig T. Nelson and Samuel L. Jackson all return for their iconic performances as Elastigirl, Mr. Incredible and Frozone. They all do as great a job as they’ve ever done and haven’t gotten the least bit rusty. Craig T. Nelson still plays a down to earth sentimental father. Holly Hunter still plays an empowered, sharp and quick-on-her-feet mother. Sam Jackson still plays a suave and cool Frozone. Sarah Vowell returns as Violet and gives a great performance for the awkward, pugnacious yet responsible teen. Brad Bird is directing/writing again which means he also returns as Edna Mode; as entertaining as ever. We also get some exceptional performances from voice actors acting as standins for the first films roles. Huck Milner takes the role of Dash this time around and plays it very close to Spencer Fox. Between Dash and Nemo in Finding Dory Pixar has an uncanny ability for replacing child actors after the first got much too old. The only performance that kind of stands out as not really matching the original is Jonathon Banks as Rick Dicker. I could tell instantly he wasn’t quite the same as the late Bud Luckey (R.I.P). All well; a small gripe in the grand scheme of things. The newcomers such as Catherine Keener and Bob Odenkirk are great. Overall, great performance from everyone.

Sound design (Score, Sound effects, etc.)

Yet another great element from the first movie that makes a triumphant return: the damn jazzy MUSIC. You can’t tell me you don’t get pumped up just from the killer soundtrack to Incredibles by itself. Those fans of said soundtrack should stick around until after the credits for a special treat in that regard. The sound effects for the film are great too, particularly the original made sounds for each of the superpowers. Not a whole lot else to say; it just nailed it.

Conclusion:

Fans of the original will not be disappointed. It’s got all the appeal of the first with a great set of original stuff to be it’s own visual experience. It about matches the first in overall quality with it’s superior visuals and action but inferior story and pacing. If you haven’t checked it out already please do. I haven’t had that much fun in the movie theater in quite some time.

Story: 1.5 out of 2 - Above Average

Characters: 1.5 out of 2 -Above Average

Visuals: 2 out of 2 - Excellent

Voice acting performances: 2 out of 2 - Excellent

Sound Design: 2 out of 2 - Excellent

9 out of 10 - A worthy successor!

#pixar #disney #disney pixar #incredibles #incredibles 2 #brad bird #film #movies #film review #animation #3d animation

24 notes · View notes

lindburgsreviews · 6 years

Photo

Incredibles II Movie Review

Incredibles II was directed by Brad Bird and is the highly anticipated sequel to the 2004 Pixar hit The Incredibles. The movie picks up right where the last one left off where a family of superheroes faces the daily struggle not only of living their lives, but doing so without revealing their powers in a society where superheroes have become outlawed. This is despite a near constant stream of villainous foes and cataclysmic events which threaten the city the family lives in. Things change, however, when a corporation lead by a brother-sister team approach Mr. Incredible, Elasitigirl, and Frozone with a plan to improve the public perception of superheroes and legalize their work again. They agree, and Elastigirl/Helen Parr tries to fight off a new villain called the Screen Slaver as Mr. Incredible/Bob Parr begins his new role as a stay-at-home dad.

Like most people, I love the first Incredibles movie and have only grown to appreciate it more as I’ve gotten older. It’s arguably the best Pixar movie and it’s just as good, if not better than almost any superhero movie ever made. It goes without saying that I have been among the masses who were excited to continue this story, but also nervous as many Pixar sequels have been pretty disappointing. I trusted Brad Bird’s vision however, and I firmly believe that such great characters and a smart story line/plot were well worthy of a second installment.

I heard once that the best sequels build upon the characters and expand upon the world they live in and Incredibles II does this extremely well. A large part of the plot is spent exploring the new problems the family is facing since the events of the last movie. Should they continue hiding their powers? Is there a way superheroes can be made legal again? What about the collateral damage their abilities have on their personal lives as well as the citizens some believe they should be protecting? The movie explores all this and more in a lot of creative and fun ways and there isn’t one dull or slow moment from start to finish.

The voice-acting as usual with most Pixar movies, is also fantastic. Holly Hunter, Craig T. Nelson, and Samuel L. Jackson all reprise their memorable parts from the original but newcomers Bob Odenkirk and Catherine Keener are also perfectly cast for their roles as the brother and sister wanting to improve things for superheroes. As a fan of Breaking Bad, it was fun seeing Odenkirk play a more clean-cut version of his character Saul Goodman in animated form.

As much as I loved all parts of this movie, what stuck out to me the most is just how human and relateable the characters are as well as the situations they get in to. Obviously nobody is a superhero living in an animated world with a sleek, 1960′s feel to it, but these characters face problems and have reactions that anybody can sympathize with. Whether it’s Bob feeling jealous of his wife being selected as the face of the superhero PR movement or daughter Violet being shy and awkward around boys, these situations and everything in between have something to offer for everybody in the audience. The way Brad Bird and the rest of the creative team behind this movie does this adds an element of magic to it, which is probably why these movies and characters have resonated with so many people, me included.

In the end, Incredibles II is a fun, imaginative, and entertaining movie that is a worthy follow-up to the original. If I had to pick a nit, I feel as if it doesn’t have the same level of depth or the same social commentary as the first, but this is easy to overlook, as it’s still a movie with a tremendous amount of wit and heart. I highly recommend seeing it, and at the halfway point of 2018, Incredibles II just might be my favorite movie of the year so far.

#the incredibles #incredibles ii #craig t. nelson #holly hunter #samuel l jackson #bob odenkirk #catherine keener #disney pixar #pixar #animated #animated movies #summer blockbuster #summer movies #2018 movies #movie review #mr incredible #elastigirl #frozone

2 notes · View notes

immaculate-benediction-batch · 7 years

Text

Queerbaiting and Why BBC Sherlock Isn't "Just a Show"

She gets a few things wrong, but no biggie. John beat the shit out of Sherlock in TLD...

McKinley Catherine Keener..

Okay, I'm so late to the party that the guests have gone home and all that remains is overturned furniture and a bunch of empty Solo cups. But the hosts haven't bothered to clean up the mess yet so my soapbox remains, here in the middle of the room.

To Moffat, Gatiss, and everyone else responsible for the Rise and Fall of the BBC Sherlock Empire: I've got quite a few bones to pick with you.

I watched Sherlock series 4 with the rest of the fandom, the exact second it aired. Because we're in the US, my roommate and I had to take extreme measures to ensure we would get to watch the premiere real time. I'm a Tunnelbear/livestream/backup livestream vet, so January 1st, 8th, and 15th were entire days devoted to streaming each new episode at 4 p.m. EST (and watching "Still Open All Hours" at 3:30, just to be safe). Sherlock fans get a new series only every three years, and everyone was so excited for series 4.

That is, until the series 4 actually aired.

To say it was a letdown would be insulting to letdowns everywhere. The first episode ("The Six Thatchers") had some pretty unexpected, pretty out of character moments (like John literally beating Sherlock to a pulp) but it was acceptable because hey, that's only a third of the whole season. Surely they'll make up for it in the next two episodes, right?

Episode two ("The Lying Detective") was pretty solid. I'm not going to complain about a whole 90 minutes featuring a creepy villain, beautiful production, interesting premise, and great acting. Everyone was much more in character—relative to "The Six Thatchers," that is—but there was still a ways to go before this season rose to the quality of the previous three.

Any "quality" episode two brought to series 4, episode three ("The Final Problem") ruined completely. The episode was so poorly written, scripted, and acted, the entire fandom (myself included) believed it was a prank and the true episode three was out there, still waiting to be released.

Some fans still think that. I've pretty much abandoned hope. At this point I don't even know if the existence of a secret episode matters, because Moffat and Gatiss have let the current last episode sit as official for far too long.

Of all the godawful things that went wrong in Sherlock series 4, the most infuriating is how they completely "no homo"-ed the relationship they had built between Sherlock and John, despite much of it being very not "no homo." That, my friends, is called queerbaiting—one of the worst and most offensive things a creator can do to the LGBTQIA+ community. It offers them a voice then retracts it. It dangles representation in their face and says bite, then pulls away before they can catch it.

So yeah, series 4 made (still makes, apparently) a lot of people pretty angry with the show and the showrunners. And naturally, backlash against it has led to backlash against the backlash. The most frequent argument is that “it’s just a show” and we're all mad because our “ship isn’t canon."

If only it was that simple. The problem here is that the piss-poor writing and horrible queerbaiting of series 4 had detrimental effects beyond the scope of the show itself.

It may be just a show, but it’s a show that gave us a community. It’s a show we put a lot of faith in because it was so good for so long. It’s a show we enjoyed the same way you enjoy hanging out with a friend. And when that friend turns their back on you and starts going back on everything they’ve ever said, you’re going to mourn the death of the person you thought they were and the relationship you two shared.

