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A Collection Of Useful Advice To Help You On Your Travels Through Life
Asking “How are you feeling?” is a much more open-ended question that’s not as accusatory or intimidating as “What’s wrong?”
When you ask someone “what’s wrong?” it puts them in a position that doesn’t encourage conversation or doesn’t encourage honesty. It gives them an easy way to say “Nothing” or to shrug you off.
Meanwhile, asking someone “how are you feeling?” will be much more open-ended, is more welcoming, caring and much more likely to lead to an honest answer.
This is especially true in relationships when your S/O is withholding why they’re upset or the fact of whether or not they’re actually upset.
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Reading Between The Lines – ‘The Road’
“You have to carry the fire.”
I don’t know how to.”
Yes, you do.”
Is the fire real? The fire?”
Yes it is.”
Where is it? I don’t know where it is.”
Yes you do. It’s inside you. It always was there. I can see it.”
― Cormac McCarthy, The Road
Woman Illustrates All The Types Of Guys That Show Up On Dating Apps
Reading Between The Lines – ‘Norwegian Wood’
“Only much later did the flirefly take to the air. As if some thought had suddenly come to it, the firefly spread its wings, and in a moment it had flown past the handrail to float in the pale darkness. It traced a swift arc by the side of the water tank as if trying to bring back a lost interval in time. And then, after hovering there for a few seconds as if to watch its curved line of light blend into the wind, it finally flew off to the east.
Long after the firefly had disappeared, the trail of its light remained inside me, its pale, faint glow hovering on and on in the thick darkness behind my eyelids like a lost soul.
More than once I tried stretching my hand out in that darkness. My fingers touched nothing. The faint glow remained, just beyond there grasp.”
― Haruki Murakami, Norwegian Wood
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Reading Between The Lines – ‘Blood Meridian’
“A legion of horribles, hundreds in number, half naked or clad in costumes attic or biblical or wardrobed out of a fevered dream with the skins of animals and silk finery and pieces of uniform still tracked with the blood of prior owners, coats of slain dragoons, frogged and braided cavalry jackets, one in a stovepipe hat and one with an umbrella and one in white stockings and a bloodstained wedding veil and some in headgear or cranefeathers or rawhide helmets that bore the horns of bull or buffalo and one in a pigeontailed coat worn backwards and otherwise naked and one in the armor of a Spanish conquistador, the breastplate and pauldrons deeply dented with old blows of mace or sabre done in another country by men whose very bones were dust and many with their braids spliced up with the hair of other beasts until they trailed upon the ground and their horses’ ears and tails worked with bits of brightly colored cloth and one whose horse’s whole head was painted crimson red and all the horsemen’s faces gaudy and grotesque with daubings like a company of mounted clowns, death hilarious, all howling in a barbarous tongue and riding down upon them like a horde from a hell more horrible yet than the brimstone land of Christian reckoning, screeching and yammering and clothed in smoke like those vaporous beings in regions beyond right knowing where the eye wanders and the lip jerks and drools.”
― Cormac McCarthy, Blood Meridian, or, the Evening Redness in the West
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Reading Between The Lines – ‘East of Eden’
“Thou mayest rule over sin,’ Lee. That’s it. I do not believe all men are destroyed. I can name you a dozen who were not, and they are the ones the world lives by. It is true of the spirit as it is true of battles—only the winners are remembered. Surely most men are destroyed, but there are others who like pillars of fire guide frightened men through the darkness. ‘Thou mayest, Thou mayest!’ What glory! It is true that we are weak and sick and quarrelsome, but if that is all we ever were, we would, millenniums ago, have disappeared from the face of the earth. A few remnants of fossilized jawbone, some broken teeth in strata of limestone, would be the only mark man would have left of his existence in the world. But the choice, Lee, the choice of winning! I had never understood it or accepted it before. Do you see now why I told Adam tonight? I exercised the choice. Maybe I was wrong, but by telling him I also forced him to live or get off the pot. What is that word, Lee?”
“Timshel,” said Lee.”
― John Steinbeck, East of Eden
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19 Fascinating Movie Details You Probably Didn’t Notice Before
In Titanic, there is a scene showing a boy playing with a spinning top on deck. This is actually a recreation of a real photo taken onboard the ship on April 11th, 1912 by Francis Browne. It shows 1st Class passenger Frederic Spedden and his 6 year old son Douglas. Both survived the sinking.
How did the camera survive?
Titanic had two stops on her voyage, one in Cherbourg, France and the other in Queenstown (now called Cobh), Ireland. Francis Browne, the photographer, left the ship in Queenstown and didn’t continue the voyage to New York.
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The Ending of 2001 Space Odyssey Explained
Gelmis: Did you deliberately try for ambiguity as opposed to a specific meaning for any scene or image?
Kubrick: No, I didn’t have to try for ambiguity; it was inevitable. And I think in a film like 2001, where each viewer brings his own emotions and perceptions to bear on the subject matter, a certain degree of ambiguity is valuable, because it allows the audience to “fill in” the visual experience themselves. In any case, once you’re dealing on a nonverbal level, ambiguity is unavoidable. But it’s the ambiguity of all art, of a fine piece of music or a painting — you don’t need written instructions by the composer or painter accompanying such works to “explain” them. “Explaining” them contributes nothing but a superficial “cultural” value which has no value except for critics and teachers who have to earn a living. Reactions to art are always different because they are always deeply personal.
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Reading Between The Lines – ‘Doors of Perception’
We live together, we act on, and react to, one another; but always and in all circumstances we are by ourselves. The martyrs go hand in hand into the arena; they are crucified alone. Embraced, the lovers desperately try to fuse their insulated ecstasies into a single self-transcendence; in vain. By its very nature every embodied spirit is doomed to suffer and enjoy in solitude. Sensations, feelings, insights, fancies—all these are private and, except through symbols and at second hand, incommunicable. We can pool information about experiences, but never the experiences themselves. From family to nation, every human group is a society of island universes.”
― Aldous Huxley, The Doors of Perception
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What “Rosebud” Really Meant in Citizen Kane
Orson Welles’ “Citizen Kane” is a film that has been pored over and dissected by critics and audiences alike since its release in 1941. At the heart of its labyrinthine narrative lies a single word—Rosebud—a cryptic utterance from the dying Charles Foster Kane that frames the entire film. This enigmatic term has become a symbol of cinematic mystery, a puzzle that the film invites us to solve. But what does “Rosebud” truly represent, and why does it continue to captivate the imaginations of viewers more than eighty years later?
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AI Reimagines ‘Game of Thrones’ In The Style of ‘Friends’ And It’s Actually Brilliant
While the AI-generated art debate rages on, some are taking it in a more harmless fun direction by making imagined shows with existing casts. That’s what Reddit user u/reddimatz did at least, reimagining Game of Thrones as a Friends-style sitcom. While some important characters are noticeably missing (This Jaqen H’ghar disrespect WILL NOT stand), the others are a pretty on-point interpretation, terrible nineties fashion and all.