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cpw-nyc · 1 month

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“The Fox has started sleeping regularly next to where the (indoor) kitten sleeps. She purrs like mad whenever the fox is there”

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cpw-nyc · 4 months

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12/31/23: This ‘magical’ date is sparking Las Vegas wedding bonanza on New Year’s Eve

And while saying “I do” on New Year’s Eve is already a Vegas pastime, this year is what many industry insiders call a “specialty” or “magical” date — an occurrence nearly as rare as a sighting of Halley’s Comet — because the numbers align into a perfect pattern or sequence: 12/31/23, or 123-123.

There is a precedent: Las Vegas set a record for weddings on July 7, 2007, or 7/07/07, known as the “Lucky 7s” day, when 4,492 couples tied the knot.

Nov. 11, 2011, or 11/11/11, was the second-most-popular wedding date, when 3,125 couples were married. Last year, Feb. 2, or 2/22/22, there were 2,331 weddings, making it the sixth-most-popular day on record.

2023 ends with this unique pattern; celestial events to look forward to in the new year 2023 ends with a unique pattern — 123 123.

This New Year’s Eve a unique pattern ends the year: 12/31/23, 123123, 123 123. Whichever way you write it, the repeating pattern is extremely rare. The Old Farmer’s Almanac says it’s so rare, in fact, that it won’t even occur again in this century. The last time a repeating date pattern happened was January 20, 2012 (012 012). The next time the 123-123 pattern will happen on Dec. 31 will be in the year 2123.

April 2, 2040 (04-02-2040) May 2, 2050 (05-02-2050) June 2, 2060 (06-02-2060) July 2, 2070 (07-02-2070) August 2, 2080 (08-02-2080) September 2, 2090 (09-02-2090)

NYE 12/31/23 = 123 123 👼 Angel Numbers

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cpw-nyc · 4 months

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Where to find 14 of New York City's festive Christmas trees 'Tis the season for gawking at festive spruce trees By Jenna Scherer and Amy Plitt

If you're a fan of Christmas with a capital C, New York City is the place to be. This time of year, the city bristles with more giant evergreens than a forest in the taiga. Rockefeller Center's enormous Norway spruce is already lit, but it's far from the only evergreen game in town—read on for a handy guide to the biggest and brightest holiday trees in the city.

Looking for more things to do in NYC this season? Check out our pocket guide to New York City.

Or perhaps it’s ice-skating you’re after? Here’s a map of NYC’s best ice-skating rinks.

The Metropolitan Museum of Art

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It's no surprise that the Met's tree is probably the city's prettiest. This year's 20-foot-high blue spruce is hung with ornate Neapolitan angels, and the base of the tree is the setting for an elaborate Italian Nativity scene. As if that weren't enough, it's backed by an 18th-century choir screen that originally resided in Spain's Cathedral de Valladolid.

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1000 5th Ave, New York, NY 10028

(212) 535-7710

American Museum of Natural History

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This venerable American Museum of Natural History goes all-out with a nondenominational holiday tree decorated with origami animals. This year's tree is laden with 800-plus folded-paper critters.

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Central Park West & 79th St, New York, NY 10024

(212) 769-5100

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South Street Seaport

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This lower Manhattan waterfront district celebrates the holidays with an outdoor light installation, an on-site Santa and a 30-foot tree festooned in gold, white, and silver ornaments, with a giant star on top.

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89 South St, New York, NY 10038

(212) 732-8257

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New York Public Library

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For the most literary Christmas celebration in town, head to the NYPL's Stephen A. Schwarzman Building. The library displays an old-school tree framed by an archway in Astor Hall, and in the McGraw Rotunda, Charles Dickens's personal annotated copy of "A Christmas Carol." You can also see the iconic library lions, Patience and Fortitude, festooned with wreaths outside of the Fifth Avenue building.

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476 5th Ave, New York, NY 10018

(917) 275-6975

Bank of America Winter Village at Bryant Park

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There's no Christmas-ier park come December than Bryant Park, which gets transformed into a Winter Village complete with skating rink, open-air market and winter-themed restaurant. The tree that looms over it all is huge Norway spruce garlanded with thousands of lights and ornaments.

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Bryant Park, New York, NY

Rockefeller Center

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The granddaddy of all Christmas trees has become as synonymous with New York at Christmas as Home Alone 2 and dodging shoppers on Fifth Avenue. This year’s tree is a Norway spruce from State College, Pennsylvania. Try to snag a spot skating in the rink below the tree, or just stand up on the sidelines and look up.…No, higher!

