#satisfying plot trumps unexpected plot twist

[ratingtheframe]

Enola Holmes, The Devil All the Time and i’m thinking of ending things: Everything I watched in September.

Thank God we are almost at the end of the year. With October just around the corner and 2021 in full view, it seems like the film industry is slowly piecing themselves back together after months of being on a complete hiatus. Cinemas are slowly starting to return back to normal and streaming services are now full to capacity with content.

Netflix in particular has some exciting things to come and the successful release of Harry Bradbeer’s Enola Holmes and Antonio Campos’ The Devil All the Time, has proven that their ability to produce outstanding content hasn’t been stunted at all by COVID-19. Here are the 31 titles I watched this month and for you to add to your watch list. 

Searching (2018) as seen on Netflix

Searching recently came onto Netflix, however the film was actually first released in 2018, screening at Sundance Film Festival. It had a very impressive response and grossed $75 million worldwide and with a budget of only $880,000 it was certainly a success. I rate this film highly, due to the simplicity and execution of it, with a lot of twists and turns in appropriate places. Structurally, the film is flawless and it’s clear a lot of thought had gone into the payoff of the entirety of the film. Certainly an indie filmmaker's dream and a film to watch to learn about the “less is more” rule of screenwriting.

Score: 10/10

Zodiac (2007) as seen on Netflix

I’ve been avoiding Zodiac on Netflix for a loooong time, and after watching it I wonder why I didn’t check it out sooner. David Fincher’s (Fight Club, Panic Room, the Social Network) thriller based on the case files of the “Zodiac Killer” stars the likes of Mark Ruffalo, Robert Downey Junior and Jake Gyllenhaal, all of which had amazing on screen chemistry. The dialogue and structure is Aaron Sorkin-esque as you figuratively become one the detectives, unravelling the case as the two and a half hour film delves deeper and deeper. You honestly feel as if you become one of the team whilst watching Zodiac and just for that, it goes down as a praise worthy film with a perfect structure and surprising twist to the end. Zodiac is the thriller of thrillers.

Score: 11/10

I See You (2019) as seen on Netflix

Now a film like I see you has me questioning

Netflix’s

choices a little. The film scores handsomely on

Rotten Tomatoes

, with a metric score of

78%,

which is quite high for a largely gimmicky film. I can’t quite fault the overall concept, however the story itself fell flat by the end. Things just seemed to mount too much to the point that it became overtly inauthentic and questionable. Instead of paying attention to the movie, I found myself picking up all the irregularities such as why a police man would suffocate someone, drive them to their own home and then shoot them in the head. Surely a policeman would just leave her in the woods? On a brighter note,

Judah Lewis’ (Babysitter: Killer Queen)

was quite praiseworthy in his performance, but it wasn’t enough to drag the film out of a hole of confusion.

Score: 2/10

Fear and Loathing in Las Vegas (1998) as seen on Netflix

If there is one film that you NEED to watch from this list, it would be Terry Gilliam’s Fear and Loathing in Las Vegas. The crackhead energy in this film is OFF THE CHARTS as Johnny Depp and Benecio Del Toro play two drug addicts exploring Las Vegas. The production design in this is marvellous and really captures the psychedelic world the two men enter every time they’re high. I particularly enjoyed Depp’s narration throughout this; his voice is the most sensual yet hilarious thing to listen to for 2 hours straight. Fear and Loathing in Las Vegas is HILARIOUS and such a well rounded, off the wall film to watch.

Score: 12/10

I’m thinking of ending things (2020) as seen on Netflix 

Even though I watched i’m thinking of ending things nearly a month ago, I’m still recovering from it. Charlie Kaufman (Adaptation, Being John Malkovich) directs this satisfying yet highly confusing tale based on the Iain Reid book with the same title. Despite it’s perplexing plot, I certainly can’t fault the film’s performances or set design. Jesse Plemons, Jess Buckley, Toni Colette and David Thwelis made a surprisingly good ensemble and the makeup in this film is probably the best I have ever seen. HOWEVER and this is a big however, the waywardness of the story can’t override the success of artistry behind the film. I feel like there’s becoming a trend where films are visually perfect but make zero sense. By sense I mean a clear, concise story, that has character journeys and some sort of resolution at the end, no matter how big or small. I’m thinking of ending things that had just about NONE of these elements, and that doesn’t make it a bad film at all. It’s certainly not a film I’ve seen before and perhaps it raises the questions whether films need to make complete sense in order for them to be good. We can take a look at experimental cinema to delve deeper into that theory, for within this type of cinema, films can still be appreciated even when they are confusing. Perhaps the meaning of i’m thinking of ending things, is more powerful and higher than the average movie goer can understand, but still appreciate.

score: 9/10

Hacksaw Ridge (2016) as seen on Amazon Prime

Again, another film I’ve been avoiding for a loooong time and regret not watching sooner. The film stars Andrew Garfield as a devoted Christian who goes to war to serve his country, but refuses to carry a weapon yet lives to tell the tale. Preacher Desmond T. Doss saved the lives of between 50-100 men on Hacksaw Ridge during the Second World War. He was heavily commended for his service and the film itself earnt 6 Academy Award nominations. It’s a story that was born to be on screen and it’s hard to believe it was all true. Andrew Garfield’s performance was exemplary and he is definitely underrated as a truthful actor.

Score: 10/10

Fear (1996) as seen on Netflix 

I am sucker for a thriller, good OR bad and this one from 1996 was surprisingly decent. Starring Mark Wahlberg and Reese Witherspoon in their early days, Fear follows a pair of young lovers whose strong relationship turns into a possessive one, when Witherspoon’s character, Nicole learns the true intentions of her boyfriend. It's a 90s teen flick that isn’t talked about enough and certainly an easy one to get sucked into as a guilty pleasure.

Score: 10/10

Make Up (2019) as seen at the BFI Southbank 

Make Up first screened at the London Film Festival last year and was later released this year. I wanted to catch it at the festival and was glad it made it into cinemas. The eeriness of the british film directed by Claire Oakley, was a slow burnt, intriguing watch, however as artistically visual it was, a satisfying resolution to the film was missed. The payoff of the story was easy to define despite it’s ambiguity, however it wasn’t as hard hitting as it should’ve been, which is common in most indie features. The better ones expose ideas and truths in a punchy way, such as La Haine or Whiplash. The film’s genre was also undefinebale and although the story was interesting, I wouldn't be inclined to come back for more of it. 

Score: 7/10

Zoolander (2001) as seen on Netflix

I’m not a huge comedy fan, however it’s about time I watched Zoolander, for it’s probably one of the most iconic films of the early 2000s. The film follows a model targeted by a fashion brand who wants him to kill the prime minister of Malaysia. Anyone who was anyone in the 00s is in this film, from Naomi Campbell to Lil’ Kim, Paris Hilton, Donald Trump, Lenny Kravitz, Natalie Porter and even David Bowie. How they managed to get these famous faces as well as the actual cast (Owen Wilson, Ben Stiller and Will Ferrell) onto this film is certainly a mastery at casting. As far as comedies go, Zoolander is iconic and a must watch for those who are thoroughly in love with these types of outlandish films. 

Score: 8/10

American Pie (2001) as seen on Netflix 

This is the my first time seeing American Pie and for someone who hates comedies, it thoroughly made me laugh. I definitely had to look past at the amount of misogyny and questionable scenes in this film and just sit back and enjoy it all. I felt that all four leads (Jason Briggs, Thomas Ian Nicholas, Chris Klein and Eddie Kaye Thomas) were well casted as an ensemble and were really down to earth in their performances. They were authentic in being high school boys still figuring themselves out and in the end I found each one to be highly likeable. As a comedy, this is definitely a go to and an iconic film from the early 2000s. 

