#witty mann

[cantsayidont]

Haterating and hollerating through the '90s:

POSTCARDS FROM THE EDGE (1990): Carrie Fisher scripted this witty adaptation of her novel about coked-up, pill-popping actress Suzanne Yale (Meryl Streep), who overdoses in the bed of a strange man (Dennis Quaid), ends up in rehab, and learns that the only way the production insurance company will let her keep working is if she stays with her mother, an aging singer-actress-diva (Shirley MacLaine) whose love for her daughter is equaled only by her tireless determination to upstage her. (No, it's not autobiographical at all, why do you ask?) Fisher's deftly paced, funny script weaves in various serious mother-daughter moments without ever becoming mawkish, and offers a fabulous part for MacLaine, who has a ball poking fun at herself as well as Debbie Reynolds, Fisher's real-life mother and the obvious basis for the film's lightly fictionalized "Doris Mann." Curiously, the weakest link is Streep, who never quite sheds her customary air of prim affectation and always seems ill at ease with Fisher's layers of self-deprecating, sarcastic humor. CONTAINS LESBIANS? Apparently not, although I had questions about Suzanne's rehab friend Aretha (Robin Barlett). VERDICT: MacLaine's finest hour, but Streep's primness keeps it "good" rather than "great."

TERESA'S TATTOO (1993): Painfully unfunny crime comedy, directed by Melissa Etheridge's then-GF Julie Cypher and costarring Cypher's ex, Lou Diamond Phillips, along with an array of incongruously high-profile actors like Joe Pantoliano, Tippi Hedren, Mare Winningham, Diedrich Bader, k.d. lang (!), Sean Astin, Emilio Estevez, and Kiefer Sutherland, most in bit parts (some of them unbilled). The headache-inducing plot concerns a couple of brain-dead thugs whose elaborate hostage scheme hits a snag when their hostage (Adrienne Shelly) accidentally dies. Their solution is to kidnap lookalike Teresa (also Adrienne Shelly), a brainy Ph.D. candidate, and disguise her to look like the dead girl — including giving her a matching tattoo on her chest — in the hopes that the dead girl's idiot brother (C. Thomas Howell) won't notice the switch until it's too late. This truly bad grade-Z effort, barely released theatrically, feels like either a vanity project or a practical joke that got out of hand, and is interesting mostly as a curiosity for Melissa Etheridge fans: The soundtrack is M.E.-heavy, and Etheridge herself has a brief nonspeaking role. CONTAINS LESBIANS? Technically? (Etheridge has no lines and lang plays a Jesus freak.) VERDICT: May erode your affection for M.E.

BLUE JUICE (1995): Tiresome comedy-drama about an aging surfer (a terribly miscast, painfully uncomfortable-looking Sean Pertwee) who's still determined to continue living like a 20-year-old surf bum with his obnoxious mates, even though his back is giving out and he's perilously close to driving away his girlfriend (a disconcertingly hot 25-year-old Catherine Zeta Jones), who is keen for him to finally cut the shit. Meanwhile, the scummiest of his mates (Ewan McGregor) doses their pal Terry (Peter Gunn) and gets him to chase after an actress from his childhood favorite TV show (Jenny Agutter) in hopes of dissuading from marrying his actual girlfriend (Michelle Chadwick), and their mate Josh (Steven Mackintosh), a successful techno producer, flirts with an attractive DJ (Colette Brown) who's actually furious at him for building a vapid techno hit around a sample of her soul singer dad's biggest hit. The latter storyline probably had the most potential (although a weird scene where Josh is castigated by a group of outraged soul fans seems like a lesser TWILIGHT ZONE plot), but none of the script's various threads ever amounts to much. CONTAINS LESBIANS? It doesn't even pass the Bechdel test. VERDICT: If you happen upon it, you may be tempted just for Zeta Jones (and/or Brown), but the rest wears out its welcome with alacrity.

HIGHER LEARNING (1995): Potent story of simmering racial tensions on the campus of a university that definitely isn't USC (writer-director John Singleton's alma mater, and where most of the film was obviously shot), let down by incredibly heavy-handed execution. (The film's final shot is of the word "UNLEARN" superimposed over a giant American flag!) A capable cast (including Omar Epps, Kristy Swanson, Michael Rapaport, Jennifer Connelly, Ice Cube, Tyra Banks, Cole Hauser, Laurence Fishburne, and Regina King) tries to maintain a sense of emotional reality through Singleton's frequent excursions into overpowering melodrama, but there are so many competing plot threads that few characters have any depth; curiously, the script's most complex characterization is in the scenes between budding white supremacist Remy (Rapaport) and Aryan Brotherhood organizer Scott (Hauser). Singleton made this film when he was 25, and there's no shame in its sense of breathless ambition (even if it inevitably bites off more than it can chew), but the overwrought stridency undercuts its intended impact. For a more effective treatment of similar themes in roughly the same period, try Gilbert Hernandez's graphic novel X, originally serialized in LOVE & ROCKETS #31–39 and first collected in 1993. CONTAINS LESBIANS? Jennifer Connelly gives Kristy Swanson a bisexual awakening. VERDICT: The '90s through a bullhorn.

