#vendela vida

[bracketsoffear]

Wax (Gina Damico) "Paraffin, Vermont, is known the world over as home to the Grosholtz Candle Factory. But behind the sunny retail space bursting with overwhelming scents and homemade fudge, seventeen-year-old Poppy Palladino discovers something dark and unsettling: a back room filled with dozens of startlingly life-like wax sculptures, crafted by one very strange old lady. Poppy hightails it home, only to be shocked when one of the figures—a teenage boy who doesn’t seem to know what he is—jumps naked and screaming out of the trunk of her car. She tries to return him to the candle factory, but before she can, a fire destroys the mysterious workshop—and the old woman is nowhere to be seen.

With the help of the wax boy, who answers to the name Dud, Poppy resolves to find out who was behind the fire. But in the course of her investigation, she discovers that things in Paraffin aren’t always as they seem, that the Grosholtz Candle Factory isn’t as pure as its reputation—and that some of the townspeople she’s known her entire life may not be as human as they once were. In fact, they’re starting to look a little . . . waxy. Can Poppy and Dud extinguish the evil that’s taking hold of their town before it’s too late?"

The Diver's Clothes Lie Empty (Vendela Vida) "The whole plot is about a woman who goes on vacation, loses her documents and decides to roll with it, acquiring new identities through a series of questionable decisions. She gets someone else's passport and credit cards, moves into a different hotel, gets hired as a double of a famous actress, introduces herself with false names, and is very paranoid about being found out. We never learn her actual name, but we do learn that she has always disliked her face and has always tried to choose activities that would draw attention away from her face, so she can pretend it's not even there."

[courseyoulovemeyoudontknowme]

Away We Go (2009, Sam Mendes)

29/02/2024

Away We Go is a 2009 film directed by Sam Mendes, written by the well-known author duo Dave Eggers-Vendela Vida, in their first film experience.

It is the story of two thirty-year-olds, played by John Krasinski and Maya Rudolph, who, faced with the imminent, unplanned arrival of their first child, undertake a journey across the United States, and beyond, in search of the ideal place where put down roots and raise the family.

The film's soundtrack is cured by British singer-songwriter Alexi Murdoch and consists largely of his songs.

Presented at the Edinburgh International Film Festival, the film was distributed in US cinemas by Focus Features starting from 5 June 2009, in the first weekend in limited form in 4 theatres.

Positive reviews include those from Roger Ebert (Chicago Sun-Times), David Denby (The New Yorker) and Peter Travers (Rolling Stone). Among the negatives are those of Richard Corliss (Time), A. O. Scott (The New York Times), Dennis Harvey (Variety) and Ann Hornaday (The Washington Post).

[ashstfu]

A list of your fav books/movies/documentaries pls!!!

my current faves (in no particular order) –

Books:

The Waves – Virginia Woolf

Kitchen – Banana Yoshimoto

The Stream of Life – Clarice Lispector

The Book of Disquiet – Fernando Pessoa

The Book of Delights – Ross Gay

Upstream – Mary Oliver

Letters to Milena – Franz Kafka

The Sea – John Banville

Notes from Underground – Dostoevsky

We Run the Tides – Vendela Vida

1984 – George Orwell

Simple Passion – Annie Ernaux

Slouching towards Bethlehem – Joan Didion

Little Weirds – Jenny Slate

Saltwater – Jessica Andrews

Movies:

The Darjeeling Limited (2007)

The Last Black Man in San Francisco (2019)

Goodfellas (1990)

Whisper of the Heart (1995)

Lilo & Stitch (2002)

3 Idiots (2009)

Yi Yi (2000)

The Green Ray (1986)

Eastern Promises (2007)

Mid 90s (2018)

Do the Right Thing (1989)

Past Lives (2023)

La La Land (2016)

Little Miss Sunshine (2006)

La Haine (1995)

Vivre sa vie (1962)

Documentaries:

Faces Places (2017)

Pamela: A Love Story (2023)

Close Up (1990)

For All Mankind (1989)

Koyaanisqatsi (1982)

Jeen-Yuhs (2022)

The Beaches of Agnès (2008)

Fire of Love (2022)

Homecoming (2019)

10 Years with Hayao Miyazaki (2019)

[fairfieldthinkspace]

“The future belonged to the showy and the promiscuous”: Why the 21st Century Loves Edith Wharton

Emily J. Orlando

E. Gerald Corrigan Chair in the Humanities & Social Sciences and Professor of English

Fairfield University

Photo: John Singer Sargent, Sybil Frances Grey, later Lady Eden 1905.

