Fairy tale monologues
LiesOfP
2021.05.19 19:09 KrockKalseeen LiesOfP
A Soulslike action RPG based on the classic story of Pinocchio's adventures. Guide Pinocchio through the city of Krat to find Mr. Geppetto.
2016.08.03 07:58 R12R4 Fairy Tail Magic Ranbu
Subreddit where you can talk about how you feel about the mobile game Fairy Tail Magic Ranbu. Talk about your pulls, farming experience and things your excited about tin the game. Finally there is a place to talk about it, this game has been out for so long not to have a subreddit.
2021.10.03 08:20 okafour DarkKillingFairyTale
The official subreddit for Dark killing Fairy Tale
2024.05.29 05:23 chamcham123 Is Houtaro’s Dad The Alchemist of Dawn?
The Alchemist of Dawn sealed Gigist in the fairy tale. So do you think the same person will come back to help seal Gigist once again?
submitted by chamcham123 to KamenRider [link] [comments]
2024.05.29 04:47 DanEosen 1973 Leptirica - Serbian Horror Movie
It’s also called The She-Butterfly. It was an interesting hour. It seemed like a fairy tale in parts. A poor man wants to marry this farmer’s daughter but the father considers him not worthy of her. There were murders at the local mill and the poor man was offered the job to help marry her. The film while good was kept getting sidetracked by the men in the village who were essentially idiots along with the local priest.
The vampire was the daughter although I suspect the father knew. It also dealt with butterflies which is how the vampire flew. The ending was ambiguous.
I know it was made to be a horror film but the townsmen just really turned it into more of a comedy then horror. Also vampire attacked her new husband she could have easily bit his neck if her exceedingly long hair wasn’t in the way. Again that appeared more comedic than serious.
It’s on Midnight Pulp. Anyone seen it?
submitted by DanEosen to horror [link] [comments]
The vampire was the daughter although I suspect the father knew. It also dealt with butterflies which is how the vampire flew. The ending was ambiguous.
I know it was made to be a horror film but the townsmen just really turned it into more of a comedy then horror. Also vampire attacked her new husband she could have easily bit his neck if her exceedingly long hair wasn’t in the way. Again that appeared more comedic than serious.
It’s on Midnight Pulp. Anyone seen it?
2024.05.29 04:38 _Triple_ [STORE] 900+ KNIVES/GLOVES/SKINS, 100.000$+ INVENTORY. BFK Lore, Gloves Amphibious, Skeleton Fade, Bowie Emerald, BFK Auto, Gloves MF, Talon Doppler, Gloves POW, Bayo Tiger, Gut Sapphire, Stiletto MF, M9 Ultra, Ursus Doppler, Flip Doppler, M9 Stained, Nomad CW, Paracord CW, AK-47 X-Ray & A Lot More
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StatTrak™ M4A4 Temukau (Minimal Wear), B/O: $174.64
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StatTrak™ AK-47 Asiimov (Minimal Wear), B/O: $110.85
Souvenir M4A1-S Master Piece (Well-Worn), B/O: $102.42
AK-47 Bloodsport (Minimal Wear), B/O: $100.53
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2024.05.29 04:31 Maidenofthesummer What's your favorite part of Sleeping Beauty?
 | For me it's the whole "Once Upon A Dream" sequence. It's so quintessentially fairy tale. I heard that Walt told Mary Costa, Aurora's voice actress, to act as if the woods are embracing her & you can really see that in this scene. Her playing with the woodland animals is so charming as well 🩷💙 submitted by Maidenofthesummer to disneyprincess [link] [comments] And then I of course love Prince Phillip's entrance as well. He's incredibly romantic and the whole scene is just so dreamy 😍 What about you? What's your favorite part of this beautifully animated film? |
2024.05.29 04:13 richoka From Scripture to Sightseeing – Proof of Biblical Accuracy
Today we begin 1 Samuel Chapter 24.
For the Complete Jewish Bible, click HERE.
For the King James Version, click HERE.
So David moved on with his men to a spot called EN-GEDI or עֵין גֶּדִי.
The Hebrew term “En Gedi” (עֵין גֶּדִי) translates to “spring of the young goat” or“fountain of the kid.”
Today, this area is one of Israel’s most popular tourist spots known for its natural springs and rich biodiversity.
In terms of wildlife, the Nubian Ibex is most famously known here.
In fact, the area houses one of the largest herds of Ibex in all of Israel but is also home to wolves, foxes, bats, and birds of prey, and is teeming with wild flora throughout.
It is located near the Dead Sea and has been an oasis since ancient times.
Speaking of the Dead Sea, here’s an interesting fact you’ve probably never heard before.
Three thousand years ago, the Dead Sea was twice as big as it is now!
And what a lot of folks don’t know is that the Dead Sea, which is about a mile away from En-Gedi today, was much closer during King David’s time.
Many of the famous desert towns mentioned in Scripture, which we can still visit today, were actually built right on the shores of the Dead Sea (sometimes called the Salt Sea in the Bible). Places like Jericho, Qumran, and En-Gedi were next to that huge salty lake, and its waters even reached the path leading up to the ancient fortress Masada.The hills around En-Gedi are full of caves, so finding David was going to be really hard for Saul, like finding one grain of sand on a beach or something. In verse 3, we’re told that Saul gathered together 3,000 men to go after David’s 600 men.Nevertheless, the area was huge.Small groups of soldiers had to stay in likely hiding spots to make sure David’s men didn’t just leave when they saw the troops coming and then come back after the troops left.
So what’s the lesson for today?
Well, today I’ve been focusing a lot on the geography of the situation.
I’ve talked about EN-GEDI and how it’s a place you can visit today in Israel.
In terms of the takeaway, I’d like to propose that Scripture’s detailed descriptions of locations affirm its authenticity.
This is strong evidence the Bible isn’t just a book filled with a bunch of fairy tales.
You can visit the place where God split the Red Sea and then drowned the entire Egyptian Army…
You can see with your own eyes the city of Jericho where the walls fell after the Israelite army marched around the city seven times…
And some of the places where David fled to escape from Saul are now hot tourist spots in Israel.
Bottom line, the truth of Scripture is NOT just spiritual…
It contains the most reliable historical and geographical truths as well.
You can trust Scripture.
CONNECTING THIS TEACHING TO THE NEW TESTAMENT
“All Scripture is God-breathed and is useful for teaching, rebuking, correcting and training in righteousness, so that the servant of Godmay be thoroughly equipped for every good work.” -2 Timothy 3:16
submitted by richoka to messianic [link] [comments]
For the Complete Jewish Bible, click HERE.
For the King James Version, click HERE.
So David moved on with his men to a spot called EN-GEDI or עֵין גֶּדִי.
The Hebrew term “En Gedi” (עֵין גֶּדִי) translates to “spring of the young goat” or“fountain of the kid.”
Today, this area is one of Israel’s most popular tourist spots known for its natural springs and rich biodiversity.
In terms of wildlife, the Nubian Ibex is most famously known here.
In fact, the area houses one of the largest herds of Ibex in all of Israel but is also home to wolves, foxes, bats, and birds of prey, and is teeming with wild flora throughout.
It is located near the Dead Sea and has been an oasis since ancient times.
Speaking of the Dead Sea, here’s an interesting fact you’ve probably never heard before.
Three thousand years ago, the Dead Sea was twice as big as it is now!
And what a lot of folks don’t know is that the Dead Sea, which is about a mile away from En-Gedi today, was much closer during King David’s time.
Many of the famous desert towns mentioned in Scripture, which we can still visit today, were actually built right on the shores of the Dead Sea (sometimes called the Salt Sea in the Bible). Places like Jericho, Qumran, and En-Gedi were next to that huge salty lake, and its waters even reached the path leading up to the ancient fortress Masada.The hills around En-Gedi are full of caves, so finding David was going to be really hard for Saul, like finding one grain of sand on a beach or something. In verse 3, we’re told that Saul gathered together 3,000 men to go after David’s 600 men.Nevertheless, the area was huge.Small groups of soldiers had to stay in likely hiding spots to make sure David’s men didn’t just leave when they saw the troops coming and then come back after the troops left.
So what’s the lesson for today?
Well, today I’ve been focusing a lot on the geography of the situation.
I’ve talked about EN-GEDI and how it’s a place you can visit today in Israel.
In terms of the takeaway, I’d like to propose that Scripture’s detailed descriptions of locations affirm its authenticity.
This is strong evidence the Bible isn’t just a book filled with a bunch of fairy tales.
You can visit the place where God split the Red Sea and then drowned the entire Egyptian Army…
You can see with your own eyes the city of Jericho where the walls fell after the Israelite army marched around the city seven times…
And some of the places where David fled to escape from Saul are now hot tourist spots in Israel.
Bottom line, the truth of Scripture is NOT just spiritual…
It contains the most reliable historical and geographical truths as well.
You can trust Scripture.
CONNECTING THIS TEACHING TO THE NEW TESTAMENT
“All Scripture is God-breathed and is useful for teaching, rebuking, correcting and training in righteousness, so that the servant of Godmay be thoroughly equipped for every good work.” -2 Timothy 3:16
2024.05.29 04:05 Far_Bumblebee1490 Should I feel more secured with my girlfriend
Hi, I need advice as I am really struggling with my feelings of insecurity with my girlfriend of nearing 2 years.
Just to give you all a background, I have a huge insecurity or fear of my partner leaving me all of a sudden. I guess you have to first hear our story for you to know why.
My girlfriend and I met in a wedding. It was her wedding actually. It was sort of an immense (I know insane) attraction the moment that we laid eyes on each other - alam ko it sounds really unbelievable and like out of a fairy tale pero I know din na we really hurt people (dont get me started na I know na off ung decision namen but I don't regret it all because I am extremely happy).
Paikliin ko ung story for anyone curious (if hindi curious diretso nalang sa next paragraph) - I was invited as a +1 ng ex-boyfriend ko nun sa wedding (it was supposed to be a ceremony with her ex-fiance (ex-girlfriend niya)) I was introduced to her the 2 days before sa resort where we stayed (not in the PH obviously) and like I said we really hit it off, para kaming old friends na tumatawa at nageenjoy ng each other company - all wholesome ito by the way and it was all so innocent na nobody even took a second glance at us. I guess everything really changed nung nagkataon na kaming dalawa lang sa breakfast buffet ng resort at 6am in the morning 1 day before their wedding (I remember this fondly kasi both our ex partners and our families used to hate waking up early just for breakfast buffets and sabi namin dati lagi lang kami magisa kumakain kasi walang ibang gustong sumama) and we talked about our deeper thoughts, plans, and feelings. Idk who started the topic pero we found ourselves talking about soulmates and I kid you not kinilabutan kami pareho the moment we spoke about the topic parang nagkaron ng static sa air and parang nag HD ung mga bagay bagay. Pero wala naman nangyari nung time na yun walang usap or whatever and we parted ways nung tapos na kami magbuffet. Nagulat nalang ako nung 8pm on that same day tinawag niya ko sa lobby while everyone was having dinner and papunta nako sana duon - ang sabi lang niya sakin - are you in or out? Like walang context pero I know what she meant and syempre since andito na tayo so I said "I'm in" nung sinabi ko yon parang natanggal sa chest ko ung hindi ko namamalayang bato na nakapatong dun. Long story short, we ran away a night before her wedding (nagleave ng letter and we let her parents know kasi super close siya - dito ako nasurprise kasi kahit shocked sila at nagalit pero nung nakita nila ung mukha ng gf ko now they understood and niyakap lang and sinabihan siyang sila na ang bahala) and the rest is history (mahaba haba pa ang pinagdaanan namin kwento ko if may chance pa next time)
Sure ako walang reddit ung gf ko kaya confident magpost. Honestly sure na akong siya na ang the one for me. I am thinking about proposing already she has given me all assurances and security (like I am not kidding this girl makes my life feel so sureal) and never once has she made me doubt her love for me. Pero may fear ako na if I propose what if the same thing happens. My real question is - is my insecurity justified?
submitted by Far_Bumblebee1490 to adviceph [link] [comments]
Just to give you all a background, I have a huge insecurity or fear of my partner leaving me all of a sudden. I guess you have to first hear our story for you to know why.
My girlfriend and I met in a wedding. It was her wedding actually. It was sort of an immense (I know insane) attraction the moment that we laid eyes on each other - alam ko it sounds really unbelievable and like out of a fairy tale pero I know din na we really hurt people (dont get me started na I know na off ung decision namen but I don't regret it all because I am extremely happy).