Score: 9/10

Clemency (2019) as seen on Amazon Prime 

A Sundance Film Festival graduate, Clemency was a deeply moving and well shot film that exposed the shocking reality of prison inmates on death row in the US. The word clemency is essentially a term used to define an act of mercy by the justice system, who at the last minute of a prison’s life can grant “clemency” if they feel worthy of doing so, stopping them from being executed. Factors such as new evidence or a parole grant can influence this decision and this film shows the abrasiveness of such an idea. Imagine being a prisoner moments away from death and because of Clemency, you sit there thinking your life can still be saved. But as this film depicts, this isn’t always the case and the masterful acting of Alfre Woodard puts this grief into context beautifully. Her performance ignited this film and it was easy to see this story got to her on a deeper level, that went beyond serving a character. A seriously good film that is professional, dynamic and heart wrenching.

Score: 10/10

Gladiator (2000) as seen on Netflix

I never saw myself as someone who would like Gladiator, however Ridley Scott’s Oscar winning film thoroughly surprised me in an unexpected way. Moving past the amazing visuals and outstanding production value of this film, the actual story itself was just so damn good. It had an excellent, Hollywood worthy structure that saw a hefty and clear journey of it’s lead, Maximus (Russell Crowe). I was VERY surprised to see Joaquin Phoenix play alongside Russell Crowe, who gave a great performance as a bratty roman emperor. Gladiator was nominated for 12 Academy Awards in 2001, which is unsurprising seeing as it's a pretty much flawless film, with the character’s fierce journey being the main contributor to this. 

Score: 11/10

American Pie 2 (2001) as seen on Netflix 

Now sequels are known to be the downfall of some films, especially as the first films were okay on their own. However, I definitely enjoyed American Pie 2 as much as I enjoyed the first. The performances of all characters seemed to get better with time and it still remained outlandish and hilarious to watch. 

Score: 9/10

3096 days (2013) as seen on Netflix

When you laugh more at a film than you should have, there’s something clearly wrong. This Netflix film based on the true story of the kidnapped Natascha Kampusch was directed by German-American director Sherry Hormann. This is gonna sound whack, but one of the most annoying things about this film was the lighting. It felt as if it was never truly dark in this film and because of that, it distracted from the fear of the situation young Natascha was in. Lighting plays an important role in thrillers and horror films, as the idea of these films is to keep people constantly on edge and the dark is something that does that perfectly. I felt safe when watching this film and although it’s meant to be a biopic, I don’t think it captured Natascha’s situation as best as it could have. Another thing that really let the film down was the dubbing from German to English. This is a pet peeve I have with films, but is understandable seeing as the majority of people are too lazy to follow foreign language subtitles and miss out on some of the best films ever made. Because of this, it forces foreign language films to cater towards an English speaking market so the film becomes more viable. I would’ve respected this film a lot more if it was completely in German and had English subtitles.

Score: 5/10

Cruel Intentions (1999) as seen on Netflix

About a year ago, I saw the Glenn Close and John Malkovich film version of the french novel Dangerous Liaisons and I fell asleep. Maybe it was the film I had seen before it that had made me nod off or the fact I couldn’t understand what the hell was going on. However, Cruel Intentions follows the same story with younger leads; Sarah Michelle Geller, Ryan Phillipe and Reese Witherspoon and is set in the modern day. As you can probably tell by now, I am a sucker for a 90s teen movie and Cruel Intentions was all that and more, for the performances and story structure in this film were top notch. Ryan Phillipe is a much underrated actor and heartthrob, playing a jealous and callous Sebastian, the step brother of Sarah Michelle Geller’s character, Kathryn. Both of them were spiteful, abrasive and mean and I LOVED IT. Their non-fuckery was enviable as they cheat and turn the lives of others upside down. Reese Witherspoon was an angel in this film, and I thoroughly appreciated the strength of her character throughout. Cruel Intentions sits highly as a film from the 90s and boasts a hoard of young talent from that era.

Score: 10/10

Wildlife (2018) as seen on Netflix

If you are in love with Paul Dano as much as I am, you’re gonna want to marry him after you find out that he’s also a director. His first feature Wildlife, stars Jake Gyllenhaal and Carey Mulligan as a couple battling the demons in their relationship whilst caring for their young son. I really really REALLY can’t wait to see what Paul Dano directs in the future based off this film. It’s everything I love about a good indie film; well shot, a perfect cast and a touching story. It truly is a beautiful film and one I would recommend to my indie lovers out there.

Score: 10/10

The Perks of Being A Wallflower (2012) as seen on Netflix

My excuse for not having seen The Perks of Being A Wallflower is that I thought it would be yet another predictable high school blunder, with flat dialogue and basic character arcs. And I was half right in that. The first half of the film (mostly exposition) was filled with cringey dialogue and basic high school motifs that set up the film. Some moments were overtly far fetched and it took me a while to fall in love with the main character instead of feeling desperately sorry for him ALL THE TIME. Ezra Miller, Emma Watson and Logan Lerman all together as an ensemble was whack casting that just about worked. However, once we made it through the blizzard of exposition and got to the heart of the story, it truly was a touching and tear jerking movie to watch and for that, it scores highly. “We accept the love we think we deserve” was the ringing message of the film and certainly something I carry around with me daily as I reflect on the unfulling crushes I’ve had in the past.

Score: 9/10

The Devil All the Time (2020) as seen on Netflix

Probably my most favourite film on this list, The Devil All the Time is pure ART. I have a full review uploaded onto my tumblr account so please do check it out to see an in depth review of the Netflix film. All I will say is that it is a must watch film with an unreal cast and story.

https://ratingtheframe.tumblr.com/post/629443058079055872/the-south-of-america-meets-gritty-gothic-horror

Score: 11/10

Way of the Gun (2000) as seen on Amazon Prime 

Ryan Phillipe and Benicio del Toro star side by side in this action packed crime thriller about two guys who kidnap the wrong woman. Simple in it’s log line with the potentiality to be limitless in its telling; ie the basis of every good film. Juliette Lewis (the it girl of the 90s) also stars in the film and really compliments the performances of both leads. Any film that Juliette Lewis is in, is a good film and she is an actor with a very impressive portfolio of work under her belt.

Score: 9/10

Judy and Punch (2019) as seen on Netflix

I’ve been waiting since the end of last year to see Judy and Punch and was thrilled to see it had been put onto Netflix. However, after watching it, that thrill deteriorated and what was left was a disheartened feeling towards this film. It’s a shame to say this, seeing as the story of Judy and Punch is so satiable and fulfilled in its possibilities of telling it. However, probably the biggest problem within this film was its pace; it was too quick of a film. The beginning was organic and smooth, but as it went on it started to become continuously rushed. There were characters I didn’t have time to get to know and actually didn’t even end up knowing their names. There’s a point in the film when Judy is welcomed into an isolated society outside of her home, most of which in that society were women. I would’ve liked to get to know them better and see how they influence Judy’s character and revenge on her husband. The film felt very rushed, which is a shame because everything else; acting, production and story were well aligned.

Score: 6/10

22nd July (2018) as seen on Netflix

I remember the 22nd July 2011 as clear as day but for all the wrong reasons. On this day, 77 people in Norway were killed by a terror attack caused by a right wing, anti-immigrant supporter, Andres Brevik, who was a member of a radical organisation and spent nine years preparing his attack on Oslo and Utøya Island. The most shocking part of this massacre was what happened on Utøya Island, which was the main body of Netflix’s film 22nd July. Viljar Hanssen was a teenager attending a political youth camp on Utøya Island in the summer of 2011. Whilst on the island with his younger brother, a bomb went off in the centre of Oslo, outside a government building, killing 8 people. By the time news of the attack got to Utøya Island, its perpetrator had also arrived, and begun gunning down the kids on the island. 69 people were killed, most of which were under 18. Viljar Hanssen was shot five times, in the head, arm, legs and hand. The attack lost him an eye, several fingers and bullet fragments still remain in his brain. He also lost close friends and the ability to perform in many activities he used to do growing up. His ordeal and that of many on the island, is captured in 22nd July, that from beginning to end, approaches this story with sensitivity and facts. Out of the many events I have heard of that include a massacre of some kind, this attack always sticks out in my mind. The perpetrator was truly merciless in his rage against immigrants coming into Norway and he made sure to express that hatred in such a shocking and profound way. The entire story is one that is so hard to believe and is important in preventing future attacks of this kind.