If ever there were a good time to read the American writer Edith Wharton (1862-1937), who published over forty books across four decades, it’s now. Since the Wharton revival of the late 20th century, when directors were adapting (the Pulitzer-Prize winning) The Age of Innocence, Ethan Frome, The Buccaneers, and The House of Mirth, her star has continued to rise. As I yesterday prepared to teach The Custom of the Country, which many have called Wharton’s greatest novel, a friend texted me Sofia Coppola’s article on the surprising appeal of its social-climbing heroine. Coppola is developing Undine Spragg’s story for Apple TV. A kind of Gilded Age Material Girl, Undine has been ready for her close-up for years.

Coppola joins an impressive roster of contemporary admirers of Wharton that includes Roxane Gay, Laura Bush, Lisa Lucas, Peggy Noonan, Jennifer Egan, Stephin Merritt, Claire Messud, Meg Wolitzer, Mindy Kaling, Doug Hughes, Brandon Taylor, Ta-Nehisi Coates, Ali Benjamin, Vendela Vida, Ottessa Moshfegh, and Kristin Hannah. At a time when publishing houses are compelled to scale back, new editions of Wharton’s books are appearing in print with introductions by Coppola, Egan, and Taylor.

Photo: Sofia Coppola.

Those who think they don’t know Wharton might be surprised to learn they do. A reverence for Wharton’s writings informs Sex and the City (whose pilot welcomes us to “the Age of Un-Innocence”), Gossip Girl, Downtown Abbey (whose “Lady Edith” suggests a nod to Wharton), and HBO’s The Gilded Age which, like Downton, is created by the Wharton-appreciating Julian Fellowes. His Bertha and George, after all, are named for the power couple from The House of Mirth.  

But why Wharton? Why now? Perhaps it’s because for all its new technologies, conveniences, and modes of travel and communication, our own “Gilded Age” is a lot like hers. For the post-war and post-flu-epidemic climate that engendered The Age of Innocence is not far removed from our post-COVID-19 reality. In both historical moments, citizens of the world have witnessed a retreat into conservativism and a rise of white supremacy. Fringe groups like the “Proud Boys” and “QAnon” and deniers of everything from the coronavirus to climate change and Sandy Hook are invited to the table in the name of free speech, and here Wharton’s distrust of false narratives resonates particularly well. Post-9/11 calls for patriotism and the alignment of the American flag with one political party harken back to Wharton’s poignant questioning, in a 1919 letter, of the compulsion to profess national allegiance:

how much longer are we going to think it necessary to be “American” before (or in contradistinction to) being cultivated, being enlightened, being humane, & having the same intellectual discipline as other civilized countries?[i]

Her cosmopolitan critique of nationalist fervor remains instructive to us today.

Edith Wharton seems to have foreseen the excesses, obsessions, and spectacles of our current moment. The scandals documented in Wharton’s narratives serve as harbingers of the sensations that flash across our hand-held screens. Jeffrey Epstein’s sex trafficking touches on the same nerve as the sexual exploitation of minors in Wharton’s Summer (1917) and The Children (1928). The quid pro quo run-in between Wharton’s Lily Bart and Gus Trenor looks uncomfortably forward to Harvey Weinstein and #MeToo. The rise to power of Donald Trump would not surprise Edith Wharton.

Photo: “Vanity,” by Auguste Toulmouche, circa 1870.