Paikliin ko ung story for anyone curious (if hindi curious diretso nalang sa next paragraph) - I was invited as a +1 ng ex-boyfriend ko nun sa wedding (it was supposed to be a ceremony with her ex-fiance (ex-girlfriend niya)) I was introduced to her the 2 days before sa resort where we stayed (not in the PH obviously) and like I said we really hit it off, para kaming old friends na tumatawa at nageenjoy ng each other company - all wholesome ito by the way and it was all so innocent na nobody even took a second glance at us. I guess everything really changed nung nagkataon na kaming dalawa lang sa breakfast buffet ng resort at 6am in the morning 1 day before their wedding (I remember this fondly kasi both our ex partners and our families used to hate waking up early just for breakfast buffets and sabi namin dati lagi lang kami magisa kumakain kasi walang ibang gustong sumama) and we talked about our deeper thoughts, plans, and feelings. Idk who started the topic pero we found ourselves talking about soulmates and I kid you not kinilabutan kami pareho the moment we spoke about the topic parang nagkaron ng static sa air and parang nag HD ung mga bagay bagay. Pero wala naman nangyari nung time na yun walang usap or whatever and we parted ways nung tapos na kami magbuffet. Nagulat nalang ako nung 8pm on that same day tinawag niya ko sa lobby while everyone was having dinner and papunta nako sana duon - ang sabi lang niya sakin - are you in or out? Like walang context pero I know what she meant and syempre since andito na tayo so I said "I'm in" nung sinabi ko yon parang natanggal sa chest ko ung hindi ko namamalayang bato na nakapatong dun. Long story short, we ran away a night before her wedding (nagleave ng letter and we let her parents know kasi super close siya - dito ako nasurprise kasi kahit shocked sila at nagalit pero nung nakita nila ung mukha ng gf ko now they understood and niyakap lang and sinabihan siyang sila na ang bahala) and the rest is history (mahaba haba pa ang pinagdaanan namin kwento ko if may chance pa next time)
Sure ako walang reddit ung gf ko kaya confident magpost. Honestly sure na akong siya na ang the one for me. I am thinking about proposing already she has given me all assurances and security (like I am not kidding this girl makes my life feel so sureal) and never once has she made me doubt her love for me. Pero may fear ako na if I propose what if the same thing happens. My real question is - is my insecurity justified?
2024.05.29 03:14 redlight886 February 1998 PLAYBOY Interview with Conan O'Brien [additional content]
PLAYBOY Interview With Conan O'Brien Interview by Kevin Cook For Playboy Magazine February 1998
A candid conversation with the preppie prince of "Late Night" about his rocky start, his show's secret one-day cancellation and how David Letterman saved the day.
He was polite. He was funny. He gave us a communicable disease.
At 34 Conan O'Brien is hotter than the fever he was running when we met in his private domain above the "Late Night" sound stage. A gangly freckle-faced ex-high school geek he is "one of TV's hottest properties" according to "People" magazine. The host of "Late Night With Conan O'Brien" has become his generation's king of comedy.
Uneasy lies the head that wears a crown. Congested too, but O'Brien has far more to worry about than his head cold. A perfectionist who broods over one bad minute in an otherwise perfect hour of TV, he worries he might be anhedonic, "I have trouble with success," he says, "I was raised to believe that if something good happens something bad is coming." Sure things look good now "Rolling Stone" calls "Late Night" "the hottest comedy show on TV." Ratings are better than ever, particularly among 18- to 34-year-olds, the viewers advertisers crave.
But O'Brien only works harder. Despite his illness he taped two shows in 26 hours on three hours' sleep. He smoothly interviewed Elton John then burst into coughing fits during commercials. Later in his crammed corner office overlooking Manhattan traffic Conan the Cool gulped Dayquil gel caps. He coughed spewing microbes.
"Sorry, sorry," he said. Of course O'Brien can't complain. He came seriously close to falling to being banished behind the scenes as just another failed talk show host.
At his first "Late Night" press conference he corrected a reporter who called him a relative unknown, "Sir I am a complete unknown," he said. That line got a laugh, but soon O'Brien looked doomed. His September 13, 1993 debut began with O'Brien in his dressing room preparing to hang himself only to be interrupted by the start of his show. Before long his career was hanging by a thread. Ratings were terrible. Critics hated the show. Tom Shales of "The Washington Post" called it as "lifeless and messy as roadkill." Shales said O'Brien should quit.
Network officials held urgent meetings discussing the Conan O'Brien debacle. Should they fire him? How should they explain their mistake?
In the end of course he turned it around. The network hung with him long enough for the ratings to improve and the host of the cooler-than-ever "Late Night" now defines comedy's cutting edge just as Letterman did ten years ago.
Even Shales loves "Late Night" these days. He calls O'Brien's turnaround "one of the most amazing transformations in television history."
O'Brien was born on April 18, 1963 in Brookline, Massachusetts. His father, a doctor, is a professor at Harvard Medical School. His mother, a lawyer, is a partner at an elite Boston Law firm. Conan, the third of six children became a lector at church and a misfit at school. Tall and goofy, bedeviled with acne, he tried to impress girls with jokes. That plan usually bombed, but O'Brien eventually found his niche at Harvard where he won the presidency of the "Harvard Lampoon" in 1983 and again in 1984 - the first two-time "Lampoon" president since humorist Robert Benchley held the honor 85 years ago.
After graduating magna cum laude with a double major in literature and American history he turned pro. Writing for HBO's "Not Necessarily The News." O'Brien was earning $100,000 a year before his 24th birthday. But writing was never enough.
He honed his performance skills with the Groundlings, a Los Angeles improv group. There he worked with his onetime girlfriend Lisa Kudrow, now starring on "Friends." But Conan was not such a standout. In 1988 he landed a job at "Saturday Night Live" - but as a writer, not as on-air talent. In almost four years on the show O'Brien made only fleeting appearances, usually as a crowd member or security guard. His writing was more memorable. He wrote (or co-wrote) Tom hanks' "Mr Short-Term Memory" skits as well as the "pump you up" infosatire of Hanz and Franz and the nude beach sketch in which Matthew Broderick and "SNL" members played nudists admiring one another's penises. With dozens of mentions of the word that hit was the most penis-heavy moment in TV history. It helped O'Brien win an Emmy for comedy writing.
In 1991 he quit "SNL" and moved on to "The Simpsons" where he worked for two years. His urge to perform came out in wall-bouncing antics in writers' meetings. "Conan makes you fall out of your chair" said "Simpsons" creator Matt Groening. O'Brien's yen to act out was so strong that he spurned Fox's reported seven-figure offer to continue as a writer. He was driving for the spotlight.
By then David Letterman had announced he was turning shin - leaving NBC taking his ton-rated act to CBS. Suddenly NBC was up a creek without a host. The network turned to Lorne Michaels, O'Brien's "Saturday Night Live" boss. Michaels enlisted Conan's help in the host search planning to use him in a behind-the-scenes job. But when Garry Shandling, Dana Carvey and almost every other star turned down the chore of following Letterman, Michaels finally listened to Conan's crazy suggestion, "Let me do it!" Michaels persuaded the network to entrust it's 12:30 slot which Letterman had turned into a gold mine to an untested wiseass from Harvard.
O'Brien was working on one of his last "Simpsons" episodes when he got the news. He turned "paler than usual," Groening recalled. The Conan moseyed back to where the other writers were working, "I'll come back with the Homer Simspon joke later. I have to go replace Letterman," he said.
NBC executives now get credit for their foresight during those dark days of 1993 and 1994. They snared the axe and now reap the multimillion-dollar spoils of that decision. In fact, the story is not so simple. We sent Contributing Editor Kevin Cook to unravel the tale of O'Brien's survival, which he tells here for the first time. Cook reports:
"His office is chock-full of significa. There's a three-foot plastic pickle the Letterman staff left behind in 1993 - perhaps to suggest what a predicament he was in. There's a copy of Jack Paar's 'I Kid You Not' and a coffee-table book called 'Saturday Night Live: The First 20 Years.' His bulletin board features letters from fans such as John Watters and Bob Dole and an 8" x 10" glossy of Andy Richter with the inscription: "To Conan - Your bitter jealousy warms my black heart. Love and Kisses Andy."
"Of course it's all for show. From the photos of kitch icons Adam West and Robert Stack to the framed Stan Laurel autograph, from the deathbed painting of Abraham Lincoln, to the ironic star taped to Conan's door - they're all clever signals that tell a visitor how to view the star. Lincoln was his collegiate preoccupation: stardom is his occupation. Somewhere between the two I hoped to find the real O'Brien.
"As a Playboy reader he wanted to give me a better-than-average interview. I wanted something more - a definitive look at the guy who may end up being the Johnny Carson of his generation."
"Here's hoping we succeeded. If not I carried his germs 3000 miles and infected dozens of Californians for no good reason.
O'Brien: Yes, this is how to do a Playboy Interview -- completely tanked on cold medicine. I'll pick it up and read, "Yes, I'm gay."
Playboy: We could talk another time. O'Brien: (coughing) No, it's OK. I memorized Dennis Rodman's answers. Can I use them?
Playboy: You sound really sick. Do you ever take a day off? O'Brien: No. The age of talk show hosts taking days off is over. Johnny Carson could go to Africa when he was the only game in town -- "See you in two weeks!" But nobody does that now. I will give you a million dollars on the first day Jay takes off for illness.
Playboy: Do you ever slow down and enjoy your success? O'Brien: If anything, the pace is picking up. Restaurateurs insist on giving me a table even if I'm only passing by, so I'm eating nine meals a night. Women stop me on the street and hand me their phone numbers.
Playboy: So you have groupies? O'Brien: Oh yes. And other fans. Drifters. Prisoners. Insomniacs. Cab Drivers, who must watch a lot of late night TV, seem to love me lately. They keep saying, "You will not pay, you will not pay, you make me happy!"
Playboy: How happy did your new contract make you? O'Brien: Terrified. The network said, "We're all set for five years." I said, "Shut up, shut up! I can't think that far ahead." Tonight, for instance, I do my jokes, then interview Elton John and Tim Meadows. We finished taping about 6:30. By 6:45 my memory was erased and my only thought was, Tomorrow: John Tesh. And I started to obsess about John Tesh. Sad, don't you think?
Playboy: Not too sad. You got off to a rocky start but now you're so hot that People magazine recently said, "that was then, this is wow." O'Brien: I try not to pay much attention. Since I ignored the critics who said I should shoot myself in the head with a German Luger, it would be cheating to tear out nice reviews now and rub them all over my body, giggling. Though I have thought about it.
Playboy: Tell us about your trademark gag. You interview a photo of Bill Clinton or some other celeb, and a pair of superimposed lips provide outrageous answers. O'Brien: We call it the Clutch Cargo bit, after that terrible old cartoon series. They saved money on animation by superimposing real lips on the cartoons. I wanted to do topical jokes in a cartoony way -- not just Conan doing quips at a desk. TV is visual; I want things to look funny. But we're not Saturday Night Live; we couldn't spend $100,000 on it. Hence, the cheap, cheesy lips, You'd be surprised how many people we fool.
Playboy: Viewers believe that's really the president yelling, "Yee-haw! Who's got a joint?" O'Brien: It's strange. You may know intellectually that Clinton doesn't talk like Foghorn Leghorn. Ninety-eight percent of your brain knows the president wouldn't say, "Whoa Conan get a load of that girl!" But there are a few brain cells that aren't sure. When Bob Dole was running for president we had him doing a past-life regression: "My cave, get away." And then back further, "Must form flippers to crawl on to rocky soil," he says. There may be people out there who believe that Bob Dole was the first amphibian.
Playboy: Do you ever go too far? O'Brien: The fun is in going too far. It's a nice device because you get Bill Clinton to do the nastiest Bill Clinton jokes. We'll have Clinton making fart noises while I say "Sir! Please!"
Playboy: Are you enjoying your job now, with your new success? O'Brien: Well, there are surprises. I hate surprises. Like most comics, I'm a control freak. But I am learning that the show works best when things are out of control. Tonight I ask Elton John if he likes being neighbors with Joan Collins. He says he isn't neighbors with Joan Collins. He lives next door to Tina Turner. So I panic -- huge mistake! But Elton saves the day. "Joan Collins, Tina Turner, it doesn't matter. Either way I could borrow a wig," he says. Huge laugh, all because I fucked up. Later he surprised me by blurting out that he's hung like a horse. The camera cuts to me shaking my head: That crazy Elton. What can I do? Of course, I'm delighted that he went too far.
