#ryan i want to study your brain for acting that scene that way

[spaceprincessem]

thinking about her again (eddie telling buck those girls weren't his type as they are pressed together from shoulder to hip and eddie looks at buck no he looks at buck like that and as buck goes from looking over his shoulder back to eddie eddie just suddenly cuts his gaze away like he doesn’t want to be caught)

[ghostfacd]

IF WE DON’T TALK AGAIN, REMEMBER, I LOVE YOU. | CONNOR BEDARD

au masterlist

“How do you know you’re in love with her?”

The question lingers through Connor’s brain like perfume. Claire had asked him after he had explained what happened in tears at their study session—which, let’s be honest—has turned more into a gossip sess instead.

“What?” Connor peeks his head up from the table, his eyes still glossy. “I just am Claire!”

“Okay, okay.” Claire rolls her eyes, clearly not expecting the boy to be so hostile. “Have you tried reaching out to her?”

“Too scared,” is what Connor mutters out quietly. “What if she rejects my apology?”

“Why are you apologizing again, Connor?” Claire asks, tapping her pen impatiently on the table. “Isn’t she the one who blew up at you because she was jealous you were studying with me; and isn’t she the one who ignored you so she could hang out with your best friend, what was his name? Ryan?”

Claire’s words are harsh, and Connor doesn’t exactly appreciate the way she describes you. His Bells. Well, he still hoped you were his.

“Her feelings are valid, Claire. I need to apologize for calling her insecure, it wasn’t right of me. But I also need her to know that she has to communicate with me in order for us to work.”

“Sounds like you’re putting in all the effort,” Claire retorts. “From what I’ve heard during all our study sessions, you seem to love and appreciate her and she’s just throwing it all out the window because she’s jealous.”

Now Connor was still upset at how the situation between him and you turned out, but Claire was in no position to claim that you weren’t putting in the effort. He knew you loved him; he knew, he just wants you to communicate.

“Stop speaking on things you don’t know Claire,” Connor spits out, visibly annoyed.

“It’s just from what I observe!” Claire exclaims. “If she’s making you this upset, it’s not worth it Connie.”

Normally, the nickname that you would call him would make his heart flutter, but when it came out of Claire Drewmor, he felt disgusted.

“Just stop, stop Claire.” Connor packs up his things, too tired to continue fighting against her little remarks towards his ex—no—current girlfriend. You two haven’t officially broken up yet.

“I was trying to help.” Claire tries to reach out for Connor, only to fail miserably. She almost bites her lip back in embarrassment. “She doesn’t deserve you.”

“Just a few days ago, you were telling me to go get her back.” Connor says, finding it unbelievable that Claire would say such things about you.

“Well that was before I knew she was such a jealous b—” but before Claire could say anything else, Ryan slams his hand on the table, scaring both her and Connor.

“Holy shit Ry!” Connor exclaims, holding in a breath.

“If I hear you talk about Bells like that again, I swear I��ll ruin you.” Ryan warns the girl, “I don’t care if you took me home that day, which thank you by the way, but fuck you bitch!”

“Okay that’s enough!” Connor pulls Ryan away from the scene before people can start to look at them. When they’re far away enough, Ryan gives Connor a hard push.

“You’re a jerk for what you did,” Ryan says, shaking his head in disappointment. “She’s been so upset, y’know? Cramming her head into her textbooks. Theo had to help her get out of her own head.”

That makes Connor’s ears perk up, the unfamiliar name leaving a bitter taste on his tongue. “Theo?”

“Theodore Coppola, some Italian dude who just recently transferred to me and Bells’ Calc class. Apparently, he’s a smartie and a hottie.”

“Okay, now it sounds like you have a crush on this Coppola dude.”

“I do not have a crush on Theodore.” Ryan rolls his eyes. “Me and this girl are talking, not like you would know because you’re too busy touching it up with Claire Drewmor over there.”

Ouch. Ryan’s words felt like a punch in the guts.

“But he might take away your girl if you keep acting like this.”

“Okay, I get it Ry.” Connor sighs. He didn’t like the way Ryan’s words seemed to be true. He was right, he had majorly fucked up with you, and now this cute Italian student waltzed his way into your life?

So he decides to put his pride aside, and get you flowers. Roses were your favorite, he remembered on your first date when you told him the pretty red colors made your heart flutter.

He knocked on your dorm room, expecting to either see you or your roommate open the door, only to frown in dismay when it’s a guy who he doesn’t know.

“Who are you?” Connor asks, already sizing the unknown guy up.

“Uh—I’m Theodore. Were you looking for Y/N or Melissa?”

Melissa was your roommate, and she wasn’t even at your dorm half of the the time. Of course he was looking for you, how dumb was this Theodore guy?

“I’m here for Y/N,”

“Ah,” Theodore opens the door wider, frowning a bit when he takes a closer look at Connor. “You’re Connor Bedard.”

“Yes I am,” Connor replies. “Problem?”

“Not at all,” though Connor’s definitely convinced Theodore doesn’t like him. He could tell from a guy’s perspective that a frown and shake of the head was no good.

“Hey Bells, there’s someone for you!”

Oh great. That made Connor’s heart practically sink to his stomach. This guy was already calling you Bells?

“I’m coming,” he could hear your footsteps coming to the door, then abruptly stopping when you realize it’s him standing there.

“What are you doing here?” You say, in the most bitter tone Connor has ever heard come from your mouth. He doesn’t like it, it makes him feel itchy and uncomfortable.

“This is my cue to leave,” Theodore says, which makes Connor let out a sigh in relief. “Text me if you need anything Bells, seriously.” Then he grabs his backpack, heading out the door in a hurry.

“I ask again Connor, what are you doing here?”

Connor doesn’t know what to say. He’s been practicing all morning about what he was going to say—what he was going to do. But now he’s here, he doesn’t know where to start.

“I—I brought you flowers.” He says, handing you the batch of roses. You don’t take it, and honestly, he doesn’t blame you. He’s been a jerk, and he’s lucky you haven’t slammed the door on him yet.

“I know you aren’t just here to give me roses,” you say, “what do you want? I have assignments I need to do.”

“I’m sorry.” He says. And then everything in his brain just spills out in a flash. “I’m sorry for everything, for the yelling, for calling you insecure, for not seeing it from your point of view. God—Bells—if you still let me call you that, I’m so fucking sorry. I love you, I do, and I’m an idiot for only realizing after the argument. I want to spend my entire life with you, I don’t care if you’re insecure or if you have trouble communicating Bells, I just want you.”

His lips wobble as he finishes, eyes not daring to look at you. “I was ranting to Claire,” he starts again, “and she said things about you that I didn’t like and I won’t repeat them now. But she made me realize that you’re the most important person in my life and that letting you go like that was the most idiotic move I’ve ever made. I know my words aren’t going to change what I said, or what happened, but please Bells, please, I can’t handle not speaking to you. I can’t handle looking at you knowing you overwork yourself in your classes. I want to be there for you Bells, I really fucking do.”

Before he could continue any further, you crush him in a hug, making him drop the bouquet of roses.

“I forgive you Con,” you say, pulling away to cup his face. “I’m sorry too. For not communicating more with you.”

“It’s okay,” he whispers, eyes glassy from the tears. “I love you either way.”