CRASH (1996): Divisive David Cronenberg adaptation of the J.G. Ballard novel, about a movie producer called James Ballard (James Spader) and his desperately horny wife (Deborah Kara Unger), drawn into a loose-knit group of car-crash fetishists organized around a man called Vaughan (Elias Koteas at his creepiest), who stages recreations of famous celebrity crashes like the 1955 accident that killed James Dean. Despite some pretentious dialogue about "the reshaping of the human body by modern technology," the controlling idea might be better summarized as "anything can be a paraphilia if you get weird enough about it." Part of what offends people about the film is that Cronenberg deliberately treats the entire story with the same frosty clinical detachment, rendering the "normal" sex scenes just as remote and perverse as the characters' fixation on the grisly aftermath of car wrecks; the point is that there is no line, just different facets of the same erotic longing, which each of the (admittedly unsympathetic) principal characters embodies in different ways. Spader, Kara Unger, and Koteas are very good, as is Holly Hunter, in perhaps the bravest role of her career, but Rosanna Arquette is underutilized. A worthwhile companion piece would be Steven Soderbergh's 1989 SEX, LIES, AND VIDEOTAPE, also with Spader, which is much more highly regarded (though almost as contrived and scarcely less perverse), perhaps because it seeks to titillate where Cronenberg does not. CONTAINS LESBIANS? Briefly. (See previous note in re: underutilization of Rosanna Arquette.) VERDICT: Icy but interesting.

[kylesvariouslistsandstuff]

D23 feature animation reveal stuff, sans MUFASA, that I'm most excited for and the least excited for:

HOPPERS (Pixar, Spring 2026, likely 3/6/2026): Pixar's next original, from WE BEAR BEARS creator Daniel Chong. Sounds absolutely wacky and fun, more in line with the looser likes of LUCA and TURNING RED. More "what if someone did this wacky cartoonish thing", less "what if that universal thing you've known as a child was some kind of factory?". Kinda like how early Pixar used to sometimes do, for every TOY STORY and MONSTERS, INC. there was an A BUG'S LIFE or FINDING NEMO. Just straight up animal stories and people existing and such.

ELIO (Pixar, 6/13/2025) - I've been on board this one from the word-go, as I can't pass up a colorful space adventure made at Pixar. Even with the pushback, and subsequent director change, I'm still there. Domee Shi returning to the director's chair is exciting enough, as TURNING RED is probably my favorite film to have come out of Pixar in a while. Madeline Sharafian directing with her is also exciting, because I really dug her BURROW SparkShort. I think they'll both bring a unique perspective to this galactic tale, while keeping true to what former director Adrian Molina started. Will need to see more, especially of what the new directors have in mind, because all we have for now is the old pre-switch teaser.

INCREDIBLES 3 (Pixar, TBD) - That's right. I love the world of THE INCREDIBLES, and I'm more than game to go back. I just hope Brad Bird actually directs, because "developing" could mean anything. I remember that sort-of unclearness when INCREDIBLES 2 was first announced roughly four years before release, it seemed like Bird was only writing until it turned out that he was back in the director's chair as well. If not, I'll be curious to see who fills the suit. Not like someone *can't* pull it off anyways, for INSIDE OUT 2 was directed by Kelsey Mann and not Pete Docter, and I quite liked that one. Ditto some of the other Pixar sequels not spearheaded by the original films' directors.

ZOOTOPIA 2 (Disney Animation, 11/26/2025) - ZOOTOPIA is one of my favorite recent WDAS movies, and the world created in that picture is one I'm really excited to go back to, especially with the additions of reptiles and aquatic animals. I'm a little bit skeptical because it seems the original's director and creator, Byron Howard, isn't really involved? Jared Bush, co-director of the original, is seemingly director here. Not confirmed, but he's been doing all the talking. I'm sure he'll nail this one, and what we've seen of it promises the same witty detective story stuff and attention to detail that made this animal world unique.

UNTITLED ORIGINAL (Disney Animation, 11/25/2026) - Well, since we know nothing about it, and who for sure is directing... I mean, this could be that rumored Middle Eastern fairy fantasy directed by Suzi Yoonessi, or it could be something hitherto unannounced. Very odd still that they didn't say what this was, but I suppose it's as expendable as any other non-sequel, and could be cancelled at last minute. WDAS, I feel, is being run very weirdly under Jennifer Lee. What I heard of WISH and FROZEN II's production, the big shakeup on RAYA AND THE LAST DRAGON, and me feeling the films have mostly been just kinda... Fine, and a little toothless, this one's admittedly not too high on my list at the moment. I'd have to know what it's about first before I can properly evaluate it. If it is the fairy movie, then it'd probably be a few clicks up, because the premise of that is intriguing. Again, I gotta know more than just Untitled, haha.