Playboy: That "What can I do?" look resembles a classic take of Jack Benny's. O'Brien: There's an old saying in literature: "Good poets borrow; great poets steal." I think T.S. Eliot stole it from Ezra Pound. Comics steal, too. Constantly. When I watched Johnny Carson, I noticed that he got a few takes from Benny and Bob Hope. When a comedy writer told me how much Woody Allen had borrowed from Hope, I thought, What? They're nothing alike. Then I went back and watched Son of Paleface, and there's Hope, the nervous city guy backing up on his heels, wringing his hands and saying, "Sorry, I'll just be moving along." Now look at early Woody Allen. You see big authority figures and Woody nervously saying, "Look, I'll just be on my way." Of course Woody made it his own, but he must have watched and loved Bob Hope.
Playboy: Who are your role models? O'Brien: Carson. Woody Allen. SCTV. Peter Sellers. When Peter Sellers died I felt such a loss, thinking, There won't be anymore of that. There's some Steve Martin in my false bravado with female guests: "Why, hel-lo there!" And I won't deny having some Letterman in my bones.
Playboy: You were surprise as Letterman's successor. At first you seemed like the wrong choice. O'Brien: I didn't get ratings. That doesn't mean I didn't get laughs. Yes, I had a giant pompadour and I looked like a rockabilly freak. I was too excited, pushed too hard, and people said, "That guy isn't a polished performer." Fine! But it isn't my goal to be Joe Handsomehead cool, smooth talk show host. Late Night with Conan O'Brien is supposed to be a work in progress, and now that we've had some success there's a danger of our getting too polished and morphing into something smoothly professional. Which would suck.
Do you know why I wanted this show? Because Late Night with David Letterman played with the rules and it looked like fun. Here was a place where people did risky comedy every night for millions of people. We had to keep this thing alive. There should be a place on a big network where people are still messing around.
Playboy: How bad were your early days on the show? O'Brien: Bad. Dave left here under a cloud: his fans and the media were angry with NBC. Then NBC picks a guy with crazy hair and a weird name. And the world says, "Harvard? Those guys are assholes." I sincerely hope that the winter of December 1993, our first winter, was the worst time I will ever have. I'd go out to do the warm up and the back two rows of seats would be empty. That's hard to look at. I would tell a joke and then hear someone whisper, "Who's he? Where's Dave?"
Playboy: You had trouble getting guests. O'Brien: Bob Denver canceled on us. We shot a test show with Al Lewis of The Munsters. We did the clutch cargo thing with a photo of Herman Munster. Unfortunately, Fred Gwynne, who played Herman, had recently died, and Al Lewis kept pointing at the screen, saying, "You're dead! I was at your funeral!"
Playboy: For months you got worried notes from network executives. What did they say? O'Brien: They were worried. The fact that Lorne Michaels was involved bought me some time. But Lorne had turned to me at the start and said, "OK, Conan. What do you want to do?" Now television critics were after me and the network was starting to realize what a risk I was. Suggestions came fast and furious. I kept the note that said, "Why don't you just die?"
Playboy: Did they suggest ways to be funnier? O'Brien: They were more specific and tactical. The network gets very specific data. Say there was a drop in ratings between 12:44 and 12:48 when I was talking to Jon Bon Jovi. I'll be told, "Don't ever talk to him again" Or they'll want me to tease viewers into staying with us: "You should tease that -- say, 'We'll have nudity coming up next!'"
Playboy: You did come close to being cancelled. O'Brien: We were cancelled.
Playboy: Really? You have never admitted that. O'Brien: This is the first time I've talked about it. When I had been on for about a year, there was a meeting at the network. They decided to cancel my show. They said, "It's cancelled." Next day they realized they had nothing to put in the 12:30 slot, so we got a reprieve.
Playboy: Were you worried sick? O'Brien: I went into denial. I tried hard not to think, Yes, I'm bad on the air and my show has none of the things a TV show needs to survive. We had no ratings. No critics in our corner. Advertisers didn't like us. Affiliates wanted to drop us. Sometimes I'd meet a programming director from a local station where we had no rating at all. The guy would show me a printout with no number for Late Night's rating, just a hash mark or pound sign. I didn't dare think about that when I went out to do the show.
Playboy: Are you defending denial? O'Brien: How else does anyone get through a terrible experience? The odds were against me. Rationally, I didn't have much chance. Denial was my only friend. When I look back on the first year, it's like a scene from an old war movie: Ordinary guy gets thrown into combat, somehow beats impossible odds, staggers to safety. His buddy say, "You could have been killed!" The guy stops and thinks. "Could have been killed?" he says. His eyes cross and he faints.
Playboy: How did you dodge the bullet? O'Brien: There were people at NBC who stood up for me. I will always be indebted to Don Ohlmeyer, who stuck to his guns. Don said, "We chose this guy. We should stick with him unless we get a better plan." He was brutally honest. He came to me and said, "Give me about a 15 percent bump in the ratings and you'll stay on the air. If not, we're going to move on."
Playboy: Ohlmeyer started his career in the sports division. O'Brien: Exactly, his take was, "You're on our team." Of course, it wasn't exactly rational of Don to hope I'd be 15 percent funnier. It was like telling a farmer, "It better rain this week or we'll take your farm away."
Playboy: What did you say to Ohlmeyer? O'Brien: There wasn't time. I had to go out and do a monologue. But I will always be indebted to Don because he told me the truth. Wait a minute -- you have tricked me into talking lovingly about an NBC executive. Let me say that there were others who were beneath contempt -- executives who wouldn't know a good show if it swam up their asses and lit a campfire.
Playboy: Finally the ratings went your way. Hard work rewarded? O'Brien: Well, I also paid off the Nielsen people. That was $140,000 well spent.
Playboy: Ohlmeyer plus bribery saved you? O'Brien: There was something else. Just when everyone was kicking the crap out of the show, Letterman defended me.
Playboy: Letterman had signed off on NBC saying, "I don't really know Conan O'Brien, but I heard he killed someone." O'Brien: Then I pick up the paper and he's saying he thinks I am going to make it. "They do some interesting, innovative stuff over there," he says. "I think Conan will prevail." And then he came on as a guest. Remember, this was when we were at our nadir. There was no Machiavellian reason for David Letterman, who at the time was the biggest thing in show business, to be on my show.
Playboy: Why did he do it? O'Brien: I'm still not sure. Maybe out of a sense of honor. Fair play. And it woke me up. It made me think. Hey, we have a real fucking television show here.
Of six or seven pivotal points in my short history here, that was the first and maybe the biggest. I wouldn't be sitting here -- I probably wouldn't even exist today -- if he hadn't done our show.
Playboy: The Late Night wars were hardly noted for friendly gestures. O'Brien: How little you understand. Jay, Dave and I pal around all the time. We often ride a bicycle built for three up to the country. "Nice job with Fran Drescher!" "Thanks, pal. You weren't so bad with John Tesh." We sleep in triple-decker bunk beds and snore in unison like the Three Stooges.
Playboy: You talk more about Letterman than your NBC teammate Leno. O'Brien: I hate the "Leno or Letterman, who's better?" question. I can tell you that Jay has been great to me. He calls me occasionally.
Playboy: To say what? O'Brien: (Doing Leno's voice) "Hey, liked that bit you did last night." Or he'll say he saw we got a good rating. I call him at work, too. It can be a strange conversation because we're so different. Jay, for instance, really loves cars. He's got antique cars with kerosene lanterns, cars that run on peat moss. He'll be telling me about some classic car he has, made entirely of brass and leather, and I'll say, "Yeah, man, I got the Taurus with the vinyl." One thing we have in common is bad guests. There are certain actors, celebrities with nothing to say, who move through the talk show world wreaking havoc. They lay waste to Dave's town and Jay's town, then head my way.
Playboy: You must be getting some good guests. Your ratings have shown a marked improvement. O'Brien: Remember, when you're on at 12:30 the Nielsens are based on 80 people. My ratings drop if one person has a head cold and goes to bed early.
Playboy: Actually, you're seen by about 3 million people a night. Your ratings would be even higher if college dorms weren't excluded from the Nielsens. How many points does that cost you? O'Brien: I told you I'm an idiot. Now I have to do math too?
Playboy: Do you still get suggestions from NBC executives? O'Brien: Not as many. The number of notes you get is inversely proportional to your ratings.
Playboy: What keeps you motivated? O'Brien: Superstition. We have a stagehand, Bobby Bowman, who holds up the curtain when I run out for the monologue. He is the last person I see before the show starts, and I have to make him laugh before I go out. It started with mild jabs: "Bobby, you're drunk again." Bobby laughs, "Heehee."" Then it was, "Still having trouble with the wife, Bobby?" But after hundreds of shows, you find yourself running out of lines. It's gotten to where I do crass things at the last second. I'll put his hand on my ass and yell, "You fucking pervert!" Or drop to my knees and say, "Come on, Bobby, I'll give you a blow job!"
"Ha-ha. Conan, you're crazy," he says. But even that stuff wears off. Soon, I'll be making the writers work late to give me new jokes for Bobby.
Playboy: Did you plan to be a talk show host or did you fall into the job? O'Brien: I was an Irish Catholic kid from St. Ignatius parish in Brookline, outside of Boston. And that meant: Don't call attention to yourself. Don't ask for too much when the pie comes around. Don't get a girl pregnant and fuck up your life.
Playboy: Were you an alter boy? O'Brien: I wanted to be an alter boy, but the priest at St. Ignatius said, "No, no. You're good on your feet, kid," and made me a lector. A scripture reader at Mass. He was the one who spotted my talent.
Playboy: What did you think of sex in those days? O'Brien: I was sexually repressed. At 16 I still thought human reproduction was by mitosis.
Playboy: How did you get over your sexual repression? O'Brien: Who says I got over it? My leg has been jiggling this whole time.
Playboy: What were you like in high school? O'Brien: Like a crane galumphing down the hall. A crane with weird hair, bad skin and Clearasil. Big enough for basketball but lousy at it. My older brothers were better. I would compensate by running around the court doing comedy, saying, "Look out, this player has a drug addiction. He's incredibly egotistical."
I was an asshole at home, too. My little brother Justin loved playing cops and robbers, but I kept tying him up with bureaucratic bullshit. When he'd catch me, I'd say, "I get to call my lawyer." Then it was, "OK, Justin, we're at trial and you've been charged with illegal arrest. Fill out these forms in triplicate." Justin was eight; he hated all the lawsuits and countersuits. He just cried.
Playboy: Were you a class clown? O'Brien: Never. I was never someone who walked into a room full of strangers and started telling jokes. You had to get to know me before I could make you laugh. The same thing happened with Late Night. I needed to get the right rhythm with Andy and Max and the audience.
Playboy: So how did you finally learn about sex? O'Brien: My parents gave me a book, but it was useless. At the crucial moment, all it showed was a man and a woman with the bed covers pulled up to their chins. I tried to find out more from friends, but it didn't help. One childhood friend told me it was like parking a car in a garage. I kept worrying about poisonous fumes. What if the fumes build up? Should you shut off the engine?
Playboy: For all your talk about being repressed, you can be rowdy on the air. O'Brien: The show is my escape valve. When I tear off my shirt and gyrate my pelvis like Robert Plant, feigning orgasm into the microphone, that shows how repressed I am -- a guy who wants to push his sex at the lens but can only do it as a joke.
Playboy: Aren't you tempted to live it up? O'Brien: I always imagined that if I were a TV star I would live the way I pictured Johnny Carson living. Carousing, stepping out of a limo wearing a velvet ascot with a model on my arm. Now that I have the TV show, I drive up to Connecticut on the weekends and tool around in my car. I could probably join a free-sex cult, smoke crack between orgies and drive sports cars into swimming pools, and my Catholic guilt would still be there, throbbing like a toothache. Be careful. If something good happens, something bad is on the way.
Playboy: Yet you don't mind licking the supermodels. O'Brien: At one point a few of them lived in my building, women who are so beautiful they almost look weird, like aliens. To me, a woman who has a certain approachable amount of beauty becomes almost funny. It's the same with male supermodels. They look like big puppets. So while I admire their beauty I probably won't be "romantically linked" with a model. I'd catch my reflection in a ballroom mirror and break up laughing.
Playboy: The horny Roy Orbison growl you use on gorgeous guests sounds real enough -- O'Brien: Oh, I've been doing that shit since high school. It just never worked before.
Playboy: Your father is a doctor, your mother an attorney. What do they think of their son the comedian? O'Brien: My dad was the one who told me denial was a virtue. "Denial is how people get through horrible things," he said. He also cut out a newspaper article in which I said I was making money off something for which I should probably be treated. So true, he thought. But when I got an Emmy for helping write Saturday Night Live, my parents put it on the mantel next to the crucifix. Here's Jesus looking over, saying, "Wow, I saved mankind from sin, but I wish I had an Emmy."