Score: 11/10

Les Misérables (2019) as seen at Curzon Bloomsbury

Les Misérables was nominated for Best Foreign Language film this year at the Oscars and despite it being thrilling and highly well made, I felt quite disappointed by it. The film was accurate in exposing the many communities now prevalent in France today and it was definitely one of those gritty, Cannes worthy films to sink your teeth into. It's not a bad film at all, it's just one I found hard to relate to and therefore I switched off whilst watching it. In fact, I think Portrait of a Lady on Fire was a better contender as Best Foreign Language film at the Oscars and I was left fuming when I found out it hadn’t been nominated in that category. Les Misérables is a film I’d recommend but found it hard to love it overall.

Score: 9/10

A Cure for Wellness (2016) as seen on Netflix

The logline for Shutter Island (2010) is as follows: Teddy Daniels and Chuck Aule, two US marshals, are sent to an asylum on a remote island in order to investigate the disappearance of a patient, where Teddy uncovers a shocking truth about the place. 

And the logline for A Cure for Wellness is as follows: Lockhart, an executive, is sent to a wellness spa in the Swiss Alps to retrieve his company's CEO. At the centre, he encounters strange activities that make him investigate the illness of the people.

Notice anything? They are literally the same film and it's not just the loglines that share an alikeness. On watching A Cure for Wellness, I noticed how similar it was to Shutter Island, from the location, to the colour grading, costumes and even lighting. Both films are almost identical and I pretty much hate both films anyway. I’ll admit, A Cure for Wellness has a better story and tells it better as well, but if it's just a rip off from Shutter Island, is it all that good? I appreciated the production value of this film yet it was hard to tear it away from Shutter Island’s own production. Overall, I found it quiet gimmicky and too close to Shutter Island for it to have much originality.

Score: 6/10

U want me 2 kill him? (2013) as seen on Netflix 

The only thing that let this film down was the acting. There’s something about solely British productions that rub me the wrong way. Admittedly, their structure is always good and the story is well put together, however the artistic side of these films lacks in parts, from acting to set design. U want me 2 kill him? Is based on a true story which really alleviated the film. I thoroughly enjoyed delving into this story and it was an interesting, engaging plot. However, its production value and acting is what let it down.

Score: 7/10

After (2019) as seen on Netflix

So in short, this wasn’t a good film. The twist was satisfying, however the rest of it was just plain annoying. Any film that uses reality tv type music in its montages pisses me off. It's just such a cringey way of showing emotion on screen and I’d much rather they use music with no lyrics or music that actually conveys the emotion of the scene. The relationship between the leads, Hardin and Tessa (Hero Fiennes-Tiffin and Josephine Langford) was very predictable and the conflict between the two only made up like 5% of the film; 2.5% at the beginning and a further 2.5% at the end. For the rest of the 95% of the film, they were pretty much happy throughout, meaning the story had nowhere to go, besides the fact that Tessa’s mom disapproves of Hardin. But besides that and a shocking revelation..that was about it. No one died, no one was really hurt. Hardin was made out to be more troubled than he actually was (his dad is chancellor of a college for fuck’s sake) and I found myself laughing when I shouldn’t be. As for After We Collided, I can’t wait to tear it apart this month.

Score: 4/10

Miss Juneteenth (2020) as seen at BFI Southbank

Miss Juneteenth is the underdog movie of the month for me. You can read a full, in depth review of it right here:

https://ratingtheframe.tumblr.com/post/630357041253400576/she-my-dream-now-miss-juneteenth-review

Score: 11/10

Monsoon (2020) as seen at BFI Southbank 

Why this film was praised by critics is unknown to me. The number one thing that this film did wrong was not showing ANY conflict on screen whatsoever, the characters merily TALKED about conflict. Conflict and actions based on those conflicts is what moves a story forward, and this film was certainly static. The story follows a man (Henry Golding) and his return to Vietnam as he learns about the war and the life he left behind. But the film shows no war, no deprivation or heartache that many vietnamese people had to go through. It's just filled with empty shots of Vietnam and Henry Golding looking out at the city. Why not just make a documentary about The Vietnam War with Henry Golding presenting it, as that is what this film was virtually. You can’t get away with nice looking shots to produce a praise worthy feature. Maybe I’m getting the wrong jist of the film, but in terms of its telling, I didn’t feel anything at all whilst watching it and if I didn’t feel anything, I wasn’t thinking about anything because it was so mundane.

Score: 5/10

The Riot Club (2014) as seen on Amazon Prime 

I’ve had a strong soft spot for Sam Claflin since he played Finnick in The Hunger Games. My crush on him was further confirmed with The Riot Club a British Production based on Laura Wade’s theatre play Posh that shows the ongoings of Oxford’s Riot Club. The group of ten men are all self entitled posh twats who think their education and parent’s money allows them to act in a horrendous way, with their initiation ceremonies and club rules. Sam Claflin plays Ryan, a 1st year student at Oxford and one of the Riot Club’s newest members. Max Irons plays Miles, another new member of the club, who becomes the focal point of Ryan’s jealousy, causing him to do some unspeakable things in one night out of envy for Miles. The ten men in the film work brilliantly as an ensemble, which is unquestionable seeing as five of them went to Guildhall School of Music and Drama, three went to LAMDA, one studied drama at University and the last went to Bristol Old Vic. All the leads in this film are well trained and it's clear to see that in their performances. A really enjoyable, yet eye opening film that exposes the privilege of some living right in the UK, including Boris Johnson and David Cameron, who were former members of this heinous club.

Score: 10/10

Enola Holmes (2020) as seen on Netflix 

Hmmm...there is a great deal of hype going around for this film and with a 92% rating on Rotten Tomatoes, Enola Holmes is well liked. This is understandable, seeing as Fleabag’s director Harry Bradbeer directed this film for Netflix and the cast includes the likes of Millie Bobbie Brown, Henry Cavill and Sam Claflin. I have never seen Millie Bobbie Brown in anything and yet I don’t think she’s doing anything special for me at this moment in time. As a viewer, I am 100% not into actors talking to the camera, a communication technique that I think should stay in theatre. I get this is a big part of Fleabag however I think Enola Holmes could have done without it. Another movie pet peeve is when the opening of a film explains what the film is about directly, something Enola Holmes did in an artistic, yet blatant way. Audiences aren’t dumb and will catch on with given clues, there’s no need to go through a character’s entire history in the opening of a film. For kids aged between 8 and 12, this film is great and Enola Holmes makes a great hero for many young girls. I don’t fall in this age bracket and therefore I enjoyed it a whole lot less.