Wharton’s tenacious Undine Spragg—as horrifying to progressive era readers as she is admired by Generation Z—can be conceived of as the original social media influencer conscious of her brand. For Undine and her creator know that “the future belonged to the showy and the promiscuous”[ii] and that the turn-of-the-century “world where conspicuousness passed for distinction”[iii] foreshadows our own. Wharton would describe Undine in terms we might use for a “Real Housewife of Park Avenue”: “If only everyone would do as she wished she would never be unreasonable” (162). Undine’s world encourages her to aspire to the rank of trophy wife and the sexual double standard dictating that “genius is of small use to a woman who does not know how to do her hair”[iv] would apply to Wharton herself who, on the 150th anniversary of her birth, would be assessed by a male novelist in terms of how she sizes up to Grace Kelly or Jackie Kennedy.[v]  The writer who would declare, in her wildly popular interior design manual The Decoration of Houses, privacy “one of the first requisites of civilized life”[vi] would be appalled by what is broadcast across social media. Wharton also would’ve anticipated the racism directed at Meghan Markle and why granting Oprah an interview would not help relations with her spouse’s family. Children forcibly separated from families due to morally dubious immigration policies echo the plight of war refugees for whose welfare Edith Wharton labored, while the distrust of the cultural other echoes the writer’s own complicated nationalist allegiances.[vii]  

Ten years ago, Lev Raphael took the temperature of Wharton studies declaring in the Huffington Post: “Edith Wharton is hot.” She is now positively on fire. I offer below a short excerpt from the introduction to The Bloomsbury Handbook to Edith Wharton, which appears in print today.

                                                           *********************

The image gracing the cover of The Bloomsbury Handbook to Edith Wharton, capturing a scene on the terrace of Edith Wharton’s French home, reflects the cultural work that this book takes as its task. The writer is in her element: she cradles in her lap her beloved dogs, she sits outdoors at a well-appointed property she lovingly transformed, she surrounds herself with fashionably dressed cosmopolitans, and she smiles. The moment validates an idea expressed in The Age of Innocence: that “the air of ideas is the only air worth breathing.” As host, Wharton, by this point an internationally acclaimed artist, has brought together representatives of an admiring generation from diverse backgrounds that would outlive and perhaps learn from her. That sunlit terrace is doing something we hope this book will do: provide a foundation for future conversations with Edith Wharton at the center.

Photo: Edith Wharton publicity shot.

Around the time this photograph was taken, Wharton would reflect in A Backward Glance that “[t]he world is a welter and has always been one; but though all the cranks and the theorists cannot master the old floundering monster, . . . here and there a saint or a genius suddenly sends a little ray through the fog, and helps humanity to stumble on, and perhaps up” (379). Wharton’s writings arguably send a ray and help humanity stumble on and up in our own Gilded Age. It is the aim of this collection of essays, produced by leaders in the field at a time of global crisis, to make a meaningful contribution to the scholarship on and dialogue about the work of Edith Wharton and to open up new possibilities for understanding and embracing a writer whose corpus is as enormous as it is resonant. To borrow from Wharton’s preface to her anthology The Book of the Homeless (1916), in which she conceives of her volume, as she so often does, as a house: “You will see from the names of the builders what a gallant piece of architecture it is. . . . So I efface myself from the threshold and ask you to walk in.”[viii]

Emily J. Orlando is the E. Gerald Corrigan Chair in the Humanities & Social Sciences and Professor of English at Fairfield University. She is the author of Edith Wharton and the Visual Arts and editor of The Bloomsbury Handbook to Edith Wharton. She is currently preparing for publication a new edition of Edith Wharton’s first book, The Decoration of Houses.

[i]Lewis, Letters, 424.

[ii]Edith Wharton, The Custom of the Country, New York, Penguin, 2006, 117.

[iii]Edith Wharton, The House of Mirth, ed. Elizabeth Ammons, 2nd Norton Critical ed. (New York: Norton, 2018), 186.