And finally, for the first time in weeks, Connor closes the distance between your lips, capturing you in a kiss.

Maybe Connor Bedard was a total idiot for what he did, but he was your idiot to begin with.

[peterstanslizzie]

Re-watching Lizzie Mcguire: Episode 1.29 (The Courtship of Miranda Sanchez)

Now it’s time for Miranda to be crushing on somebody

- Let’s get down to business; Miranda has a crush on someone besides Ethan Craft. His name is Ryan Adams and Miranda really started to notice him after watching him give an apparently amazing monologue during drama class. 

Before watching this episode, I didn’t actually recall this show having a Ryan lol

- Lizzie is ecstatic for Miranda but Gordo, the debbie downer isn’t keen on listening to Miranda swoon over Ryan. He is more interested about a monster truck roundup that’s coming to their town. And before Miranda could continue to talk about her admiration for Ryan, Gordo gets up and leaves the table to find some guys to hang out with.

- That’s what I’ve been saying in so many of my reviews! Gordo needs to find his own group of male friends. I’m getting sick of him complaining about having to listen to Lizzie and Miranda talk about girl topics. Anyways, the opening scene ends with Lizzie telling Miranda that she’s going to try her best to get her and Ryan together. 

Miranda Umms

- It’s breakfast time and both Lizzie and Matt are eating cereal together. Matt starts annoying Lizzie by purposely staring at her and making a sort of ‘choking on his food’ noise whenever she tries to eat her food. Ugh, why must he already annoy me so early on in the episode?

- In school, Miranda is preparing herself to go up to Ryan to talk to him and Lizzie’s helping her out. Miranda looks really cute with that colourful hat of hers (I so want one btw). Also, we get this iconic moment:

I would like to think that Hilary did her own stunts because it really looks like she got hit by that locker door. 

- Ryan arrives ‘conveniently’ after that mishap and Miranda starts stumbling on her words because she’s so nervous. She sounds just like how Lizzie would act around Ethan. 

There’s a lot of teeth showing in this picture

- Luckily for Miranda, Lizzie got up in time to save her friend from further embarrassment and told Ryan everything that Miranda wanted to say to him about his performance in drama class. That was such an awkward moment and I’m sure Ryan felt extremely awkward as well. So he left lol. 

- Miranda couldn’t believe what just happened because she’s usually cool, calm and collected around other people. However, she offended Lizzie by telling Lizzie she doesn’t get nervous unlike her. Ouch, Miranda. I hope you realise what you’re saying there. 

Gordo, I Thought You Were Going To Find Guys Your Age To Buddy Up With?

- Gordo finds Matt in the Mcguires’ backyard doing something strange as usual and they start talking about Matt’s friends not being able to hang out with him today as well as Gordo not liking to be around Lizzie and Miranda whenever they talk about boys. 

- They suddenly make the connection that they’re both interested in the monster truck roundup thingy, which tells us that they’re into the same kind of thing. They then agree to hang out. So, Gordo prefers to befriend Lizzie’s pesky younger brother Matt instead of the other boys in middle school. 

- Wouldn’t it be better if he finds guy friends who goes to the same school as him? That way, if he feels sick of Lizzie and Miranda, he can just hang out with his guy friends at another table. Problem solved.

But I guess it’s cute how Matt see Gordo as an older brother he never had

How To Talk To Ryan 101

- In Lizzie’s room, Lizzie is coaching Miranda on how to have a nice conversion with Ryan without getting nervous. To be more specific, she’s role-playing as Ryan and asking Miranda questions as him. 

And judging from Miranda’s expression, she isn’t so believable as him 

- Lizzie comes up with another strategy to talk to Ryan and that is to write down a script of everything Miranda should say to him. Miranda tells Lizzie that she’s bad at memorising but Lizzie’s says she’ll make it short. Lizzie is such a good friend for doing all of this to help her friend. 

- The next day in school, Gordo asks Lizzie about Miranda and this surprises Lizzie because she thought he wasn’t interested in their girl talk. Lizzie also passes him a message from Matt about the monster truck rally being postponed. Lizzie doesn’t like the idea that he and Matt are starting to hang out with each other. In fact, she finds it creepy. You and me both Lizzie. 

- Miranda comes back from speaking to Ryan and it was a success! She and Ryan are going to have lunch together the next day and Ryan even told her she has nice eyes. Gordo hears Lizzie saying that she’s glad she wrote down what Miranda should say and he just couldn’t believe it. 

Gordo saying “You wrote down what she should say?” for the third time really triggered Lizzie and Miranda; Especially Miranda.

- Anyways, Miranda now wants Lizzie to actually be close to Miranda during her date so that she can tell her what to say to him. This sounds like a bad idea but since Lizzie doesn’t want to let her friend down, she agrees to her plan. Things are about to go south, I can feel it. 

Lizzie The Ultimate Wing-woman

- We see Gordo and Matt playing basketball with a hacky sack (aka hacky basket?) in the backyard. And we then cut to a montage showing the two of them having fun doing random things together like riding scooters, playing with hula hoops and playing football. 

I wonder whose house was it that Gordo broke their window?

- Miranda’s lunch date with Ryan is about to commence and poor Lizzie is hiding in a trash so that she can help guide her best friend in secrecy. The fact that Lizzie volunteered to hide in a trash can shows me this girl down to do anything to help her friends out. I wouldn’t be caught doing such a thing, but that’s why I love Lizzie lol

Why on Earth does Miranda needs to be coached to the point where it seems like her brain has lost all its functioning?

- She’s literally repeating everything Lizzie’s saying verbatim; She even said “Ouch!” when Lizzie gets stung by a bee/wasp and she even made the same sounds as Lizzie when she was going to sneeze. I’ll admit, that was hilarious!

Unfortunately, Lizzie’s sneeze caused her to tumble over in the trash can, revealing herself to Ryan in the process

- Ryan is freaked out from what he just witnessed and he ditches Miranda (as he should). Miranda also starts freaking out and begins to question herself. In turn, she also ditches poor Lizzie, who is still stuck in a trash can! Miranda!!!! Is she this oblivious? 

Betrayal

- Lizzie asks Gordo if he has spoken to Miranda since she thinks that Miranda is now mad at her. Gordo, who seems to dislike talking about this whole Miranda and Ryan situation (but I think he secretly does) suggests to Lizzie to talk to Ryan instead. 

- I really don’t understand why Gordo says he doesn’t like talking about these kind of things when he clearly is able to give good advice. Relationship discussions aren’t girly; I really don’t like that stereotype. I mean, I do think that boys talk about relationships, maybe not as much but they still talk about it with one another.

- Matt comes into the living room and persuades Gordo who was about to head home to look at pictures of a cheese house on his computer. Gordo takes a huge interest to this and agrees to hang out with Matt a little longer. 

- The next day at school, Lizzie approaches Ryan to explain to him what happened the other day. However, plot twist! Ryan thinks that the reason Lizzie was spying on their date is because Lizzie likes him. Well that is so not the case!

He even had his arm around her. Too bad Miranda just so happened to be there the moment he quickly asks her out to the Digital Bean after school. This causes Miranda to think that he actually asked Lizzie out on a date. 