TOY STORY 5 (Pixar, 6/19/2026) - So tricky for me... On the one hand, you have TOY STORY veteran Andrew Stanton at the helm, the first time he has directed a TOY STORY picture. The army of deluded Buzzes sounds like fun, even though that basic idea has been used across pretty much all of the movies. (Even in TOY STORY 4, where Buzz consults his button-press sayings for advice.) On the other hand... Well, I'm still wondering how they'll get Woody back into the fold since TOY STORY 4 was the big epic goodbye. I'm still kinda banking on him paying visits to Bonnie's house every once in a while, whenever the carnival comes back into town. I also don't think Stanton is gonna simply give us a "phone bad" movie. Like how TOY STORY 4 did with Forky, maybe this series will find a unique new way to present electronics. Maybe they too can be sentient? Or apps on them? Like, I can picture the toy gang talking to a character in a kids' app on Bonnie's iPad. Kind of in a WRECK-IT RALPH manner. That is, if they go that direction. There's potential, but I'm not as excited for this one as some of others, as it will have been the fifth movie in the series. Pixar's first family is pretty much just here to stay, really.

MOANA 2 (Disney Animation, 11/27/2024) - The new trailer got me more excited. Looks to promise an epic scope and the same fun tone, and the idea of a speaking nature-based villain I think is really neat. A fun contrast to Te Fiti/Te-Ka, who didn't speak, and was rightfully angry because of Maui's actions. (Thus affirming my thesis that he's the actual villain of MOANA.) This baddie just seems straight up bad, but we'll see, they could have a solid reasoning for being a violent storm! (And I'm sure that will anger everybody who pines for a Renaissance era-esque meanie.) Anyways, being that it's a WDAS movie, it could still get focus grouped to the moon and back and end up being far from what it could be, but I'm looking forward to seeing the characters again.

FROZEN III (Disney Animation, 11/24/2027) - The Eyvind Earle-esque concept art is quite beautiful, and I like the idea of these films being based on the individual seasons, but... In execution, I think they're pretty much alright, they certainly have their moments. I was never really all that huge on FROZEN, despite really digging certain elements of it. I went into FROZEN II not expecting much, and weirdly got more out of it than most people did. So, FROZEN III... I can take it or leave it, if it's going to be the usual mix of stuff I like and the stuff I don't care for, and that same resistance to go hard with such a concept. I apply the same to the inevitable FROZEN IV... Hey, why does FROZEN get a trilogy, let alone a quadrilogy, before FANTASIA? FANTASIA 2006 and 2023 should've been things, damn it.

[pealeii]

what is tuck everlasting i know that akb was in it and there's a family and they're like immortal or smth???? and it had a criminally short broadway run cos hamilton idk. i'm considering getting into it. feel free to infodump!! (i'm not too worried about spoilers)

OH I AM CRYING THANK YOU

Yes, Tuck Everlasting is a musical about a family who drank from a spring that made them immortal, and a young girl who meets them. It’s about the value, beauty, and importance of life, and that it matters because it ends. This ties into the family being immortal because life is not life if you are stuck in immorality. It is amazing!!! This musical illustrates it in such beautiful ways - but the most poignant is a ballet at the end that goes through all the aspects pf a life - highs, lows, birth, death. It is heartbreakingly powerful and simply gorgeous.

But it doesn’t even stop there. The script is also so funny and witty like (“Nothing hurts us!” “Not physically anyway.” | “Came here as fast as we could!” “Fast as molasses…”) And there’s this whole song about how you can’t trust men in yellow suits and it’s genuinely the funniest thing I have ever heard.

And the characters!! It has one of the most genuine depictions of a family - including an old married couple who still finds joy in their relationship! It also has autistic deputy boy. Need I say more.

And also the rest of the soundtrack are BANGERS. It has this wonderful folksy sound, with fiddles and unconventional percussion, and it also goes a little hoedown at times. And I am a SUCKER for dance breaks, and this musical is not short of them. From beautiful waltzes, to jazzy swing, and bombastic flips - all equally fun and impressive.

And it’s true the cast is wildly talented! It’s kinda crazy how much variety of skill they got. You have Broadway legends like Terrence Mann and Carolee Carmello, fresh faces like Sarah Charles Lewis and Michael Wartella, strong male actors like Michael Park and Robert Lenzi, and a subset of bway actors I like to call Newsies - Andrew Keenan Bolger and Ben Cook. (Also Jeremy Jordan and Mike Faist were possibly going to work on this show!!)

Honestly I could go on for years…unLIKE ITS BROADWAY RUN I WANT JUSTICE

[theputterer]

FERRARI is pretty good! Adam Driver has a great old man stride. Penélope Cruz is very hot and very scary and very good. I appreciated the way they portrayed the crashes, which were seriously shocking. there's some very funny and witty dialogue that I enjoyed. I forgot Patrick Dempsey is in this and he popped up like a fuckin jump scare. (I might have misheard it but I THINK Adam Driver calls him a "silver fox" at some point lmao). Shailene Woodley is really not good in this and has a bewildering accent where I truly couldn't tell if her character was Italian or American. (she was Italian). there's a sex scene that makes me think Michael Mann saw HOUSE OF GUCCI and thought "let's see that again, but shorter."