Playboy: Ever been in therapy? O'Brien: Yes. I don't trust it. I have told therapists that I don't particularly want to feel good. "Repression and fear, that's my fuel." But the therapists said that I had nothing to worry about. "Don't worry Conan you will always be plenty fucked up."
Playboy: When a female guest comes out, how do you know whether to shake her hand or kiss her? Is that rehearsed O'Brien: No, and it's awkward. If you go to shake her hand and her head starts coming right at you, you have to change strategy fast. I have thought about using the show to make women kiss me, but that would probably creep out the people at home. I decided not to kiss Elton John.
Playboy: Do you get all fired up if Cindy Crawford or Rebecca Romijn does the show? O'Brien: I like making women laugh. Always have, ever since I discovered you can get girls' attention by acting like an ass. That's one of the joys of the show -- I'm working my eyebrows and going grrr and she's laughing, the audience is laughing. It's all a big put-on and I'm thinking. This is great. Here is a beautiful woman who has no choice but to put up with this shit.
But it's not always put on. Sometimes they flirt back. Sometimes there's a bit of chemistry. That happened with Jennifer Connelly of The Rocketeer.
Playboy: One guest, Jill Hennessy, took off her pants for you. Then you removed yours. Even Penn and Teller took off their pants. O'Brien: Something comes over me. It happened with Rebecca Romijn -- I was practically climbing her. Those are the times when Andy and the audience seem to disappear and it's just me and this lovely woman sitting there flirting. I keep expecting a waiter to say, "More wine, Monsieur?"
Playboy: Would you lick the wine bottle? O'Brien: It's true, there's a lot of licking on the show. I have licked guests. I have licked Andy. Comedy professionals will read this and say, "Great work, Conan. Impressive." But I have learned that if you lick a guest, people laugh. If I pick this shoe off the floor, examine it, Hmmm, and then lick it, people laugh. I learned this lesson on The Simpsons, where I was the writer who was forever trying to entertain the other writers. I still try desperately to make our writers laugh, which is probably a sign of sickness since they work for me now. Licking is one of those things that look funny.
Playboy: Johnny Carson never licked Ed McMahon. O'Brien: We are much more physical and more stupid than the old Tonight Show. Even in our offices before the show there's always some writer acting out a scene crashing his head through my door. A behind-the-scenes look at our show might frighten people.
Playboy: One night you showed a doctored photo of Craig T. Nelson having sex with Jerry Van Dyke. Did they complain about it? O'Brien: I haven't heard from them. Of course I'm blessed not to be a part of the celebrity pond. I have a television show in New York, an NBC outpost. I don't run with or even run into many Hollywood people.
Playboy: You also announced that Tori Spelling has a penis. O'Brien: I did not. Polly the Peacock said that.
Playboy: Another character you use to say the outrageous stuff. O'Brien: Polly is not popular with the network.
Playboy: You mock Fabio, too. O'Brien: If he sues me, it'll be the best thing that ever happened. A publicity bonanza: Courtroom sketches of Fabio with his man-boobs quivering, shaking his fist, and me shouting at him across the courtroom. I'm not afraid of Fabio. He knows where to find me. I'm saying it right here for the record: Fabio, let's get it on.
Playboy: Ever have a run-in with an angry celeb? O'Brien: I did a Kelsey Grammar joke a few years ago, something about his interesting lifestyle, then heard through the network that he was upset. He had appeared on my show and expected some support. At this point my intellect says, "Kelsey Grammar is a public figure. I was in the right." Then I saw him in an airport. Kelsey didn't see me at first: I could have kept walking. But there he was, eating a cruller in the airport lounge. I thought I should go over. I said hello and then said, "Kelsey, I'm sorry if I upset you." And he was glad. He looked relieved. He said, "Oh, that's OK." We both felt better.
....See my other post with the last third of the interview
submitted by redlight886 to conan [link] [comments]
A candid conversation with the preppie prince of "Late Night" about his rocky start, his show's secret one-day cancellation and how David Letterman saved the day.
He was polite. He was funny. He gave us a communicable disease.
At 34 Conan O'Brien is hotter than the fever he was running when we met in his private domain above the "Late Night" sound stage. A gangly freckle-faced ex-high school geek he is "one of TV's hottest properties" according to "People" magazine. The host of "Late Night With Conan O'Brien" has become his generation's king of comedy.
Uneasy lies the head that wears a crown. Congested too, but O'Brien has far more to worry about than his head cold. A perfectionist who broods over one bad minute in an otherwise perfect hour of TV, he worries he might be anhedonic, "I have trouble with success," he says, "I was raised to believe that if something good happens something bad is coming." Sure things look good now "Rolling Stone" calls "Late Night" "the hottest comedy show on TV." Ratings are better than ever, particularly among 18- to 34-year-olds, the viewers advertisers crave.
But O'Brien only works harder. Despite his illness he taped two shows in 26 hours on three hours' sleep. He smoothly interviewed Elton John then burst into coughing fits during commercials. Later in his crammed corner office overlooking Manhattan traffic Conan the Cool gulped Dayquil gel caps. He coughed spewing microbes.
"Sorry, sorry," he said. Of course O'Brien can't complain. He came seriously close to falling to being banished behind the scenes as just another failed talk show host.
At his first "Late Night" press conference he corrected a reporter who called him a relative unknown, "Sir I am a complete unknown," he said. That line got a laugh, but soon O'Brien looked doomed. His September 13, 1993 debut began with O'Brien in his dressing room preparing to hang himself only to be interrupted by the start of his show. Before long his career was hanging by a thread. Ratings were terrible. Critics hated the show. Tom Shales of "The Washington Post" called it as "lifeless and messy as roadkill." Shales said O'Brien should quit.
Network officials held urgent meetings discussing the Conan O'Brien debacle. Should they fire him? How should they explain their mistake?
In the end of course he turned it around. The network hung with him long enough for the ratings to improve and the host of the cooler-than-ever "Late Night" now defines comedy's cutting edge just as Letterman did ten years ago.
Even Shales loves "Late Night" these days. He calls O'Brien's turnaround "one of the most amazing transformations in television history."
O'Brien was born on April 18, 1963 in Brookline, Massachusetts. His father, a doctor, is a professor at Harvard Medical School. His mother, a lawyer, is a partner at an elite Boston Law firm. Conan, the third of six children became a lector at church and a misfit at school. Tall and goofy, bedeviled with acne, he tried to impress girls with jokes. That plan usually bombed, but O'Brien eventually found his niche at Harvard where he won the presidency of the "Harvard Lampoon" in 1983 and again in 1984 - the first two-time "Lampoon" president since humorist Robert Benchley held the honor 85 years ago.
After graduating magna cum laude with a double major in literature and American history he turned pro. Writing for HBO's "Not Necessarily The News." O'Brien was earning $100,000 a year before his 24th birthday. But writing was never enough.
He honed his performance skills with the Groundlings, a Los Angeles improv group. There he worked with his onetime girlfriend Lisa Kudrow, now starring on "Friends." But Conan was not such a standout. In 1988 he landed a job at "Saturday Night Live" - but as a writer, not as on-air talent. In almost four years on the show O'Brien made only fleeting appearances, usually as a crowd member or security guard. His writing was more memorable. He wrote (or co-wrote) Tom hanks' "Mr Short-Term Memory" skits as well as the "pump you up" infosatire of Hanz and Franz and the nude beach sketch in which Matthew Broderick and "SNL" members played nudists admiring one another's penises. With dozens of mentions of the word that hit was the most penis-heavy moment in TV history. It helped O'Brien win an Emmy for comedy writing.
In 1991 he quit "SNL" and moved on to "The Simpsons" where he worked for two years. His urge to perform came out in wall-bouncing antics in writers' meetings. "Conan makes you fall out of your chair" said "Simpsons" creator Matt Groening. O'Brien's yen to act out was so strong that he spurned Fox's reported seven-figure offer to continue as a writer. He was driving for the spotlight.
By then David Letterman had announced he was turning shin - leaving NBC taking his ton-rated act to CBS. Suddenly NBC was up a creek without a host. The network turned to Lorne Michaels, O'Brien's "Saturday Night Live" boss. Michaels enlisted Conan's help in the host search planning to use him in a behind-the-scenes job. But when Garry Shandling, Dana Carvey and almost every other star turned down the chore of following Letterman, Michaels finally listened to Conan's crazy suggestion, "Let me do it!" Michaels persuaded the network to entrust it's 12:30 slot which Letterman had turned into a gold mine to an untested wiseass from Harvard.
O'Brien was working on one of his last "Simpsons" episodes when he got the news. He turned "paler than usual," Groening recalled. The Conan moseyed back to where the other writers were working, "I'll come back with the Homer Simspon joke later. I have to go replace Letterman," he said.
NBC executives now get credit for their foresight during those dark days of 1993 and 1994. They snared the axe and now reap the multimillion-dollar spoils of that decision. In fact, the story is not so simple. We sent Contributing Editor Kevin Cook to unravel the tale of O'Brien's survival, which he tells here for the first time. Cook reports:
"His office is chock-full of significa. There's a three-foot plastic pickle the Letterman staff left behind in 1993 - perhaps to suggest what a predicament he was in. There's a copy of Jack Paar's 'I Kid You Not' and a coffee-table book called 'Saturday Night Live: The First 20 Years.' His bulletin board features letters from fans such as John Watters and Bob Dole and an 8" x 10" glossy of Andy Richter with the inscription: "To Conan - Your bitter jealousy warms my black heart. Love and Kisses Andy."
"Of course it's all for show. From the photos of kitch icons Adam West and Robert Stack to the framed Stan Laurel autograph, from the deathbed painting of Abraham Lincoln, to the ironic star taped to Conan's door - they're all clever signals that tell a visitor how to view the star. Lincoln was his collegiate preoccupation: stardom is his occupation. Somewhere between the two I hoped to find the real O'Brien.
"As a Playboy reader he wanted to give me a better-than-average interview. I wanted something more - a definitive look at the guy who may end up being the Johnny Carson of his generation."
"Here's hoping we succeeded. If not I carried his germs 3000 miles and infected dozens of Californians for no good reason.
O'Brien: Yes, this is how to do a Playboy Interview -- completely tanked on cold medicine. I'll pick it up and read, "Yes, I'm gay."
Playboy: We could talk another time. O'Brien: (coughing) No, it's OK. I memorized Dennis Rodman's answers. Can I use them?
Playboy: You sound really sick. Do you ever take a day off? O'Brien: No. The age of talk show hosts taking days off is over. Johnny Carson could go to Africa when he was the only game in town -- "See you in two weeks!" But nobody does that now. I will give you a million dollars on the first day Jay takes off for illness.
Playboy: Do you ever slow down and enjoy your success? O'Brien: If anything, the pace is picking up. Restaurateurs insist on giving me a table even if I'm only passing by, so I'm eating nine meals a night. Women stop me on the street and hand me their phone numbers.
Playboy: So you have groupies? O'Brien: Oh yes. And other fans. Drifters. Prisoners. Insomniacs. Cab Drivers, who must watch a lot of late night TV, seem to love me lately. They keep saying, "You will not pay, you will not pay, you make me happy!"
Playboy: How happy did your new contract make you? O'Brien: Terrified. The network said, "We're all set for five years." I said, "Shut up, shut up! I can't think that far ahead." Tonight, for instance, I do my jokes, then interview Elton John and Tim Meadows. We finished taping about 6:30. By 6:45 my memory was erased and my only thought was, Tomorrow: John Tesh. And I started to obsess about John Tesh. Sad, don't you think?
Playboy: Not too sad. You got off to a rocky start but now you're so hot that People magazine recently said, "that was then, this is wow." O'Brien: I try not to pay much attention. Since I ignored the critics who said I should shoot myself in the head with a German Luger, it would be cheating to tear out nice reviews now and rub them all over my body, giggling. Though I have thought about it.
Playboy: Tell us about your trademark gag. You interview a photo of Bill Clinton or some other celeb, and a pair of superimposed lips provide outrageous answers. O'Brien: We call it the Clutch Cargo bit, after that terrible old cartoon series. They saved money on animation by superimposing real lips on the cartoons. I wanted to do topical jokes in a cartoony way -- not just Conan doing quips at a desk. TV is visual; I want things to look funny. But we're not Saturday Night Live; we couldn't spend $100,000 on it. Hence, the cheap, cheesy lips, You'd be surprised how many people we fool.