[iv]Edith Wharton, The Touchstone, in Wharton, Edith, Collected Stories, 1891-1910, ed. Maureen Howard (New York: Library of America, 2001), 170.

[v]Jonathan Franzen, “A rooting interest: Edith Wharton and the problem of sympathy,” The New Yorker, February 5, 2012.

[vi] Edith Wharton and Ogden Codman, Jr., The Decoration of Houses (New York: Charles Scribner’s Sons, 1897), 22.

[vii]See Melanie Dawson, “The Limits of Cosmopolitan Experience in Wharton’s The Buccaneers.” Legacy 31.2 (2014): 258-80. Print.

[viii]Edith Wharton, Preface to The Book of the Homeless (Le Livre des Sans-foyer) (New York, Charles Scribner’s Sons, 1916), xxiv-xxv.

[goddesspharo]

people I'd like to know better tag

Thanks to @at-thestillpoint for the tag!

Last song: I heard that stupid “updated” “We Didn’t Start The Fire” cover that Fall Out Boy did over the weekend and have been annoyed about it since then (it’s bad and not chronological which is literally the whole point!!! also how has their sound not evolved IN TWENTY YEARS??) so I’ve been listening a lot to the Billy Joel original (a timeless classic; the only one who should be updating is Billy Joel). But the actual last last song I listened to was Pearl Jam’s “Rearviewmirror” while eating a bag of chips for dinner because I’m on call and work is killing me. 

Currently watching: I watch a lot of movies (and that’s not even logging rewatches). I just finished rewatching the Mission Impossible franchise this weekend in anticipation of the new film (…after having rewatched the franchise last summer when the teaser trailer for MI7 got me so hyped) and, honestly, name a better franchise - you can’t because Fast & Furious has fallen off the rails (derogatory) and even when a Mission Impossible movie is bad (MI2), everyone has great hair! The soft reboot of energy starting with Ghost Protocol has only reinvigorated it. Tom Cruise can make these movies forever as far as I’m concerned and I’ll keep watching them. More recently, I watched Traffic today and it was both terrible (narrative wise) and hideous (did Soderbergh film all of the Mexico scenes on the sun???) and I cannot believe that THIS movie out of all the other (great!) movies he has ever done is what got him an Oscar for directing. Thanks, I hate it. TV-wise: I’m trying to catch up on Silo aka the show where Rebecca Ferguson keeps doing insane things and getting people killed (but also why won’t anyone make out with Common???) because apparently the only Apple TV show I’m actually capable of remembering to keep up with every week is Platonic, which more people should watch because Rose Byrne and Seth Rogen playing off each other is ALWAYS gold. They are my Jessica Chastain/Michael Shannon team up of comedy.

Currently reading: I’ve been trying to finish Laura Dave’s The Last Thing He Told Me for ages, but it’s as much of a slog as the show so I’m not sure that it’ll ever happen (…for either? God, I just want to get to the Victor Garber part!). Working my way through Making Rumours slowly and am about to start reading Piers Paul Read’s Alive: The Story of the Andes Survivors (one of the inspirations behind Yellowjackets!), but I really need to listen to Vendela Vida’s We Run The Tides first before Libby returns my audiobook loan.

Current obsession: spiiiieees (always); the cold brew I’ve been making lately with Cafe Du Monde grounds (highly recommend); the breakfast burritos I made this weekend; Tom Cruise saving cinema (why are the Oppenheimer folks so boring that they couldn’t play the game like Gerwig and Robbie?); Top Gun Maverick - still? forever? I keep waiting for it to leave my system and it simply won’t; mango season; trying to figure out which old HBO shows I finally need to watch before they get shipped off to Netflix (not the end of the world; it would just annoy me to watch an HBO thing not on an HBO platform) or yeeted to hell because David Zaslav is clearly just three kids stacked on top of each other under a trench coat.

No pressure tags: @earnmysong, @pearly--rose, @veronicafitzosborne, and anyone else who wants to do it!