And give me a break, we’ve dealt with non-canon ships before. That’s why we have fanfic and fanart and headcanons and AUs. This frustration, this outrage, is not about that at all. It’s about the obvious (obvious) queerbaiting, the possibility of representation—of something we deserve, because no one else has created a show with so much potential to have characters naturally be gay, not in a way that’s forced or makes the entire show about them being gay—that was completely rejected.

It’s about Mark Gatiss, an openly gay man, abandoning an entire group of people he should instead be protecting. It’s about every interview when a cast member called it “television history." It's about every other lie, exaggeration, and half-truth they made us believe.

It’s about taking a really wonderful love story (and above that, just a really wonderful story) and screwing it up after six years of beautiful and intelligent writing. It’s about how the hell do you expect us to be proud or happy about all the shots you threw away.

So no, it’s not "just a TV show,” and it’s not about our ship. It’s about something we (not as a fandom but as a collective group of people) deserve and were denied.

Seven months later, I am still mourning the death of the show I thought BBC Sherlock was. I came into the fandom straight after series 1 hit Netflix, so it's been a part of my life since 2011. I gave them those five years happily because I saw them telling a story so many people have gotten wrong, and I thought they were finally going to get it right.

From day zero, Moffat and Gatiss started working towards an endgame Arthur Conan Doyle never could have pursued. Not many people outside of the fandom have seen the unaired pilot, a 60-minute rough draft of the first official episode. It's jokingly called the "gay pilot" for a reason: It laid the groundwork for every lie to come.

In the unaired pilot's most memorable scene, Sherlock is on the top of a building searching for the missing suitcase. He's hyper-focused, paying no attention to the moon behind him or his long coat swaying in the wind. On the sidewalk below, John looks up at the man he met mere hours ago as if he's the most extraordinary thing in the world.

http://mckinleykeener.com/blog/2017/8/9/queerbaiting-and-why-bbc-sherlock-isnt-just-a-show

#sherlock #john watson #bbc #mofftiss #steven moffat #mark gatiss #queerbaiting #benedict cumberbatch #martin freeman

25 notes · View notes

binaryins · 5 years

Link

AI Trends 2020: There is no uncertainty that the modernization of the digital world alongside huge technological advancement has moved our way of life from numerous points of view. For example, the massive enhancements in Artificial Intelligence have helped people and numerous entrepreneurs. These manifestations or developments have also changed how people look at things and communicate.

Artificial Intelligence or AI was predicted decades back; be that as it may, individuals only associate with robots. If you would investigate, AI is presently a piece of nearly all that we use—from home appliances and methods for transportation to individual helpful devices and office equipment. (AI Trends 2020)

Artificial intelligence is presently one of the essential frameworks utilized in specific devices, which goes about as a human or shows human-like qualities. From that point onward, well-informed developers have consistently observed it with incredible possibilities. Today, nearly everybody is exploiting these advancements for both individual use and career growth. It assists people with getting increasingly effective and gainful. (AI Trends 2020).

Top AI Trends 2020: Developments and Prediction

2020 is approached; and as indicated by experts, there is a great deal of bigger advancements to expect getting significant changes in various viewpoints for associations, business models, and societies.

To give you more thoughts, here are some of Top AI Trends 2020: –

1. Integration of Blockchain, IoT, and Artificial Intelligence

The integration of AI to different technologies is one of the primary concerns previously. Today, experts have figured out how to combine Artificial Intelligence with different frameworks all the more successfully.

One of these headways is the activation and guideline of specific devices, which empowers you to assemble real-time data. In 2020 of AI Trends, you can run more AI features includes in vehicles. Something very similar goes for Blockchains that can create a certain standard utilizing AI to address security, scalability, and other alarming concerns.

2. Improvement of AI System in Media and Entertainment

In AI Trends 2020, developers are searching for ways on how Artificial Intelligence can infiltrate imaginative businesses. By 2020, you can anticipate more changes as the financial aspects of gaming and film creation keep on rising.

Experts have anticipated that the utilization of AI innovation can support movie producers and game developers with regards to story ideas, generation, scriptwriting, and even acting. Remember the movie Simone featured by Al Pacino, and Catherine Keener? This may really come to reality by one year from now.

3. Real-Time Interactions with Customers

You may have seen a portion of these essential highlights utilized in the digital world, particularly in different Social Media channels. In any case, the majority of them are constrained distinctly to automated messages. In 2020, you can expect all the more showcasing exercises to occur continuously over all platforms.

It might appear overachieving, yet specialists state that you may utilize AI Marketing, which can help improve client maintenance. This will also profit your other advertising efforts by keeping up commitment with your crowd and looking for the progressively potential system across other promoting platforms.

4. Artificial intelligence in AR and VR

Augmented reality and virtual reality open a lot of chances for better inundation in completely rendered conditions. So as to make this innovation progressively modern, better consideration would need to be given when mapping and making those situations.

Before it’s difficult for headsets to horizontal and vertical planes, however, with AI it’s currently a probability. Also, it’s not simply constrained to that. With the assistance of AI, for example, you can get progressively exact profundity observation when performing the medical procedures. Furthermore, the device will immediately make precise changes in accordance with the guarantee ideal outcomes.

5. Voice-Centric Apps

The conceivable outcomes with conversational AI appear to be interminable. With it, clients can share data, participate in business and connect with a specific brand or program. These possibilities will come up in 2020 as experts make better approaches to utilize voice technology.

Smart devices have everything except maximized their uses, however, different applications will begin to fuse voice technology. For example, food delivery applications will start to utilize voice-based requesting frameworks. In this way, developers should re-shape their applications so they’re voice-forward and prepared for 2020.

6. Kinder AI Personalities

At the point when you address an AI character now, you get a digital sounding aide on the opposite end. Without a doubt, such applications do give the data you need, yet they don’t present with a lot of compassion. In (AI Trends 2020), however, these characters will begin to take on human attributes.

To be specific, AI helps will turn out to be all the more sincerely instinctive – for example, if clients appear to be baffled, they’ll notice this in their voices and respond as needs be. In addition, specialists anticipate that AI should turn out to be better at understanding context, in this way improving the innovation’s responses, as well.

7. Smart Technology at Work

We as of now have a lot of smart technology advancing into our homes. Regardless of whether you have an Alexa, a fitness tracker or a TV that logs onto the web, you know how advantageous such applications can be.

In 2020, the comparably brilliant tech will advance into work environments, as well. In particular, specialists anticipate that such devices will improve gatherings which helped client experience and profitability. In this way, when it’s the ideal opportunity for a telephone call or gathering meeting to generate new ideas, get ready to plug into AI.

8. Catalyst – the 5G impact

In case we’re all to appreciate the advantages of AI, we need an infrastructure technology that will empower end clients to live, work and collaborate in the cloud. Future AI applications – and in reality, current ones – require tremendously sped up, together with area freethinker get to and negligible inactivity, which is actually what 5G will bring.

It’s no exaggeration to propose that 5G will be the key impetus for an insurgency in the manner we experience reality. Genuinely associated homes and workspaces; progressed, telematics-empowered human services administrations, and “practically genuine” (VR/AR) intelligent encounters – these are just a couple of the ways where 5G could without much of a stretch become the thruway to the appropriation of AI advancements from all businesses, capacities, and clients.

9. Introducing AI-as-a-Service

If we talk about AI Trends in 2020, It needed to come, isn’t that right? Today it appears as though everything is accessible as-a-Service. Be that as it may, how about we do not taunt, since this model has truly changed the manner in which that associations get innovation, bringing enterprise-grade tech inside the ambit of even the littlest organization.

What’s so energizing about AI-as-a-service isn’t only that the tremendous economies of scale will make the innovation accessible to each association that needs to utilize it. It will also give us the much-missed capacity to outfit all the foundation, platforms and data towards making genuine and economical worth.

By packaging AI as a major aspect of an answer, we’ll make it a lot simpler to recognize significant new use cases while giving a platform with end to end responsibility regarding delivering them.

10. AI Optimized Hardware

AI technology makes hardware cordial. The inquiry is, how? Today, there are graphics and central processing devices structured unequivocally to run AI-based undertakings. You can without much of a stretch gain admittance to this technology by utilizing Cray (a Hewlett Packard Enterprise organization), IBM, Alluviate, Intel, Google, and NVIDIA.

11. Decision Management

Keen machines are fit for acquainting guidelines and justification with AI frameworks so you can use them for introductory on arrangement or training, tuning, and progressing support.