- Miranda is now mad at Lizzie for thinking that she had betrayed her. Miranda needs to learn how to stop accusing other people without knowing the facts. Because this isn’t the first time it happened. Remember the ‘I Do, I Don’t’ episode when Miranda accuses Lizzie of being jealous of her being paired with Ethan for their social studies class presentation. 

- Meanwhile, Gordo is starting to miss hanging out with Lizzie and Miranda after playing hacky basket with Matt for 5 hours. Really!? Five whole hours just playing that? I salute them lol. Anyways, he tells Matt that he needs to hang out with his own friends again and surprisingly, Matt takes this very well. I mean, Gordo pretty much straight up told him he just wants to hang out with Matt only on occasion from now on. I would’ve been offended. 

Ryan’s Not So Nice

- Lizzie brings along Miranda to the Digital Bean to help clarify what just happened between her and Ryan. Miranda doesn’t seem up for it and tries to leave once she spots Ryan. But Ryan makes an offensive remark by saying that Miranda doesn’t have to do the talking for Lizzie since he STILL thinks Lizzie likes him and she’s just shy to approach him herself. And I thought Miranda was bad at reading cues; This guy takes the cake. 

Miranda finally sees the truth

- Miranda realises that the Ryan she saw in drama class was just a facade because the real Ryan is a straight up jerk who thinks that every girl in the grade has a crush on him and that he is the greatest actor in the world. 

I would have poured his drink on his head if I were them

- Lizzie and Miranda make amends and they agree to never let a guy come between their friendship. Yea, I’m sure that wouldn’t last lol

The episode ends with the Lizzie, Miranda and Gordo laying on the lawn watching the stars. Gordo is glad to be hanging out with his best friends again. Me too! So he’d better not complain he has no guy friends to hang out with.

Overall Thoughts

- I’ll start with the positives. I appreciate the writers putting a spotlight on Miranda’s so-called ‘love life’ and providing her with her own crush in this episode. Although it only lasted for one episode, it was interesting to see how she navigates herself through approaching boys and going on dates. And we find out that she’s a complete mess when it comes to talking to boys she has crushes on. 

-  Another positive I took away from this episode is giving Matt an older male figure to look up to besides his father and that is Gordo. Their dynamic is really laid back and chill. And I notice here more than in previous episodes that they have a lot of similarities and shared interests. But what I don’t appreciate is how Gordo suddenly makes a decision to stop hanging out with Matt almost completely. He doesn’t even want to hang out with him on the weekends. That was pretty random. There’s this thing called balance; I thought he liked Matt?

- I also don’t like how Miranda made the same mistake as she did before by accusing Lizzie of something she didn’t do at all. Miranda is always coming to conclusions based on how she feels when the moment first occurs without processing all the details. It’s kinda annoying and it just creates unnecessary drama. 

[evenstevensranked]

#22: Season 3, Episode 17 - “Snow Job”

In order to get out of an Algebra midterm, Louis fakes a snow day outside of Principal Wexler's house and gets himself suspended from school. Meanwhile, Ren has one week to master Pole Vaulting after accidentally injuring LJH’s best athlete. Phyllis Diller guest stars!

This one opens with the gang in Mr. Lopez’s algebra class. We’ve never seen or heard of Mr. Lopez before, but he seems pretty cool imo. Like one of those teachers who genuinely cares about his students. I really like his character. This first scene is a montage of Twitty, Tawny and Louis up at the board. Twitty and Tawny are solving their equations at the speed of light, whereas Louis is constantly getting tripped up. I’m already relating to Louis so bad. When it’s time for them to share their answers, Twitty and Tawny seem like Einstein’s spawn in comparison to Louis, who drew a map of Utah:

Louis attempts to explain how he worked out the equation, but obviously.. he has no idea. He glances at the clock and sees there’s only, like.. 30 seconds until the bell rings. So he stalls in the most glorious way possible: “I got 2x + 7x to the 5th times Y........ to which I say.... why not? Why do fools fall in love? These are all very big questions.” I love this quote so much. Of course, the bell rings and he successfully dodges answering. 

Mr. Lopez knows that Louis is struggling and really wants him to ask for help on his own. He subtly extends that invitation by asking if anyone has any questions because “the only stupid questions are the ones you ask yourself on the bus ride home” -- Which is incredibly true and another quote I really like. Louis seems as if he’s genuinely gonna ask a question but then says “...If a chicken had lips, could it whistle? I’ll ask myself on the bus ride home.” -- It’s funny, but also really really upsetting. Mr. Lopez is super disappointed and so am I. There’s also this girl in the classroom who really hates Louis or something. She dramatically shakes her head all annoyed and complains to the kid behind her whenever Louis says anything. It’s actually a little distracting, lol. Keep an eye out for her next time you watch this episode.

The disappointment is palpable. 

Then it cuts to the subplot where Ren is interviewing some of LJH’s athletes for the Wombat Report. Including some girl Olga who’s “the best 9th grade pole vaulter in Sacramento” -- Which confirms that Lawrence Jr. High goes up to 9th grade!! I think that’s the only time in the entire series they actually say the words “ninth grade”! Ren also calls the upcoming competition they’re preparing for “the big meet.” I’m sure Louis would object to this. 

Ren interviews the fantastic Artie Ryan, who makes an appearance as a shot putter lol. He’s apathetic and deadpan as usual (”Buzz off, I’m training.”) which is great. Ren gets the bright idea to try heaving the ball herself... and breaks Olga’s foot. Ouch. Phyllis Diller makes her brilliant cameo as Coach Corns here! Something that always annoyed me is that IMDb lists the character’s last name as “Korns” but the inscription on her jacket is “Corns” lol. I’m assuming the jacket is the legit spelling. I also saw on Twitter a while ago that Phyllis’ cameo happened because Jim Wise was absent and working at MADTV at the time. Anyway, Ren decides to fill in for Olga at the competition even though she has no idea how to pole vault. Coach Corns is skeptical but says “if you’re anything like your brother Donnie, maybe you can learn by Friday!” Donnie is seriously the be-all end-all in the Even Stevens-verse. 

We get few scattered scenes throughout the episode of Ren practicing pole vaulting over and over again, failing at making it over the bar every time. Including one where “Coach Corns” demonstrates how it’s done, which is hilarious and obviously a stunt double of course. 

Much like last week’s episode, they put zero effort into trying to avoid showing the face of the stunt double lol. It honestly makes it funnier. 

After countless failed attempts, Artie walks over and says “You know that you’re supposed to go over the bar, right?” And Ren bites back sarcastically “Really, Artie?! Thanks for that helpful hint.” I can’t help but laugh every time. Ren insists she’ll be ready for competition and Artie mumbles to himself “Yeah, and I’ll be the king of Norway.” It’s so good. 

Louis’ plot continues with this scene, which I love:

It’s not included in this set, but in between the second and third photos Twitty says “And like, she was not a very good babysitter...” LOL. Yeah, I doubt she’d have stellar reviews on Care.com today. 