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Rockefeller Center, New York, NY

Queens Botanical Garden

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Flushing gets festive with the Queens Botanical Garden's annual holiday tree, which also includes crafts, a tour of the garden, and visits with Santa.

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43-50 Main St, Flushing, NY 11355

(718) 886-3800

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cpw-nyc · 5 months

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722 The One With Chandler’s Dad

Monica - giddy to show off her ring and announce that she’s engaged to Chandler Bing. (It must be some rock to be spotted like this).

Chandler - always correcting/telling people they’re engaged - not possessive, just excited and happy that they’re engaged.

Such a horrible moment, and so emotional and well acted. This is very typical of live entertainment to pick at people in the crowd and discuss their lives. The look on Chandler’s face, proud to tell his father he’s engaged butregretting it because now he has to reveal the date and it sounds like they’re rubbing it in and not sending an invite.

Chandler sees the hurt expression and immediately recognises how he can still be angry about being neglected without being hurtful in retaliation.

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cpw-nyc · 5 months

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722 The One With Chandler's Dad

The awkward segway, "so, you're bald," that shows these two people are related, giving us a glimpse of where Chandler gets his sense of timing and social understanding from.

I love that Chandler sees someone hurting and immediately does whatever he can to change that. He stands up, possessed with the need to make things right - he's not forgiving his father, but he's extending an olive branch.

( I know a handful of people think that this is all because of Monica's pushing, but he doesn't glance at her, doesn't consider her at all. His eyes are firmly on the person he's hurting and Chandler recognises he's doing the same neglecting that his parents did, that it hurts them just as much, and comes to the conclusion that he doesn't want to do that anymore). (And that's all Monica wanted him to do anyway, a peace offering and an invitation).

"We." Because even in moments like this Chandler thinks in terms of him and Monica as a couple. And they both do want to extend the invitation. It's just so easy for him to say it. I think the language is also really important. Monica wants to meet his family. Chandler agrees he doesn't want to regret anything and sees that it might be important to invite his family. Chandler would like his father to be at his wedding. But what word does he use? "LOVE" A friendly form of address, a strong positive emotion, the highest modality he could possibly use. And I don't think he uses it to be persuasive, I think he genuinely means it.

I love the glance down to Monica. To me, it says two things:

1. Charles/Helena cannot believe this is happening, "Really?!" This is everything.

2. Recognition of Monica's positive influence on Chandler and thanking her for this. And Monica grins because this is really happening but also shakes her head, because this wasn't her doing. It's all Chandler. I repeat: She shakes her head because this wasn't her. She just got him in proximity. Chandler made this decision all by himself.

And then Chandler corrects himself (he sees his father's glance to Monica and doesn't want there to be any doubt). Chandler recognises the "we" indicates he's been pressured to do this, but he hasn't and he wants to make that known. "I know it would make me happy."

I know a lot of people think Chandler's issue with his father is the sexuality, even Charles/Helena does (which is why the smile is so big when Chandler accepts it). But that's not the case, Chandler's biggest issue is the neglect - that's why he doesn't return calls, not because he's taken issue with his father's lifestyle (at fifteen he plucked eyebrows and he's featured in the show) - the fact that he was left by the wayside by someone I'd say he was probably very close to, given how betrayed Chandler feels by his father leaving, and Chandler gave up contact because he was tired of deciphering what was genuine and what was a manipulation. And this, "ma'am" is Chandler letting his father know that he doesn't care, that he accepts this part of this person who ruined his childhood. That he's angry about a lot of things but not that and he's working on forgiving the rest of it.

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cpw-nyc · 5 months

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Tourist vs Kangaroo Zuck vs Musk https://fb.watch/lBdABOMjmZ/

Dad vs. Dominant Roo in a Battle for Personal Space

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#Youtube

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Election at 20: assessing the high school satire's brutal politics

Charles Bramesco Tue 23 Apr 2019

There’s a big M Night Shyamalan twist in the final minutes of Election, Alexander Payne’s searing 1999 high school satire. Tracy Flick, the irritating overachiever indelibly played by a breakout Reese Witherspoon, is a Republican.

Throughout the film, Payne prefers to think about politics in the abstract, as an illusory choice between interchangeable versions of the same bullshit. Odious civics teacher Jim McAllister (Matthew Broderick) explains democracy as having the option to select either an apple or an orange, represented with two identical circles on his chalkboard. The closest thing that this comedy of bad morals has to a hero is Tammy Metzler (Jessica Campbell), who galvanizes the student body with a promise to dissolve the school government in toto if elected class president.