Decision management has been combined into a collection of corporate applications to help and implement the automated decision and making your business as beneficial as could be normal in light of the current situation. Take a look at Advanced Systems ideas, Maana, Informatica, UiPath, Pegasystems for additional other options.

12. AI-Powered Cybersecurity Systems

The advancement and size of cyberattacks are expanding at a quicker rate, outpacing existing cautious measures. All things considered; people are no match to the present cybercrime tricks. Cyber threat chasing is a proactive way to deal with identify pernicious aggressors and forestall exercises started by these hoodlums. Therefore, AI frameworks will keep on assuming a huge job in dealing with these criminals. Utilizing AI, associations can recognize such security ruptures effortlessly.

13. AI Will Disrupt Traditional Industries

An ever-increasing number of associations have understood that AI is a survival tool. With the introduction of self-driving vehicles, traditional automobile manufacturers need to develop, or they will get immaterial.

Indeed, even AI champions like Google and other conventional officeholders are thinking that it’s important to become clients or structure coalitions with AI new companies. Obviously, in a post-AI world, the accomplishment of undertakings will rely upon their capacity to set up their HR for disruption.

14. Biased Data

Throughout the most recent couple of years, a few organizations have depended on AI models to help them in basic leadership, for example, hiring and mortgage loan approval. Sadly, this trend may lead to biased data. For example, traditional business data demonstrates that women are promoted less regularly than men, which may make a discriminatory AI-based application.

15. Facial Recognition

Facial recognition is confided in a type of biometric validation. Because of the gigantic speculation and profound research around there, this AI application’s exactness and lucidness have improved fundamentally throughout the most recent couple of years. With the assistance of AI, we are well on the way to see a float in the use of facial recognition technology with precision in 2020.

Final Thoughts

AI Trends 2020 turned into a pervasive trendy expression in mainstream technology for various reasons, and they have altogether outlined above. AI Trends possess a dominant part of the current innovation trend. It is overwhelming the technology, without a doubt.

#top ai trends in 2020

0 notes

adamwatchesmovies · 8 years

Text

Get Out (2017)

When I find a film like Get Out, a picture that not only delivers frights but also has something to say, I’m compelled to dig deeper. This is the kind of picture that you’ll have a ton of fun discussing and analyzing everything that makes it scary, funny, insightful and clever.

Chris (Daniel Kaluuya) is traveling with his white girlfriend Rose (Allison Williams) to meet her family: her father Dean (Bradley Whitford), her mom Missy (Catherine Keener) and her brother Jeremy (Caleb Landry Jones). Even when the family assures him that they don’t have a problem with the colour of his skin, Chris gets an itchy feeling that there’s something not quite right.

In some ways, the message and the medium of Get Out are one and the same. When you hear “hypnosis”, what do you think of? an altered state of mind; a focal point that allows you to hone in on a specific memory or feeling; a new level of awareness and heightened suggestibility? Those elements are present in the film, but most importantly, in the viewing experience. Writer/director Jordan Peele (in a spectacular debut) will use a musical sting to bring attention to a character in the background. This suggests to you that you should pay attention to that person, that whatever it is that’s happening, it has to do with them. Fear and paranoia will grow where normally, it wouldn't be. You'll think of other horror films you've seen in the past and settle on a conclusion. You think you have it figured out... until the pendulum swings back and will show you something else that will have you reconsidering everything.

Things that would seem normal in any other picture take on a whole new meaning. You’re suddenly aware of sentences that… don’t feel quite right. You know that SOMETHING is off kilter. This is a horror movie, after all, the opening scene makes that very clear.

There’s a lot to be said about the cinematography, writing, symbolism and also, the characters of Get Out. The film is frightening, but it’s also very funny. There’s a good balance here. You’ll be kept on your toes. I love the way it uses horror to talk about racism, but not in an immediately obvious way. It’s not like Green Room (also a great film), which has skinhead neo-Nazis and the danger is obvious from the start; here the danger lurks below the surface.

Get Out has many moments of brilliance and a killer ending. It has unconventional scares, none of which are cheap, and once the film is over, you’ll keep playing the story back in your head, admiring all of the little details used to make it happen the way it did. Get Out is a funny, thoughtful, poignant and smart horror film. (Theatrical version on the big screen, March 15, 2017)

6 notes · View notes

creativeprompts · 8 years

Photo

How To Write An Awesome Movie, According To Some Of Hollywood’s Best Writers (Part 5)

Write Your Own Rules

Linklater: How to convey it all, the decisions that go into that, that’s the hard part. There are a lot of great stories; it’s hard to make a compelling movie. You can take the most colorful life of someone and you can make a very boring movie out of it if you don’t break convention, or everything’s the same and we’ve seen it all before, no matter how exciting. It’s the how to tell a story, the technical inspiration, the storytelling inspiration, what’s the form that story should take, what’s the best way for an audience to receive it.

Mark and Jay Duplass: The biggest rule to follow is this one simple question: “What do you want to see next?”

Holofcener: I have no rules. People who don’t like my movies would probably be like, “That’s right, she needs some.” I mean I think that having written as many screenplays as I have at this point in my life as I have, I feel it’s intuitive that I write something with conflict. When I was in college or whatever, I’d write two girls sitting around talking and thought it was so ingenious, and now I know better — to some degree — that there has to be some conflict, at least between the two people talking, or what they’re talking about.

I guess I know when I’m doing something that breaks the laws that I’ve created in my movie. For instance, in Please Give, there’s a couple of sequences where somebody disappears, I guess Catherine Keener is looking at a chair in the store, and we know that somebody has died in that chair, and she looks over and sees the dead person in the chair. And there’s no reason to believe that I’m about to do that in this movie, there’s nothing mystical that’s happened, or anything magical, and yet I thought, Fuck it, I want it, it works.

I shot that thinking, This is never gonna be in the movie, but I ended up liking it. So that’s breaking convention. Or having someone talk to the camera out of the blue, which I’ve never had or never did. Things like that. Or showing someone — if I’ve set up a story where it’s from a certain character’s point of view, and then suddenly we’re in a room without that character, that’s breaking convention. But I don’t care, as long as it works, that’s how I feel.

Wain: Most of the classic screenwriting rules are good to keep in mind, but I find that you have to go back and forth between looking at something through the lens of rules/conventions/structures on one hand, and freely imagining with no boundaries on the other. The rules I do go back to often are: In a comedy you need to have jokes on every page, unless you’re going for a very specific moment of breaking the form; every scene (and every beat) should have a good reason to be there or it should be cut.

Every rule is made to be (and has been successfully) broken. But I would say every script has to have a “reason to be” — a vague but helpful rudder that has kept me on track during long, frustrating projects.

Koppelman: If a scene doesn’t have either internal or external conflict, it had better be damned interesting.

Curtis: On Love Actually, I was really finished in love and thought I understood how to write romantic films. Two of the films in that were two films I was thinking of writing, the Hugh Grant one and the Colin Firth one, and then I thought, I don’t want to write another whole romantic comedy, what about if you could do a sort of ecstatic film, where you just saw the best bits of 10 films, rather than just one whole film? And when I thought that, I thought, I don’t only want to do the sort of romantic kissing ones, and that’s when I put in the Laura Linney story and the Emma Thompson story and the Liam Neeson one, which starts with a funeral.

Weber and Neustadter: The only rule we have is that it can’t be boring. If you’re bored writing it, people will be doubly bored reading it. And it’s important to think about the reader. Who are the people reading your stuff? When it comes to screenplays, for the most part, it’s people whose job it is to read 10 a weekend and they have things they’d rather be doing. If you’re able to hook THEM, to keep them turning the page of YOUR script vs. another one in the stack, the battle’s half won.

We don’t want the audience ahead of the characters, we never want to be overly treacly, we avoid coincidences at every turn. But with conventions, we would say nothing is absolutely absolute. One thing we would never do is avoid convention because it’s a convention. If it’s lame, that’s one thing. But if two characters have to meet — and they probably, eventually do — that’s a convention you can’t avoid. The true goal should be to make sure your version of that convention is memorable and effective rather than to avoid it entirely.