Twitty and Tawny go on to talk about how Mr. Lopez’s class is so fun and he makes learning algebra so easy and they’re totally gonna ace the midterm!! YAY! ....You just know Louis is feeling like an outsider right about now. Tawny tries to set up a study session, but Louis bails to work incredibly hard on a way to not take the test. We’ve been over this before. If Louis spent a fraction of the amount of time and effort he spends on avoiding schoolwork, he would be an honors student. It’s ridiculous because half of the inventions he comes up with must involve some serious math skills! He’s putting in the work where it doesn’t count lol. And he really goes to extremes this time. He gets Beans to help him with this super elaborate prank to fake a snow day... in Sacramento California... outside of Principal Wexler’s house. He even did that thing where you can override a vacant radio station and recited a whole fake news story on the historic “blizzard.” The craziest part about this, is that he was 99% successful! Wexler totally bought that the storm was legit. And I don’t blame him:

Imagine not wanting to take a midterm that bad. 

There’s some great miscommunication here when Wexler calls LJH to cancel school. The secretary is all “may I ask why?” lol. Seriously. Gotta love miscommunication. Louis almost sorta gets away with everything, until Ren jogs by the house and starts yelling at him and Wexler hears it through the radio. I never used to understand why Ren was out jogging though? It always felt like a biiiit of a forced plot device to me. I used to think “She’d already be at school or at home getting ready!” ...but today, I just realized -- she’s preparing for pole vaulting. Oh my god. I’m such an idiot. It’s funny because I thought I was catching onto some bad writing.. but no. Even Stevens is actually that good. 

This “snow scam” leads to Principal Wexler suspending Louis from school. I love how it’s only a one week suspension, yet Wexler acts like Louis is leaving forever and has his locker cleaned out as if it’s a gateway to The Upside Down: 

Eileen takes off work to homeschool Louis for the week, which is really nice to see. We get a montage of them covering just about every subject and Louis is breezing through the day with flying colors! They even did Theater, where Louis played both Romeo and Juliet. The one-man show costume is a sight to behold:

“It’s very constraining and I’d like to change now.”

Everything’s going well until Eileen drops the bomb “Okay! We’ve covered everything but Algebra!” and the dramatic, dark orchestra kicks in. Louis tries to get out it, but Eileen’s not letting him off the hook. She writes out an equation on the board and leaves him alone for awhile to complete it. When she returns, he’s asleep:

I RELATE TO THIS MORE THAN YOU’LL EVER KNOW. Louis is literally falling asleep during homework to avoid doing it. I did this so many times throughout my academic career and I doubt I’m the only one. It was always with math, too! It was so overwhelming for my little brain... I’d just drift off to sleep and think “Well, if I fall asleep... that’s an excuse for not finishing it!” lol. And I bet you anything that was Louis’ thought process as well. Eileen gives Louis an ultimatum (finish his homework or be grounded for the weekend) to motivate him to finish the equation, so he attempts to do it and pretty much pulls an answer out of his butt. I did this all the time. You sort of convince yourself that you got it right, even though deep down you know it’s totally wrong. “You got it, baby!!” Louis compliments himself. And right about then, Ren enters the room and verbalizes what Louis most likely already knows: “You got it totally wrong, Louis.” This leads to a really nice brother/sister moment. 

Ren wants to know why he put so much effort into skipping one day of school, and he confesses that it’s because he doesn’t understand Algebra. “I’ll try to understand it, but I can’t. I’m the only kid in the class who doesn’t know what’s going on.” I’ve said those exact sentences a million times growing up. This whole scene is honestly so heart-wrenching imo. It further develops Louis’ character and adds to his endearingness. (Don’t even know if that’s a word, but I’m using it.) Ren can’t understand why he doesn’t just go to Mr. Lopez for help. “What’s the worst that could happen?” she asks, and Louis imagines a life of ridicule: 

This is too real. You really do feel like you’ll be a total idiot if you ask for help during class. Even though the chances of your teacher and principal publicly mocking you are zero... you still feel like everyone will be secretly judging you. 

I just can’t stress enough how much I relate to Louis here. His attitude towards struggling with academics is exactly how I felt. Like, no matter how hard you try... You're still the dumbest kid in class. He snaps out of his daydream and tells her “No, I can’t do it. People are gonna think I’m stupid.” And Ren says “Stupid? You may do some really stupid things sometimes but that doesn’t mean that YOU are stupid.” THIS IS SO FREAKING NICE I WANNA CRY LOL. She then empathizes with him by sharing her struggle with pole vaulting. It’s sweet. 

When Louis returns to school, he’s determined to pay extra attention in Algebra class and really focus. But the second Mr. Lopez starts explaining, all Louis can hear is “blah, blah, blah... blah, blah..... blah, blah, blah.................. blah.” It’s hilarious because it’s TRUE. Mr. Lopez opens up the floor for any questions, and I swear to god. I get so emotional every time here. Louis raises his hand and takes a few seconds to muster up the confidence to say “I don’t understand.” .....*sheds a single tear.* Mr. Lopez says to catch up with him after school and Louis is so proud of himself for asking. Ahhhhhh!

Look at dat content face. Awww. Shia’s so great. 

After school, Mr. Lopez explains that there’s usually a gap in the knowledge somewhere when it comes to struggling with Math. This is very accurate. I’ve learned that missing just one little building block of information (with anything in life) can mess you up entirely. So we get a montage of them working for what seems like hours on the basics (1 + 1 = 2) all the way through to Algebra and Louis does soooo well. It’s one of the sweetest, most self-reflecting moments in the series. Louis takes a look at all of the equations he successfully completed and mutters “Good job, Buddy” to himself and I just wanna weep. On top of that.. Mr. Lopez is super nice, calling Louis a genius and such. I just love it. It’s kinda funny how they tried to make the scene look all trippy like the equations were floating all around him just by writing on glass with a marker though, haha: 

I also have to gif this because it reminds me of the confused math lady meme:

Seriously, can we make “Shia LaBeouf doing Algebra” a thing? Even Stevens is ripe with memes that never see the light of day. 

Meanwhile, Ren is at the pole vaulting competition and, well... failing miserably. Just then Louis, Eileen and Steve show up and start running next to her during her very last try. Louis is gushing about being able to do Algebra and Eileen and Steve are just cheering her on haha. Louis shouts the advice “You might wanna put the stick thingy in the ground, Ren!” and then she miraculously makes it over the bar. I NEVER UNDERSTOOD THIS??? Um, where else could she have been putting it this whole time? And it’s not like that alone would help her get over the bar. 

Clearly, the pole is meant to go in the metal space (”ground”)! You’re telling me she’s been practicing for a week and never put it there?!?! Come on. 

Anyway, everyone celebrates and it’s a happy moment. Coach Corns also snatches her own wig and Louis puts it on: 

Even Stevens was seriously ahead of the meme trend. Wigs were flyin’ on Disney Channel in 2002. 

The episode ends with one of the greatest “last minute” bits ever. Ren made it over the bar... So, Artie Ryan becomes the king of Norway:

“I AM THE KING!” -- This show’s humor is unparalleled. 

And that’s it! This is just an awesome episode. Obviously, I love this Louis plot. It’s seriously so great and one of the most relatable topics ever. (Well, for me at least.) Like I said, I feel like this episode is a really great one for Louis Stevens and his character development. Ren’s plot is pretty similar actually. Both plots work together in a “conceive it, achieve it” sort of way. I just really love it. Mr. Lopez is cool. Phyllis Diller is great. Artie Ryan is the best. It’s just good all around ok. This is definitely one of my personal favorites, but I objectively feel like there are some stronger episodes. So, #22 is where it sits. 

