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promising young woman (2020) dir. emerald fennell
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Bo Burnham as Ryan Cooper PROMISING YOUNG WOMAN (2020) dir. Emerald Fennell
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Bo Burnham as Ryan Cooper in Promising Young Woman (2020) dir. Emerald Fennell
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just remembered that tomorrow is another day I have to wake up and do things
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WandaVision, Previously On
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From what I know from the movies so far....
Pietro did not get a funeral
Vision did not get a funeral
Wanda never really was provided a place to grieve properly
She only had that one person who picked her up and told it was okay and helped her move forward
For her parents' death it was Pietro
For Pietro's death it was Vision
But then Vision didn't get a funeral, everyone went back to their families, and all Wanda had was a map and all her grief rising up to the surface again
She was alone in an empty lot, in a country she was not born in, around people she did not know. The only place she could ever think to call home turned out to be a cinder block outline of a foundation to an unfinished house in New Jersey
She had no one to pick her up and dust her off. No one to remind her that its okay and no one to help her move forward.
So instead, she made a perfect world where she still had that person and then some using the only coping mechanism she had left.
Sitcoms. Where no one ever really gets hurt and everything is fair and happy because everything turns out exactly like its expected to.
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That’s Louis Rossman, a repair technician and YouTuber, who went viral recently for railing against Apple. Apple purposely charges a lot for repairs and you either have to pay up or buy a new device. That’s because Apple withholds necessary tools and information from outside repair shops. And to think, we were just so close to change.
Follow @the-future-now
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The one thing that will always get to me about Severus Snape, was that he never had a chance to be happy after he’s played his part in the war. He was miserable his entire life, and if anything in the HP series, it’s that he had no chance at redemption
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OK. I’m going to take some time to talk about this scene. 
Severus 100% thinks he’s saving the kids here. As far as he knows, Sirius is out to kill Harry and he defiantly knows that Remus hasn’t taken his potion. To his eyes, A unmedicated werewolf and a mass murderer have three students trapped in an abandoned building. AND  this has happened to him before. Being in the Shack, on the full moon, with an unmedicated Remus, because of Sirius. Hell, Ron is actually injured!  
And how does Sirius react? By taunting him. He doesn’t explain. He doesn’t deny anything. He doesn’t even let Remus talk when he could almost certainly get Severus to at least hear what he has to say. (Not saying he would believe him but he would hear him out.) In the book he even called him ‘Snivullus’. 
So, yeah, this is one of the few times I will side with Severus completely. He believes the kids are in danger and no one does anything to prove him wrong.
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“Grief turns out to be a place none of us know until we reach it. We anticipate (we know) that someone close to us could die, but we do not look beyond the few days or weeks that immediately follow such an imagined death. We misconstrue the nature of even those few days or weeks. We might expect if the death is sudden to feel shock. We do not expect this shock to be obliterative, dislocating to both body and mind. We might expect that we will be prostrate, inconsolable, crazy with loss. We do not expect to be literally crazy, cool customers who believe their husband is about to return and need his shoes. In the version of grief we imagine, the model will be “healing.” A certain forward movement will prevail. The worst days will be the earliest days. We imagine that the moment to most severely test us will be the funeral, after which this hypothetical healing will take place. When we anticipate the funeral we wonder about failing to “get through it,” rise to the occasion, exhibit the “strength” that invariably gets mentioned as the correct response to death. We anticipate needing to steel ourselves the for the moment: will I be able to greet people, will I be able to leave the scene, will I be able even to get dressed that day? We have no way of knowing that this will not be the issue. We have no way of knowing that the funeral itself will be anodyne, a kind of narcotic regression in which we are wrapped in the care of others and the gravity and meaning of the occasion. Nor can we know ahead of the fact (and here lies the heart of the difference between grief as we imagine it and grief as it is) the unending absence that follows, the void, the very opposite of meaning, the relentless succession of moments during which we will confront the experience of meaninglessness itself.”
— Joan Didion, The Year of Magical Thinking (p. 188–9)
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“People who have recently lost someone have a certain look, recognizable maybe only to those who have seen that look on their own faces. I have noticed it on my face and I notice it now on others. The look is one of extreme vulnerability, nakedness, openness. It is the look of someone who walks from the ophthalmologist’s office into the bright daylight with dilated eyes, or of someone who wears glasses and is suddenly made to take them off. These people who have lost someone look naked because they think themselves invisible. I myself felt invisible for a period of time, incorporeal. I seemed to have crossed one of those legendary rivers that divide the living from the dead, entered a place in which I could be seen only by those who were themselves recently bereaved. I understood for the first time the power in the image of the rivers, the Styx, the Lethe, the cloaked ferryman with his pole. I understood for the first time the meaning in the practice of suttee. Widows did not throw themselves on the burning raft out of grief. The burning raft was instead an accurate representation of the place to which their grief (not their families, not the community, not custom, their grief) had taken them.””
— Joan Didion, The Year of Magical Thinking (p. 74-5)
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“Grief turns out to be a place none of us know until we reach it.”
Joan Didion
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Dear Maximum Ride community:
I’m correctly doing a reread of the books, and I’ve never read the last book in the series, “Maximum Ride Forever”, I guess I had outgrown the series when the final installment came out.
My question is, is it worth reading? I’m about to start “Nevermore”, and “Fang” really discouraged me from the series. I’m just disappointed with the way James Patterson is taking the characters and I’m worried that both “Nevermore” and “Maximum Ride Forever” will only dissapoint me further.
Any advise would be greatly appreciated!
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dress up just to study, chew on the caps of your highlighters while you scribble notes in the margins of your books, put your feet up on your desk and drink cinnamon tea with too much sugar, learn calligraphy and write your favorite quotes on pages of old books and tape them to your wall, drink wine and read in the bath and use that bathbomb you keep forgetting is in your cabinet, play your favorite music play classical music play music from the 20s and dance down your hallway just because, call your friends and read aloud like each word is the most important one on the page, see if you can light enough candles to not need to use a lamp and open your window even though it’s cold, go for a walk and see if you can take a turn you haven’t taken before, live life as a challenge of how fun and dramatic a tiny world can be
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