I think the ending itself is strange in that it didn't actually wrap up the main plot?? which makes me think it MUST have, and I somehow just... missed it??? because when I try to answer the main plot I don't have an answer, and it's a factual answer, not a thematic one! like something that really happened! the text at the end of the movie doesn't answer it either. so I'm not sure what happened there.

(so if anyone else saw FERRARI and was confused about the ending, please hit me up)

[dooareyastudy]

March 2023

Un beau ténébreux, Julien Gracq, 1945 | How come each Gracq’s book I read becomes my favorite? Well, Le roi pêcheur is still my absolute favorite but this one comes right after. The atmosphere, the tension, everthing is addicting. The writing, so elegant and striking. I really love Julien Gracq you guys.

Philosophie du droit, Jacques Ellul, 2022 | This is a lecture from the 70s given by Ellul to PhD students in Bordeaux. Kinda sad to see that PhD students from that same university are now mainly offered lectures on entrepreneurship and how not to be too depressed during their thesis! About the book itself, just like a lecture, some bits are really interesting and others less. Not too dense, overall a good introduction to law philosophy I think!

Pensées, Blaise Pascal, 1669 | I read this in order to read another book about jansenism and the figure of God in Pascal’s, Racine’s and Kant’s work. I’ll admit I skipped the parts about theology but the first half of the book is really worth reading. Not gonna lie, I wouldn’t have enjoy reading this if not for Goldmann’s book that brings a really interesting light on Pascal’s philosophy!

Le Dieu caché, Lucien Goldmann, 1955 | This book is an analysis of Pascal’s Pensées (and Racine’s tragedies but this is a very short part of the book unfortunately). I really like how it uses concepts and methods from Hegel and Marx to give a really deep and interesting insight on Pascal’s philosophy. The main concept of the book is the concept of “vision du monde” (world view). The author tries to demonstrate that Pascal’s philosophy (and Racine’s tragedies) embodies a tragic world view. The author shows that Pascal’s philosophy is one of paradoxes that cannot be solve in the world, but only in christian heaven. Thus, a never ending suffering for the one that cannot not live in the world where everything is relative and full of contradictions yet aspires to something absolute that can embrace and overtake the contradictions.

Liberté grande, Julien Gracq, 1946 | I was a bit disappointed but not too surprising as I am not usually a fan of prose poetry! Well, I had to have a least favorite Gracq’s piece!

Buddenbrooks, Thomas Mann, 1901 | Second book by Mann that I read and he is slowly but surely becoming an author that I really enjoy. This one is the portrayal of an old and wealthy family declining in a generation or so. The writing is clever, witty, often funny, often touching. Reading it was a ride! It had been a while since I appreciated a book so much for its characters.

La forme d’une ville, Julien Gracq, 1985 | An essay about the French city of Nantes and its role in shaping what is a city for the author. Very poetic essay (very Gracq), as the title suggests : as Baudelaire wrote, “la forme d'une ville change plus vite, hélas ! que le cœur d'un mortel”. It isn’t a description of Nantes as it is (was) but rather an exploration of the city as it exists in Gracq’s memory and mind.

[mariacallous]

In September 1938, Thomas Mann, the Nobel Prize–winning author of Death in Venice and The Magic Mountain, fled Nazi Germany for the United States. Heralded as “the greatest living man of letters,” Mann settled in Princeton, New Jersey, where, for nearly three years, he was stunningly productive as a novelist, university lecturer, and public intellectual. In The Mind in Exile, Stanley Corngold portrays in vivid detail this crucial station in Mann’s journey from arch-European conservative to liberal conservative to ardent social democrat.

On the knife-edge of an exile that would last fully fourteen years, Mann declared, “Where I am, there is Germany. I carry my German culture in me.” At Princeton, Mann nourished an authentic German culture that he furiously observed was “going to the dogs” under Hitler. Here, he wrote great chunks of his brilliant novel Lotte in Weimar (The Beloved Returns); the witty novella The Transposed Heads; and the first chapters of Joseph the Provider, which contain intimations of his beloved President Roosevelt’s economic policies. Each of Mann’s university lectures—on Goethe, Freud, Wagner—attracted nearly 1,000 auditors, among them the baseball catcher, linguist, and O.S.S. spy Moe Berg. Meanwhile, Mann had the determination to travel throughout the United States, where he delivered countless speeches in defense of democratic values.

In Princeton, Mann exercised his “stupendous capacity for work” in a circle of friends, all highly accomplished exiles, including Hermann Broch, Albert Einstein, and Erich Kahler. The Mind in Exile portrays this luminous constellation of intellectuals at an extraordinary time and place.