Payne narrows his blanket contempt for the two-party system in only one moment, just short of the credits. After McAllister has torpedoed his professional and romantic lives by sabotaging Tracy’s campaign for office at Carver high, after the scandal’s dust has died down, he engineers a second act for himself in New York City as a museum guide. He encounters Tracy years later in Washington DC, where he glimpses her getting into a limo as a staffer to the fictitious Representative Mike Geiger, identified as a Nebraska Republican. A minor detail, perhaps, but for a character as invested in the trajectory of her own future as Tracy, it’s a significant one. Payne doesn’t like picking sides, he’d rather withdraw in disgust, so it stands out that he picks one for her.

In her school days, Tracy Flick is “political” in the same holistic, imprecise sense that Burning Man attendees can be “spiritual” without subscribing to any formal religion. She’s invigorated by the nuts and bolts of the voting process, and as is the case with all of her numerous extracurriculars, she throws her entire self into running for class president. But the dirty secret about résumé-padders like Tracy is that their only real commitment is to the act of staying involved. It’s not like dictating lunch block policy requires a nuanced platform, and still her stump speech goes heavy on upbeat vagaries over substance. She imitates the habits of studied politicians, hitting her cadences and singling out her working-class constituents to score pathos points.

Which makes it all the more curious that posterity has cast Tracy Flick as an avatar for liberalism. At the time of the original release in 1999, audiences already knew to read Tracy as a stand-in for Hillary Clinton; Witherspoon herself has reinforced the comparison, claiming just last year that she would never portray Clinton in a movie because she already had. Clinton herself has told the star that even 20 years out, people still ask her about Election all the time. These details were foregrounded in essays around the 2016 lead-up to the Presidential vote, pieces with titles like The Very Uncomfortable Experience of Rewatching Election in 2016 and Hillary Clinton, Tracy Flick, and the Reclaiming of Female Ambition.

These articles identified Tracy Flick as a vessel for a determination and self-sufficiency that frightens men when not actively offending them, a reading more than borne out by the film’s active interest in exposing the ugliest, pettiest sides of the adults undermining and taking advantage of her. (She’s introduced mid-affair with a lecherous married teacher; later, McAllister fetishizes her severity during sex with his own wife.) Tracy’s been wronged, the argument goes, devolving into a cudgel that male commentators can use to trivialize preparedness and perfectionism in distaff candidates. Tracy’s only sin, by the ethical calculus of this reappraisal? “She cares, about her own interests and those of everybody else, so insistently, and so aggressively – indeed, so ambitiously – as to blur the line between the two.”

That’s a generous assessment of a character who thinks to herself: “Now that I have more life experience, I feel sorry for Mr McAllister. I mean, anyone who’s stuck in the same little room, wearing the same stupid clothes, saying the exact same things year after year for all of his life, while his students go on to good colleges and move to big cities and do great things and make loads of money – he’s gotta be at least a little jealous. It’s like my mom says, the weak are always trying to sabotage the strong.” She’s smug and annoying and surprisingly entitled for someone resentful of the upper class, and yet she has the upper hand by not being a serially dishonest pedophile. Tracy doesn’t have to be good for the men around her to be worse.

That’s the disillusioned soul of the film, entrenching it within the cynicism of the 90s and estranging it from the hopeful revisionism of modern discourse. Election hones itself into a war of attrition between an actively terrible person and one who is just obnoxious enough to keep an audience at arm’s length. A foil for Tracy arrived in the form of Parks and Recreation’s Leslie Knope, another irrepressible go-getter with an eye for climbing the governmental ladder. Except that her always-on energy and tireless devotion to work earned her lots of friends as it boosted her up the chain of command, a fittingly optimistic rework for the hope-fueled Obama administration and Clinton candidacy. What makes Election special, and thoroughly alien to entertainment in 2019, is its refusal to give Tracy any leeway. If she’s going to gain the political foothold she so desperately craves, she will have to shack up with the neocons to do so. Bleak, sure, but at least Payne’s honest.

Office Space at 20: how the comedy spoke to an anxious workplace

Payne narrows his blanket contempt for the two-party system in only one moment, just short of the credits. After McAllister has torpedoed his professional and romantic lives by sabotaging Tracy’s campaign for office at Carver high, after the scandal’s dust has died down, he engineers a second act for himself in New York City as a museum guide. He encounters Tracy years later in Washington DC, where he glimpses her getting into a limo as a staffer to the fictitious Representative Mike Geiger, identified as a Nebraska Republican. A minor detail, perhaps, but for a character as invested in the trajectory of her own future as Tracy, it’s a significant one. Payne doesn’t like picking sides, he’d rather withdraw in disgust, so it stands out that he picks one for her.

