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Paris
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Stanley Stewart: When good Americans die, wrote Oscar Wilde, they all go to Paris. Of course, Americans can be impatient people, and quite a few, hoping to beat the queues, don’t wait for death. Many good American writers, plus quite a few British and Irish writers, have made their way to Paris with the idea that in the City of Light they will be able to find their literary voice in a way that would not be possible in Des Moines or Darlington or Dublin. Or at least get a seat on the terrasse of Café de Flore. 
A hundred years ago, Ernest Hemingway, arguably the most famous of the American literary expatriates, first climbed the stairs with his wife Hadley, past the shared toilets on each landing, to their cramped fourth floor flat in 74 Rue du Cardinal Lemoine. The apartment, Hemingway wrote to a friend back home in Chicago, “would not be uncomfortable to anyone used to a Michigan outhouse”. Hemingway was only 22, and hadn’t yet written anything of note. The couple were sustained by Hadley’s small trust fund and by news stories that Hemingway filed to the Toronto Star.
In the long procession of expatriates to Paris, the 1920s, what the French called les années folles, or “the crazy years”, was the high-water mark. A cavalcade of young writers were making their way to the city, aided by a favourable exchange rate and prompted by the notion that it was simply the place to be. Hemingway was soon moving in a remarkable literary world that included Ezra Pound, James Joyce, Wyndham Lewis, Morley Callaghan, Gertrude Stein and F Scott Fitzgerald, all orbiting round Sylvia Beach’s Shakespeare and Company bookshop. Stein would call them the Lost Generation, scarred by the experiences of the first world war, and now culturally adrift.
But even beyond these expatriate literary circles, Paris in the twenties seems now to be the foundation of our modern cultural world. Abstract art, surrealism, existentialism, American jazz, all were bubbling furiously through the cafés of the Left Bank. For Hemingway, they were wonderful years, “when we were very poor and very happy”. A lifetime later, long after fame had consumed him, Hemingway wrote a memoir of his time in Paris. The book is rich in nostalgia, an old man looking back on his young self, when everything was new and promising and a whole world was unfolding, before he became, in the words of his biographer, Jeffrey Meyers, “the swaggering hero of the thirties, the drunken braggart of the forties, and the sad wreck of the late fifties”. A Moveable Feast was published posthumously in 1964, three years after Hemingway had shot himself on the porch of his house in Ketchum in Idaho.
[Financial Times]
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comicsgallery-marvel · 2 months
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Heroes Reborn (2021) #3
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comicchannel · 5 months
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Marvel Legends Series Squadron Supreme Nighthawk and Blur Hasbro F7044
Link para compra BR: *Possível importar pelo Link abaixo
Buy here: https://amzn.to/3Neypd3
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battlescas · 3 months
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How did we not know
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linggluu · 11 months
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We'd rolled the windows down - the Suburban was a bit claustrophobic with nine people in it= and I tried to absorb as much sunlight as possible.
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sesiondemadrugada · 1 year
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Chinatown (Roman Polanski, 1974).
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green in film 🌿
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“green is a label for a certain attitude to life, a certain kind of respect that one might have for the very source of things that we take for granted.” - annie lennox 🧃
films in order: portrait of a lady on fire, vertigo, the shining, the lord of the rings: fellowship of the ring, funny face, the truman show, la la land, the royal tenenbaums, stand by me
other colours !
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Our Mind on Music Podcast: Interview with Stan Stewart (aka Stanley G) of Muz4Now
In this week’s episode, we have the pleasure of interviewing Stan Stewart (aka Stanley G), a talented musician from Muz4Now. Stan is known for his captivating piano improvisations and heartfelt compositions. Join us as we explore various aspects of his musical journey and gain valuable insights into the creative process, musical inspiration, and the life of an independent artist. Join us on the…
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renegadepack · 2 years
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twilight characters + copious amounts of heart emojis: 484/?
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im-marnie · 3 months
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filmesbrazil · 2 years
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anhed-nia · 2 years
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BLOGTOBER 10/11/2022: MONKEY SHINES
MONKEY SHINES drives me crazy for the sole, stupid reason that for much of my life, I have been walking the earth assuming that it is a Stephen King adaptation. This is absolutely not true. I'm sure I just think this because of George Romero's frequent collaboration with King, and because its famous poster so has the bold, exaggerated look of pulp horror covers from the 1980s. MONKEY SHINES is adapted from a novel by British author Michael Stewart, but the screenplay is by Romero himself. It is entirely possible that by 1988, a lot of King's style and approach may have rubbed off on the director, so maybe I'm not completely crazy for harboring this delusion: it's got psychic powers, a domestic animal that goes berserk, and small town drama overlayed with outrageous sci-fi and horror elements. But still, it bugs me that I thought this. I should know better!