Source: Buzzfeed

#writing resource #screenwriting tips

17 notes · View notes

derpwithglasses · 8 years

Photo

Get Out Movie Review (2017)

“My Dad would’ve voted for Obama a third time if he could’ve” everything is going to be just fine right? hmmm not exactly but we all knew that if anyone viewed the trailer. This movie received a perfect 100% on RottenTomatoes, that is rare! Did it live up to the score? My gosh, yes! It did! It was an incredible film that will be an instant classic. This was a perfect blend of horror/comedy directed by Jordan Peele. Now I wasn’t too familiar with Peele before watching this, but I knew he was part of the comedic duo of Key and Peele. With a tiny bit of wikipedia research, I found out their sketch comedy show is on Comedy Central. Their latest movie was “Keanu” (stolen kitty comedy) which I didn’t see yet, but probably will eventually. For a first time director to get a score this good as their first movie is remarkable, Peele knocked it out of the park! (excuse the baseball reference). Now I’ll just get this out of the way, this is movie is racial obviously. It might be touchy for some (white folk) people. I’ll just say lighten up and watch some comedy. There is a lot of truth here, and I am glad that this came out. The opening scene to this movie is fantastic and sets the tone for the movie. The camera work captured the feeling of paranoia (walking alone in a dark neighborhood) and that feeling will stay with you. As for the set up- A New York photographer Chris Washington (Daniel Kaluuuya, British TV Skins, Black Mirror) is preparing to accompany his girlfriend Rose (Allison WIlliams “Girls”) to meet her parents. That sounds a bit familiar (”Guess Who’s Coming to Dinner”) but with different results unfortunately. Rose tells Chris her parents Dean and Missy (Bradley Whitford, Catherine Keener) don’t know that he is black yet, after Chris tentatively asks her. However, she insists they are liberal and not racist, (see Obama quote). The chemistry between Chris and Rose is developed in these opening scenes, and you can see that have a cute comfortable relationship. The camera work and use of music was great during the trip to her parent’s house. It looked like some back country out in the woods type of place (never a good sign). The camera gave a good view (Chris and Rose point of viewpoint) of what they saw in front of the car as they drove forward. There is a startling scene here, don’t want to spoil it. It might be predictable for some people but I thought it was effective. There is a good scene between Chris, Rose, and a cop that shows Rose’s white privilege as my love @princesshardfemme funnily pointed out :) They get to her parent’s home, and Chris is introduced to them. Things are awkward of course as Rose’s parents try to get to know Chris and welcome him into their home. The home interestingly has two servants (who happen to be black) and then things get even more weird. I won’t go into much more detail. This is a movie that should be seen without knowing very much. Rose’s brother Jeremy also gets introduced, probably the creepiest of the family. (Caleb Landry Jones, “The Last Excorcism, he was Banshee in X-Men First Class that was a nice surprise). Chris keeps in contact with his friend back home, Rod Williams (Milton “Lil Rey” Howery, stand up comedian) as things get more scary. Rod is a funny TSA agent who is taking care of Chris’ dog while he is away. He had the funniest scenes in the movie, and I honestly thought he stole the show. He knows that a lot of black people have gone missing, and he is almost certain that this could have something to do with the white people Chris just met. These scenes between Chris and Rod are so good and fit right into the plot. I was in awe this entire movie. The performances we’re great, so major props to the actors. I love when a horror movie can be scary and not rely on a lot of jump scares. This movie was unsettling and gives a feeling of dread all the way to the the third act which is frightening and unexpected, and so so good. Jordan Peele did great work on this film, and I’m looking forward to what he can do next. Get Out is a classic and deserves a 5/5.

Planning on reviewing some movies I own soon, either “A Place Beyond the Pines” or “The Prestige”

Looking forward to “Logan”!

#Move Reviews #Get Out #daniel kaluuya #skins uk #jordan peele #horror #comedy #logan

4 notes · View notes

catsgomiao-blog · 8 years

Text

Get Out

So tonight, I finally had some down time and watched two awesome movies - Get Out and The Lego Batman Movie. I don’t have much to say about the latter (nor do I really have the right to, since I slept through a good fifteen minutes of the movie), but I will talk about Get Out because it makes me so damn excited that there’s now a popular and critically acclaimed film that exists in the intersection of horror, science fiction, comedy, and social commentary. Bear with me - it’s 1 AM and I’m pretty sleepy.

Jordan Peele’s debut film is absolutely hilarious, brilliant, and relevant. It’s an allegory about race relations in America that takes you out of your comfort zone and transplants you into mystifying depths of terror and laughter. Although it doesn’t rise above horror tropes (cough - and damn you - jump scares) and is intellectually aggressive, Get Out possesses such refreshing storytelling that you are consistently curious throughout the movie. It’s a deeply thoughtful and subversive film that never comes off as *too* pedantic.

Chris Washington (played by Brit actor Daniel Kaluuya - yes, the dude in the second episode of Black Mirror) is a young Black photographer who visits his white girlfriend’s family reluctantly. His girlfriend, Rose, is played none other than Allison Williams, aka Marnie from Girls, aka someone who is associated with what is the pillar of white feminism. Bae seems to be woke and open-minded, defending Chris against a white officer’s racial profiling and claiming that her dad would vote for Obama if he ran a third term. Racial tensions are made clear at the beginning of the movie when Chris asks Rose if her parents know that he’s Black. While characters in horror movies never seem to know that they’re being hunted or hurt until it’s too late, the Black man in this movie knows that he should watch his back always.

Strange events transpire when the couple arrives at the Armitage estate. Rose assures him otherwise and her well-off physician parents Atticus Finch the hell out of Chris to make him as comfortable as possible. But like I said, weird shenanigans go down. The Black servants at Armitage residence vacillate between politely hostile and Stepford wife creepy. Rose’s mother Missy (played by the brilliant Catherine Keener) performs some freaky hypnosis on Chris in the middle of the night that brings him back to memories of his mother’s death. The only other black person at the Armitages’ party is eerily docile and freaks out when Chris’ phone flashes. Chris’ friend Rod (Lil Rel Howery), a TSA agent and the comic relief of the movie, keeps in contact with him via phone. Rod’s convinced that there’s something wrong with the estate, that the white people in Rose’s neighborhood are turning Black people into “sex slaves.”

Well, without spoiling too much of the movie, Rod isn’t far off. Get Out explores everything from racial hierarchies of power to perverse depictions of agency in the face of abuse and torture. It explores that malice (through a very exaggerated example) that belies the benign smile of the white savior complex, satirizing white liberal elite culture for distancing itself from implications of racism in the most grotesque way possible. There’s honestly so much to be said about Rose and her family, but I can’t without spoiling the last half hour of the movie. Just go watch it!

Peace out for now - and hopefully I will come back soon for a review of Mad Men, which I recently binged the last couple of weeks.

#get out #edits to come

1 note · View note

delayedcritique · 8 years

Text

GET OUT REVIEW

“Is it worth the 100% rating on Rotten Tomatoes?”

BY COLLIN DE LADE

Get Out is the latest horror movie written and directed by Jordan Peele. The movie centers on a mixed-raced couple named Chris and Rose, played by Daniel Kaluuya and Allison Williams. Chris and Rose drive out to Rose’s parent's place in the middle of the woods away from society. Rose’s parents, played by Catherine Keener and Bradley Whitford, act very inappropriate around their daughter’s African-American boyfriend. Chris doesn’t bat an eye at their behavior at first, but when he discovers more and more about his girlfriend’s parents, he gets very uncomfortable the longer he stays with them. The biggest compliment I can give about this movie right away is how it doesn’t reveal too much about what is going on.

Jordan Peele really surprised me with his directing talents and the film's hidden secrets that are slowly revealed. The comedy actor could have turned this story about a black man meeting his white girlfriend’s family into a silly skit in the style of Meet the Parents. While there is some comedy in the movie, Get Out is a straight-up horror movie with a well-developed subtext about racism. Jordan Peele does a fantastic job in the directing chair as this everyday premise slowly turns into a supernatural thriller that earns every one of its intense moments. Mark my words, Get Out is the spark to Jordan Peele’s directing career that hopefully, he can continue making quality products both inside and outside from comedy.

As for the actors involved, there isn’t a single weak link among the cast. Daniel Kaluuya and Allison Williams have great chemistry with each other, Catherine Keener and Bradley Whitford play the creepy, inappropriate parents very well, and the supporting actors are just as impressive. The movie also has a good mystery about what is happening behind the scenes in this uncomfortable environment. There are plenty of twists and turns as more and more is reveals, with some surprises working better than others.

Without spoiling anything, there was a major twist that wasn’t executed correctly. What should have been a big twist was ruined by showing it off a scene too early. Literally, thirty seconds could have been cut before the big surprise I’m referring to that would have saved the reveal for the right moment and left the audience with more to think about at the end. Luckily, it’s a small complaint that does lead to an intense climax.

While a good portion of the film is a lot of set up, it all pays off at the end when all is revealed. Unlike a movie like Split, everything that I wanted to be answered was addressed and the movie ends on a note that feels like a completed story. It might appear that I absolutely love this movie from all my praises, but it does have it flaws that I can’t address without spoiling the movie. I can say that my criticisms in no way ruin the movie as a whole.