Playboy: Viewers believe that's really the president yelling, "Yee-haw! Who's got a joint?" O'Brien: It's strange. You may know intellectually that Clinton doesn't talk like Foghorn Leghorn. Ninety-eight percent of your brain knows the president wouldn't say, "Whoa Conan get a load of that girl!" But there are a few brain cells that aren't sure. When Bob Dole was running for president we had him doing a past-life regression: "My cave, get away." And then back further, "Must form flippers to crawl on to rocky soil," he says. There may be people out there who believe that Bob Dole was the first amphibian.
Playboy: Do you ever go too far? O'Brien: The fun is in going too far. It's a nice device because you get Bill Clinton to do the nastiest Bill Clinton jokes. We'll have Clinton making fart noises while I say "Sir! Please!"
Playboy: Are you enjoying your job now, with your new success? O'Brien: Well, there are surprises. I hate surprises. Like most comics, I'm a control freak. But I am learning that the show works best when things are out of control. Tonight I ask Elton John if he likes being neighbors with Joan Collins. He says he isn't neighbors with Joan Collins. He lives next door to Tina Turner. So I panic -- huge mistake! But Elton saves the day. "Joan Collins, Tina Turner, it doesn't matter. Either way I could borrow a wig," he says. Huge laugh, all because I fucked up. Later he surprised me by blurting out that he's hung like a horse. The camera cuts to me shaking my head: That crazy Elton. What can I do? Of course, I'm delighted that he went too far.
Playboy: That "What can I do?" look resembles a classic take of Jack Benny's. O'Brien: There's an old saying in literature: "Good poets borrow; great poets steal." I think T.S. Eliot stole it from Ezra Pound. Comics steal, too. Constantly. When I watched Johnny Carson, I noticed that he got a few takes from Benny and Bob Hope. When a comedy writer told me how much Woody Allen had borrowed from Hope, I thought, What? They're nothing alike. Then I went back and watched Son of Paleface, and there's Hope, the nervous city guy backing up on his heels, wringing his hands and saying, "Sorry, I'll just be moving along." Now look at early Woody Allen. You see big authority figures and Woody nervously saying, "Look, I'll just be on my way." Of course Woody made it his own, but he must have watched and loved Bob Hope.
Playboy: Who are your role models? O'Brien: Carson. Woody Allen. SCTV. Peter Sellers. When Peter Sellers died I felt such a loss, thinking, There won't be anymore of that. There's some Steve Martin in my false bravado with female guests: "Why, hel-lo there!" And I won't deny having some Letterman in my bones.
Playboy: You were surprise as Letterman's successor. At first you seemed like the wrong choice. O'Brien: I didn't get ratings. That doesn't mean I didn't get laughs. Yes, I had a giant pompadour and I looked like a rockabilly freak. I was too excited, pushed too hard, and people said, "That guy isn't a polished performer." Fine! But it isn't my goal to be Joe Handsomehead cool, smooth talk show host. Late Night with Conan O'Brien is supposed to be a work in progress, and now that we've had some success there's a danger of our getting too polished and morphing into something smoothly professional. Which would suck.
Do you know why I wanted this show? Because Late Night with David Letterman played with the rules and it looked like fun. Here was a place where people did risky comedy every night for millions of people. We had to keep this thing alive. There should be a place on a big network where people are still messing around.
Playboy: How bad were your early days on the show? O'Brien: Bad. Dave left here under a cloud: his fans and the media were angry with NBC. Then NBC picks a guy with crazy hair and a weird name. And the world says, "Harvard? Those guys are assholes." I sincerely hope that the winter of December 1993, our first winter, was the worst time I will ever have. I'd go out to do the warm up and the back two rows of seats would be empty. That's hard to look at. I would tell a joke and then hear someone whisper, "Who's he? Where's Dave?"
Playboy: You had trouble getting guests. O'Brien: Bob Denver canceled on us. We shot a test show with Al Lewis of The Munsters. We did the clutch cargo thing with a photo of Herman Munster. Unfortunately, Fred Gwynne, who played Herman, had recently died, and Al Lewis kept pointing at the screen, saying, "You're dead! I was at your funeral!"
Playboy: For months you got worried notes from network executives. What did they say? O'Brien: They were worried. The fact that Lorne Michaels was involved bought me some time. But Lorne had turned to me at the start and said, "OK, Conan. What do you want to do?" Now television critics were after me and the network was starting to realize what a risk I was. Suggestions came fast and furious. I kept the note that said, "Why don't you just die?"
Playboy: Did they suggest ways to be funnier? O'Brien: They were more specific and tactical. The network gets very specific data. Say there was a drop in ratings between 12:44 and 12:48 when I was talking to Jon Bon Jovi. I'll be told, "Don't ever talk to him again" Or they'll want me to tease viewers into staying with us: "You should tease that -- say, 'We'll have nudity coming up next!'"
Playboy: You did come close to being cancelled. O'Brien: We were cancelled.
Playboy: Really? You have never admitted that. O'Brien: This is the first time I've talked about it. When I had been on for about a year, there was a meeting at the network. They decided to cancel my show. They said, "It's cancelled." Next day they realized they had nothing to put in the 12:30 slot, so we got a reprieve.
Playboy: Were you worried sick? O'Brien: I went into denial. I tried hard not to think, Yes, I'm bad on the air and my show has none of the things a TV show needs to survive. We had no ratings. No critics in our corner. Advertisers didn't like us. Affiliates wanted to drop us. Sometimes I'd meet a programming director from a local station where we had no rating at all. The guy would show me a printout with no number for Late Night's rating, just a hash mark or pound sign. I didn't dare think about that when I went out to do the show.
Playboy: Are you defending denial? O'Brien: How else does anyone get through a terrible experience? The odds were against me. Rationally, I didn't have much chance. Denial was my only friend. When I look back on the first year, it's like a scene from an old war movie: Ordinary guy gets thrown into combat, somehow beats impossible odds, staggers to safety. His buddy say, "You could have been killed!" The guy stops and thinks. "Could have been killed?" he says. His eyes cross and he faints.
Playboy: How did you dodge the bullet? O'Brien: There were people at NBC who stood up for me. I will always be indebted to Don Ohlmeyer, who stuck to his guns. Don said, "We chose this guy. We should stick with him unless we get a better plan." He was brutally honest. He came to me and said, "Give me about a 15 percent bump in the ratings and you'll stay on the air. If not, we're going to move on."
Playboy: Ohlmeyer started his career in the sports division. O'Brien: Exactly, his take was, "You're on our team." Of course, it wasn't exactly rational of Don to hope I'd be 15 percent funnier. It was like telling a farmer, "It better rain this week or we'll take your farm away."
Playboy: What did you say to Ohlmeyer? O'Brien: There wasn't time. I had to go out and do a monologue. But I will always be indebted to Don because he told me the truth. Wait a minute -- you have tricked me into talking lovingly about an NBC executive. Let me say that there were others who were beneath contempt -- executives who wouldn't know a good show if it swam up their asses and lit a campfire.
Playboy: Finally the ratings went your way. Hard work rewarded? O'Brien: Well, I also paid off the Nielsen people. That was $140,000 well spent.
Playboy: Ohlmeyer plus bribery saved you? O'Brien: There was something else. Just when everyone was kicking the crap out of the show, Letterman defended me.
Playboy: Letterman had signed off on NBC saying, "I don't really know Conan O'Brien, but I heard he killed someone." O'Brien: Then I pick up the paper and he's saying he thinks I am going to make it. "They do some interesting, innovative stuff over there," he says. "I think Conan will prevail." And then he came on as a guest. Remember, this was when we were at our nadir. There was no Machiavellian reason for David Letterman, who at the time was the biggest thing in show business, to be on my show.
Playboy: Why did he do it? O'Brien: I'm still not sure. Maybe out of a sense of honor. Fair play. And it woke me up. It made me think. Hey, we have a real fucking television show here.
Of six or seven pivotal points in my short history here, that was the first and maybe the biggest. I wouldn't be sitting here -- I probably wouldn't even exist today -- if he hadn't done our show.
Playboy: The Late Night wars were hardly noted for friendly gestures. O'Brien: How little you understand. Jay, Dave and I pal around all the time. We often ride a bicycle built for three up to the country. "Nice job with Fran Drescher!" "Thanks, pal. You weren't so bad with John Tesh." We sleep in triple-decker bunk beds and snore in unison like the Three Stooges.
Playboy: You talk more about Letterman than your NBC teammate Leno. O'Brien: I hate the "Leno or Letterman, who's better?" question. I can tell you that Jay has been great to me. He calls me occasionally.
Playboy: To say what? O'Brien: (Doing Leno's voice) "Hey, liked that bit you did last night." Or he'll say he saw we got a good rating. I call him at work, too. It can be a strange conversation because we're so different. Jay, for instance, really loves cars. He's got antique cars with kerosene lanterns, cars that run on peat moss. He'll be telling me about some classic car he has, made entirely of brass and leather, and I'll say, "Yeah, man, I got the Taurus with the vinyl." One thing we have in common is bad guests. There are certain actors, celebrities with nothing to say, who move through the talk show world wreaking havoc. They lay waste to Dave's town and Jay's town, then head my way.
Playboy: You must be getting some good guests. Your ratings have shown a marked improvement. O'Brien: Remember, when you're on at 12:30 the Nielsens are based on 80 people. My ratings drop if one person has a head cold and goes to bed early.
Playboy: Actually, you're seen by about 3 million people a night. Your ratings would be even higher if college dorms weren't excluded from the Nielsens. How many points does that cost you? O'Brien: I told you I'm an idiot. Now I have to do math too?
Playboy: Do you still get suggestions from NBC executives? O'Brien: Not as many. The number of notes you get is inversely proportional to your ratings.
Playboy: What keeps you motivated? O'Brien: Superstition. We have a stagehand, Bobby Bowman, who holds up the curtain when I run out for the monologue. He is the last person I see before the show starts, and I have to make him laugh before I go out. It started with mild jabs: "Bobby, you're drunk again." Bobby laughs, "Heehee."" Then it was, "Still having trouble with the wife, Bobby?" But after hundreds of shows, you find yourself running out of lines. It's gotten to where I do crass things at the last second. I'll put his hand on my ass and yell, "You fucking pervert!" Or drop to my knees and say, "Come on, Bobby, I'll give you a blow job!"
"Ha-ha. Conan, you're crazy," he says. But even that stuff wears off. Soon, I'll be making the writers work late to give me new jokes for Bobby.
Playboy: Did you plan to be a talk show host or did you fall into the job? O'Brien: I was an Irish Catholic kid from St. Ignatius parish in Brookline, outside of Boston. And that meant: Don't call attention to yourself. Don't ask for too much when the pie comes around. Don't get a girl pregnant and fuck up your life.
Playboy: Were you an alter boy? O'Brien: I wanted to be an alter boy, but the priest at St. Ignatius said, "No, no. You're good on your feet, kid," and made me a lector. A scripture reader at Mass. He was the one who spotted my talent.
Playboy: What did you think of sex in those days? O'Brien: I was sexually repressed. At 16 I still thought human reproduction was by mitosis.
Playboy: How did you get over your sexual repression? O'Brien: Who says I got over it? My leg has been jiggling this whole time.
Playboy: What were you like in high school? O'Brien: Like a crane galumphing down the hall. A crane with weird hair, bad skin and Clearasil. Big enough for basketball but lousy at it. My older brothers were better. I would compensate by running around the court doing comedy, saying, "Look out, this player has a drug addiction. He's incredibly egotistical."
I was an asshole at home, too. My little brother Justin loved playing cops and robbers, but I kept tying him up with bureaucratic bullshit. When he'd catch me, I'd say, "I get to call my lawyer." Then it was, "OK, Justin, we're at trial and you've been charged with illegal arrest. Fill out these forms in triplicate." Justin was eight; he hated all the lawsuits and countersuits. He just cried.
Playboy: Were you a class clown? O'Brien: Never. I was never someone who walked into a room full of strangers and started telling jokes. You had to get to know me before I could make you laugh. The same thing happened with Late Night. I needed to get the right rhythm with Andy and Max and the audience.
Playboy: So how did you finally learn about sex? O'Brien: My parents gave me a book, but it was useless. At the crucial moment, all it showed was a man and a woman with the bed covers pulled up to their chins. I tried to find out more from friends, but it didn't help. One childhood friend told me it was like parking a car in a garage. I kept worrying about poisonous fumes. What if the fumes build up? Should you shut off the engine?
Playboy: For all your talk about being repressed, you can be rowdy on the air. O'Brien: The show is my escape valve. When I tear off my shirt and gyrate my pelvis like Robert Plant, feigning orgasm into the microphone, that shows how repressed I am -- a guy who wants to push his sex at the lens but can only do it as a joke.