[thishadoscarbuzz]

222 - Away We Go

After winning Best Picture and Best Director for his zeitgeist-seizing debut feature American Beauty, Sam Mendes instantly became a director who generate awards chatter no matter the project. In 2009, he took a noticeable tonal downshift with Away We Go, a minor key comedy about a young pregnant couple on a road trip to decide where they want to grow their roots. Despite praise for Maya Rudolph’s performance as a soon-to-be mother still grieving the untimely death of her parents and John Krasinski opposite her as her jokester partner, the film didn’t succeed as summer counter-programming and mostly forgotten in the season to come.

This episode, we talk about the harsh reviews that found the film more judgmental than reflective and Rudolph’s understated and absorbing performance. We also talk about Alexi Murdoch’s soundtrack, possibly semi-autobiographical screenwriter marrieds Dave Eggers and Vendela Vida, and the film’s bursting ensemble of fantastic character actors from Melanie Lynskey, Allison Janney, and Maggie Gyllenhaal.

Topics also include this year’s New York Film Critics Circle award winners, Mendes’ pivot to Bond, and the lure of Montreal. Don’t forget to get submissions in for our upcoming mailbag episode!

Links:

The 2009 Oscar nominations

Vulture Movies Fantasy League

Mailbag submissions!

Subscribe:

Spotify

Apple Podcasts

Google Play

Stitcher

[directedbynoraephron]

all the books i read in 2022!

why be happy when you could be normal? by jeanette winterson

paul takes the form of a mortal girl by andrea lawlor

pride and prejudice by jane austen

shrill by lindy west

three women by lisa taddeo

kissing tolstoy by penny reid

the duke and i by julia quinn

shout by laurie halse anderson

transcendent kingdom by yaa gyasi

dancing in odessa by ilya kaminsky

the diviners by libba bray

neon gods by katee robert

females by andrea long chu

the powerbook by jeanette winterson

vladimir by julia may jonas

jane eyre by charlotte bronte

empire of pain by patrick radden keefe

the right to sex by amia srinivasan

a touch of jen by beth morgan

crying in h-mart by michelle zauner

conversations with friends by sally rooney

woman, eating by claire kohda

honey girl by morgan rogers

writers & lovers by lily king

the hellion's waltz by olivia waite

everyone in this room will someday be dead by emily austin

the scorpio races by maggie stiefvater

the hating game by sally thorne

tomorrow sex will be good again by katherine angel

beach read by emily henry

we run the tides by vendela vida

the highwayman by kerrigan byrne

the deal by elle kennedy

girl, woman, other by bernardine evaristo

practical magic by alice hoffman

nevada by imogen binnie

the companion by e.e. ottoman

station eleven by emily st. john mandel

the anomaly by hervé le tellier

the hunter by kerrigan byrne

everything i need i get from you by kaitlyn tiffany

gregor the overlander by suzanne collins

the highlander by kerrigan byrne

gregor and the prophecy of bane by suzanne collins

beautiful world, where are you by sally rooney

sarahland by sam cohen

the bride test by helen hoang

the song of achilles by madeline miller

a lady for a duke by aliexis hall

the rogue of fifth avenue by joanna shupe

people we meet on vacation by emily henry

the prince of broadway by joanna shupe

the great believers by rebecca makkai

cleopatra and frankenstein by coco mellors

the devil of downtown by joanna shupe

maybe in another life by taylor jenkins reid

fight night by miriam toews

eligible by curtis sittenfeld

the marriage of opposites by alice hoffman

franny and zooey by j.d. salinger

book lovers by emily henry

[lantern-hill]

under the net by iris murdoch - very fun and light hearted but also philosophical novel. set in xx century london, follows a man who cant stop Getting In Situations

the fiery angel by valeri brusov - historical fiction set in xvi century germany, follows a man whose life gets turned upside down by a lady who keeps seeing an angel. this one is more serious and tragical with a lot of beautiful flowery language and historically accurate descriptions. and also there is the occult knowledge

diver's clothes lie empty by vendela vida - a woman commits an identity theft by accident. decides to roll with it bc she is paranoid and Something happened to her not so long ago that she is trying to escape. this one is described as a thriller (not horror, its rather humorous in places actually), but for me the tension started to appear closer to the end of the book. still, it was entertaining

slay slay slay thank you

[alrederedmixedmedia]

Alredered Remembers Vendela Vida, American novelist, journalist, and editor, on her birthday.