Overall, I consider this as a pretty good movie with a great ending. While I can’t say, this is a perfect movie, this is definitely one that is worth seeing with a full theater of people. Get Out is worth checking out in theaters, but I’d recommend it at a matinee price if you are not completely convinced of it. If you are interested in this movie, though, then you won’t be disappointed!

8.5/10

#get out #horror #jordan peele #movie #review

1 note · View note

networkingdefinition · 5 years

Text

Play Quotes

Official Website: Play Quotes

<span data-mce-type="bookmark" style="display: inline-block; width: 0px; overflow: hidden; line-height: 0;" class="mce_SELRES_start"> (adsbygoogle = window.adsbygoogle || []).push();

• A child who does not play is not a child, but the man who doesn’t play has lost forever the child who lived in him and who he will miss terribly. – Pablo Neruda • A good hockey player plays where the puck is. A great hockey player plays where the puck is going to be. – Wayne Gretzky • A name, for me, is a short way of working out what class that child comes from. Do I want my child to play with them? – Katie Hopkins • A person might be able to play without being creative, but he sure can’t be creative without playing. – Kurt Hanks • All the world’s a stage, and all the men and women merely players: they have their exits and their entrances; and one man in his time plays many parts, his acts being seven ages. – William Shakespeare • All work and no play doesn’t just make Jill and Jack dull, it kills the potential of discovery, mastery, and openness to change and flexibility and it hinders innovation and invention. – Joline Godfrey • All work and no play makes Jack a dull boy – and Jill a wealthy widow. – Evan Esar • All work and no play makes Jack a dull boy. – Stanley Kubrick • American writer 1803-1882 Play is our brain’s favorite way of learning. – Diane Ackerman • And forget not that the earth delights to feel your bare feet and the winds long to play with your hair. – Khalil Gibran • And yet the artist will go on with his work without knowing in some way if any of his representations are sound or unsound. The artist knows nothing worth mentioning about the subjects he represents, and that art is a form of play, not to be taken seriously. – Plato • As a matter of fact, I rarely ever play myself. – Frank Langella • As a performer, you can’t just sit around waiting for the phone to ring. You have to write and develop projects for yourself, because casting people aren’t always going to see you the way you want to be seen. Write a one-person show, shoot a short film, do plays, whatever – activity breeds activity. No one’s interested in a stay-at-home actress. – Wendi McLendon-Covey

jQuery(document).ready(function($) var data = action: 'polyxgo_products_search', type: 'Product', keywords: 'Play+', orderby: 'rand', order: 'DESC', template: '1', limit: '68', columns: '4', viewall:'Shop All', ; jQuery.post(spyr_params.ajaxurl,data, function(response) var obj = jQuery.parseJSON(response); jQuery('#thelovesof_play').html(obj); jQuery('#thelovesof_play img.swiper-lazy:not(.swiper-lazy-loaded)' ).each(function () var img = jQuery(this); img.attr("src",img.data('src')); img.addClass( 'swiper-lazy-loaded' ); img.removeAttr('data-src'); ); ); ); • Be glad of life because it gives you the chance to love, to work, to play, and to look up at the stars. – Henry Van Dyke • Bobby Fischer started off each game with a great advantage: after the opening he had used less time than his opponent and thus had more time available later on. The major reason why he never had serious time pressure was that his rapid opening play simply left sufficient time for the middlegame. – Edmar Mednis • But I’d play on everything from pop records to a lot of the glam stuff to rock stuff to classical stuff. I used to get called to do all those things, it was great. – Rick Wakeman • Champions keep playing until they get it right. – Billie Jean King • Colin Morgan gives a stunning performance in Parked; he plays Merlin in the BBC TV show and he says the two characters are like night and day. Watch him. He’s got everything it takes to be top notch. – Colm Meaney