Playboy: Aren't you tempted to live it up? O'Brien: I always imagined that if I were a TV star I would live the way I pictured Johnny Carson living. Carousing, stepping out of a limo wearing a velvet ascot with a model on my arm. Now that I have the TV show, I drive up to Connecticut on the weekends and tool around in my car. I could probably join a free-sex cult, smoke crack between orgies and drive sports cars into swimming pools, and my Catholic guilt would still be there, throbbing like a toothache. Be careful. If something good happens, something bad is on the way.
Playboy: Yet you don't mind licking the supermodels. O'Brien: At one point a few of them lived in my building, women who are so beautiful they almost look weird, like aliens. To me, a woman who has a certain approachable amount of beauty becomes almost funny. It's the same with male supermodels. They look like big puppets. So while I admire their beauty I probably won't be "romantically linked" with a model. I'd catch my reflection in a ballroom mirror and break up laughing.
Playboy: The horny Roy Orbison growl you use on gorgeous guests sounds real enough -- O'Brien: Oh, I've been doing that shit since high school. It just never worked before.
Playboy: Your father is a doctor, your mother an attorney. What do they think of their son the comedian? O'Brien: My dad was the one who told me denial was a virtue. "Denial is how people get through horrible things," he said. He also cut out a newspaper article in which I said I was making money off something for which I should probably be treated. So true, he thought. But when I got an Emmy for helping write Saturday Night Live, my parents put it on the mantel next to the crucifix. Here's Jesus looking over, saying, "Wow, I saved mankind from sin, but I wish I had an Emmy."
Playboy: Ever been in therapy? O'Brien: Yes. I don't trust it. I have told therapists that I don't particularly want to feel good. "Repression and fear, that's my fuel." But the therapists said that I had nothing to worry about. "Don't worry Conan you will always be plenty fucked up."
Playboy: When a female guest comes out, how do you know whether to shake her hand or kiss her? Is that rehearsed O'Brien: No, and it's awkward. If you go to shake her hand and her head starts coming right at you, you have to change strategy fast. I have thought about using the show to make women kiss me, but that would probably creep out the people at home. I decided not to kiss Elton John.
Playboy: Do you get all fired up if Cindy Crawford or Rebecca Romijn does the show? O'Brien: I like making women laugh. Always have, ever since I discovered you can get girls' attention by acting like an ass. That's one of the joys of the show -- I'm working my eyebrows and going grrr and she's laughing, the audience is laughing. It's all a big put-on and I'm thinking. This is great. Here is a beautiful woman who has no choice but to put up with this shit.
But it's not always put on. Sometimes they flirt back. Sometimes there's a bit of chemistry. That happened with Jennifer Connelly of The Rocketeer.
Playboy: One guest, Jill Hennessy, took off her pants for you. Then you removed yours. Even Penn and Teller took off their pants. O'Brien: Something comes over me. It happened with Rebecca Romijn -- I was practically climbing her. Those are the times when Andy and the audience seem to disappear and it's just me and this lovely woman sitting there flirting. I keep expecting a waiter to say, "More wine, Monsieur?"
Playboy: Would you lick the wine bottle? O'Brien: It's true, there's a lot of licking on the show. I have licked guests. I have licked Andy. Comedy professionals will read this and say, "Great work, Conan. Impressive." But I have learned that if you lick a guest, people laugh. If I pick this shoe off the floor, examine it, Hmmm, and then lick it, people laugh. I learned this lesson on The Simpsons, where I was the writer who was forever trying to entertain the other writers. I still try desperately to make our writers laugh, which is probably a sign of sickness since they work for me now. Licking is one of those things that look funny.
Playboy: Johnny Carson never licked Ed McMahon. O'Brien: We are much more physical and more stupid than the old Tonight Show. Even in our offices before the show there's always some writer acting out a scene crashing his head through my door. A behind-the-scenes look at our show might frighten people.
Playboy: One night you showed a doctored photo of Craig T. Nelson having sex with Jerry Van Dyke. Did they complain about it? O'Brien: I haven't heard from them. Of course I'm blessed not to be a part of the celebrity pond. I have a television show in New York, an NBC outpost. I don't run with or even run into many Hollywood people.
Playboy: You also announced that Tori Spelling has a penis. O'Brien: I did not. Polly the Peacock said that.
Playboy: Another character you use to say the outrageous stuff. O'Brien: Polly is not popular with the network.
Playboy: You mock Fabio, too. O'Brien: If he sues me, it'll be the best thing that ever happened. A publicity bonanza: Courtroom sketches of Fabio with his man-boobs quivering, shaking his fist, and me shouting at him across the courtroom. I'm not afraid of Fabio. He knows where to find me. I'm saying it right here for the record: Fabio, let's get it on.
Playboy: Ever have a run-in with an angry celeb? O'Brien: I did a Kelsey Grammar joke a few years ago, something about his interesting lifestyle, then heard through the network that he was upset. He had appeared on my show and expected some support. At this point my intellect says, "Kelsey Grammar is a public figure. I was in the right." Then I saw him in an airport. Kelsey didn't see me at first: I could have kept walking. But there he was, eating a cruller in the airport lounge. I thought I should go over. I said hello and then said, "Kelsey, I'm sorry if I upset you." And he was glad. He looked relieved. He said, "Oh, that's OK." We both felt better.
....See my other post with the last third of the interview
2024.05.29 03:12 Ok_Proof_321 I think this is a compelling case.
Found this from a Quora user
"Imagine a world without religion. We are on the same planet, with similar scientific advances the difference being that religion never left it’s earliest forms. We never built churches, instead we build a heap of museums and science centers. The idea of different human races has long been disproven. We live in peace, we work together on solving important issues, Trump is not president and idiocy is not the norm.
In comes Brad. In his hands he holds ‘the New Testament’, a book written by our ancestors two thousand years ago . It tells the story of Jesus, the son of god, who could walk on water, turn one fish into a thousand, turn water into wine and heal the blind, the deaf and the crippled. Brad shows this book to all the people he knows, he shares it with the world, this old, forgotten piece of literature, he broadcasts himself reading it to the world, the story of how Jesus was born to a virgin, how three kings followed a star to his birth place and how he died on the cross so god could forgive humanity's sins.
What would people think of this book?
Would they believe the stories? Would they believe there was a god who created us, despite all the evidence pointing away from that conclusion? Would they start believing in the supernatural? Would they, all of a sudden, believe in magic despite having never seen any such thing as magic, or would they discard it as just another fairy tale?
They would most certainly discard it for what it is. A fairy tale, no different than Cinderella, Snow White and the seven dwarfs or Alladin.
The only people who believe in Santa Claus, dwarfs and flying carpets are children, and as it happens, they are the key demographic for religion.
Religion works because of continuous brainwashing at a young age. Parents hammer in their ideas of the world until their children can regurgitate them in their sleep. It's a disgusting practice, there is no choice involved and for there to be real human advancement, religion has to die.
There is no god. Period."
submitted by Ok_Proof_321 to DebateReligion [link] [comments]
"Imagine a world without religion. We are on the same planet, with similar scientific advances the difference being that religion never left it’s earliest forms. We never built churches, instead we build a heap of museums and science centers. The idea of different human races has long been disproven. We live in peace, we work together on solving important issues, Trump is not president and idiocy is not the norm.
In comes Brad. In his hands he holds ‘the New Testament’, a book written by our ancestors two thousand years ago . It tells the story of Jesus, the son of god, who could walk on water, turn one fish into a thousand, turn water into wine and heal the blind, the deaf and the crippled. Brad shows this book to all the people he knows, he shares it with the world, this old, forgotten piece of literature, he broadcasts himself reading it to the world, the story of how Jesus was born to a virgin, how three kings followed a star to his birth place and how he died on the cross so god could forgive humanity's sins.
What would people think of this book?
Would they believe the stories? Would they believe there was a god who created us, despite all the evidence pointing away from that conclusion? Would they start believing in the supernatural? Would they, all of a sudden, believe in magic despite having never seen any such thing as magic, or would they discard it as just another fairy tale?
They would most certainly discard it for what it is. A fairy tale, no different than Cinderella, Snow White and the seven dwarfs or Alladin.
The only people who believe in Santa Claus, dwarfs and flying carpets are children, and as it happens, they are the key demographic for religion.
Religion works because of continuous brainwashing at a young age. Parents hammer in their ideas of the world until their children can regurgitate them in their sleep. It's a disgusting practice, there is no choice involved and for there to be real human advancement, religion has to die.
There is no god. Period."
2024.05.29 02:49 Hollovate What World?
Not bloody likely.
submitted by Hollovate to exchristian [link] [comments]
2024.05.29 02:35 pinamanzana JAR or Artifact?
 | I think this is just a rock, my dad believes this is worked and some type of club or tool. It does fit nicely in the hand, but still it’s so rough, so not too sure. What do you think? submitted by pinamanzana to Arrowheads [link] [comments] |
2024.05.29 02:28 These-Pick-968 Revisiting "Robin"
 | I’m a huge fan of the song Robin, and have enjoyed reading all of the various interpretations of this song. The song feels like such a mix of emotions to me! At first listen it sounds like a sweet song, almost a lullaby. But then the layers of meaning and nuance start filtering in. Then one realizes that “bloodthirsty” feels a bit…off. Every time I listen to it I get a different mix of feelings: hopeful, wistful, nostalgic, happy, sad, resentment, innocence, ominous. Sometimes all in the same listen. submitted by These-Pick-968 to GaylorSwift [link] [comments] Some of the various interpretations of possible meaning I’ve explored thru this song (as have many others here and on social media): • Aaron Dessner’s son- a song about watching a child grow up and wanting to protect their innocence from the realities of the world • Robin Williams- his child-like wonder but also his struggles with mental illness/dementia • Robin Hood (I never really considered this angle) • The Secret Garden- the robin shows Mary the key and door to the secret garden • Robin Goodfellow/Puck- a fairy character who is known for being mischievous (also references back to Dead Poet's Society) • Emily Dickinson poem “The Child’s Faith is New”- about how children eventually learn to see people for who they are rather than infallible beings (this also leads to a Dear Brutus and The Fault in Our Stars interpretation, and lamenting the alternative outcomes for our lives) • The character Tiger Lilly in Peter Pan • Cats (of course) • Taylor talking to her younger self (calling herself a “tiger”) about the pitfalls of fame and hiding from her true (queer) self • Taylor talking to her fans about “putting on an act” for them to keep them entertained even though she’s been putting her true (queer) self on hold • Examining the dandelions in the lyrics video. Dandelions often represent childhood wonder, and sending “wishes off into to the world.” On the flip side they are also seen by many as weeds that are hard to control. One interpretation of Robin that I almost immediately dismissed was Christopher Robin from Winnie the Pooh. It just seemed too...obvious. And I couldn’t make any connections with the story (besides “Tigger = Tiger”). But… Perhaps it’s not the story of Winnie the Pooh itself that resonates with the song, but the real life story of Christopher Milne, the “real life Christopher Robin,” son of A.A. (Alan) Milne who authored the book. I don’t know if this story is one that Taylor would have heard of or seen, but I feel like there are some parallels to this story that might reflect aspects of Taylor’s life. Christopher Milne outlines his experience in two autobiographies: The Enchanted Places and The Path Through the Trees. His story was captured in a book by Ann Thwaite, Goodbye Christopher Robin: A.A. Milne and the Making of Winnie-the-Pooh. https://preview.redd.it/v8t43jotc93d1.jpg?width=281&format=pjpg&auto=webp&s=513fa3178d99d701978a1a256c3b1593030790df “Goodbye Christopher Robin is a story of celebrity, a story of both the joys and pains of success and, ultimately, the story of how one man created a series of enchanting tales that brought hope and comfort to an England ravaged by the First World War.” It was also made into a movie in 2017. I know movies can embellish biographical truth. But the premise of the story explores how the father, Alan, experienced trauma (likely PTSD) after returning from World War I, and despair over the toll and meaning of the war. It shows marital struggles with his wife, pressures from his publisher to write a new book, and his desire to leave London for a more quiet life. The end result is him connecting with his son and writing the beloved Winnie-the-Pooh book, but the heart of the movie examines the toll at which this occurred from the perspective of both father and son. Movie adaptation, 2017 The story (spoilers below if you want to watch it yourself; trailer