Score: 6/10

American Murder: Family Next Door (2020) as seen on Netflix

Netflix is known for producing some of the finest, most eye opening documentaries out there. Despite this one being quite simple using found footage, its impact is certainly something that grew organically throughout the documentary. You can read my full review of American Murder: Family Next Door here:

https://ratingtheframe.tumblr.com/post/630780350645354496/netflix-documentary-delves-into-the-murder-of-a

Score: 10/10

Peppermint (2018) as seen on Netflix

I was thoroughly shocked to discover this film was made 2 years ago. You’d think we’re past a time of creating bad films that actually get released, but I guess we’re not. Peppermint was released in the same year as The Favourite, Blackkklansman and A Star is Born, three courageous films, all of which were showered with awards. Peppermint had two major problems; 1) it was boring and 2) the lead wasn’t orchestrated properly. The mexican drug cartel who murder the protagonist’s (Jennifer Garner) husband and child was almost insulting. Because it felt so inauthentic and gimmicky, I didn’t really understand why the drug cartel in the film was even mexican. Peppermint proves that a good story can turn bad in the wrong hands. The script was quite terrible and surrounding that was the nonsensical, half asked directing which saw Jennifer Garner get way too many injuries to still be alive in the end. The whole thing just had my eyes rolling, as nothing about it was original or provoking at all. In fact, the film didn’t even EXPLAIN how Garner’s character became a bloodthirsty vigilante. It merely showed us her training as a cage fighter. Das it. Nothing else in her character made her into this dominant and highly skilled fighter who takes down an ENTIRE DRUG CARTEL ONE HANDED. It, made, no, sense and sits a good example of how NOT to make a film. Also the only reason why it was called Peppermint was because of peppermint ice cream...yeah I don’t get it either.

Score: 2/10

And that is September, which marks an entire year since I’ve been critiquing movies and in that time, I’ve watched well over 350 films. There’s a lot more to come though, for the London Film Festival commences in October and titles such as Dune and the No Time to Die await a winter release. Stay tuned!

[krebs11pham-blog]

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[operawindow9-blog]

What’s missing from our list of 2018’s best TV?

As we wind down 2018, our best-of coverage continues with the following question:

What’s missing from our list of the year’s best TV?

Kyle Fowle

There’s hardly reason to argue with almost any year-end list these days because of the sheer number of good TV shows out there, but I’m genuinely surprised that HBO’s High Maintenance didn’t make our list. The second season of the HBO run keeps with the anthology-esque spirit of the show, but it goes deeper in ways surprising and touching. So, there’s still the random characters that populate New York and The Guy’s life, but what’s different this time around is a narrative through-line involving The Guy’s ex. That character arc, one of pain and jealousy and moving on, adds so much to a season that’s already achingly honest. Add in the fact that one of the year’s best episodes—“Globo,” reckons with the election of Donald Trump, and the completely indescribable feeling of moving through the world on the morning of November 9, 2016 in a smart, poignant, and stirring way—and you have a season of TV that’s more than worthy of any year-end list.

Myles McNutt

It’s difficult for an established reality show to make it into a best of TV list: Beyond the fact that critical conversation privileges scripted programming, reality shows are built on iteration, and that feels less novel or memorable when we reach the list-making time of year. And I’m part of this problem, because I failed to put CBS’ Survivor on my own list despite the fact that its fall cycle has been absurdly enjoyable for a show in its 37th—not a typo—season. Yes, the David Vs. Goliath theme is profoundly dumb. No, I couldn’t tell you a single thing that happened during the season that aired in the spring, so 2018 wasn’t all great for the series. But something about the alchemy of casting and game-play has created a season with a succession of satisfying twists and turns, reminding us that although we may not instinctively think of it as list worthy, a reality show 18 years into its run can still create some of television’s best drama and comedy. (I’ll never hear the name “Natalie” without laughing now.)

Eric Thurm

Making reality TV really pop is an artform: There are hundreds of hours of interactions to film, comb through, and precisely edit into a narrative that will make sense, delight viewers, and feel just slightly off, like humans hanging out too many years in the future to quite make sense to us. So every year, I become more and more impressed with the reigning queen of the genre: Vanderpump Rules. The sixth season is one of the show’s best; over half a decade in, Vanderpump Rules remains an examination of fame, misfired charisma, and the terrors of tenuous social status that would put any 19th century novel to shame. Whether it’s Jax Taylor maybe falling in love with his reiki master Kelsey while his relationship with Brittany Cartwright festers like an untreated sore, Stassi Schroeder’s then-boyfriend creating a new god tier of social faux pas by grossly hitting on Lisa freaking Vanderpump, or the slow-moving car crash of James Kennedy ignoring the “best friend” he was clearly sleeping with (not that anyone else cared), Vanderpump Rules remains mesmerizing. The cast of past, present, and future SUR employees are stuck with each other forever, and it’s incredible. It’s not about the pasta; it’s about dread.

Clayton Purdom

Aw, come on—am I the only person who thought Maniac was one of the year’s best? Well, apparently. Cary Joji Fukunaga’s 10-parter was far from perfect, but it aimed admirably high, wrangling spy action, elven fantasy, late-capitalist malaise, intense family dynamics, corporate psychotherapy and more into a freewheeling caper across several levels of reality. It also got career-best comedic performances out of Emma Stone and Justin Theroux and a fine, sad-sack turn from Jonah Hill. And Ben Sinclair! Not all of its ideas stuck, but it was messy, smart, and light in a way I’d love to see more sci-fi attempt.

Dennis Perkins

I’ll admit, I was worried going into the new, Mary Berry-less (not to mention Mel- and Sue-less), Great British Baking Show era, but I am pleased as rum baba to say that this enduringly endearing and delightfully stressful baking competition series has marched on just as sweetly. Sure, there’s a lingering bitter aftertaste to the great British baking show schism that led to those departures, but not on the Great British Baking Show itself, which rides remaining judge Paul Hollywood’s gruff charms alongside new judging partner Prue Leith and celebrity goofballs Noel Fielding and Sandi Toksvig without missing a trick. The key ingredient to this series’ success has always been the utterly generous heart that goes into every episode, and Fielding and Toksvig, if anything, seem more emotionally invested in the fates of the contestants they have to expel, one-by-one, from the show’s famous tent. And if Hollywood and Leith continue the necessarily merciless judging of soggy bottoms, overworked and under-proved doughs, and the occasional collapsing confectionary disaster, they, too, provide warmly constructive criticism rather than the traditional reality show scorn. A series—as the departed Berry was wont to say—“cram-jammed” with delights, The Great British Baking Show remains one of the most cozily exciting TV experiences going. [Dennis Perkins]

Alex McLevy

Maybe it’s the curse of distance that comes from being released way back in January, or maybe it’s simply a victim of the era of Too Much TV, but I’m bummed out to find the Steven Soderbergh-helmed Mosaic failed to crack our top 25. The miniseries is everything you could want in superlative television: a sharply nuanced and well-written mystery, performed by a coterie of uniformly strong actors at the top of their game (longtime character actor Devin Ratray deserves to be getting award nominations for his star turn), and an ace director brilliantly shooting and editing the whole thing into an intriguing puzzle? It’s the one thing I have felt comfortable recommending to anyone all year long who’s asked me what great show they should check out, regardless of individual tastes, and sadly, not a single person to date has responded with, “I’ve already seen it.” (Feel free to ignore the accompanying multimedia app as an experimental lark on Soderbergh’s part.) You’d think an HBO series from an Oscar-winning director wouldn’t need underdog-status championing, and yet here we are. Give it a watch if you haven’t yet—and odds are, you haven’t.

Caroline Siede

Come on you guys, Netflix’s Queer Eye gave us two full seasons and a special in 2018, and we couldn’t even give it a spot on our list?! I get that it can be hard to stump for reality TV when there’s so much great scripted stuff out there, but Queer Eye at least deserves a special award for being one of the most unexpected joys of 2018. The new Fab Five offered an updated spin on the early ’00s Bravo original, emphasizing self-empowerment, confidence, and empathy along with styling tips and home makeovers. Karamo used his vague “culture and lifestyle” assignment to deliver some really thoughtful therapy sessions, Tan invented a whole new way to wear shirts, Jonathan established himself as an instant icon, Antoni put avocado on stuff, and Bobby did five times as much work as everyone else while getting barely any credit for it. Whether we were bonding over tear-jerking transformations or mocking Antoni’s complete inability to cook, Queer Eye was the rare cultural unifier based on something lovely and uplifting, rather than dark and depressing. I’m guessing we’re still going to need that in 2019, so it’s a good thing the show has a third season on the way. Until then, I’ll just be rewatching A.J.’s episode on a loop.