[elen-000]

Friendship, Films, and Farewells

Me and Earl and the Dying Girl is a touching 2015 coming-of-age comedy-drama film directed by Alfonso Gomez-Rejon, adapted from the 2012 novel by Jesse Andrews, who also penned the screenplay. The film stars Thomas Mann, RJ Cyler, and Olivia Cooke, and follows the life of a socially awkward high school senior whose life takes an unexpected turn when he befriends a classmate battling leukemia. Premiering at the 2015 Sundance Film Festival, this emotional story quickly garnered praise for its witty screenplay and moving performances.

Plot Summary

The story revolves around Greg Gaines, a high school senior at Schenley High in Pittsburgh, who prides himself on being socially invisible—never too close with anyone, and just skating by. His carefully maintained distance from people is shattered when his mother forces him to reconnect with Rachel Kushner, a fellow student who has just been diagnosed with leukemia. Despite both of their initial reluctance, Greg and Rachel form a unique friendship.

Greg introduces Rachel to his "co-worker" Earl, his longtime friend with whom he makes quirky homemade films that parody classic movies. Although Greg refuses to call anyone his "friend" out of fear of rejection, Rachel finds comfort in Greg and Earl's offbeat friendship and humor during her difficult cancer treatment.

As Rachel's condition worsens, Greg begins spending all his time with her, neglecting school in the process. His focus shifts from grades to making her smile, often breaking the fourth wall to assure the audience that, despite her illness, Rachel won’t die. When a popular classmate, Madison, encourages Greg and Earl to create a special film for Rachel, Greg throws himself into the project, dedicating all his time and energy to making something that will lift her spirits. However, Rachel’s decision to discontinue chemotherapy causes tension between her and Greg, leading to a heated argument where both express their frustrations.

Dealing with Loss

Greg’s life spirals as he faces the consequences of neglecting school, losing both his friendship with Earl and his college admission. Meanwhile, Rachel’s condition deteriorates rapidly. As her final moments approach, Greg abandons his plans to attend prom and rushes to the hospital to show her the film he made in her honor. Rachel, deeply moved by the film, slips into a coma shortly after watching it and passes away the next day. Greg later reveals that he lied to the audience—Rachel did die, despite his earlier reassurances.

At Rachel’s funeral, Greg reflects on their time together, finding solace in her memory and the intricate carvings she left behind in her books—beautiful depictions of their moments together. Rachel's mother reveals that Rachel had written to Greg's college, explaining his absence from school and ensuring that his time spent with her wasn’t in vain.

In the end, Greg writes about his journey with Rachel, sending both his story and the film they made to the college. His final note humorously warns, "the last person who saw this immediately went into a coma and DIED."

Final Thoughts

Me and Earl and the Dying Girl is a poignant yet humorous exploration of friendship, love, and loss. The film's bittersweet moments are balanced with clever humor and touching performances, making it a powerful story about the impact we have on each other's lives. It's a heartfelt reflection on mortality and connection that lingers long after the credits roll.

[kevrocksicehouse]

Inside Out 2.

D: Kelsey Mann (2024).

At the beginning of this sequel to the wildly inventive examination of the many emotions ---Joy (Amy Poehler), Sadness (Phyllis Smith), Anger (Lewis Black) etc. – running around the psyche of Riley, a tweener girl who is now entering her teens, we’re introduced to new emotions like Ennui (Adele Exarchopoulos looking like a black and white French movie star), Embarrassment (Paul Walter Hauser hiding in a black hoodie) and a scene stealing wide-eyed Anxiety (Maya Hawke looking like Big Daddy Roth entered his minimalist phase) who overthrow the other feelings in a witty depiction of the onset of puberty. But where’s, well, Lust (maybe be too strong a word but what even Disney’s Bambi called “twitterpation)?” The film doesn’t so much sidestep romantic attraction as dive into a hole to avoid it, taking place in a girl’s hockey camp (because a nunnery would be too obvious) and eschewing any male characters, and while Riley develops a girl-crush on an older player (Lilimar) the film is so much Not-Going-There that it wastes the monstrous apparition of Riley’s Deepest Darkest Secret for a silly end-credits gag. The film gets a lot right about the emotional mechanics of adolescence (a nice touch is the structural upheaval of her brain when she uses “sar-chasm”) and the overwhelming hold social anxiety has on the psych. And it’s easy to see why a tentpole film that depends on a family audience might shy away from certain “mature” themes. But that very avoidance cuts the story off at the knees. It’s trying to be a coming-of-age movie without growing up.

[plungermusic]

Wherefore divers yonge violistes preferreth Bach …

… perforce eschewing ye earthy stylinges of ye traditional troubadour hurdygurdyists of yore?

Forsooth Susanna, conducte me thence for none hath passed my ken in a twelvemonth! But in earnest, thy inquiry is ane righteous inquiry. Verily ye yonge violistes do seeme in thrall to ye complex melodies, riche textures and syncopated rhythmes of Bach, rather than ye turgid repetitive drones ande plaintive dirges of ye traditional troubadour hurdygurdyists of yore.