here): The birth of A.A. Milne’s son is announced as his “latest Milne production,” similar to Taylor’s birth announcement ad. His name is Christopher Robin Milne but his parents call him “Billy Moon” (Billy couldn't pronounce his last name "Milne"). A.A. Milne’s wife, Daphne, wanted a girl, and had picked out a girl’s name (Rosemary) and dresses. She later shares that this is because she is afraid of having a son who might get sent off to war (which does happen). Due to Alan’s war flashbacks and desire for a quieter life to focus on his writing, they move to a cottage in the country. They hire a nanny, Olive, to watch over Billy. The wife, Daphne, is disenchanted with the country and her husband’s lack of producing any new work and returns to London, bringing Billy and the nanny with her. They visit the zoo, and Billy sees a black bear. He compares the bear to his beloved stuffed teddy bear, Edward. He states how big and fierce the black bear seems and worries Edward will “grow up” to be the same. His mom says not to worry, that Edward will “stay little forever, like my boy.” Billy returns to the country with the nanny, while the wife stays in London. https://preview.redd.it/49uh0cmv893d1.jpg?width=3710&format=pjpg&auto=webp&s=a55ad01874d4f1e83cfd22111cfe9a055729e2d1 The nanny then has to leave to take care of her ailing mother, leaving Alan alone to take care of Billy. He struggles at first but finally bonds with his son after they start taking walks in the woods and playing make believe with Billy’s stuffed animals. Alan gets inspiration for his new book, using the stuffed animals and Billy (using his real name “Christopher Robin”) as characters in the book. https://preview.redd.it/vvctbxn2893d1.jpg?width=4032&format=pjpg&auto=webp&s=e5584136660d1b7e17d2a6500d53a1ba133bc29f The middle of the story unfolds highlighting the inspiration for writing the book (Alan collaborating with his friend E.H. Shepard for illustrations), based on dad’s playtime and experiences with Billy. It is realized that this story might be popular and “healing” for a public who is disenchanted with the aftermath of the war. A scene shows Billy on a makeshift “float” with balloons as his dad and Shepard attempt to get him up into a tree so Shepard can draw a picture of “Christopher Robin knocking on owl’s door.” There’s also a scene where Alan and E.H. Shepard look over at an innocent Christopher Robin carrying his teddy bear and realize the magic they’re about to capture in the book (but it’s also an ominous scene as Billy looks so innocent in this moment, unaware of what's about to be unleashed upon him). https://preview.redd.it/r1j6mz65893d1.jpg?width=3895&format=pjpg&auto=webp&s=60c67195d876f01b6594f16b70618da1d60600af Dad tells Billy he’s writing a book about their adventures and his animals, and “I’m putting you in it too.” Billy says he isn’t sure what to think about that. “They’ll think I’m not real.” Dad and son debate about his name for the book. Dad says “We’ll call you Christopher Robin then because it’s your real name but it’s not who you really are” (since he goes by Billy Moon). The book is published and is an immediate success. However, it becomes clear that “Christopher Robin the boy” is the star of the book. Reporters and the public start to seek him out, overshadowing the author himself (dad, Alan). Reporters start showing up in the woods as the boy is playing, with the nanny providing a protective role. Billy starts getting inundated with piles of fan mail. The dad starts to show resentment while the mother seems thrilled with the “success.” Billy starts to show some confusion over his new found fame. In one scene, he yells out “But I’m not really Christopher Robin, I’m Billy Moon.” A flurry of media chaos unfolds as the book becomes popular: https://preview.redd.it/op9w1y6z893d1.jpg?width=3800&format=pjpg&auto=webp&s=82e8bf4014165ed99aeb0d114950fe708d6bebe5 “Everyone wants to be Christopher Robin.” “The happiest young man on earth." Movie screenshot of the \"happiest young man on earth\" One reporter, talking to dad, states, “I can’t believe I’m talking to the father of the real Christopher Robin.” After royal guards pay a visit to Billy for his birthday, later that evening he is on the phone with his dad, who is in London. Billy shares a conversation with his dad, who wishes him happy birthday. At the end of the call, it’s made apparent that his dad was in a studio and the call was played live on the radio. An ad plays- highlighting the commercialization of it all. Billy questions his Nanny about what just happened. The nanny takes Billy out in the night to play, and they look at the moon. She says “I think Little Billy Moon better get acquainted with Big Billy Moon himself.” They playfully drop sticks off a bridge into the water and she says “A person should do the things a person loves, with the people a person loves. Because you never know what happens next.” Billy and his parents go to a London toy store where Billy is to promote a prize to “win tea with the real Christopher Robin.” Billy resists participating in this, but his dad says “You’re the luckiest boy in the world, you know the real Winnie the Pooh.” Billy questions to his mom, “Are you my manager then?” His mom states, “What gave you such a notion, I’m your mother.” Billy shows signs of starting to question what is even real. He starts to show signs of protecting himself, telling fans that this isn’t his “real” life and that the names of himself and his animals are made up and that he’ll never tell fans their “real names.” At one point he tells his nanny “Are people going to look at us…like they look at Winnie the Bear in the zoo?” https://preview.redd.it/bhjdb6hn893d1.jpg?width=3696&format=pjpg&auto=webp&s=9e8a423ae2a936e951284403733c0afba7815434 He is later looking at a map and asks his nanny "Is there anywhere in the world they don't know about Winnie the Pooh? I want to go there." The nanny shares her concerns with his parents about Billy “being used as a show pony, he has to be allowed to grow up, to know that someone cares about him.” The nanny is shown putting Billy to bed. She tells him a bedtime story about a “nanny that loves him.” “Be happy, Billy Moon.” “Keep your memories and I’ll keep mine”, “And that way we’ll always be together.” The nanny quits/leaves and hands dad Billy’s schedule of busy appointments for the week. Billy wakes up distraught that his nanny is gone. Dad Alan starts to question Billy’s schedule to his wife. “He can’t do all this. He’s a little boy. How have we let this happen?” “He should be running around in the woods.” Wife insists that Billy can do it. “He can [do it]. He’s rather good at it apparently.” At a visit to the zoo for PR with the black bear, dad starts to push back at the role his son has been put in. He leaves the photoshoot, and he and Billy get ice cream, and are interrupted by fans as they’re eating. https://preview.redd.it/fx7fd0hb893d1.jpg?width=3868&format=pjpg&auto=webp&s=c1c9ee07e42365784f890eea72f7ad8d0de34be2 That night, dad tells Billy he’s decided he’s not going to write any more books about Billy’s stuffed animals or Christopher Robin. Billy asks “Does this mean Winnie the Pooh will just be ours again?” Dad states, “Winnie the Pooh is out in the world now and we can’t take him out of it.” But he tells Billy “you’ll never have to dress up again as Christopher Robin…and the day will come when everyone will forget about Winnie the Pooh.” Billy is older now and goes to boarding school, where he’s bullied for his name as Christopher Robin. He starts going by the name “Christopher Milne.” Later, his classmates are shown going off to war. Billy is shown walking with his father in the woods. Billy tells his dad he wants to go to war (but has failed the medical exam). “I want the chance to be private Milne. 607841 or whatever. Anonymous, a real person.” Dad resists, but Billy says his dad has the clout to help get him in, and asks for his help, telling his dad that “I helped you write that book, now help me.” The next scene show Billy in uniform ready to leave. As he goes to say goodbye to his mom, she walks away without saying goodbye. Dad sees Billy off at the train station. While they’re waiting for the train, Billy feels there is something he has to tell his dad: “That bear made my life misery.” “We played in the woods and then you wrote that book and it all stopped. As of it had all been a piece of research.” Billy and dad argue about the book. Dad says “You asked me to write a book for you.” The son says he asked for a “book for me, not about me.” Billy gets on the train and dad sees a flashback of him as a child. In the next scene a letter comes that Billy is “missing and presumed dead.” The wife blames Alan. He has flashbacks about the last conversation with his son at the train station: “About the money. The money we earned from ‘that bear.’ There’s mountains of it. It’s a fortune. You helped make it. It was just as much your doing as mine.” Billy declines the money, “I was just playing. With my father. If I take the money for it then I have to be Christopher Robin and I’m not Christopher Robin.” Tigger's empty cage is shown. https://preview.redd.it/q2iu014i893d1.jpg?width=3226&format=pjpg&auto=webp&s=69de81770445d4cccbd2649f6a29fb9231699494 Later that night the dad sees his Billy come home and that he hasn’t died after all. He welcomes him home and calls him “Billy Moon.” In the final scene, Billy and his dad revisit the woods and look over the landscape and the 100 Acre woods. Billy says “There it all is as if nothing had ever happened, just as I left it.” Dad: “When I came back [from the war], everything seemed wrong.” Billy shares with his dad what the Winne-the-Pooh story means to people, as he saw when he was off to war. He mentions a piece of the Winnie the Pooh song that he heard a fellow solider sing. “Everyone on earth knows that song. But I knew it first. It was mine before it was anyone else’s.” Dad wistfully says “Then I gave it all away.” Billy shares how much the story brought happiness to people when they needed it most. Dad states, “I’m sorry you paid the price for it.” Billy: “You reminded people what happiness was…what childhood could be when everything else was broken.” https://preview.redd.it/4ooc2tqd893d1.jpg?width=3806&format=pjpg&auto=webp&s=06d72e1147121f7c6dc81ab3c414e8e923377531 https://preview.redd.it/kg7cw9if893d1.jpg?width=3827&format=pjpg&auto=webp&s=46c68ac8175e12e3a22a34ed3100db9c029e90e9 Dad: “But your own childhood…” Billy interrupts: “[my own childhood]…Was wonderful. It was growing up that was hard.” Dad: “Who would have guessed that bear would swallow us up?” Dad looks over and sees a flashback of his son as the young Christopher Robin. They walk home hand in hand. The end. This story really drives home the ideas of childhood innocence lost to fame, the dichotomy between the “real” and the “famous” self, and the dynamics within a family of navigating the caveats of celebrity. The part that really connected me to Taylor’s story was Billy asking his nanny if they’d be “viewed like the bear at the zoo.” Again, I don't know Taylor's life or relationship with her parents. I have no idea if there’s any inspiration here for the song *Robin.* But this story makes me appreciate Taylor’s story (that we know of from our limited public perspective) and some of the difficulties she must have faced as a young person having grown up in fame for most of her life. She clearly loves songwriting and appears(?) to thrive in and seek the spotlight. And her music has brought so much joy and happiness to fans. But at what cost? Maybe The Manuscript perhaps alludes to this: maybe she sacrificed her early years and “true” (queer) self for that success (the "agony" she references), but also realizes the “gift” that her music has bestowed upon the world. At the end of the movie, Billy seems grateful for the "gift" of happiness and joy that his father's book has given the world, despite the hardships that it meant for them both. I also appreciate when Billy's father says "Winnie the Pooh is out in the world now and we can't take him out of it" after he tells Billy he's not going to write any more stories. Much like Taylor's brand, like a dandelion, has been released into the wild. https://preview.redd.it/fb5ykdkp893d1.jpg?width=454&format=pjpg&auto=webp&s=0a83cec30ec8e682323b5e42065c80ab5e647b50 One of the things I love about Robin is the various interpretations it lends itself to. I’d love to someday learn from Taylor herself what her own meaning and inspiration for the song were. But in the meantime I’ll keep exploring it because I think it’s a gem- sweet and innocent at first listen, but so layered and meaningful as one listens to it from different perspectives. What interpretation do you have of it? Has that changed? |
2024.05.29 02:23 Gerudo-Nabooru An explanation of patriarchy
I still see a lot of people who barely understand what it is and a lot of men and women alike who think patriarchy = men being dicks to women which isn’t exactly on the nose. So I will do my best to explain this as simply as I can.
Patriarchy was created when we made patrilineal lineages with the agricultural revolution when humans started accumulating resources/wealth.
Those patrilineal lineages are what made men become dominant because wealth being transferred patrilineally Means women have to achieve wealth through men because they can’t on their own
The elites wanted more men to fight their wars and to serve as manual labor. More manual laborers than there are jobs mean those workers have no bargaining power and can be exploited (welcome to current US capitalist hell).
So women are relegated to reproductive labor (cooking and cleaning, etc) meant to literally “reproduce” the male laborer for his employer. Reproductive labor is essential in order for productive labor (jobs) to exist.
So of course women’s labor is devalued for exploitation but that will be going off rails to another topic
So patriarchies limit women’s economic and reproductive freedoms. This results in MORE babies because women who can’t support themselves must find a male provider. Men who would otherwise never be chosen have a much higher chance because duh. And those men expect reproductive labor and sex
And in comes patriarchal religion to reinforce the status quo. “Be fruitful and multiply” and “submit to your husband” sound waaaay better from god (and conveniently benefit men amiright?) than from some rich asshole saying that it’s getting harder to underpay workers when there’s fewer of them to go around.