Lisa Weidenfeld

I watched and loved a lot of TV this year, but it’s possible Wynonna Earp is the show I looked forward to the most, and also the one I wish I was seeing on more best-of lists this December. It’s a Western, a procedural, a Buffy descendant, a horror comedy, and probably a few other things as well. But mostly it’s fun. Its wildly entertaining third season was the strongest yet, and featured a potato-licking mystery, a Christmas tree topper made out of tampons, and one of TV’s sweetest ongoing romances—the usual stuff of great drama. The show’s mythology keeps expanding into an ever larger battle between forces far more powerful than its scrappy team of heroes, but it’s the writing and character work that make the show shine. Wynonna may be tough and merciless in her pursuit of victory, but it’s her sense of humor that keeps her human and compelling, and the bond between her and sister Waverly has provided a grounding emotional force on a show with an increasingly complex central plot. There just aren’t enough shows on TV that would work a Plan B joke into their heist sequence.

Vikram Murthi

Even correcting for James Franco’s involvement, which might put people off for legitimate reasons, it blows me away that The Deuce didn’t crack AVC’s main list. David Simon and George Pelecanos’ bird’s-eye view of the inception and proliferation of the sex industry in the United States represents some of the most mature, compelling television of the year. Simon’s detail-oriented, process-focused approach comes alive when examining a side of American culture that functions as a metaphor for everything: gentrification, the rise of cultural conservatism, urban renewal, late capitalism, and, most potently, the filmmaking process. This season, Simon and Pelecanos pushed their subjects toward broader freedoms that quickly revealed themselves to be traps in disguise. Not only does all social progress come with a price, but also it’s limited to those pre-approved by those controlling the purse strings. Yet, Simon and Pelecanos never forget that the tapestry of human experience is neither exclusively tragic nor comprehensively optimistic. Some people discover happiness, and others lose their way. Rising and falling in America has always been a permanent state because social environments and political context circumscribe life-or-death choices. It’s been a decade since The Wire ended, but its worldview lives on through Simon’s successive work: everything’s connected, follow the money, and bad institutions fail good people every damn day.

Danette Chavez

Although the show’s title addresses a certain demographic, Dear White People has so much to say beyond calling out the oblivious and privileged. Yes, Justin Simien’s adaptation of his 2014 film of the same name wears its politics on its sleeve, but they’re right next to its heart. The show is much more a winning coming-of-age dramedy than it is a polemic, and even then, it’s still miles ahead of most college-set series in both style and substance. Simien’s created his own visual language to capture both the intimacy of the relationships among the core cast, as well as the microscope they’re under as black students at an Ivy League school. And I really cannot say enough about the dialogue, which crackles and informs. Season one had such a moving coming-out storyline, made all the more so by DeRon Horton’s vulnerable performance; the new season follows Lionel’s adventures in dating and dorm sex, with hilarious and poignant results. Really, the whole cast should be commended, from Logan Browning, who provides a wonderfully complex center as Sam, to Antoinette Robertson, who may have given the series’ best performance in season two’s “Chapter IV.” Dear White People still makes a point of punching up—at racist and sexist institutions, tangible and otherwise—but many of its most extraordinary moments have come from characters like Sam, Gabe (John Patrick Amedori), and Reggie (Marque Richardson) recognizing their personal foibles. Thankfully, Netflix has already renewed Dear White People for a third season, giving you all a chance to get it together.

Gwen Ihnat

The odd Amazon sitcom Forever had a lot to say about the monotony of monogamy and marriage: Can you really stay with someone happily for the rest of your life? (Or afterlife, as the case may be.) With anyone but Fred Armisen and Maya Rudolph cast as that main couple, Forever might have slowly slid into bland drudgery. But the two gifted comic actors injected a lot of life into the monogamy question, aided by a spirited supporting cast including Catherine Keener, Julia Ormond, and Noah Robbins. Sure, there are some days when you want to talk to anyone but that person sitting across from you at the breakfast table. But who else would discuss with you, ad nauseam, banal topics like the perfect way to spend a half-hour, or the best way to sit in a chair? The standalone episode “Andre And Sarah” makes achingly clear how much finding (or not finding) that person who makes you shine steers the path your life will eventually take, all in a mere 35 minutes.

Allison Shoemaker

While I’d love to praise one of the many things that aired this year that I’m sure to revisit in future—someone else is going to mention Wanderlust, Salt Fat Acid Heat, and the dazzling Jesus Christ Superstar Live In Concert, right?—I feel compelled to bring up a program I’m almost certain I’ll never watch again. It’s unlikely that when HBO snapped up The Tale at Sundance this year, the network was thinking of the benefits of the pause button. Yet it’s a benefit all the same. The debut narrative feature from documentarian Jennifer Fox follows a fictionalized version of the director (played by Laura Dern) as she re-examines a traumatic childhood experience she’d filed away in her mind as loving and consensual, managing to be both gentle and almost unbearably upsetting all at once. Dern’s simple, seemingly relaxed performance belies the nightmare which fuels it, and that pause button may prove invaluable to some—it certainly was for me. The Tale is a film which seems to demand that you witness, rather than merely watch it. Should you need to walk away for a minute, it’ll keep.

Noel Murray

I know, I know: At least once or twice a year someone tells you about some cool animated series you should be watching, and talks about how trippy and ambitious and strangely deep it is. But guys, trust me: You need to catch up on Cartoon Network’s Summer Camp Island. Only half of season one has aired so far (20 10-minute episodes, mostly non-serialized), with the rest of the first batch reportedly set to debut before the end of the year. It’s a show parents can watch with grade-school-aged kids or on their own—a treat for animation buffs, and for anyone who enjoys a the kind of surrealism that’s more adorable than upsetting. With its snooty teen witches, dorky monsters, and never-ending parade of anthropomorphic clothes, toys, plants, and foodstuffs, Summer Camp Island is like a weird old Disney cartoon crossed with an ’80s teensploitation picture. And it is glorious.

A.A. Dowd

Mike Flanagan is a Stephen King guy. You could guess that from his adaptation of Gerald’s Game and from the news that he’s doing King’s Shining sequel Doctor Sleep next. Or you could just watch his work and marvel at how plainly influenced it is by the author’s, at how well it captures that signature King touch—the division of perspective among multiple characters, the interest in history and trauma, the graceful juggling of timelines. There’s much more King than Shirley Jackson in Flanagan Netflix take on The Haunting Of Hill House. The miniseries didn’t scare me as much as it seemed to scare a lot of my friends and colleagues—while well-executed, its jolts were mostly of the familiar James Wan spirits-slithering-up-walls variety. But I loved the intricacy of the storytelling, the way Flanagan moved fluidly from the childhood scenes to the adulthood ones and back again, mapping the entwined lives of these damaged siblings to suggest the way that our past and present remain in constant conversation. (It’s memories, of course, that are really haunting the Crain family.) In the end, I found Haunting Of Hill House a better, more spiritually faithful adaptation of It than the real one from last year. Guess that makes me a Mike Flanagan guy.

Erik Adams

The contents of The Big List demonstrate that it’s a great time for television comedy of all stripes: Animated, musical, workplace, detail-oriented genre parody, surrealist examination of the agony and ecstasy of existence. And while I would’ve liked to have seen some notice for the humble charms of NBC’s Superstore or a nod to that episode of Joe Pera Talks With You where Joe hears “Baba O’Riley” for the first time, I’m surprised that we didn’t heap more praise on another Michigan-set cable show co-starring Conner O’Malley. Like Myles with Survivor, I’m willing to accept that I’m part of the problem: Detroiters didn’t make my ballot’s final cut, despite all the hearty laughs, shoddily produced TV commercials, and General Getdown dance routines (“He’s a general—he’s the best”) the Comedy Central series gave me this year. Sam Richardson and Tim Robinson’s love letter to their shared hometown will always be powered by the stars’ explosively silly onscreen connection, but season two did some stellar work at fleshing out their characters as individuals, whether it was Sam reuniting with an ex to record a sultry grocery-store jingle or Tim (loudly) grappling with the family legacy of Cramblin Duvet Advertising. If nothing else, these episodes proved that when it comes to comedic news anchors, sometimes the inspiration for Ron Burgundy outstrips the legend himself.