Er, ande?

I prithee pardon Susanna, methought I had replied most compleatly to thy entreaty, is’t not patent to thine understanding?

Well, Confessor, mine credence be that too muche hath been lost in such a reformation. Ye traditional troubadour hurdygurdyists of yore brought suche emotioun and passione in their musicke and lyrickes, borne of ye harsh verity of quotidienne peasant existaunce: it speaketh to ye listeneres of ye paines of toile and ye pangs of love.

Indeede yet also like ye dailye grinde of bondsman livinge it is dulle and uninteresting after ye firste three minutes. It is most especially dulle for ye musician, particularly ye musician who no longer hath need of labouringe from sunrise til sunsette for his cruste, who feareth not the lord’s overseer’s wrath nor the blight that cometh on the crop. Nay some may say to expresse suche shalt be dishoneste mummery at beste?

I grant thee thy finalle pointe, yet ‘dulle’? Ye traditional troubadour hurdygurdyists of yore summon the spirit of sweaty Sabbath-eve dances in unsmoke-filled taverns with ye joyes and exultatioune of celebrating the end another sixe days mangel-wurzling and ye promise of ye rough congresse to follow (God will’t)! Dulle is’t not! Shew me the manne that may performe ye hide-ye-parsnippe to ye strains of ye Goldbricke Variation alla settima!

Egad, Susanna, I knoweth notte what concerneth me moste! That any manne relieth on ane song to keepe up ye beate (thus to speake) or that he mighte notte be able to count 1-2, 1-2 over a ground in sevens…

Fie, sir, thou dost disrespect and calumniate me too muche!

I crave thy pardon mistress, and woud coole thine ardour and lift thy humour with ane witty rejoinder thus, “What dost thou callest ye workes of ye traditional troubadour hurdygurdyists of yore for shorte?" 

I know not, I trow.

Serf Musicke!

[opulentconceptions]

September 1965 – Penny Valentine picks the new singles

POP SHOP: What’s new at the record bar – Disc Weekly, September 1965 Manfred Mann If You Gotta Go, Go Now (HMV)This is that sly, witty Dylan song that I love, about telling his pussycat to make up her mind whether she’s going to go home or stay at his place. Tremendously one-up lyrics and very, very funny. Somehow I rather expected Paul Jones to be cheekier. It is a marvellous vehicle for his…

[dharshareddy189]

DIGITAL MEDIA: SOURCES AND SIGNIFICANCE

BLOG POST 10

The Role of References and Connections in Video Games: Intertextuality

The concept of intertextuality in video games is truly captivating and intricate! Video games often incorporate and interact with various texts, media, and cultural references. There are multiple ways in which this can occur, ranging from subtle nods and homages to more obvious parodies and retellings.

Here are some key aspects of intertextuality in video games:

Literary allusions: Games may use literary allusions, drawing upon classic literature, mythology, or historical events. This serves to enhance the narrative and encourages players to make connections.

Genre conventions: Games frequently draw inspiration from well-established genres such as fantasy, science fiction, or horror, manipulating their recurring themes and anticipated outcomes.

Homages and parodies: Games can express admiration for other games or media by directly alluding to them, frequently with a comical twist.

Intra-game intertextuality: Certain games use self-referential features, alluding to their own mythology or past iterations.

For Example -

GTA 5  finds opportunities to link dozens of real-world events and also includes References to Movies, TV, Games and Pop Culture, These references may be well-hidden Easter Eggs.

Movie Homages:

James Bond - It might not be one of the fastest cars in GTA 5, but owning not just James Bond’s car, but Sean Connery’s James Bond car is one of the most thrilling aspects of the game. Though it isn’t a car that would be suited to Trevor, the classy vehicle would look great sitting in front of Michael’s mansion.

Heat - The bank robbery mission "Blitz Play" is a clear homage to this Michael Mann classic, with its meticulous planning, high-stakes execution, and chaotic getaway.

Drive - Though Trevor might be one of the best characters due to his mannerisms and psychotic behaviour, he is far from the coolest. Being a redneck hillbilly who lives in a trailer cooking crystal meth and assaulting people for fun ain’t cool, kids.

Intertextuality within GTA:

Previous Games: References to past GTA titles abound, from Trevor's "Ten Points!" shoutout to the reappearance of CJ from San Andreas. Even the soundtrack features music by previous series characters.

Self-Awareness: The game frequently breaks the fourth wall, with characters acknowledging their roles in a video game and even commenting on the absurdity of certain situations.

Parodies and Satire:

Reality TV: The Epsilon Program humorously mocks Scientology and other self-help cults, while "Fame or Shame" mocks reality TV.

Social Media: LifeInvader parodies Facebook, capturing its addiction and celebrity culture.

Hollywood: Los Santos' film industry is shallow and greedy, mocking celebrity life and stardom.