Thanks for reading!

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[nessietessimalnua]

SCORE - research notes

SCORE: A FILM MUSIC DOCUMENTARY

Marco Beltrami - PIANO TUNES WITH THE WIND - MALIBU (LOOK INTO): Sound travels through the wire faster than the air, results in a reverse echo - no effect needed (find film used for) - The gunman - columba (instrument), intrigue - following a mystery,

ROCKY

Jon Burlingham, film music historian - Leonard something or other Bill Field, organist - Wurlitzer

MAX STEINER - king kong - orchestra music in a movie?? It completely changed the movie - what was before unexciting and studied became terrifying with the addition of music  

ALFRED NEWMAN - horns and woodwinds - 20th century fox logo

David Newman - a flow, like speaking: it fluctuates

John Debney

James Cameron - spot session, trying to communicate the sound they hear in their heads, etc. - most directors don't know how to convert emotions into music, so the composer has to act as a 'therapist and go through the mish-mash 

BEAR MCCREARY - try to figure out what their insecurities are first,

MERVYN WARREN

MYCHAEL DANNA

HANS ZIMMER - always the blank page,

RACHEL PORTMAN - change in the direction in the scene, often a prompt for when music will come in (quote);

CHRISTOPHE BECK -

Joseph Trapanese - invent a clever way of introducing something familiar

Motif - group of notes that might highlight what a film is (close encounters)

Beethoven - took a motif/theme, spin it out : 5th symphony

Simple hooks, feels like a pop song, casting them in different lights

HOWARD SHORE: "by using motifs, it helps you to understand the relationships in the story - when you hear a certain motif, you connect it, and it actually helps you follow the story." LOTR AS AN EXAMPLE "By the time you get to the end of the film, when you play that music in its full glory, it's already familiar to the audience. We're kind of building our way up to that main course."  

ALEX NORTH - a streetcar named desire (background of ballets and shows - first film score incorporating jazz in writing)

The Pink panther,

JOHN BARRY - James Bond. Came from a band - band sensibility to movies,

big band was cool, swung, felt like a guy that could do anything - no spy/secret services without a reference to James Bond, just like Morricone with spaghetti westerns

ENNIO MORRICONE - Kill you with a melody - The good the bad and the ugly: guitar into the western environment - still the sounds of westerns 50/60 years later

BERNARD HERRMANN - THEME FROM VERTIGO: mystery - little phrases that circular madness to them that worked really well - everything driving you forward in a sick, disastrous way

psycho - tricked you into thinking you saw way more of the violent acts in the scene that actually occurred

TOM HOLKENBURG -

HEITOR PEREIRA

MARK MOTHERSBURG - rugrats on a toy piano

Any instrument is valid if it improves the music

Anything can be music

hurdygurdy - instrument

DARIO MARIANELLI

PARTICK DOYLLE

TRY TO FIND THE GENERAL RHYTHM IN THE SCENE - SEVEN MONTHS PRODUCING THE SCORE, DIFFERENT TYPES OF DRUMS (MAD MAX) - DRUMS UNIQUELY RECORDED, COMBINING TRACKS, AGGRESSIVE, - " don't care what it is, if I make a track, it has to i’ve me goosebumps myself"

"Goosebumps"

PROF. SIU-LAN TAN: different aspects of music are processed by systems in the brain - multifaceted - melody pitch, tempo and rhythm, -- physiological reaction - reward center, dopamine, react to music. Film music and orchestral music is of great interest to scientists because of it's ability to emote: film music isn’t something we pay conscious attention to and yet it has such a powerful impact on us - an audience's eyes can be drawn to different parts of the screen with music that matches certain characteristics being shown on the screen - for example a rising pitch with something that's rising: UP - first time we see the balloons - important visual motif and theme - interesting to see that music can be part of the choreography of our eye movements ET - Vast expansive music with the taking off of the space ship - go from big music to small - reminding us who's going into the spaceship, it's very sad, these are farewells - this fanfare that's very triumphant, saying we're looking at it from Elliot's view point, it's not a loss, it's almost like saying "Mission accomplished" - film music, so powerful, so un-captureable to scientists

QUINCY JONES -  everything you see, you here (used to be) - eyes doing the same things the ear was doing

JERRY GOLDSMITH - planet of the apes: using modern techniques, reapplied it into drama - rubber balls being bounced in bowls, metal bowls, CHINATOWN - four pianos, etc. - ballsy

RANDY NEWMAN

JOHN WILLIAMS - jazz pianist - JAWS - crazy experiment - engine, accelerate - if we didn’t have that theme, we wouldn't know what was happening - spots and places music in the movie - only wanted music to announce the arrival of the shark STAR WARS - huge impact - theme - symphonic score, rediscovered the classical orchestral film score, good and bad, beautiful themes for romance and heroes, the Darth Vader theme - so marshal and broad - "oh boy there’s something not good here"; helps discern characters SUPERMAN theme - krypton theme: mysterious, av-ante garde, way of surrounding pieces with other pieces INDIANA JONES raiders of the lost ark - spends more time on those small bits of musical grammar so they seem inevitable - plethora of parts ET - film music has changed because film has changed, what it needs to do - end of ET - wide space of just music, JURASSIC PARK -

air studios - pick a studio ‘cus it's appropriate to the sort of sound you want to make - churches - haunted, etc. DAVID ARNOLD. - CASINO ROYALE - acoustics, choice - hundreds of mics - how close/how far you wanna feel from the music.

ABBEY ROAD STUDIOS - live sound, less absorbent material on the walls - great reverb, Beatles, Return of the Jedi, lord of the rings, mission impossible - different layouts for different sounds - Rogue Nation, changing music at different cuts to fix problems/change it up

film making styles have changed, so has film music

19702 - synthesizers and punk

DANNY ELFMAN - short musical ideas that become big musical ideas - Tim Burton, batman - only one rule: there are no rules -

THOMAS NEWMAN - difficult to develop what the sound it - like Danny elf man, developed his own sound  - Shaw shank Redemption. American Beauty - marimba, sets the tone of the film, sets you a little off balance, captured the way of ding uncertainty - establish a key center, things will then weave in and around that baseline - creates a texture that lives behind the orchestra, yes could write orchestral scores, but sometimes a film needs something more intimate. prevailing mood, slap it on an image and let it sit for 2 minutes - cold, emotive piano

HANS ZIMMER: unconventional rock swagger to film screen - GLADIATOR - brutality, violence where the notes are placed, intensity - woman's vocals over the orchestra - shaped cinema - took the string section and made it like a guitar - they're playing rhythm - PIRATES OF THE CARIBBEAN - like led zepplin payed by an orchestra; DARK KNIGHT - blurred the line between giant symphonic and orchestral - constant pulse - powerful, exciting - INCEPTION - it's like a new morning, washes over you in waves, music just piles up - left with a big question.