Source: https://tv.avclub.com/what-s-missing-from-our-list-of-2018-s-best-tv-1830979080

[robloxfan222]

Holmes and Watson (2018)

Prior to 2018, the last decade showed two iterations of Sir Arthur Conan Doyle’s iconic Sherlock Holmes. The first pair: Two feature length movies, starring Robert Downey Junior (The Shaggy Dog, 2006) and Jude Law (Sky Captain and the World of Tomorrow, 2004) in original period pieces with new mysteries for the eccentric duo to encounter.

The second iteration was the BBC serial Sherlock starring Benedict Cumberbatch (Zoolander 2, 2016) and Martin Freeman (Swinging with the Finkels, 2011) in a contemporary reimagining of the detectives, set in modern-day Great Britain.

Both imaginings of the iconic Sherlock Holmes were met with varying levels of approval, as they separately boasted elements, both borrowed and original, to enhance and continue the spirit of Doyle’s series.

Yet, neither was perfect.

The 2008/2011 films left little to the imagination.

The immigration away from text and onto the silver screen left behind traditional elements favoured by detective stories. The translation left the audience struggling to keep up in both iterations, as the clues left behind were either completely irrelevant or far beyond the perceptive capabilities of even the brightest minds.

Thus, they have developed a distinct “style” - similar to The Matrix’s bullet time sequence - where the world slows down and the audience is graced with the mind of Holmes, as he meticulously analyses his surroundings for clues or a way out of a sticky situation. Admittedly, the scenes are well composited and entertaining, yet when this occurs for the 10th time, and it is revealed that Sherlock Holmes’s forgotten sister, who has been locked underground for several decades whilst secretly orchestrating elaborate crimes set out to take down her brother, it becomes quite fantastical and the thread of a detective story is lost.

So, where does that leave us?

In a world where it’s either Downey junior noticing a smudge of coal that is hidden out of focus to incriminate the killer, or it’s Cumberbatch partaking in an overarching plot so fantastical it puts shows like Game of Thrones to shame with how incredulous it is.

There was a void. And when there is darkness, light must also exist.

Etan Cohen, a man lost in darkness, became determined to labour aneath the stars to bring back the day. With the zest of deranged chemist, the man first discovered the potential of William Ferrell in Get Hard (2015), satisfied with the charm of Ferrell, Cohen abandoned Kevin Hart in pursuit of a partner that would match, and satiate, the sexually charged actor.

It was only after 3 arduous years, that Cohen finally forged in his hands, the guiding light.

A light that transformed the silver screen to a golden sheet - illuminating screens across the world. This film, in our mortal tongue, is known as “Holmes and Watson” (2018).

Under the guise of a blockheaded mystery-comedy starring Will Ferrell and John C Reilly, the film remains largely misunderstood by modern audiences. The story, composition and characters, in my eyes, are exceptional. And upon reading the harsh criticisms of the film, coupled with the disappointed murmurs in the cinema as the film drew to an end, all i could think of was John 20:15.

Jesus said to her, "Woman, why are you weeping? Whom are you seeking?" Supposing him to be the gardener, she said to him, "Sir, if you have carried him away, tell me where you have laid him, and I will take him away."

Where we are Mary, an audience so infatuated with superficial expectations of what a masterpiece film looks like - a misinterpretation of messiah. Yet, it is no fault to have faith - fault lies where an audience cannot dismiss a preconceived perception of expectation when the truth lies before their eyes.

So wipe your eyes, and beliefs of what makes a “good” movie. Sit down and watch this film.

Cohen, in his pursuits of greatness, realised that modern audiences would struggle to interpret the film upon first watching. The satirical comedy surpasses its predecessors with ease, utilising “punchline humour” on steroids to deliver an entertaining story alongside relevant social commentary. The sophisticated story beats and comedic timing of the film only exacerbate the message of love, companionship and big brain thinking.

Following the footsteps of previous films/shows, the film takes creative license in how it portrays Doyle’s detective. Still a genius, Sherlock is shown as a flawed character, he is vain and unfeeling - whilst Watson, his sidekick, struggles to earn the feelings of recognition he so desires. The characters and the plot are so intertwined, they could not exist without the other.

The characters are distinct, not just by appearance but also by personality. Each with their own clear goals and motivations, with an iconic protagonist and a villain I would compare with Heath Ledger’s depiction of The Joker. As usual, Holmes and Watson are depicted as two halves of a functioning human being, and their reliance on one another is heartwarming. Inspector Lestrade is readily abused, but has a hot wife. The love interest for Watson is a (((woman))) doctor, and motivates him to seek self worth even in the shadow of Sherlock. Whilst Sherlock falls for a woman with the mental capacity of a 4 year old, a clever use of juxtaposition to highlight the desire of man to fulfil the gaps within their own psyche.

Of course, Holmes is nothing without Moriarty. In the film, Moriarty is shown to use a doppelganger in his stead, yet the crime is orchestrated by his daughter, who also happens to be Mrs Hudson. Drawing a clever connection between the two, Cohen capitalises upon this link to deliver a satisfying reveal, and twist, in the third act that delights audiences. Her character is so well developed, in fact, that I found myself rooting for her once or twice! Of course, her true motivation is hinted at once or twice before it is revealed. She is seen being abused by the detectives (earning her ire), and is caught sleeping with Mark Twain, Albert Einstein and Harry Houdini (just to name a few) characters that foreshadow her future plan of murdering the queen.

The characters within the film are iconic, I am almost certain they will go down in history as blueprints for future filmmakers to use. The sophistication of their personality - and dialogue - reflect a bright future for cinema if these threads are pursued.

The premise is simple - the pair of detectives have several days to catch a mysterious figure threatening to kill the queen. There is no larger conspiracy, there is no unrevealed force. It is, at the very core, a game between two people far more intelligent than you and I.

Thus, the film does not become marred by inconsequential plot points or convoluted additions to its core. By remaining focused, Holmes and Watson capitalises on its simple plot with what really made the original stories so well loved: the mystery.

Clues are littered throughout the film for audiences to pick up on. Instead of holding the hand of watchers, Cohen realises that true intellects would be able to solve the film before its over. Several clever examples include: A jagged tattoo can only mean a one-handed tattoo artist knows the secret identity of Moriarty, or perhaps that red velvet cake is Watson’s favourite and only the housekeeper knows how to make it his favourite way which makes her the daughter of Moriarty and thus the threat to the queen.

If you couldn't pick up these cues, you shouldn’t bother reproducing, your intelligence (or lack of) doesn’t need to be continued in the human race.

So how does the film ascend from a good detective story to a masterpiece film?

The execution.

The execution of this film is flawless. The humourous interactions between characters and film elements remain relevant in driving the plot of the film forwards. Elements such as the aforementioned “slow-motion” scenes, unexpected musical cues and social commentary - each excellent in their own right - serve a purpose of driving the plot forwards.

Critiquing the cliche “detectives slow motion,” Cohen utilises the scenes as a comedic way of enhancing the human elements behind Holmes. Its usage at the beginning of the film, where Holmes, armed with a baseball bat, is hunting a mosquito that has rested upon a glass case full of killer bees gives the audience its first experience with the technique. The scene uses many mathematical equations whizzing past a freeze-framed scene, coupled with an narration of Holmes’ thought process, before snapping into reality and him quietly splatting the insect. Yet, Cohen realises that this is just stupid. The glass promptly breaks, forcing the pair to deal with the consequences. In this moment, the audience realises that Holmes is just human - he also makes mistakes. This leads to a doubt, a doubt that contradicts the arrogant attitude of the protagonist as well as the preconceived notion of a Sherlock Holmes that is always correct.