[clickbank-storefront-bestselling] • Combinatory play seems to be the essential feature in productive thought. – Albert Einstein • Comedy is simply a funny way of being serious. – Peter Ustinov • Contemporary American psychiatrist It is a happy talent to know how to play. – Ralph Waldo Emerson • Creative work is play. It is free speculation using materials of ones chosen form. – Stephen Nachmanovitch • Culture arises and unfolds in and as play… culture itself bears the character of play. – Johan Huizinga • Dare to err and to dream. Deep meaning often lies in childish plays. – Friedrich Schiller • Darren Fletcher is the type of player who would walk over hot coals to play for his country, and he has done – Andy Gray • Deep meaning lies often in childish play. – Friedrich Schiller • Does it not appear to you versatility is the true and rare characteristic of that rare thing called genius-versatility and playfulness? In my mind they are both essential. – Mary Russell Mitford • Don’t play the saxophone. Let it play you. – Charlie Parker • Don’t play what’s there, play what’s not there. – Miles Davis • Each player must accept the cards life deals him or her: but once they are in hand, he or she alone must decide how to play the cards in order to win the game. – Voltaire • For me right now I think being the world number one is a bigger deal than being the world champion because I think it shows better who plays the best chess. That sounds self-serving but I think it’s also right. – Magnus Carlsen • For my part I think it is a less evil that some criminals should escape, than that the government should play an ignoble part. – Oliver Wendell Holmes, Jr. • For Ripley I learned to play some songs on the piano, and I never really played them again. – Matt Damon • Generally the younger generation are not hard working. They will have to put in more effort to achieve results in tournaments. most of them can perform well but they cannot deliver when they play abroad. – Jahangir • God does not play dice. – Albert Einstein • He is not someone who went off to play in Europe and only a few Americans follow. He has the potential to be on magazine covers and more newspaper coverage. – Lamar Hunt • He that plays the king shall be welcome- his Majesty shall have tribute of me; the adventurous knight shall use his foil and target; the lover shall not sigh gratis; the humorous man shall end his part in peace; the clown shall make those laugh whose lungs are tickle o’ th’ sere; and the lady shall say her mind freely, or the blank verse shall halt fort. – William Shakespeare • Humor is by far the most significant activity of the human brain. – Edward de Bono • I believe that the artist’s feelings are in some way generative. And I suspect that much of the artist’s most productive emotion – not all of it but much of it – is felt in the course of playing around with form. – Carter Ratcliff • I can play songs that I hear from a movie and just play it a few times on the keyboard. I will hit all the notes on the keyboard until I find the right key, and then I will play the rest of the song. – Callan McAuliffe • I come to sing for the people, not for the government. God made the sunshine for everyone and made the moon for everyone. We have to follow his example so we have to play music for everyone too. We have a message, and in order for our message to reach the people, we have to play. – Ziggy Marley • I didn’t really play dress up when I was a kid, and I’m really T-shirt and jeans-y. – Ellen Page • I didn’t really want to be an actor when I was growing up – I wanted to be whatever I was reading about or seeing at the time. When I read The Firm I wanted to be a lawyer; when I saw Top Gun, I wanted to be a fighter pilot. So that’s why acting probably turned out to be a good thing for me because I get to be people for five minutes or 90 minutes. I’d be curious to see if I had the attention span to be like those guys on 30 Rock and play the same character season after season. – Jason Sudeikis • I don’t give a damn about any actors. What good will John Barrymore do you with the bases loaded and two down in a tight ball game. Either I get the money (more than Barrymore), or I don’t play! – Babe Ruth • I don’t have a favorite place to play. – Keren Ann • I don’t have to support Bibi, his government or any other conservative organization in order to come and play music in Israel, for people who want to come and listen to music. I think it’s b******t to ask me to boycott Israel and not America. It’s interesting that some people choose to pick on Israel and isolate her… I was invited to perform and that’s why I’ll perform, as long as the border is open and I’m welcomed. I’m just coming to play. – Anton Newcombe • I don’t think I’m very ambitious at all. But I seem to play people who have that quality. – Catherine Keener • I don’t wear bright orange clothes or leopard skin boots, but it was really good fun to play someone that does and have an excuse too! – Sally Hawkins • I guess the characters I play may be at the more destructive edge of the spectrum, more damaged or whatever, but I find a lot of female roles uninteresting. – Lili Taylor • I had this health teacher who kept me after class one time, saying, ‘You’re missing a lot of class.’ I was like, ‘Yeah, but I’m doing this play.’ He said, ‘Community theatre is not going to take you anywhere. Maybe you should stay in school’ – Dane DeHaan • I like to be other people, not me. And when you’re on the red carpet, it’s like, ‘Here’s Tom Hardy.’ I don’t want to be me. That’s why I play other people. – Tom Hardy • I like to play smart, three-dimensional women. I also like to play roles where the women are a little crazy. I just have a feel for crazy people. – Lili Taylor • I love doing voiceover work. I started doing voiceover work when I had just dropped out of school, and the first few professional jobs I got were plays, but then I started making money doing voiceovers. – Justin Long • I love the game – and I hate the Russians because they’ve almost ruined it. They only risk the title when they have to, every three years. They play for draws with each other but play to win against the Western masters. Draws make for dull chess, wins make for fighting chess. – Bobby Fischer • I love to play bid whist as much as I love football. – Emmitt Smith • I love to play games. I really like football, and I also like to ride horses. – Mary-Kate Olsen • I must be absolutely clear about this. Britain cannot accept the present situation on the Budget. It is demonstrably unjust. It is politically indefensible: I cannot play Sister Bountiful to the Community while my own electorate are being asked to forego improvements in the fields of health, education, welfare and the rest. – Margaret Thatcher • I often tell my students that you can’t worry about the end of an improv scene because the end is not up to you. You just play as hard as you can until someone changes the scene. The scene has changedthe end is not up to us. – Mark Sutton • I play an 89-year-old man whose wife has Alzheimer’s in a movie called ‘Still.’ I play a World War II veteran, I acted with my son and it’s called ‘Memorial Day.’ – James Cromwell • I play bad golf for good charities like the LA Police. – Robert Stack • I play guitar and I love the Beatles and melodic music. – Stephen Dorff • I play guitar, piano, bass and percussion. – Teena Marie • I play the guitar. I taught myself how to play the guitar, which was a bad decision… because I didn’t know how to play it, so I was a shitty teacher. I would never have went to me. – Mitch Hedberg • I play with microbes. There are, of course, many rules to this play…but when you have acquired knowledge and experience it is very pleasant to break the rules and to be able to find something nobody has thought of. – Alexander Fleming • I play, like, 12 instruments. Guitar, piano, harmonica, African drums… I’m working on mastering the accordion. – Lucas Grabeel • I still get wildly enthusiastic about little things… I play with leaves. I skip down the street and run against the wind. – Leo Buscaglia • I think the media makes it tough to play in New York. There are so many papers and TV channels covering the Knicks and the expectations for the Knicks are so high. • I thought it was such a unique concept to play parents who happen to be super heroes and have a son who is going through puberty and starting high school. – Kelly Preston • I thought people would ask me really personal questions because I’ve shown more of myself, but it’s a comedy, and people understand that it’s a game we play. – Charlotte Gainsbourg • I was in lots of dodgy bands growing up and I always fancied myself in a band. But, you know, I was rubbish at writing music. So maybe one day I’ll play a rock star, or punk rocker. – Gemma Arterton • I wasn’t allowed to play in some universities in the United States and out of twenty-five concerts, twenty-three were canceled unless I would substitute my black bass player for my old white bass player, which I wouldn’t do. – Dave Brubeck • I’ll play Pretty Pretty Princess with you if you just let me watch a little bit of March Madness. – Matt Damon • I’d like to do plays, maybe a one man show. – Jean Reno • I’d like to one day play Amanda, the mother, in The Glass Menagerie. – Bernadette Peters • If I only get to play Malaysian roles, there wouldn’t be very many roles for me to play. – Michelle Yeoh • If music be the food of love, play on, Give me excess of it; that surfeiting, The appetite may sicken, and so die. – William Shakespeare • If music be the food of love, play on. – William Shakespeare • If you can play the first ten or fifteen moves in just as many minutes, you can be in a state of bliss for the rest of the game. If, on the other hand, Bronstein thinks for forty minutes about his first move, then time trouble is inevitable. – Alexander Kotov • If you have the opportunity to play this game of life you need to appreciate every moment. a lot of people don’t appreciate the moment until it’s passed. – Kanye West • If you play an audiotape of a yawn to blind people, they’ll yawn too. – Malcolm Gladwell • If you want creative workers, give them enough time to play. – John Cleese • If your opponent is short (on time), play just as you played earlier in the game. If you are short keep calm, I repeat, don’t get flustered. Keep up the same neat writing of the moves, the same methodical examination of variations, but at a quicker rate. – Alexander Kotov • I’m not afraid to play my age. I never was. I’ve never been an ingenue. I like getting older. – Maria Bello • I’m sure civilizations will still evolve through play, or rather as play, since that seems to be a fundamental mechanism of our humanity. – Diane Ackerman • In academic life, false ideas are merely false and useless ones can be fun to play with. In political life, false ideas can ruin the lives of millions and useless ones can waste precious resources. An intellectual’s responsibility for his ideas is to follow their consequences wherever they may lead. A politician’s responsibility is to master those consequences and prevent them from doing harm. Michael Ignatieff, a former professor at Harvard and contributing writer for the magazine, is a member of Canada’s Parliament and deputy leader of the Liberal Party. – Michael Ignatieff • In art, everyone who plays wins. – Robert Genn • In every real man a child is hidden that wants to play. – Friedrich Nietzsche • In my early life my mother tried to create a nurturing environment in which my mind could play. Her big rule was “Never lose in your imagination.” She told me that thoughts were things and that I would become the thing I thought of most. This kind of empowerment is crucial to creative thinking. – Joey Reiman • In my sophomore year, a kid told me that the secret to getting women is to play really, really hard to get. I followed his advice, and I didn’t have so much as a date that year. – Greg Kinnear • In our play we reveal what kind of people we are. – Ovid • In the midst of wanton aggression, we still call upon the Arab inhabitants of the State of Israel to return to the ways of peace and play their part in the development of the State, with full and equal citizenship and due representation in its bodies and institutions – provisional or permanent. – David Ben-Gurion • It is better to play than do nothing. – Confucius • It is fair to say that insofar as sport is taken seriously by those who play it, then to that extent their conduct in play – their ability to deal with loss or victory, their ability to meld strategic thinking and brute force – can be taken as a small-scale model of how they, or others like them, might behave in life. – Will Self • It is impossible to struggle for civil rights, equal rights for blacks, without including whites. Because equal rights, fair play, justice, are all like the air: we all have it, or none of us has it. That is the truth of it. – Maya Angelou • It is in playing and only in playing that the individual child or adult is able to be creative and to use the whole personality, and it is only in being creative that the individual discovers the self. – Donald Woods Winnicott • It is my opinion that the 21st century will be the century of play, and the heteroglossic activity of artists in the 20th century has been the forecast. – Brian Sutton-Smith • It is paradoxical that many educators and parents still differentiate between a time for learning and a time for play without seeing the vital connection between them. – Leo Buscaglia • It is the fertile hallucination that makes paint so compelling. Paint is like the numerologist’s numbers, always counting but never adding up, always speaking but never saying anything rational, always playing at being abstract but never leaving the clotted body. – James Elkins • It is true that there are few plays of Shakespeare that I haven’t done. – Judi Dench • It may be that other developers are finding that their games play better on one platform over the other, so they’re choosing to migrate to that platform. – Sid Meier • It seemed like the right time. You reach a point when you say to yourself, ‘Do I want to keep doing this?’ There are other things on my plate I want to do — I’ve been writing a play, I’ve been neglecting my standup. – Joy Behar • It should be noted that children at play are not playing about; their games should be seen as their most serious-minded activity. – Michel de Montaigne • It’s been liberating to be able to play someone who’s a bada– or promiscuous, because that’s the opposite of who I am … It’s like a drug. – Jessica Alba • Its impossible to go onto the Tardis set and not play with things and fiddle with dials. – Jenna Coleman • It’s the faster bands that made me want to play guitar, bands like The Jam. – Graham Coxon • I’ve always been attracted to women who are assertive and have confidence – qualities older women possess. They’ve been on the Earth a little longer. They’re more seasoned. They don’t play games. They know what they want, and they’re not afraid to tell you. – Taye Diggs • I’ve always wanted to play a role in inspiring people to be better, to live higher quality lives and to feel good about the way that they look and feel. – Apolo Ohno • Jazz of the sort we play is a happy, extroverted music. You don’t have to think about it too much. – Chris Barber • Just play. Have fun. Enjoy the game. – Michael Jordan • Late in the third quarter the Cougars were behind 12-0. Duva had completed 5 out of 20 passes. Edwards looked at Gifford Nielsen. Giff had never done a thing, in practice or anywhere else, to give us confidence in him. . . . . . . the coach said later. He sent him into the game anyway. First play was a 19-yard completion. Second was a 6-yard run. He threw again on the third play to running back Dave Lowry who ran 37 yards for a touchdown. – LaVell Edwards • Learning is not child’s play; we cannot learn without pain. – Aristotle • Let’s not play games. I was suggesting – you’re absolutely right that John McCain has not talked about my Muslim faith. – Barack Obama • Life is a challenge, meet it! Life is a dream, realize it! Life is a game, play it! Life is love, enjoy it! – Sathya Sai Baba • Life is too short to play bad music – Bob Brozman • Life’s but a walking shadow, a poor player, that struts and frets his hour upon the stage, and then is heard no more; it is a tale told by an idiot, full of sound and fury, signifying nothing. – William Shakespeare • Looking at the championship-winning quarterbacks, Edwards remembered their particular talents: Gary Sheide: The image of Joe Namath. He even had Joe’s number. Had just a great feel and touch for the game. A great athlete who could play all the sports. He was more of a streak guy than any of them. He could miss two or three passes and then get hot and hit ten straight. He was the one who got it all started. – LaVell Edwards • Love is a game that two can play and both win. – Eva Gabor • Mac Rebennack, better known as Dr. John, once told me that when a brass band plays at a small club back up in one of the neighborhoods, it’s as if the audience—dancing, singing to the refrains, laughing—is part of the band. – Tom Piazza • Man does not cease to play because he grows old, he grows old because he ceases to play. – Drew Lachey • Man is most nearly himself when he achieves the seriousness of a child at play. – Heraclitus • Man’s most serious activity is play. – George Santayana • Men should learn to live with the same seriousness with which children play. – Friedrich Nietzsche • My 10 year old son likes it. He’s trying to play guitar and everything. He likes that kind of music. – Merle Haggard • My acting’s very understated. I think my sad and happy don’t play that differently onscreen. – Bret McKenzie • My family was never cultural in that we never went to see plays, my mum wasn’t very into films. – Gemma Arterton • Nobody plays this life with marked cards, so sometimes we win and sometimes we lose. Do not expect anything in return, do not expect your efforts to be appreciated, your genius to be discovered, your love to be understood. – Paulo Coelho • Of course, money matters to everyone even if some don’t want to admit it. If I won the Race to Dubai, I look at that prize money and think it could pay off my new house or the range I’m building. I am privileged to play golf for a living – look around St Andrews, that’s my office. • One aspect of play is the importance of laughter, which has physiological and psychological benefits. Did you know that there are thousands of laughter clubs around the world? People get together and laugh for no reason at all! – Daniel H. Pink • One man in his time plays many parts. – William Shakespeare • One night I was in the players’ parking lot at the Fleet Center in my Celtics warm-ups about a half hour before a game, waiting for one of my dealers to come up from Fall River, because if I didn’t get my stuff I was too sick to even go through the pre-game layup line, never mind actually play in the game. – Chris Herren • One will only be free when one plays and one’s society will become a piece of art. – Herbert Marcuse • Paul Klee seems to handle colors and dreams as if they both came out of a box of children’s toys. He plays and dreams with whatever he finds. – Jean Helion • Play becomes joy, joy becomes work, work becomes play. – Johannes Itten • Play gives children a chance to practice what they are learning…They have to play with what they know to be true in order to find out more, and then they can use what they learn in new forms of play. – Fred Rogers • Play is a uniquely adaptive act, not subordinate to some other adaptive act, but with a special function of its own in human experience. – Johan Huizinga • Play is the exultation of the possible. – Martin Buber • Play is your route to mastery. – Sara Genn • Playful arising is authorized by both risk and trust in the process and in oneself. To be truly playful and improvisational one must not look for results. – Joshua L. Goldberg • Russia will occupy most of the good food lands of central Europe while we have the industrial portions. We must find some way of persuading Russia to play ball. – Henry L. Stimson • Self-interest speaks all manner of tongues and plays all manner of parts, even that of disinterestedness. – Francois de La Rochefoucauld • Sometimes you have to play a long time to be able to play like yourself. – Miles Davis • Sound is not simply what we hear or play, but equally a feeling in the body – Howard Snell • Surely all God’s people, however serious or savage, great or small, like to play. – John Muir • That’s what I love about acting, you get to find little pieces of yourself in every character you play. – Julianna Margulies • The artist must ever play and experiment with new means of arranging experience, even though the majority of his audience may prefer to remain fixed in their old perceptual attitudes. – Marshall McLuhan • The beauty of playing together is meeting in the One. – Stephen Nachmanovitch • The cherished dream of every chessplayer is to play a match with the World Champion. But here is the paradox: the closer you come to the realization of this goal, the less you think about it. – Mikhail Tal • The creation of something new is not accomplished by the intellect but by the play instinct acting from inner necessity. The creative mind plays with the objects it loves. – Carl Jung • The creative mind plays with the object it loves. – Carl Jung • The creative writer does the same as the child at play; he creates a world of fantasy which he takes very seriously. – Sigmund Freud • The debt we owe to the play of imagination is incalculable. – Carl Jung • The Eeyore Educational System sees childhood as a waste of time, a luxury that society cannot afford . . . Put children in school at the earliest age possible; load them down with homework; take away their time, their creativity, their play, their power; then plug them into machines. • The Holy Spirit, in the variety of his gifts, unites us and enables us to contribute to the building up of the Church in holiness. In this great work, each of us has a part to play; each of us, as a “living stone”, is needed for the growth and the beauty of God’s holy temple. Let us ask the Lord to help us to take an ever more active part in the Church’s life and mission, guided by the Holy Spirit and with Jesus as our cornerstone. – Pope Francis • The master in the art of living makes little distinction between his work and his play, his labor and his leisure, his mind and his body, his information and his recreation, his love and his religion. He hardly knows which is which. He simply pursues his vision of excellence at whatever he does, leaving others to decide whether he is working or playing. To him he’s always doing both. – James A. Michener • The only time it dominates is during a solo, or when we play a low blues and I put figures in behind Eric’s vocals. There’s never any real problem fitting guitar and organ together. – Alan Price • The opposite of play is not work. It’s depression. – Brian Sutton-Smith • The playing adult steps sideward into another reality; the playing child advances forward to new stages of mastery. – Erik Erikson • The Play’s the Thing, wherein I’ll catch the conscience of the King. – William Shakespeare • The play’s the thing. – William Shakespeare • The quality of a play is the quality of its ideas. – George Bernard Shaw • The spirit of playful competition is, as a social impulse, older than culture itself and pervades all life like a veritable ferment. Ritual grew up in sacred play; poetry was born in play and nourished on play; music and dancing were pure play….We have to conclude, therefore, that civilization is, in its earliest phases, played. It does not come from play…it arises in and as play, and never leaves it. – Johan Huizinga • The sun did not shine. It was too wet to play. So we sat in the house. All that cold, cold, wet day. – Dr. Seuss • The supreme accomplishment is to blur the line between work and play. – Arnold J. Toynbee • The true man wants two things: danger and play. For that reason he wants woman, as the most dangerous plaything. – Friedrich Nietzsche • The true object of all human life is play. Earth is a task garden; heaven is a playground. – Gilbert K. Chesterton • The very essence of playfulness is an openness to anything that may happen, the feeling that whatever happens, it’s okay… you’re either free to play, or you’re not. – John Cleese • The world is open for play, that everything and everybody is mockable, in a wonderful way. – Robin Williams • There are children playing in the streets who could solve some of my top problems in physics, because they have modes of sensory perception that I lost long ago. – J. Robert Oppenheimer • There are times when I love to play all kinds of complicated games in painting. But this is one case when I need to be fairly straightforward. I’ll just try to paint the man, his intelligence, his amiability and his stature, maybe paint him fairly close to humor and try to get it just right. – Nelson Shanks • There is for many a poverty of play. – Donald Woods Winnicott • There is something about seeing real people on a stage that makes a bad play more intimately, more personally offensive than any other art form. – Anatole Broyard • There is work that is work and there is play that is play; there is play that is work and work that is play. And in only one of these lies happiness. – Gelett Burgess • There’s such a sense of theatre in getting glammed up; it’s like putting on a play or short film. – Felicity Jones • There’s that thing that can happen to you when you meet somebody and you don’t consider them extraordinary at all and then they do something like play the cello or write amazing poetry or sing and suddenly you look at them completely differently. – Yvonne Prinz • There’s very little to be said for learning a piece note by note, reading the rhythmic markings, practising the fingerings and following your instructor’s suggestions, if you haven’t any idea how the music will eventually sound and feel. If you learn a piece mechanically, you may have to ‘unlearn’ it before you can play it with expression and feeling. – Barry Green • They said I couldn’t play anything but an English boy. I knew I could. So I went to New York. – Roddy McDowall • This is the real secret of life — to be completely engaged with what you are doing in the here and now. And instead of calling it work, realize it is play. – Alan Watts • Those who’ll play with cats must expect to be scratched. – Miguel de Cervantes • To learn to play seriously is one of the great secrets of spiritual exploration. – Rachel Pollack • To start your life as a character of 120 years when you are in your late thirties, and then go back in time about 20 years later to play the same character who is your own age then, its very complicated, but very interesting. – Ian McDiarmid • To stimulate creativity one must develop childlike inclination for play and the childlike desire for recognition. – Albert Einstein • To truly laugh, you must be able to take your pain, and play with it! – Charlie Chaplin • Tony Vigorito has grown a cult following of thousands for one reason – his stuff is fun to read… It’s… filled with the freshness and the freewheeling independence that made his reputation… This book is the ‘work’ of one of the least pretentious and most enjoyable to read novelists at play in America today. – Kris Saknussemm • Usually most characters I play are quite realistic. – Virginie Ledoyen • Very often the effort men put into activities that seem completely useless turns out to be extremely important in ways no one could foresee. Play has always been the mainspring of culture. – Italo Calvino • We are never more fully alive, more completely ourselves, or more deeply engrossed in anything than when we are playing – Charles E. Schaefer • We can’t all be Einstein (because we don’t all play the violin). At the very least, we need a sort of street-smart science: the ability to recognize evidence, gather it, assess it, and act on it. – Judith Stone • We could play them through the week, and then the weekend we could play the black joints. I learned to be very versatile and learned to love it. So it stays with me even up to now. – Little Milton • We don’t play slow and we don’t play fast, we play half fast – Louis Armstrong • We don’t stop playing because we grow old; we grow old because we stop playing. – George Bernard Shaw • We learned about honesty and integrity – that the truth matters… that you don’t take shortcuts or play by your own set of rules… and success doesn’t count unless you earn it fair and square. – Michelle Obama • We live in a world of entertainment in full color with a lot of fast action, a world in which many children grow up thinking that if it isn’t fun, it is boring and not worthwhile. Even in family activities we need to strike a balance between play and work. – Joe J. Christensen • We often say that psi is like musical ability: it is widely distributed in the populate, and everyone has some ability and can participate to some extent – in the same way that the most nonmusical person can learn to play a little Mozart on the piano. On the other hand, there is no substitute for innate talent, and there is no substitute for practice. – Russell Targ • We tend to think of the Faustian man, the one who fabricates, manipulates, seduces and ends up destroying. But the new image will be man the creator, the artist, the player. – Jean Houston • Well, I am very happy that I was able to play a part in bringing music from the streets onto the radio and into modern culture, I worked very hard and always believed in the sounds I was creating. – Ice T • Well, I play Jews and parrots. Parrots are how I’ve branched out. – Gilbert Gottfried • Well, it’s a marvelous night for a Moondance With the stars up above in your eyes… And I’m trying to please to the calling Of your heart-strings that they play soft and low And all the night’s magic seems to whisper and hush And all the soft moonlight seems to shine in your blush… One more Moondance with you in the moonlight On a magic night – Van Morrison • What if not just women, but both men and women, worked smart, more flexible schedules? What if the workplace itself was more fluid than the rigid and narrow ladder to success of the ideal worker? And what if both men and women became responsible for raising children and managing the home, sharing work, love, and play? Could everyone then live whole lives? – Brigid Schulte What we play is life. – Louis Armstrong • When I play from my mind I get in trouble. – Stevie Ray Vaughan • When I started off many years ago, I made a determination that there were certain roles I didn’t want to play. – Joe Morton • When I tour I’m going to countries to play music for people. My presence in a country is not an endorsement or a condemnation of that country’s policies. My presence in a country is an effort to connect with people through playing music. – Moby • When the band plays fast, you play slow; when the band plays slow, you play fast. – Miles Davis • When you play a match, it is statistically proven that players actually have the ball 3 minutes on average … So, the most important thing is: what do you do during those 87 minutes when you do not have the ball. That is what determines wether you’re a good player or not. – Johan Cruijff • When you play, play hard; when you work, don’t play at all. – Theodore Roosevelt • Whoever wants to understand much must play much. – Gottfried Benn • With passion pray. With passion make love. With passion eat and drink and dance and play. Why look like a dead fish in this ocean of God? – Rumi • Without this playing with fantasy no creative work has ever yet come to birth. The debt we owe to the play of the imagination is incalculable. – Carl Jung • Work and play are words used to describe the same thing under differing conditions. – Mark Twain • Work consists of whatever a body is obliged to do. Play consists of whatever a body is not obliged to do. – Mark Twain • Working with Sturges was like working with a guy who wanted to have a party all the time. He was very serious about his work, but in between shots, he was fun and we would play games. – Eddie Bracken • You have to know 400 notes that you can play, then pick the right four. – Miles Davis • You have to learn the rules of the game. And then you have to play better than anyone else. – Albert Einstein • You play to win, to get that World Series ring, All-Star games and whatever comes with it. – Nick Johnson • Your government has problems…my government has problems. I can’t be a judge. All I can do is be an ambassador of love. I’m a musician, not a soldier, and if I’m invited to a place in order to play and bring love, I’ll always accept the invitation. – Meshell Ndegeocello • Your money is like your willy, it only grows if you play with it – Len Goodman • You’ve achieved success in your field when you don’t know whether what you’re doing is work or play. – Warren Beatty