People who aren't film composers being asked to make film scores - can bring so much authenticity to sound music - sounds are extremely contemporary - SOCIAL NETWORK - disturbing lyrical piano - human and technical, emotionally dark, - ATTICUS ROSS and TRENT RIZZLER

unconventional image and unconventional sound - so much greater than the sum of their arts beautiful chaos far more experimentation, freedom, Technology has made it possible for every composer to be a producer - at the core of it is the tune

STEVE JABLONSKY - Lockdown theme - first introduces french horns into the score, mixing them up a bit, bringing texture to the piece, you want your intention to be clear - the horns give it more of an emotional weight - you want to make sure the emotions you mean to grab the audience are strong enough, make bold statement

ALEXANDER BELSPATT

FOX STUDIOS - LA, stronger sound, London, softer sound -

HARRY GREGSON-WILLIAMS -

WARNER BROS. STUDIOS - JOHN (PAUL??) DEBNY -  

music - the most human and emotive thing we have

ELLIOT GOLDENTHAL

BRIAN TYLER - if everything was perfect in music, everything would sound terrible - fast and furious 6 - you can feel when a cue is working the audience - goes to watch audience reactions when watching the movie, helps him for future films - get a sense of how did this work, do they scenes move people - will run into a bathroom stall, will see if anyone is humming or whistling the theme - feels like he affected them on a level they're not aware of -

TYLER BATES

MOBY - the one art form that doesn't technically exist - you can't put your finger on music - it's just air waves moving a little differently

Film music being used outside of film - Remember the Titans - Obama, whatever the audience felt in the theater was resonant again

HANS ZIMMER - LAST PEOPLE ON EARTH THAT FREQUENTLY COMMISSION ORCHESTRAL PIECES - WITHOUT THEM, ORCHESTRAL MUSIC WOULD DISAPPEAR, WOULD BE A CULTURAL LOSS TO HUMANITY, - we all have fragility, when i play you a piece of music, i completely expose myself, and that's a very scary moment - i love i love i love what I do -

music plays such an important role in a film

film music i one of the great art form of the 20th and 21st century

RYAN TAUBERT - SCORE

James Horner - titanic - sketch out on synthesizer

[greenmileessayblog-blog]

Provide an in-depth textual analysis of ONE film of your choice, with specific reference to the social, cultural and technological contexts of the production. You will analyse how these contextual elements relate to the formal choices (style, genre, etc.) of the text.

Among many awards, in January 2000 at the 5th Critics Choice Awards, honouring the finest achievements of 1999 filmmaking, The Green Mile (1999) directed by Frank Darabont won best screenplay adaptation. The Green Mile is an American fantasy crime drama set in the state of Louisiana in 1935. It was adapted from the 1996 Stephen King serial novel of the same name. This essay will be providing an in-depth textual analysis with a reference to the social, cultural and technological contexts of the production. I will be focusing more on the social and historical aspects and will look at the culture of Louisiana too, as I feel the use of technology in this film is essential and effective but not dramatic. I will be looking at how the book and film have a huge character driven narrative and particularly focus on the casting of Tom Hanks for Paul Edgecomb. I will be exploring the historical context during The Great Depression and how it affected the lives of people living during this time, as well as the culture and society of Louisiana shown through The Green Mile, especially for African Americans.  As well as this, I will be looking at two main themes of religion and death in the film. I will be exploring death in more detail and the miscarriage of justice and immortality. To conduct this research I studied Linda Williams’ ‘Melodrama in Black and White: Uncle Tom and The Green Mile’, Christopher Varlack’s  ‘The Encyclopaedia of Racism in American Films’ and other critics, as well as watching Walking the Mile (2000) directed by Constantine Nasr about the making and behind the scene footage of The Green Mile including interviews with Darabont, King and the actors involved.  

Steven King is an American author famous for writing mainly horror, for example The Shining (1977), It (1986) and Misery (1987). He used to sell the rights to his short novels to young film directors starting out in the business. The short novel The Woman in the Room was offered to Darabont who made it into a short film in 1983. Subsequently a friendship was formed, and they worked together again. Darabont went on to get the rights to two prison dramas and made both Shawshank Redemption (1994) and The Green Mile (1999). After making Shawshank Redemption, he initially did not want to make another prison drama.  The Green Mile was a collection of six short stories and after reading the first book of the series, called The Two Little Girls, he changed his mind. He thought the book was amazing and loved the character driven storyline. The film proceeds at a slow pace throughout and in fact it lasts three hours and fifteen minutes, which was criticised by some as being too long but on a positive note it enabled the viewer to emotionally engage and empathise with some of the main characters and be horrified by the actions of others.  Every character was central and crucial to the storyline contributing to a meaningful, thought-provoking and soul-searching experience. Visually there was little scope, with most of the film filmed in E block which was dark and dreary. Nevertheless, the warmth of some of the characters, such as Paul, gave the film a positive uplifting feels although it was about a depressing dark subject matter. Darabont considered Tom Hanks as the only and ideal person to play the part of Paul. He had mainly played the role of “The good guy.” In the year before The Green Mile was released, Hanks played the powerful role of Captain Miller in Saving Private Ryan (1998) directed by Steven Spielberg. In this film he was an influential brave character with great authority and power that other characters looked up to. These good traits are now associated with Hanks. He is a much loved and admired actor in USA and so the audience would already be predisposed to liking his character in the film.

The film was set during The Great Depression in the United States of America. An historical context will allow the audience to gain an understanding of what life was like in Louisiana. There were many different factors which contributed to The Great Depression, but a major cause was the dramatic crash of the stock market on the 24th October 1929 dubbed “Black Thursday”. The economy was weak and the gross domestic product (GDP) was declining. The GDP is a way to measure the economic performance of a country and the market value of its goods and services. This was the beginning of a period lasting approximately a decade of hardship. The people of Louisiana suffered greatly. The main industry was agriculture at a time when farm prices were falling resulting in unemployment and poverty. To alleviate poverty and attempt to share wealth equally and fairly, U.S. senator Huey Long endorsed and publicised Louisiana’s “Share the wealth” programme in 1935.  In a scene where Paul Edgcomb goes to visit Burt, the lawyer who represented John Coffey, there is a wide shot of the rural landscape. In the forefront of the shot, there is a makeshift sign saying, “NO JOBS HERE - TRANSIENTS TURN BACK”. I feel the director’s choice to position this below the town’s welcome sign is to demonstrate and highlight the difficulties people were facing at the time.  This could be a desperate act of protest by a local person against the government of the day. A stylistic choice that highlights the poverty and adversity faced by many people was the use of a sepia colour palette throughout most of the film and the arid dusty landscape. This creates a despondent hopeless mood which is intensified when the fate of John becomes clear and which would consequently affect the audience’s experience.  

The population of Louisiana are descendants of Africa, Spain, France, India and more with waves of immigration over the years creating a rich cultural mix. Immigrants would bring their own customs and traditions, eg food, songs, language and fashion. The famous Mardi Gras takes place just before the 40 days of Lent, with a parade consisting of music, food and people in costume having fun.  Jazz music was particularly popular form the 1920s to mid 30s.