Catharsis in film can be expressed in many ways. Tarantino alters aspect ratio, Michael Bay utilises his iconic “stand up with the camera swinging around you” shot, and Cohen inserts a musical number into his film. The musical number focuses on Sherlock Holmes and his discovery of love. It is a beautiful duet, that serves as a turning point: where Holmes first feels feelings outside of his usual depression. Did i mention both characters are depressed? Yeah, the film opens with Watson trying to kill himself, but instead he forms an unhealthy attachment to Holmes. Holmes is addicted to drugs, and remains depressive without another “big mystery” (I suspect it is a metaphor for opioids).

The social commentary in this film is relevant to the modern day and age. If there is one thing I fear about this film, is that these plot points may no longer be relevant in the very near future. How can anyone ignore this film’s plea’s for Donald Trump's impeachment, or women doctors, or even rampant substance abuse issues? Seriously, there are far too many of these scenes for me to mention - you have to watch the film yourself.

Thus, ends my praise for the film. There are no negatives. Go watch this film yourself. Sit down with an open mind, and appreciate the twist on the detective genre. Laugh, cry and enjoy yourself. You’re gazing upon a messiah in disguise. 10/10.

[universeinform-blog]

The American Health Care Act: the Republicans

New Post has been published on https://universeinform.com/2017/03/21/the-american-health-care-act-the-republicans/

The American Health Care Act: the Republicans

House Republicans released their lengthy-awaited substitute plan for the Cheap Care Act on Monday.

The Yankee Fitness Care Act was evolved at the side of the White House and Senate Republicans. Two big questions — what number of people it’ll cool and what kind of it’s going to fee — are nevertheless unresolved: it will probably cool fewer people than the Low-cost Care Act presently does, but we don’t recognize what number of. And the Congressional Budget Office has now not yet scored the law, so its charge tag is unknown.

However what we are able to say for sure is this:

Some of Obamacare’s signature capabilities are gone at once, such as the tax on individuals who don’t purchase Fitness care. Other protections, such as the ban on discriminating humans with pre-existing situations and the provision that allows teenagers to stay on their dad and mom’ plan thru age 26, could survive.

The plan maintains the Medicaid expansion — for now. The Affordable Care Act extended Medicaid to cowl millions of low-earnings People. And, in a big shift from previous drafts of the legislation, which ended Medicaid enlargement immediately, this bill might keep to that coverage enlargement thru January 1, 2020. At that point, enrollment would “freeze,” and legislators count on enrollees could drop out of the program as their learning exchange. The replacement plan blessings people who are healthy and excessive profits, and disadvantages those who are sicker and lower-income. The replacement plan would make numerous adjustments to what Health insurers can price enrollees who purchase coverage on the person marketplace, as well as converting what benefits their plans ought to cowl. In aggregate, these changes could be advantageous to younger and more healthy enrollees who need skimpier (and cheaper) advantage programs. but they can be high priced for older and sicker Obamacare enrollees, who depend upon the regulation’s modern requirements. The bill seems a lot more like Obamacare than preceding drafts. A curious component has happened to the Republican substitute plan because it has developed thru more than one drafts: it has started to look increasingly like Obamacare itself. The bill continues some key capabilities of Obamacare, like giving more help to lower earnings People and the Medicaid enlargement, in a scaled-again shape. This speaks to how entrenched the Healthcare law has become considering its enactment seven years ago, and the way difficult it is going to be for the GOP to repeal it entirely.

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Locating the American Dream for you

Network advertising is a gateway that enables dreams and creates a sustainable lifestyle for people. it’s a home-based totally business that empowers you to create achievement. Sure, it may be difficult to attain a few desires, however, it does not imply that you can not achieve them. In case you already have fulfilled one dream, it is time to start every other. Discover that freedom and get empowered to alternate your situation. Nothing is guaranteed besides your will and backbone to make things happen. Life is hard paintings and may be challenging, but the type of work you do could make you satisfied If you like it. And In case you do then decide to it.

In case you’re bold and love working with human beings or era, then the network advertising profession can be just the proper ticket and suit for you. you may examine greater approximately community marketing so do a little research. Do not wait any other moment to make this yr, your year to reap fulfillment. Take step one forward to a better and a stronger you. If you want this, please percentage. Thank you for reading.

About The writer

Reading And Your Eye Health – Posture Tips For Better Vision.

Reading is a fave American interest. The advantages of Reading are not restrained to improving your vocabulary but this fun activity has a few amusement cost. As an example, novels with exciting plots create excitement and intrigue with our Analyzing fabric as the tale traces that are unfolding begin to tackle surprising and unexpected twists and turns. But, even as you examine it’s far essential to be aware of certain imaginative and prescient health habits which could end up both enhancing your vision fitness or making it worse. Some of these visible habits are desirable to your eyes while others aren’t. One example of a bad visual dependency even as Reading that has a terrible effect on eye health is bad posture. Therefore, right here are a few motives why poor posture even as Analyzing has a poor impact on your eye health. Moreover, here are some guidelines on what you may do to replace bad visual behavior even as Studying with suitable ones to maintain more healthy eyesight.

While you are Reading it is critical to take a seat in an upright function. That is due to the truth that Studying along with your head slumped down reasons the pull of gravity to your eyeballs to have a bad effect on your eyesight. This exertion of gravity at the eyeballs creates anxiety and stress in the eye muscle groups. This consequences in a series of bad outcomes on eye health. In line with Dr. Sasaki, an eye health practitioner specializing within the field of natural eye care, this results in eye fatigue, eye pressure and strain and anxiety in the attention muscle tissues.

Every other negative effect of poor posture whilst Studying on eye fitness is the improvement of Myopia as the pull of gravity on the eyeballs increases stress and tension in the attention muscle mass. Once this dependency is continued on an everyday foundation it can result in the weakening of the attention muscle tissues and additionally reasons the lengthening of the eyeballs; one of the factors that lead to the improvement of myopia.

You could save you this trouble via sitting upright at the same time as Analyzing. Try to avoid slumping or bending your head down whilst Studying. Instead, sit down upright in a cozy function and keep your Analyzing fabric at a parallel position approximately 20 inches out of your eyes.

Republicans Plan to End Medicare Immediately

As soon as Donald Trump is sworn into office, the first element Wisconsin Republican Congressman Paul Ryan is going to do is sponsor a bill to quit Medicare. He calls it “privatizing” Medicare and “modernizing” Medicare. What that means is that he’ll end the Medicare program and give it to non-public health insurance groups. If you’re over sixty-five, do not forget the way you have been just trying to bear, to make it to sixty-five so that you ought to sooner or later breathe a sigh of remedy when to procure Medicare? In case you’re beneath 65, you’ve got likely been placing in there and looking ahead to the large comfort of now not being at the mercy of health insurance businesses with their big deductibles and co-pays.

Health insurance organizations are not There to Offer Health Care

Medicare and the Veteran’s Administration Health care machine are the best medical health insurance structures inside the united states whose task is to ensure humans get get right of entry to to Fitness care. It really is all they do. The main project of personal coverage companies, then again, is without a doubt to make money for their CEO’s, top executives and percentage holders. Their dreams are to Provide the least quantity of Fitness take care of humans at least price to themselves. This is why, before ObamaCare, we had “pre-existing situations,” where, If you had the slightest Fitness problem, insurance companies should refuse to take you on. They also decreed that, if they had paid out a certain most quantity in your healthcare, you’d be reduce off for the rest of your life.

Medicare has never carried out any of that. We’ve had it from the time we attain sixty-five until we die. We’d constantly have Health care paid for. It really is all going to quit if the Republicans have their manner. Your Republican Senators and Congress people will say that our u. S . can not come up with the money for Medicare and that this may make certain people have lower priced Health care on into the destiny.