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MONKEY SHINES is a deeply weird movie that passes for normal due its above-par production value, fine performances, name brand actors, and naturalistic dialog. Perhaps also in the heyday of writers like King and Michael Crichton, this wacky sci-fi thriller, about a paraplegic who forms a corrupting psychic link with his helper monkey, didn't seem so unusual. But inside of this mainstream thriller is a freaky psychodrama with which Freud would have had a field day.
A Capuchin helper monkey named Ella enters the life of law student Allan Mann (Jason Beghe) when an accident renders him paralyzed from the neck down. His days are brightened by Ella's surprising competence and seemingly personal affection for Allan—and by the arrival of her trainer Melanie (Kate McNeil), who also develops personal feelings for Allan. However, the deeper Ella and Allan's bond grows, the more Allan is given over to emotion, struggling to control his escalating rage. Eventually it comes out that Ella is a test subject for an experimental drug, and as the resulting mind meld with Allan makes him more animal than man, it also enables Ella to act out Allan's wrathful impulses.
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Somehow the monkey part of the movie isn't as bizarre as the interpersonal drama. When Allan becomes paralyzed, his whole existence turns into a power struggle with the women in his life. His plight begins when he is cuckolded by his own surgeon, and without his girlfriend around to help out, his mother Dorothy (Joyce Van Patten) forces her way into the house. Dorothy forms a sort of infantilizing tag team with the pious Nurse Maryanne (Christine Forrest, Romero's then-wife and frequent collaborator), from whom Melanie and Ella have to defend Allan. Where Maryanne is a castrating school marm type, Dorothy is inappropriately intimate with her son, insisting on bathing him and trying to drive out his new girlfriend. Melanie is mainly worried about Allan's increasing loss of civility…and also, perhaps, about Ella's increasing possessiveness. The monkey is firmly the other woman. There are male antagonists in the film—ambitious, inhumane scientists played by Stanley Tucci and Stephen Root—but they tend to take a back seat to Allan's conflicts with women. From his wheelchair-bound position, Allan needs to literally grow up, wresting power back from his nurse, putting his mother in her place, and choosing a mature relationship over the regressive, obsessive affair with the monkey.
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MONKEY SHINES may look like a regular mainstream movie of the period, but with all that going on, it has more in common with a neurotic exploitation movie like THE BABY, or SOMETIMES AUNT MARTHA DOES DREADFUL THINGS, or BUTCHER, BAKER, NIGHTMARE MAKER. This may not be the sort of place where you normally expect to find a bunch of psychoanalytic rumination, but it's sure in there, and it's part of what makes MONKEY SHINES so surprising. That, and the fact that it's not a Stephen King movie.
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But, there is one more thing about MONKEY SHINES the surprised me, personally. When I first started dating my husband some eleven years ago, we hit it off immediately, but we seemed like a pretty unlikely pair. I was (am) an inverted little horror ghoul, and he was almost aggressively normal: a friendly, handsome data specialist who liked beer, bikes, and coffee, and whose cultural tastes skewed just a little indie. I wasn't sure what I could have to offer such a person, but on our third date, he made an effort to reach across the aisle by informing me that when he was a kid, his mother's therapist was the former owner of one of the monkeys in MONKEY SHINES. We don't know if it was the star, Boo, or one of the lab extras (probably the latter), but this therapist had a framed lobby card mounted on his waiting room wall featuring the movie's shocking key art. My husband used to have to stare at it while he was waiting for his mother's appointment to end, and when he finally asked about it, he learned that the doctor used to have one of the movie's animal performers. When my then-new boyfriend told me this, I nearly fell out of my chair, and we've been laughing about it ever since.
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This is a lot of words to basically say “all of the Squadron Supreme folks are stuck in the 616 until their univer gets fixed...”
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battlescas · 4 months
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Jessica’s thoughts must have been HORRID for Edward to endure at the wedding💀💀💀
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linggluu · 11 months
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"I think you should eat something." Edward's voice was low, but full of authority. He looked up at Jessica and spoke slightly loudly. "Do you mind if I drive Bella home tonight? That way you won't have to wait until she eats."
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