In her school days, Tracy Flick is “political” in the same holistic, imprecise sense that Burning Man attendees can be “spiritual” without subscribing to any formal religion. She’s invigorated by the nuts and bolts of the voting process, and as is the case with all of her numerous extracurriculars, she throws her entire self into running for class president. But the dirty secret about résumé-padders like Tracy is that their only real commitment is to the act of staying involved. It’s not like dictating lunch block policy requires a nuanced platform, and still her stump speech goes heavy on upbeat vagaries over substance. She imitates the habits of studied politicians, hitting her cadences and singling out her working-class constituents to score pathos points.

Which makes it all the more curious that posterity has cast Tracy Flick as an avatar for liberalism. At the time of the original release in 1999, audiences already knew to read Tracy as a stand-in for Hillary Clinton; Witherspoon herself has reinforced the comparison, claiming just last year that she would never portray Clinton in a movie because she already had. Clinton herself has told the star that even 20 years out, people still ask her about Election all the time. These details were foregrounded in essays around the 2016 lead-up to the Presidential vote, pieces with titles like The Very Uncomfortable Experience of Rewatching Election in 2016 and Hillary Clinton, Tracy Flick, and the Reclaiming of Female Ambition.

These articles identified Tracy Flick as a vessel for a determination and self-sufficiency that frightens men when not actively offending them, a reading more than borne out by the film’s active interest in exposing the ugliest, pettiest sides of the adults undermining and taking advantage of her. (She’s introduced mid-affair with a lecherous married teacher; later, McAllister fetishizes her severity during sex with his own wife.) Tracy’s been wronged, the argument goes, devolving into a cudgel that male commentators can use to trivialize preparedness and perfectionism in distaff candidates. Tracy’s only sin, by the ethical calculus of this reappraisal? “She cares, about her own interests and those of everybody else, so insistently, and so aggressively – indeed, so ambitiously – as to blur the line between the two.”

That’s a generous assessment of a character who thinks to herself: “Now that I have more life experience, I feel sorry for Mr McAllister. I mean, anyone who’s stuck in the same little room, wearing the same stupid clothes, saying the exact same things year after year for all of his life, while his students go on to good colleges and move to big cities and do great things and make loads of money – he’s gotta be at least a little jealous. It’s like my mom says, the weak are always trying to sabotage the strong.” She’s smug and annoying and surprisingly entitled for someone resentful of the upper class, and yet she has the upper hand by not being a serially dishonest pedophile. Tracy doesn’t have to be good for the men around her to be worse.

That’s the disillusioned soul of the film, entrenching it within the cynicism of the 90s and estranging it from the hopeful revisionism of modern discourse. Election hones itself into a war of attrition between an actively terrible person and one who is just obnoxious enough to keep an audience at arm’s length. A foil for Tracy arrived in the form of Parks and Recreation’s Leslie Knope, another irrepressible go-getter with an eye for climbing the governmental ladder. Except that her always-on energy and tireless devotion to work earned her lots of friends as it boosted her up the chain of command, a fittingly optimistic rework for the hope-fueled Obama administration and Clinton candidacy. What makes Election special, and thoroughly alien to entertainment in 2019, is its refusal to give Tracy any leeway. If she’s going to gain the political foothold she so desperately craves, she will have to shack up with the neocons to do so. Bleak, sure, but at least Payne’s honest.

#Tracy Flick #Election

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cpw-nyc · 8 months

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An older, tired-looking dog wandered into my yard. I could tell from his collar and well-fed belly that he had a home and was well taken care of. He calmly came over to me, and I gave him a few pats on his head. He then followed me into my house, slowly walked down the hall, curled up in the corner, and fell asleep. An hour later, he went to the door, and I let him out.

The next day he was back, greeted me in my yard, walked inside resumed his spot in the hall, and again slept for about an hour. This continued off and on for several weeks.

Curious I pinned a note to his collar: 'I would like to find out who the owner of this wonderful sweet dog is and ask if you are aware that almost every afternoon your dog comes to my house for a nap.'…!

The next day he arrived for his nap, with a different note pinned to his collar … 'He lives in a home, with my non-stop chatting and nagging wife, he's trying to catch up on his sleep …

Can I also come with him tomorrow …???'

#dog

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cpw-nyc · 8 months

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cpw-nyc · 9 months

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Untold story of Sam and Bucky (49-?)

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