jQuery(document).ready(function($) var data = action: 'polyxgo_products_search', type: 'Product', keywords: 'a', orderby: 'rand', order: 'DESC', template: '1', limit: '4', columns: '4', viewall:'Shop All', ; jQuery.post(spyr_params.ajaxurl,data, function(response) var obj = jQuery.parseJSON(response); jQuery('#thelovesof_a').html(obj); jQuery('#thelovesof_a img.swiper-lazy:not(.swiper-lazy-loaded)' ).each(function () var img = jQuery(this); img.attr("src",img.data('src')); img.addClass( 'swiper-lazy-loaded' ); img.removeAttr('data-src'); ); ); );

jQuery(document).ready(function($) var data = action: 'polyxgo_products_search', type: 'Product', keywords: 'e', orderby: 'rand', order: 'DESC', template: '1', limit: '4', columns: '4', viewall:'Shop All', ; jQuery.post(spyr_params.ajaxurl,data, function(response) var obj = jQuery.parseJSON(response); jQuery('#thelovesof_e').html(obj); jQuery('#thelovesof_e img.swiper-lazy:not(.swiper-lazy-loaded)' ).each(function () var img = jQuery(this); img.attr("src",img.data('src')); img.addClass( 'swiper-lazy-loaded' ); img.removeAttr('data-src'); ); ); );

jQuery(document).ready(function($) var data = action: 'polyxgo_products_search', type: 'Product', keywords: 'i', orderby: 'rand', order: 'DESC', template: '1', limit: '4', columns: '4', viewall:'Shop All', ; jQuery.post(spyr_params.ajaxurl,data, function(response) var obj = jQuery.parseJSON(response); jQuery('#thelovesof_i').html(obj); jQuery('#thelovesof_i img.swiper-lazy:not(.swiper-lazy-loaded)' ).each(function () var img = jQuery(this); img.attr("src",img.data('src')); img.addClass( 'swiper-lazy-loaded' ); img.removeAttr('data-src'); ); ); );

jQuery(document).ready(function($) var data = action: 'polyxgo_products_search', type: 'Product', keywords: 'o', orderby: 'rand', order: 'DESC', template: '1', limit: '4', columns: '4', viewall:'Shop All', ; jQuery.post(spyr_params.ajaxurl,data, function(response) var obj = jQuery.parseJSON(response); jQuery('#thelovesof_o').html(obj); jQuery('#thelovesof_o img.swiper-lazy:not(.swiper-lazy-loaded)' ).each(function () var img = jQuery(this); img.attr("src",img.data('src')); img.addClass( 'swiper-lazy-loaded' ); img.removeAttr('data-src'); ); ); );

jQuery(document).ready(function($) var data = action: 'polyxgo_products_search', type: 'Product', keywords: 'u', orderby: 'rand', order: 'DESC', template: '1', limit: '4', columns: '4', viewall:'Shop All', ; jQuery.post(spyr_params.ajaxurl,data, function(response) var obj = jQuery.parseJSON(response); jQuery('#thelovesof_u').html(obj); jQuery('#thelovesof_u img.swiper-lazy:not(.swiper-lazy-loaded)' ).each(function () var img = jQuery(this); img.attr("src",img.data('src')); img.addClass( 'swiper-lazy-loaded' ); img.removeAttr('data-src'); ); ); );

0 notes

equitiesstocks · 5 years

Text

Play Quotes

Official Website: Play Quotes

<span data-mce-type="bookmark" style="display: inline-block; width: 0px; overflow: hidden; line-height: 0;" class="mce_SELRES_start"> (adsbygoogle = window.adsbygoogle || []).push();

0 notes