"Recently, everything around me felt familiar yet amiss, like the first time you ride in the back seat of your own car."

[bracketsoffear]

The Diver's Clothes Lie Empty (Vendela Vida) "The whole plot is about a woman who goes on vacation, loses her documents and decides to roll with it, acquiring new identities through a series of questionable decisions. She gets someone else's passport and credit cards, moves into a different hotel, gets hired as a double of a famous actress, introduces herself with false names, and is very paranoid about being found out. We never learn her actual name, but we do learn that she has always disliked her face and has always tried to choose activities that would draw attention away from her face, so she can pretend it's not even there."

Secrets of the Shopping Mall (Richard Peck) "Trying to escape the vicious King Kobra gang and troubled life at home, eighth graders Barnie and Teresa flee the city. With only four dollars between them, they hop a bus, hoping to find a new life at the end of the line. Destination: Paradise Park. But Paradise Park turns out to be a cement-covered suburban shopping mall--not quite the paradise they had hoped for.

With no money and no home to retum to, they are forced to stay. And paradise park takes them in--in more ways than one. Barnie and Teresa spend their days and nights in the climate-controlled consumer paradise of a large department store. And just when they think they can live there unnoticed forever, Teresa and Barnie find that even Paradise Park has its secrets. Even in the dead of night, they are far from alone…." (Spoilers under the cut)

Secrets of the Shopping Mall, cont.: It's not actually living mannequins, but dispossessed and mildly insane teens who dress as mannequins and stand perfectly still all day to avoid detection! Which… I'm not sure is much better.

[ulkaralakbarova]

Verona and Burt have moved to Colorado to be close to Burt’s parents but, with Veronica expecting their first child, Burt’s parents decide to move to Belgium, now leaving them in a place they hate and without a support structure in place. They set off on a whirlwind tour of of disparate locations where they have friends or relatives, sampling not only different cities and climates but also different families. Along the way they realize that the journey is less about discovering where they want to live and more about figuring out what type of parents they want to be. Credits: TheMovieDb. Film Cast: Burt Farlander: John Krasinski Verona De Tessant: Maya Rudolph Grace De Tessant: Carmen Ejogo Gloria Farlander: Catherine O’Hara Jerry Farlander: Jeff Daniels Lily: Allison Janney Lowell: Jim Gaffigan Ashley: Samantha Pryor Taylor: Conor Carroll LN: Maggie Gyllenhaal Roderick: Josh Hamilton Wolfie: Bailey Harkins Baby Neptune: Brendan Spitz Baby Neptune: Jaden Spitz Tom Garnett: Chris Messina Courtney: Paul Schneider Munch Garnett: Melanie Lynskey Film Crew: Director: Sam Mendes Writer: Dave Eggers Writer: Vendela Vida Producer: Peter Saraf Producer: Edward Saxon Producer: Marc Turtletaub Executive Producer: Pippa Harris Original Music Composer: Alexi Murdoch Casting: Ellen Lewis Production Design: Jess Gonchor Executive Producer: Mari-Jo Winkler Director of Photography: Ellen Kuras Editor: Sarah Flack Casting: Debra Zane Casting Associate: Geoffrey Miclat Seamstress: Carolyn Finlayson Casting Associate: Tannis Vallely Set Costumer: Joseph Cigliano Digital Intermediate: Jacob Robinson Costume Design: John Dunn Visual Effects Supervisor: Eric J. Robertson Set Costumer: Trenee Clayton Visual Effects Producer: Glenn Allen Music Editor: Annette Kudrak Visual Effects Producer: Sarah McMurdo Visual Effects Supervisor: Dennis Berardi Assistant Costume Designer: Sharon Globerson Art Department Coordinator: Kelly Solomon Script Supervisor: Jayne-Ann Tenggren First Assistant Editor: Janet Gaynor Set Costumer: Heather Holmes Visual Effects Producer: Richard Friedlander Special Effects Coordinator: Robert J. Scupp Art Direction: Henry Dunn Set Decoration: Lydia Marks Casting Associate: Meghan Rafferty Costume Supervisor: Tim McKelvey Visual Effects Coordinator: Matt Glover Music Supervisor: Randall Poster Digital Intermediate: Darrell R. Smith Art Department Coordinator: Elizabeth Boller Special Effects Coordinator: Bruce E. Merlin Dialogue Editor: Branka Mrkic Production Accountant: Richard Mancuso Thanks: Charlie Crist Movie Reviews:

[kahecha82]

Gringos la vida no es un juego.......... yo elijah soy super multimillonario......... les presento mis bienes raíces.......... la idea es vendelas cuando suba el dinero........

.... 900 mega mansiones en new york.......... 700 mega mansiones en los angeles........

Cada una su precio infinito de millones de dólares pero las tengo solamente para carretear...........

Jajajaja Jajajaja Jajajaja Jajajaja Jajajaja Jajajaja Jajajaja Jajajaja Jajajaja Jajajaja Jajajaja Jajajaja Jajajaja Jajajaja Jajajaja Jajajaja Jajajaja Jajajaja Jajajaja Jajajaja Jajajaja Jajajaja Jajajaja Jajajaja Jajajaja Jajajaja Jajajaja Jajajaja Jajajaja Jajajaja

[ashstfu]

hi do u have any book recommendations <3

hii hello yes i do! <3

Small things like these – Claire Keegan

Kitchen – Banana Yoshimoto

We Run the Tides – Vendela Vida

Tuesdays with Morrie – Mitch Albom

The book of disquiet – Fernando Pessoa

The stream of life – Clarice Lispector

The door – Magda Szabo

We all want impossible things – Catherine Newman

Slouching towards Bethlehem – Joan Didion

Your emergency contact has experienced an emergency – Chen Chen

[musingsofabookworm1]

We Run the Tides by Vendela Vida

[diarioelpepazo]

Raiza Vargas Una mujer que reside en Naples, Florida, sentía que la observaban en su casa mientras veía una película, y al voltear se llevó la sorpresa de su vida: Una pantera estaba en su patio, tuvo que ahuyentarla el domingo. "Siento que alguien me está mirando, así que giré la cabeza y ahí está: una pantera me mira como si quisiera entrar a tomar un bocadillo", dijo. Vendela Harold tiene apenas 6 semanas viviendo en un vecindario de Golden Gate Estates. “¡Oh, sí, me dio la bienvenida con seguridad! No se veía lindo y tierno. Si hubiera estado afuera, habría temido por mi vida”, precisó la mujer. El video se viralizó en las redes sociales, cuando el felino observaba desde el patio trasero de la casa. La pantera hizo su visita sorpresa poco antes de las 7:00 p.m. del domingo u estuvo en la propiedad por 45 minutos. El felino la observó desde un ventanal del patio trasero (Vendela Harold) La mujer mencionó que lo que más le preocupaba eran sus 3 perros. «Me preocuparé por ellos la próxima vez que los saque. Ni siquiera había visto un pájaro en mi casa antes, así que pasar de eso a ver una pantera en mi porche trasero fue una locura». La Comisión de Conservación de Vida Silvestre y Pesca de Florida comentó que las panteras suelen ser «solitarias y la gente rara vez las ve», pero que el crecimiento de sectores urbanizados en zonas de Florida alteró esa situación. Recomendó que si ven un felino deben mantener a los niños cerca, darle espacio al animal, no correr, evitar agacharse para parecer más grande y defenderse en caso de un ataque. Para recibir en tu celular esta y otras informaciones, únete a nuestras redes sociales, síguenos en Instagram, Twitter y Facebook como @DiarioElPepazo El Pepazo/2001/Con información de Fox35.