Republicans Say We can’t have enough money Medicare

They’re going to say that our u. S . can not afford to attend to its aged anymore; it is too high priced; it is an “out-dated” machine. (This isn’t always true; Democrats have a plan to make bigger Medicare.) Republicans’ plan is to present everybody a voucher for a sure sum of money that they could use towards personal medical insurance. That amount will cover the simplest part of the price of an inferior medical insurance plan. That quantity will also now not maintain going up as medical health insurance premiums go up, so you may be procuring increasingly of the premiums your self, as an alternative of having Medicare. You’ll additionally be paying massive deductibles and you will be paying co-bills. beneath Medicare as We have recognized it, monthly charges are low, the deductible is tiny and there are not any co-bills for the first-class plan, that is Plan F.

[time4caroline-blog]

it was "I" all along

Hi. It's Constance. Or well, actually Caroline. My full name is Caroline Vang. Yeah, I have no middle name. It's four in the morning and I hope I haven't already wasted your guys’ time by this. I noticed small remarks all around me. Marks. Labels. Whatever you call it. Actions. Undeniable ones. Actually my own. I'm weak. I'm fake. I appear strong as an ox and inside I pray the acting was decently good. I hope no one has made it this far to read this because I would only regret typing this up. Today is the 20th of January. Note it's also the inauguration of Donald Trump as the United States of America 45th President. Of course it's by coincidence I so happen to have the worst timing and seem to let waves roll down this dry face upon cracked skin in the room of which I first slept, the day I relocated for perhaps a brighter future.

 This note has no connection to America's historical movement of parties nor would any other person. Why. Even I question myself the mystery. Why Caroline. She had several names but only a few would know who she really responded to. She had multiple jokes and again only few people would respond. She tested gravity daily. Clumsy, she was. The life of the party. The one who doesn't know her limit. The one who thinks she's all that and will always do, when really, she only wants acceptance, kind of. No, it's not hard for her. It's difficult knowing every night,  that no one's going to be there. But her. Be there when an unexpected anxiety attack approaches while hugging another human. Be there for elevator trips. You could see her holding on the railings for her dear life. It's unbearable to watch. Be there when she's been away from the party too long. Only as an excuse, she actually tests out her friendships to see if they would notice her absence. And no one does. I don't blame them. Who wouldn't want to have a good time. Comes back inside from the cold and takes a seat. Becomes light headed. Soon, she's not herself. Deep she's crying. Screaming for help. Masking it with her actions of sugar rush. Becoming the dance floor spotlight. Introducing herself to everyone minimally.

Collapses from the caffeine in sight. Begins to have the usual symptoms of drunkenness. Cries. Laughs. Cries again. Of course, she falls asleep. In his arms. That let go.They all let go. Now she's alone, head rested on the table with hair in a mess. A mess she was. No doubt. Awoken every time with drought soul. Sad. Her sleep schedule packed, she can't even dream a dream. Only of work, school and the past. A nightmare would even be nice. Wakes up 14 hours later in her home. On her bed. Fixes up coffee. Leaves for work and returns back to her life again. Fresh as if never rotted.

Next thing you know, she can't receive any messages from any contacts. Not even her parents. For a while, she couldn't tell if God was giving her a break from others as a blessing or as you know what. Was it coincident again? Who knows? Was it because of her? The phone perhaps.

When she no longer wants to smile. An unexpected plot twist to a movie indeed. A very rare sight. Someone told her smile was what caught their eye. It was always her smile. Her laughter. Her bubbliness that surrounds everyone with warmth. A sunset you could describe the color as. Her jumpy reactions to the softest scares. Ha. Just the faintest reactions were a sight to see.

The way her eyes brightened up when someone complimented her. It didn't matter if it was even intentionally an insult. She loved the fact she was in someone's mind even for a hint of a second. She adored being known. Known for actions of love. Actions that lit up everyone's behavior with one joke. Actions that cheered up the most depressing person one could ever meet. Actions that no person would ever dare to do only because she was dared. She enjoyed being bold. Although she wasn't really during situations she knew she would lose.

A humble child. She would love to brag but she knew an open book would not be as enjoyable as a mysterious one. Her secrets locked. Some so sinful, never she dare tell even the closest human. Some so blissful, never she dare tell even the closest human. But to strangers. Though really she was an easy read and quite predictable with her smart bold moves and bubbly character. Anyone can read her next word out of her mouth.

They claimed her smart. Intelligent. So sweet. So caring. So uncaring. So lame. So depressing. So outgoing. So modest. So. Human.

That's who she was.

Caroline.

She didn't think so. Modest. Humble. She never was. She couldn't see herself as smart or other characteristics they claim she was. Only she was human stuck inside a human.

During a traditional ceremony, she was told her spirit was about to cross the other side towards the devil in hopes demonic powers would find her a path to a healthy soul again. The right path. A gamble far too dangerous for it could make it much more lost. Trace the spirit back to her soul in return the sacrifice of animals. In hopes she'll regain her life energy to prosper her life.

Several attempts were taken. Risks. Sacrifice. Negotiation. Mapping. Finding. Losing. Discovering. And found.

4:51 AM. Her sleep cycles still aren't functioning as the norm. Her thoughts filled with curiosity. She craves touch, and yet, her anxiety disagrees. Skin to skin contact interrupts her. Some not as dreadful, some where she can not move.

She's a touchy person in reality. No lie. I've met her and a hug was embraced as if we knew each other our whole lives. Clothing so clean the hintest whiff was satisfying. Hair no longer long and gracious as before but now choppy and confident. She loves hug. And I mean loves. She loves the strongest and the hardest. It has its pros and cons. Much more pros than cons but she lives to love. Sensory system to feel severely dropped. At this moment. She's numb.

Her idea of love questioned. Her existence questioned. Everything. Questioned. She sleeps numb. Wakes up. Confused. Late. Tardy on the second’s day of class. Work again. Then the same routine all over again. She questions. It grows desperate, she questions in the day time now. Every second she can. Until he arrived. Now the only thing that distracts her from it, is him. His texts. She never replies till late for some reason. Her thoughts fill with him regardless. In class. In work. In appointments. In the car. All day. Like her, he was also a human stuck inside of a human. One who she respected. Looked up to, literally. Instant trust bond. They both had a sense of understanding deeper than the norm. Perspectives discussed from angles never ceased to have existed. Inside jokes so in-depth it's sometimes hard to find out why they're laughing in the first place. She stare at him. Those glare only others can observe. Stares when the other person doesn't even know. Those stares reflecting admiration, blessing, and others positive outcomes by staring at their beautiful face.

Stares that say "Wow. He's stunning."

Yeah. He was stunning. I bet if he read this, he'll know exactly who I'm talking about. He IS stunning. His humor created the worst abdominal pains and ugliest faces. He had soul. His eyes spoke pure. He'd catch me staring. Quickly reverts eyes. Only once did he stare back a moment. He smiled. It killed me. His worry, killed me.

I believe his point of view denies mine. His actions speak it so well. Crossed arms. It was only once, we met. A good once. Maybe the only once ever to happen. I for one would enjoy his company regardless of situation. Such a gentlemen's but such a douche it's hilarious and so enjoyable. Anyone would love his presence. She told me herself, that night was memorable, thought nothing happen. That's the thing nothing happened. That's how memorable it was for her. It was just is presence that made her enjoy it. As long as he was there sitting next to her. She was glad. He would believe otherwise perhaps. She knows she did not possess the attractive appearance or book intelligent. The only thing she really knew, was well, how to live.

How to live. To live. Actions of planning her leave now extinct. All because of another human. Look pass behind this happy smiles and look into their eyes, and ask them "How are you?" and see if they're okay. Keep eyes on your friends. Why. Because they're human. We were built to love and be love. This is Constance from another insomniac teary night, Caroline out.