My persepctive - These are just a few examples, and the sheer volume of intertextuality in GTA 5 is part of what makes it so much fun to explore. Players can spend hours unearthing hidden references and appreciating the game's witty commentary on various aspects of our culture.

REFERENCE -

https://www.ign.com/wikis/gta-5/References_to_Movies,_TV,_Games_and_Pop_Culture (ACCESSED ON 10th DECEMBER)

https://gamerant.com/movie-and-tv-references-gta-v/#drive (ACCESSED ON 10th DECEMBER)

https://videogameacademia.org/courses/video-game-studies/intertextuality-in-video-games/#:~:text=In%20video%20games%20that%20borrow,which%20have%20done%20something%20similar. (ACCESSED ON 10th DECEMBER)

[qu-film-history-to-1968]

Looking at the Romcoms of Old

JJ Tafuto The middle of the 20th century was a very transformative time in cinema history in evolving elements of storytelling, visuals, and thematic exploration. Sabrina (1954) directed by Billy Wilder and That Touch of Mink (1962) directed by Delbert Mann are two famous romantic comedies of the time that perfectly encapsulate the films of this decade.

Sabrina and That Touch of Mink both share similarities in their respective romantic plots as they center around their protagonists navigating and finding love. The two films both feature a class divide between their main characters as a plot point, as in Sabrina, the chauffeur's daughter played by Audrey Hepburn falls in love with the son of her fathers boss, a wealthy businessman. Similarly in That Touch of Mink, Doris Day is an unemployed secretary who gets in a romantic relationship with another wealthy businessman. The films employ different storytelling and narrative structures that are deviations of what came before. Sabrina is a much more character focused film and Sabrina’s own growth and transformation is what drives the film. That Touch of Mink revolves around its comedic tone and relies on its witty nature and situational humor as its driving force. These films reflect the evolution in the tastes of audiences as there is a shift to more deep dives into characters and elevated humor.

The visual aesthetics in these films illustrate how cinematic technology and the general cinematic language has grown according to the times. Wilder’s Sabrina, being the earlier film by almost a decade, is much more classic hollywood and all of the glamor that comes with that with cinematography showcasing the luxurious and elegant upper class of 1950s civilization. Meanwhile, Mann’s That Touch of Mink changes course with a much more sleek and modern visual style reflective of the 1960s. In depicting the metropolis that is New York City, the film embraces a much more contemporary urban aesthetic and gives it a suave flair. That Touch of Mink and other films of the time shift to more modern and relatable settings and situations as the societal landscape and audience interest yearned for more stories that they could resonate and connect to on a deeper level.

Of course, you can’t forget about music. The musical scores of these two films reflect and contribute heavily to the atmospheres of the films. Composer Franz Waxman makes a romantic and grand soundtrack that are used to compliment Sabrina’s emotional and more personal moments. By contrast in That Touch of Mink, George Dunings score has a more whimsical and upbeat feeling to compliment the films comedic tone. 

Looking at how Sabrina and That Touch of Mink stack up compared to the films that predate this era, there is a clear shift in storytelling and visuals. Earlier films had more classic and traditional narrative structures and were more theatrical with stylized acting. The era these two romantic comedies came from opted to have more natural styles and performances with complex character development and modern visuals. 

These films could not have been made before their time as the cultural and technological advancements are what made these films what they are. The color and sound advancements made to film contributed significantly to the visual and auditory styles and experiences. Furthermore, societal attitudes had evolved regarding class dynamics and romance. The role of women also defied traditional storytelling and allowed for the beginning of more progressive and complex themes  

[tshirtdesignonline]

Gifts Funny Pregnancy Tshirt | Create Tshirt Design Online - Shirtee

Are you looking for the perfect gift for an expectant mother or perhaps something fun to express your own pregnancy journey? Look no further! Introducing our hilarious and adorable Funny Pregnancy T-shirt collection at Shirtee. With our user-friendly online platform, you can let your creativity run wild and create your own unique t-shirt design. Our easy-to-use t-shirt design maker allows you to personalize your t-shirt with text, graphics, and even upload your own images. Express your sense of humor and showcase your pregnancy pride with our collection of funny and witty designs. Whether you want to announce your pregnancy in a hilarious way or simply embrace the joys (and challenges!) of being an expectant mom, our Funny Pregnancy T-shirts are sure to bring a smile to everyone's face. Our t-shirts are made from high-quality materials, ensuring comfort and durability. They make the perfect gift for baby showers, gender reveal parties, or as a thoughtful surprise for that special mom-to-be in your life. So, why wait? Visit our website and unleash your creativity today! Create t-shirt design online and let the world share in the joy and excitement of your pregnancy journey. Get ready to turn heads and make people laugh with our Funny Pregnancy T-shirts from Shirtee.