During this period, African Americans were subjected to inequality and segregation, and this could have influenced the author’s/director’s choice for John Coffey to be black and innocent and the victim of a miscarriage of justice. The first time the audience are properly introduced to John Coffey, he appears to be huge and terrifying. From the moment he steps out of the vehicle to walking down the green mile towards Paul, the audience are shown only close up shots of the prison guards’ and inmates’ shocked faces. The lighting is dim as his body casts a harsh shadow over their faces as he walks past. The slow atmospheric music adds suspense and anticipation as his face has not yet been revealed. As John meets Paul and is spoken to, the camera pans up from a mid shot of his cuffed hands, up and zoomed into a low shot of John looking frightened.  In the USA between 1935 and 1967, 87 per cent of executions for rape were African Americans. When John was found with the dead girls it was presumed he was guilty immediately.  As shown in The Green Mile, it was a close-knit community as many people were involved in the search for the two missing girls.  Possessing and carrying guns was also a normal part of life. The death penalty was a socially acceptable consequence of taking a life; an eye for an eye.  Deserved retribution for a serious crime. People went along to witness executions and expressed this view verbally just before the event took place by calling out and gesturing. They did not appear worried about a possible miscarriage of justice and human error and the need to have somebody to blame was great and satisfying and a way to decrease their own suffering and loss.

In the journal article called ‘The Cinematic Christ-Figure’ by Anton Karl Kozlovic, he makes a link between Jesus Christ and various characters in different films. In The Green Mile he makes the link with the character John Coffey, with both names having the initials J.C. He also states the fact that throughout the film references to Jesus Christ and God are made with exclamations such as “My God!”, “Oh God!”, “Jesus Christ!”.   On the wall of Del’s cell there is the crucifix and before he is executed he says “I sorry for what I do” and “God have mercy on me”. Before all executions a prison guard will routinely say “God have mercy on your soul.”

According to the new testament, Jesus performed many miracles. He cured people and brought them back to life. In the film, John Coffey cured Paul of his urine infection, Melinda of a brain tumour and brought the mouse back to life. After John heals someone, he coughs up a bug-like mist that moves like a swarm and then disintegrates. The special effects company used were ILM. The aim was to create an image of a swarm of bugs moving together freely and uniquely. John seems to be in a lot of pain when this is happening. I feel this is a symbolic image of self-sacrifice and the elimination of something bad. Jesus also sacrificed himself and he represented good over evil. Jesus died for the sins of others as did John.

Paul states that he cannot see God putting a gift like that into a murderer and at the end of the film he is distraught for “killing a miracle of God” as he knew John was innocent and had witnessed and benefitted from his special gift. In the scene where John was allowed to watch a movie, the mise-en-scene creates a religious Christ- like image.  John positioned centre screen is filmed in mid shot. He is completely in focus standing out against the black background. All but one light, coming from the film projector, shines behind John’s head forming bright white bluish rays around him slowly glimmering. As he stares up, watching the film in amazement and mesmerized, the camera slowly zooms towards him into a close up shot. He says, “that is angels… angels just like up in heaven”.  At this point he himself is made to look like a saint or heavenly with a halo around his head. I feel this was done deliberately to associate John with Jesus Christ. This scene is peaceful and consoling. During the dancing scene of the film he is watching, the lyrics “I’m in heaven” can be heard clearly and later as he is prepared for execution he himself repeats, “I’m in heaven”.

The main theme explored is waiting for death and how it affects those on death row, referred to in the film as the green mile, previously called the last mile.

The main issue for many people against the death penalty is the risk of executing an innocent person and the possibility of this happening is enough for them to be against it and preferring a long prison sentence as an alternative. In Williams’ journal article, she describes the film as a “trial movie without a trial”. She says the film “replays alternate versions of the evidence, putting the audience in the position of an ideal jury. We are privileged to learn, however—as the jury did not—the truth of Coffey’s innocence and the circumstances that convicted him.”  With this statement, she highlights the limitations of any jury who sometimes are not privy to all the facts but must make decisions based on available evidence. This raises the question; do we have the right to take someone’s life as a form of punishment in a civilised society since it is irreversible, and the justice system is not infallible?

It is ironic that a film based on death should be concluded with the protagonist Paul still living at the age of 108 years. The story line is conveyed through his recount of his experience as a prison guard. Christopher Allen Varlack says “He infected them with life and a new world view”. The word ‘infected’ is appropriate as Paul views this immortality as a curse and punishment for allowing the execution of John to go ahead, knowing the truth. He has seen all his loved ones pass away and he now welcomes his own death. Varlack also said with regards to John desiring his own death, “unable to stand the evil he felt across the world.” When I viewed the film, I was surprised by the ending and why a good character was being punished. This made me think about the many differing views people and different cultures have on death. Some fear it while some accept it as a natural cycle.

After watching The Green Mile, the audience will have gained an insight and better understanding of the society of a southern state of America during the 1930s and cultural aspects, namely Louisiana. The viewer is presented with and shown rural life, attitudes towards crime and retribution, views on God and religion, how judgment day is regarded and opinions on right and wrong. Technology was used lightly but effectively. There was more emphasis on the depth of the characters and the storyline. Darabont treated the topic of capital punishment and death sensitively and unhurriedly, the slow pace easing the viewers into the drama and allowing them to reflect on the various aspects as they arose.  The ending of the film prompts the viewer to think about and ponder his or her own green mile.  

  Bibliography

·         George D and Shoos D, Deflecting the Political in the Visual Images of Execution and the Death Penalty Debate, July 2005, NCTE, pp. 593

·         Kozlovic A, The Cinematic Christ-Figure, Jan 2004, The Furrow, pp.29

·         Williams L, MELODRAMA IN BLACK AND WHITE: Uncle Tom and The Green Mile, 2001, University of California Press, pp16

·         Varlack C, The Encyclopedia of Racism in American Films, 15th April 2018, Rowman& Littlefield

·         Nasr C, (Documentary) Walking the Mile, 2000

·         (http://www.knowlouisiana.org/entry/great-depression-in-louisiana) 23.04.18

[johnson564-blog]

Hypnosis Explained (Debunking the Myths)

Hypnosis is a very easy and easy-to-explain psychological phenomena - but frequently it is actually wrongly portrayed as some kind of black magick or false mysticism. This lack of a fair representation leaves lots of to throw "hypnotic wisdom" aside as mere fantasy or hogwash; and these that have been hypnotized we commonly think about as weak-minded or gullible. But actually none of this really is accurate.

I hope to take a quick few minutes of your time for you to debunk some of these myths surrounding hypnosis and hopefully leave you with a clearer understanding of what this is phenomena is truly all about. Ahead of I proceed with debunking these myths, let me 1st give a swift definition of what I think hypnosis genuinely is:

Hypnosis is often a set of productive communication tactics (frequently via the usage of direct or indirect "suggestions") for shaping one's beliefs, attitudes, thoughts, and behaviors. Regardless of this broad-sounding definition, this is what hypnosis is in a nutshell. Now let's get began.

MYTH 1: Hypnosis is often a state of consciousness

Hypnosis is not at all associated with any distinct state of consciousness. The purpose folks confuse hypnosis as a state of consciousness is for the reason that we generally associate the techniques of hypnosis as major to a half-sleep and half-awake state. We picture sufferers lying on leather sofas with their eyes closed and their awareness facing inwards to their "subconscious." However the reality on the matter is hypnosis may be applied to expand awareness just as efficiently because it could be utilized to contract awareness.