[liliannasprereadmediathek]

Hello, listeners! And, to complete the mysterious duology that is #500DaysOfSummer, we're proud to announce that Part 2 is now live! 

Joined once more by the wonderful Loretta, we’ll be talking about:

https://spotifyanchor-web.app.link/e/tKXjzsvsavb

🔹The #MaleGaze and what it represents

🔹The role of #RomComs in teaching us how relationships should be structured

🔹 And why these characters are acting like teenagers when they’re supposed to be almost 30 🙄. 

It might be grey outside, but it's all blue skies and big sunglasses on LiliAnna's Preread Mediathek 👗😎☀️🏙️🕶️

📝 Shownotes: 📝

📼 Preread text (Rowan Ellis, https://youtu.be/SMFll3aIbmo)

Primary Sources:

🎞️ “(500) Days of Summer” (2009) directed by Marc Webb, written by Scott Neustadter and Michael H. Weber. Fox Searchlight Pictures.

Secondary Sources:

📖 “Die Leiden des jungen Werther” (The Sorrows of Young Werther) (1774; 1787) by Johann Wolfgang von Goethe

📖 “Hamlet” (1599-1601) by William Shakespeare

📰 “The Bataan Death March of Whimsy Case File #1: Elizabethtown” (2007) by Nathan Rabin, original Manic Pixie Dream Girl article, (https://www.avclub.com/the-bataan-death-march-of-whimsy-case-file-1-elizabet-1798210595)

🌐 For more analysis and criticism on the MPDG, see the wiki entry: https://en.wikipedia.org/wiki/Manic_Pixie_Dream_Girl

📱 Joseph Gordon Levitt tweet about how people misread the movie: https://twitter.com/hitRECordJoe/status/1026538001990529025?s=20&t=UEqHCNCScQk8O9G0xvskvg

📼 “Jenny Beckman (Scott Neustadter)” (2012), TheLeapTV, Youtube. (https://www.youtube.com/watch?v=3tIteIMcfT4)

📰 “12 Things You Didn't Know About (500) Days Of Summer” (2019) by Elena Nicolaou, Refinery. (https://www.refinery29.com/en-us/2019/07/238098/500-days-of-summer-movie-surprising-facts) 

📒 Original Screenplay (2006) by Scott Neustadter and Michael Weber. (http://www.cinefile.biz/script/500daysofsummer.pdf) 🎞️ “DonJon” (2013) by Joseph Gordon-Levitt.

🎞️ “The Graduate” (1967) directed by Mike Nichols, written by Buck Henry and Calder Willingham.

🌐 More on the Male Gaze: https://en.wikipedia.org/wiki/Male_gaze. Also see Laura Mulvey’s “Visual Pleasure and Narrative Cinema” (1975) https://ia802801.us.archive.org/4/items/visual-pleasure-and-narrative-cinema/Laura-mulvey-visual-pleasure-and-narrative-cinema.pdf.  🎙️ Bad Gays Podcast Episode on Morrissey (https://badgayspod.com/episode-archive/s3e9-morrissey) 📱”Expectation vs. Reality” meme https://knowyourmeme.com/memes/expectation-vs-reality

Recommendations:

📖 “We Run the Tides” (2021) by Vendela Vida

🎞️ “Obvious Child” (2014) by Gillian Robespierre

🎶 “Soviet Kitsch” (2004) by Regina Spektor

📱Social Media Handles📱:

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🎹 Intro Music 🎹: "Wall" by Jahzaar, licenced under Attribution-ShareAlike 4.0 International (CC BY-SA 4.0)  

🎹 Outro Music 🎹: “Waterbeat” by DJ Lengua, licenced under Attribution 3.0 Unported (CC BY 3.0)

🎹 Transition Music 🎹:

“Elation” by Lesfm – Pixabay

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