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It’s not always a younger white guy or, you know, whatever. When you get relatable is when your specific emotions and motivations and characters, you felt that so strongly yourself that you know how to put it into the script. And when you do that — I think we discovered that while we were writing the show, it’s like, “Well, these characters are us. So we know how we felt when that happened and a lot of these experiences are ours, you know. A lot of that stuff in the parents episode, that stuff all happened with my dad. You know, he killed this chicken when he was young. So when you’re able to do that, the specific becomes universal and it becomes relatable. But it’s like, you’re right, you know, when things become personal, I think that’s often times when they become really good especially in comedy. I mean I’m sure it’s — I mean these two are both acting, so they can’t really — they can kind of neutralize each other if one is like this scene is about me. But your co-writer, your co-creator is the star of the show. You know, we met first season Parks and Rec so we’ve known each other for seven, eight years or whatever. Like if it’s like, “Hey man, like I don’t think — I think you should do it this way. And then ultimately, usually we shoot it both ways and we see it in the edit room or whatever. But at the same time, there’s so many other concerns when making a show like how the story is shaped and the structure of the episode works and what the series arc is. And so, you know, we have conflict but we always resolve it amiably and I think it’s generally worked.

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Sebab, kalolah ada tindak paling kejam di atas dunia, maka itu bukanlah tindak kekerasan. Karena The Book of Henry benar-benar tidak seperti yang lain. Trevorrow sudah mengembangkan cerita ini selama lebih dari 19 tahun. Dan dalam prosesnya, keunikan dan keorisinilan film ini tidak lagi datang dari betapa berbedanya dia dari film-film lain. Aku percaya saat pertama kali mikirin idenya, The Book of Henry terdengar sangat fresh, namun ditonton sekarang-sekarang ini, aku bisa melihat sedikit Goosebumps (2015), sedikit Gifted (2017) dan malahan sedikit serial Thirteen Reasons Why (2017) di dalam elemen narasi. Yang membuat The Book of Henry tetep terasa sangat unik adalah penggarapan dan arahannya yang SANGAT BERANI. Pembelokan tone yang amat tajam, nge tackle hubungan keluarga, dan permasalahan child abuse, semuanya diceritakan oleh Trevorrow dengan melanggar banyak aturan filmmaking. Henry bersama adiknya naik sepeda seputaran lingkungan ramah dengan aman. Naomi Watts memainkan Susan, seorang single mother yang sangat cool. Kalian harus lihat dan denger sendiri gimana cara Susan ngobrol kepada kedua anaknya yang masih kecil. Dia pake metode yang bakal bikin asosiasi orangtua kaku kebakaran jenggot. Mungkin kita sedikit bergidik melihat caranya yang penuh kejujuran dan gakpake sensor pemanis. Aku sempet shock dikit pas Susan pake gestur jari khasnya Stone Cold Steve Austin ke Henry, dan dibenerin oleh Peter sebab apparently jari telunjuk Susan belum lurus. Karena sepertinya memang begitulah cara yang bener bicara sama anak kecil; anggap mereka sebagai orang dewasa juga. Susan ngegedein dua putra yang sangat spesial, terutama Henry yang obviously seorang bocah jenius.

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But I know a man who can. or No. But Iknow a man who does. Brutha goes on to describe the Puzuma as having its earslaid flat against its head. Discussions on a. . . initiated by a puzzled Americanreader, revealed that the concept of a draught-excluderis one of those things only British readers are familiarwith. Many English houses, especially older ones, havedoors with a gap at the bottom, which will allow colddraughts into the room. To solve this, rather than simpleexpedients such as making doors that fit, the Englishinstead place a cylindrical stuffed object (often shapedamusingly like a snake with felt eyes and tongue, for thetackily inclined) along the bottom of the door to keep outthe draughts. This paragraph is a very loose parody of a famousSocratic dialogue in Platos Republic, Book VII. The (true) story goes that British Rail was havingdifficulty one winter getting trains to run on time, whichthey blamed on the snow. They were then quizzed as to 60 DISCWORLD ANNOTATIONS APF v9. , August 2004 why their snow-ploughs couldnt deal with the problem. hey replied that it was the wrong sort of snow, aphrase that has now entered the English idiom.

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I hope that too many people dont move away from here. It does feel kind of nice that there is a community thing here, he says, picking up a huge butcher knife from a table in the studio. Their movements thus become a subtle dance, a display of muscle memory. In the 1920s before the Second World War ravaged Potsdamer Platz and long before the wall was erected nearby this was home to more than 200 dealers of art, antiques and Asiatica. Legendary dealers included Karl Nierendorf and Alfred Flechtheim, Paul Cassirer and Justin K. Thannhauser. The notable galleries to have settled here in the interim were lone wolves: Galerie Raab in the 1980s, and Barbara Weiss, whose gallery was at Potsdamer Strasse 93 from 1992 to 2001. Much has happened since then, but Potsdamers evolution is far from over. Upcoming developments, in fact, see more galleries arriving (Aurel Scheibler recently moved onto Schneberger Ufer) and an intriguing building project involving a group of arts- and architecture-minded people who have collectively purchased a plot of land on Kurfrstenstrasse, where the hookers still are, a block from LSD. Such projects make it clear that artworlders here are, this time, making more meaningful, perhaps permanent investments. As the usual gentrification cycle continues, it could very well be that the art wont be chased out at all, but rather integrated into the districts landscape, because many of those settling here have matured and become established galleries after several moves around the city. This is a place where the art can stay somehow, says Judin. We used to rent cheaply and not do much to the space but hang art, and then move somewhere else. The AdAA relief fund provides grants for member and non- member galleries to aid in the restoration of galleries in dire need of financial assistance. It is our hope that this injection of resources will speed recovery and assist the entire gallery community in restoring this vital component of cultural life in New york city.

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Veronica draws protective Viking symbols for the kids, only for the demon to destroy them. Desperate, she decides to hold the seance with her young siblings. Origin of Evil upped my anticipation both due to its late-60s period setting, and by bagging hot-right-now director Mike Hush Flanagan. The action culminates in a cellar-bound bloodbath which leaves the sole survivor in an asylum and me with a disgruntled feeling of dissatisfaction that this retro Origin story falls short of the Gerald’s Game director’s usually taut and superior productions. The people who own movie studios aren't content to just create art that we want to enjoy; they want to pin us down with their knee on our throats, slice out our corneas, and pour boiling hot cinema directly into our optical nerve. We scream and claw and writhe, but they're too strong. In the end, we're left blind and broken, wandering the Earth like Denzel Washington in Book Of Eli, which is a great reference to make because it was nowhere near as good as the trailers promised. How? In five very specific ways, which is super fortuitous, because I have a lot of trouble writing when I can't divide my points into lists. So what gives? Why do studios keep throwing money behind shitty scary movies. When will they learn to stop angering the Fear Gods. It's because even though these cheap, shitty horror movies that no one cares about get a fraction of the production budget, their marketing budget is on par with most other blockbusters. It's the clickbait approach to cinema: They put all their effort into getting butts into seats and ignore the quality of what those butts end up watching. How?

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