[unproposed]

Change your life with these inspirational romantic novels

Yesterday, I was at a friend’s housewarming party, where the discussion was- romantic novels read in recent times. When it comes to love novels, I sometimes compare myself to a toddler who, among the crowd, keeps turning his head in the direction of sound without understanding a single word.

I used to detest romance novels. As for me, they were unreal. Unlike others, the notion that a prince charming would one day arrive riding a white horse simply horrified me.

So, naturally, the conversation about romance novels at the party made me want to leap out the window.

Do you like romantic stories?

Don’t you also think they are all unreal fantasies of the writers?

Well, I am sure a lot of you will concur with me, especially those who have racked up a tonne of debt during their relationship.

Jokes apart!

When I shared with my friends what I thought of love stories, they challenged me to read a few works, which completely altered my opinion of romantic fiction.

Yes, guys, it is true.

This collection has dramatically altered my perspective, and through this blog, I am sharing the collection with you now. These are not the damsel in distress or the Cinderella stories we have been hearing across ages. But these are books of today’s timeline, how even being single is a precious relationship with self.

Great romance novels include engrossing stories, witty dialogue, and stunning details that will keep you turning the pages. When you want to escape to another world, read a romance novel.

They provide you with warmth on a chilly, windy winter night by functioning like a fire.

The romantic books on our list feature voice that merit attention. The following love stories are extraordinary, life-altering works that have the power to move us, influence our ideas, and even transform our lives.

Enjoy these outstanding love stories that highlight the power of love to change lives.

1. The Unproposed Guy

This is a beautiful and engaging character study of a deeply unhappy man who is going through a lot of challenges in his life. Kevin is a wonderfully memorable figure that authors Bhavik Sarkhedi and Suhana Bhambhani have created.

It highlights Kevin’s thoughts, silly observations, and feelings in a way that is laced with sarcasm, enhancing the reading experience threefold.

It is the tale of a man who never receives a proposal. Isn’t it remarkably relatable to our life stories?

Keep a tissue box nearby because this narrative will help you heal your wounds.

2.  Seven Days in June

An emotionally charged, personality-driven, and second chance romance, “Seven Days in June” by Tia Williams immerses you in the hearts of Eva Mercy and Shane Hall, two tormented and troubled souls who spent seven days as youths trying to find one another. They found solace in one another’s embraces, and now, fifteen years later, they are learning whether the love they once had was genuine and worth dying for.

I pondered the potential time savings if I had found someone in my adolescent years.

3. The Art of Hearing Heartbeats

This novel by a German journalist Jan- Philipp Sendker, is about a prominent New York lawyer who abruptly vanishes without a trace, leaving his wife and daughter Julia in the dark about his whereabouts. Till they come across a romantic letter; he wrote to an unknown Burmese woman many decades ago. Julia chooses to go to the village where the woman resided to unravel the mystery and come to grips with her father’s past.

She finds a story of unfathomable adversity, tenacity, and devotion there that will reinforce the reader’s faith in the ability of love to levitate objects.

Are you ready to travel with Julia on this adventurous and suspense-filled journey?

4. The Magic Mountain

Thomas Mann’s “The Magic Mountain” is regarded as his true masterwork. This contemporary classic, a parody of politeness, and an emblem of which was before bourgeois Europe is placed in the years before the Great War. Due to the author’s utilization of a sanatorium in the Swiss Alps, this book is full of innovative ideas.

Therefore, fasten your seatbelt and gather a bag of popcorn, as it is regarded as one of the most significant pieces of German literature from the 20th century.

5. Love at First

“Love at First” by Kate Clayborn a high contender for one of the best romantic novels, combines exquisite writing with an emotional tale and charming characters. The other residents, especially Nora, who is determined to retain things the way they were, don’t agree with it, though. Although she sets out to ruin his plans, love has a way of defeating them. This book’s eccentric storytelling will make you want to mark it down.

It is one of the best recent erotic romance books, which also has an engaging narrative with a real heart. Get ready to fall in love again with this masterwork.

6. The Wedding Date

The first book in a series and the first contemporary romance book by Jasmine Guillory explores multiracial love while sizzling with sassy humour. Successful and fashionable Alexa is stranded in the elevator with a handsome paediatric surgeon at the beginning of the tale.

This is a tale that left me feeling giddy and heated at the same time, not to forget how it also managed to be kind of amusing and unceasingly charming.

In general, The Wedding Date contains everything a reader might want from a romance book.

7. Virgin River

A widowed nurse relocates from Los Angeles to a quaint mountain house in a 600-person village to start anew. When she arrives, she discovers a miserable hovel where nothing unfolds as planned. When she notices the heroically attractive Jack, she is going to depart. He is a bartender who is strong and has a pleasant smile.

This is the first book in Robyn Carr’s Virgin River series, which is based on the same-named TV series and features the residents of this little mountain village.

These books are all enjoyable to read, something that will stick with you for a while and eventually cause some change in your perspective and help identify something incredibly personal to you.

Which one are you most eager to read?

Do read and don’t forget to share it with others you know will be equally helped with this list.