An ideal instance of hypnosis operating at "normal" consciousness is stage hypnosis. When a participant clucks like a chicken, or acts out a scene in Saving Private Ryan - it's not that the individual is unconscious and getting pulled by his or her strings like a stuffed puppet - they may be just within a predicament where they may be comfy acting out behaviors they generally wouldn't do in front of a crowd. They may be not getting "controlled" by the hypnotist - they are just being communicated to really efficiently. The participants totally free will continues to be in-tact throughout the entire session. A participant can bring their self out of hypnosis anytime they pick out, but why would they after they are possessing a lot enjoyable playing pretend?

MYTH two: All hypnosis is "playing pretend."

In the course of stage hypnosis, participants are well aware that they are not actually a chicken or that they are not basically inside the motion pictures. They know they're acting (it just so occurs hypnosis could make folks into great actors).

But not all hypnosis could be regarded "playing pretend." It depends on the nature in the ideas given. If a suggestion will be to "cluck like a chicken" then the patient will act it out. When the suggestion is "think of a time in your previous exactly where you felt actually confident" - that is not playing pretend - the patient really is thinking about it and associating themselves into that time exactly where they had been definitely confident.

I agree with hypnotists who think that all hypnosis is self-hypnosis. This signifies that a hypnotist can't typically trick an individual into undertaking one thing against their own will. There is certainly usually compliance on both sides with the interaction. The only difference is hypnotists can evoke unusual or non-ordinary behaviors if they learn the correct mode of communication.

MYTH three: Scientific studies claim that only 5% in the population is suggestible to hypnosis.

This is partly correct: scientific research do often claim that only 5-10% with the population is suggestible to hypnosis. But these research are largely flawed for the reason that researchers only test participants with typical hypnotic inductions and generic hypnosis scripts. Hypnosis does not work inside a one-size-fits-all kind of way although (since its effectiveness comes from the use of our personal personal and exclusive associations and understanding of language)...

A actual hypnotist has the ability to study his patient, stray away from generic scripts, and discover the language most suggestible to that distinct patient.

There are actually even tactics in NLP (Neurolinguistic Programming -a practice that may be considered "modern day hypnosis") that allows NLP practitioners to find out a person's language tendencies (often known as "trance words" or "key words") simply by asking the patient a series of inquiries.

In other words, together with the suitable hypnotist and also the appropriate communication - anybody is suggestible to hypnosis.

MYTH 4: Hypnosis is comparable to meditation

This can be a widespread misunderstanding. Once again - hypnosis is often a set of communication approaches, whilst meditation is really a additional precise practice that is definitely much more linked with one's state of awareness or mindfulness. One particular can however use hypnosis techniques to help a meditative practice. What exactly is normally named "Guided Meditation" could be regarded as a form of hypnosis, and one could also use a degree of self-hypnosis (meaning no third celebration guidance) to expand or contract awareness into a specific meditative state.

But again, hypnosis will not be about a personal's mental state - it is actually about an expression of ideas or suggestions.

At occasions, a certain mental state can be far more conducive to understanding. That is certainly why often hypnotherapist pick out to place their patients into a relaxed state ahead of obtaining in to the bulk of their session. Those that are relaxed are frequently feel more refreshed, can concentrate far more, boost their cognitive skills, and for that reason are quicker learners.

Stage hypnotists don't place want to put their participants into relaxed states, having said that. That could be a boring show. Instead, they typically would like to instill some excitement or a sense of adventure - related towards the mood a kid will be in.

MYTH five: Highway hypnosis

Highway hypnosis, as defined by Wikipedia, says,

Highway hypnosis is a mental state in which the particular person can drive a truck or automobile terrific distances, responding to external events inside the anticipated manner with no recollection of possessing consciously performed so. In this state the driver's conscious thoughts is apparently fully focused elsewhere, with seemingly direct processing on the masses of information required to drive safely. 'Highway Hypnosis' is just 1 manifestation of a relatively commonplace encounter, theoretically where the conscious and subconscious minds appear to concentrate on various issues; workers performing very simple and repetitive tasks and persons deprived of sleep are likely to knowledge comparable symptoms. Hence, it is actually a kind of subconscious "driving mode." Again, you could currently have the ability to guess what's wrong with this definition: hypnosis isn't a mental state! Highway hypnosis is actually a trance state (it truly is a shift away from "everyday" awareness). There is no communication going on, and for that reason - no hypnosis. An additional comparable (and just as natural) trance state is whenever you get so absorbed in a movie which you drop track of your time.

It's simple to view how these states may be confused with hypnosis simply because hypnosis generally likes to replicate these trance states so as to increase suggestibility (but recall: if you can find no recommendations getting communicated - then it can be not hypnosis).

MYTH 6: Hypnosis is just not a actual catalyst for physical or chemical adjustments inside the body.

Really even just for the very simple fact that the brain is created up of electro-chemicals known as neurons which shoot off among 50-200 occasions per second makes anything a potential catalyst to get a chemical modify in the physique. All we ought to do is take into consideration some thing and our brain chemistry is altered.

But a lot more practically people wish to know if hypnosis can essentially result in bodily alterations like an increase/decrease in weight, the creating of muscle, or perhaps a rise in breast/penis size. Normally, the answer is "yes, to some extent" to all of these query.

Hypnosis can not make the body so anything it isn't already capable of carrying out naturally on its own. But hypnosis has been established to assist guide the body by way of particular alterations via the use of suggestion for both behavioral alterations (for instance consuming less, motivation to visit the fitness center) and even direct modifications inside the body (modifications in metabolism, time it takes muscle tissues to repair, and there have even been cases of improvements in vision, and yes, penis and breast size development - hypnosis has been show to become particularly great with directing substantial adjustments in soft tissue).

Keep in mind: hypnosis is beneficial at creating adjustments towards the body's maximum potential - it doesn't enable you to transcend your biological disposition by way of some "mystical fashion." Although there's an excellent chance hypnosis will reveal items about your body which you have been previously unaware of.

MYTH 7: You should not try hypnosis without having a trained hypnotist or hypnotherapist.

Most educated hypnotists and hypnotherapists would tell you that you simply ought to always seek an expert. However it could be hypocritical of me to say you've got to do this given that I am absolutely self taught. In truth, I think every person should really teach themselves a little of hypnosis so they could check out and see the possible for themselves.

Hypnosis is a natural phenomenon - it really is your all-natural correct to explore it and to also explore the mind/body as a entire. There are loads of books, podcasts, and videos to have you began with practicing hypnosis - experiment with as several as you desire, get a feel for the distinction in strategies, and begin to find out the fundamental principles of what makes a hypnotist versatile and helpful.

I would recommend you start with practicing self-hypnosis tactics. Nothing at all also sophisticated. Just practice inducing yourself by means of hypnotic suggestion into a state of relaxation or a light trance.

It is possible to also practice by reading generic scripts to a buddy or household member and having them study some to you at the same time. They are not probably the most productive issues in the world but that typically makes them harmless and straightforward to practice with.

Search totally free hypnosis scripts on Google and check out several of the basic scripts for issues like "Confidence" or "Relaxation."

Never take the beginning of your studies too seriously, just get a feel for the diverse stages of a hypnosis session: inductions, scripts, ways to appropriately come out of a session.