And in a relatively short time frame, we got to a population of 8 billion.
You can see incels and the manosphere bitching about the lack of women settling for any loser with a dick and a job. This is exactly true. Women with options are pickier. If a man is not needed then he has to be wanted and no one taught them that because they group up with men being needed and being taught that women are some kind of entitlement.
When they were forced to allow women to work, of course that would mean women wouldn’t need men or to reproduce as much, because they could provide as much as a man so they manipulated shit again
They made it so two incomes were needed. So single motherhood is still a threat to women.
But some women could still achieve independence with the ability to work and own property along with reproductive freedoms being added in
But the wage gaps and unequal pay still disadvantaged enough women that many still would need a male partner. And we had religion, Disney movies, fairy tales, and social pressure all reinforcing that women needed men or that romance and marriage was some ultimate fantasy
Overtime more and more women were willing to leave bad marriages or opt out all together. And birth rates just dropped and the end game capitalism situation where the working class has been bled dry only exacerbated this
So now women’s rights are going away again. They need use desperate and fucking more men. They don’t care if we are married, casual fucking, or raped. Those all result in babies. They don’t even care if we’re fully grown. That was evident with the fact that child marriage is still legal
So yes. Women don’t have near as many kids when reproducing on their own terms.
And our reproductive freedoms only go as far as population goals. We will NEVER actually be allowed to collectively opt out of sex and reproduction. We’d see the handmaids tale come to life before that happens
It’s just another fucked up form of the sexual arms race that occurs in a lot of the animal kingdom except humans are supposed to more evolved than that.
But despite the fact that patriarchy is exploiting and abusing men for their lives and labor, they often won’t acknowledge or fight it because it gives them status over women. As you’ve seen, they hate when women have the choice to reject them. Women who choose careers and to live child free are often berated for a reason
So when you see women saying things like “women are the value” or “we ARE the table” it’s not coming from thin air. Everything is designed to make women more accessible. Women’s biology is weaponized against them because it’s fucking POWERFUL to have all the say in whether someone gets to reproduce or if there even is another generation. It doesn’t mean men aren’t worthy human beings. They’re just not the ones who carry infants nor can their biology be exploited in the same way.
Patriarchy is NOT the natural order. It didn’t exist before the agricultural revolution. Paternity didn’t even always matter because again there weren’t always patrilineal lineages. Some cultures even had elders providing childcare while both men and women hunted. The “traditional family unit” is a product of patriarchy.
submitted by Gerudo-Nabooru to TwoXChromosomes [link] [comments]
Patriarchy was created when we made patrilineal lineages with the agricultural revolution when humans started accumulating resources/wealth.
Those patrilineal lineages are what made men become dominant because wealth being transferred patrilineally Means women have to achieve wealth through men because they can’t on their own
The elites wanted more men to fight their wars and to serve as manual labor. More manual laborers than there are jobs mean those workers have no bargaining power and can be exploited (welcome to current US capitalist hell).
So women are relegated to reproductive labor (cooking and cleaning, etc) meant to literally “reproduce” the male laborer for his employer. Reproductive labor is essential in order for productive labor (jobs) to exist.
So of course women’s labor is devalued for exploitation but that will be going off rails to another topic
So patriarchies limit women’s economic and reproductive freedoms. This results in MORE babies because women who can’t support themselves must find a male provider. Men who would otherwise never be chosen have a much higher chance because duh. And those men expect reproductive labor and sex
And in comes patriarchal religion to reinforce the status quo. “Be fruitful and multiply” and “submit to your husband” sound waaaay better from god (and conveniently benefit men amiright?) than from some rich asshole saying that it’s getting harder to underpay workers when there’s fewer of them to go around.
And in a relatively short time frame, we got to a population of 8 billion.
You can see incels and the manosphere bitching about the lack of women settling for any loser with a dick and a job. This is exactly true. Women with options are pickier. If a man is not needed then he has to be wanted and no one taught them that because they group up with men being needed and being taught that women are some kind of entitlement.
When they were forced to allow women to work, of course that would mean women wouldn’t need men or to reproduce as much, because they could provide as much as a man so they manipulated shit again
They made it so two incomes were needed. So single motherhood is still a threat to women.
But some women could still achieve independence with the ability to work and own property along with reproductive freedoms being added in
But the wage gaps and unequal pay still disadvantaged enough women that many still would need a male partner. And we had religion, Disney movies, fairy tales, and social pressure all reinforcing that women needed men or that romance and marriage was some ultimate fantasy
Overtime more and more women were willing to leave bad marriages or opt out all together. And birth rates just dropped and the end game capitalism situation where the working class has been bled dry only exacerbated this
So now women’s rights are going away again. They need use desperate and fucking more men. They don’t care if we are married, casual fucking, or raped. Those all result in babies. They don’t even care if we’re fully grown. That was evident with the fact that child marriage is still legal
So yes. Women don’t have near as many kids when reproducing on their own terms.
And our reproductive freedoms only go as far as population goals. We will NEVER actually be allowed to collectively opt out of sex and reproduction. We’d see the handmaids tale come to life before that happens
It’s just another fucked up form of the sexual arms race that occurs in a lot of the animal kingdom except humans are supposed to more evolved than that.
But despite the fact that patriarchy is exploiting and abusing men for their lives and labor, they often won’t acknowledge or fight it because it gives them status over women. As you’ve seen, they hate when women have the choice to reject them. Women who choose careers and to live child free are often berated for a reason
So when you see women saying things like “women are the value” or “we ARE the table” it’s not coming from thin air. Everything is designed to make women more accessible. Women’s biology is weaponized against them because it’s fucking POWERFUL to have all the say in whether someone gets to reproduce or if there even is another generation. It doesn’t mean men aren’t worthy human beings. They’re just not the ones who carry infants nor can their biology be exploited in the same way.
Patriarchy is NOT the natural order. It didn’t exist before the agricultural revolution. Paternity didn’t even always matter because again there weren’t always patrilineal lineages. Some cultures even had elders providing childcare while both men and women hunted. The “traditional family unit” is a product of patriarchy.
2024.05.29 02:22 Kodabear2002 1x1 [FxM(looking for M)]
Hello honeybees! I’m Koda and I am 22 years old, and I’m an Aquarius. I’m kinda weird and silly, but cooler than any cucumber you’ve ever met. Just as a heads up typically play females. I had to take a heavy step back for my own mental well being, but, want to come back. Please be patient with me, I am still struggling but want to make new friends to boost my mental health and be there for others too.
I am currently eagerly looking for someone that would be interested in a Hallmark Christmas Movie cliche, that would turn into a long term role play. I am also loving the idea of a person completely starting from scratch, like a phoenix rising from the ashes
I started roleplaying when I was around 13. I typically will match the amount of writing as you, and detail work. I enjoy doing doubles too, so then everyone gets someone but mostly prefer singles. I have a couple of my own made characters and quick to think of plots and can be quick to writing beautiful starters. Would prefer romantic plot lines, a medium burn, kinda want it to play out like a fairy tale depending on the characters played. (MUST BE 18+) Slice of life, is a number one favorite. I also enjoy the tropes of blind date, baker meets man from service/farmer that supplies her bakery, ranch hands fall in love, but maybe i might just need a new one to write up. I also have a new mafia plot if you’re interested in it.
I personally am all about the more cliche romance it is, the more fun it is. When the characters acknowledge that it’s cliche is hilarious. I don’t mind if it’s first or third person, I don’t got a lot of griefs. I think that third person works just fine, but if you’d rather use 1st person that works too just let me know ahead of time.
Btw I am encouraged more with in depth writing if you provide detail as well. I think the more description the better. Down below are people that I can write for, and have fancy for.
Markiplier Jacksepticeye VanossGaming Disney Characters OC’s ( I have a few of my own)
TV SHOWS stranger things owl house steven universe Bee and puppycat Disenchantment Carol and the end of the World
Message me if your interested DMS are always open! just send me a friend request and let’s chat :3
submitted by Kodabear2002 to Roleplay [link] [comments]
I am currently eagerly looking for someone that would be interested in a Hallmark Christmas Movie cliche, that would turn into a long term role play. I am also loving the idea of a person completely starting from scratch, like a phoenix rising from the ashes
I started roleplaying when I was around 13. I typically will match the amount of writing as you, and detail work. I enjoy doing doubles too, so then everyone gets someone but mostly prefer singles. I have a couple of my own made characters and quick to think of plots and can be quick to writing beautiful starters. Would prefer romantic plot lines, a medium burn, kinda want it to play out like a fairy tale depending on the characters played. (MUST BE 18+) Slice of life, is a number one favorite. I also enjoy the tropes of blind date, baker meets man from service/farmer that supplies her bakery, ranch hands fall in love, but maybe i might just need a new one to write up. I also have a new mafia plot if you’re interested in it.
I personally am all about the more cliche romance it is, the more fun it is. When the characters acknowledge that it’s cliche is hilarious. I don’t mind if it’s first or third person, I don’t got a lot of griefs. I think that third person works just fine, but if you’d rather use 1st person that works too just let me know ahead of time.
Btw I am encouraged more with in depth writing if you provide detail as well. I think the more description the better. Down below are people that I can write for, and have fancy for.
Markiplier Jacksepticeye VanossGaming Disney Characters OC’s ( I have a few of my own)
TV SHOWS stranger things owl house steven universe Bee and puppycat Disenchantment Carol and the end of the World
Message me if your interested DMS are always open! just send me a friend request and let’s chat :3
2024.05.29 01:49 ShannonsParade Added 7 more to my collection today.
 | submitted by ShannonsParade to stephenking [link] [comments] |
2024.05.29 00:56 Salt-Adhesiveness498 My sister used a coordinator in Orlando who was awful.
My sister got married 4/1 at Disney World. She hired an outside company to come in and be her planneday of coordinator. When it came to the day of the wedding the coordinator disappeared for about 3-4 hours before the ceremony. She arrived after I did at the pavillion and did a quick introduction. She then said make sure you come back after walking grandma down the aisle, which I was already aware of since I was also walking my mom down the aisle.
The wedding begins and I walk my grandma down. I return to walk my mom down and as my mom and I are entering the aisle she repeats dont forget you have to come back here when your done. Both my mom and I were confused and asked why but we were already moving and not trying to stop my sisters wedding. So I return after walking my mom down the aisle. I ask why i was supposed to be her when id been told per my sister the bride and my mom I was just supposed to walk 2 people down the aisle. This is when I was informed that the coordinator had made a fhange without alerting my sister or mom. i was now suppowed to help bring the rings down the aisle...which meant i had to sit behind closed doors and miss my own sisters wedding.
I missed out on everything except the I do's and was furious. However I am containing my rage because it is my sisters wedding day. So I head over to the reception hall with my parents and girlfriend. When we get there over half the decor had not been touched or set up. Even tho lugh my sister had paid extra for someone to specifically get it all set up. So my family my girlfriend and I all jump in to help finish setting up. The coordinator yells at us saying we cannot be in the room and doing all this. Stating Disney does not allow this, even though none of the disney staffed has said a thing.
So my dad, girlfriend, and I all leave the room but my mom stays behind to help. Shes working on stuffing gift bags when she is yelled at again by the coordinator that she cannot be in the room. My girlfriend and I are down the hall from the room and can here all this clearly. My mother comes out flustered and ranting about how nothing is going to be finished in time. By the time the doors opened for the reception all that was up was a photo op station, a table for messages for the bride and groom, some gift bags and a few centerpieces. My sister had about $300 dollars worth of decor unused.
We all sit down and enjoy dinner. After dinner my parents are asking the coordinator why none of her people are working the photo area which they were hired to work. Apparently none of them knew how to work a poloroid and assumed it was broken when nothing but white pictures were printed. Instead of doing that or planning the rest of the evening the coordinator and her team were taking photos of themselves or dancing the night away on the dance floor. Then about half an hour before we all were supposed to go to a show at epcot, she walks up to me and says you know you have another job tonight. You have to bring the cake and the decorations to your sisters room. I just reply how am I supposed to do that with no car, no room key and I wasnt the one hired for that task. She did not seem to like that answer and stormed off. I mentioned that interaction with my parents who were also annoyed with her because that was specifically in the contract as an extra cost item.
So the night ends. She brings the cake to my sisters room, but forgets to leave all the used and unused decor. So my parents the day after are calling and trying to find out what happened to the rest of their stuff. Apparently she had left it in someone elses car and never took it out. So my parents arranged to have it dropped off. When it was dropped off all of my sisters decor was there, but so was another events decor.
It has been a few weeks of emails and calls back and forth. Not only has this company yet to even apologize for any of this, but the have instead called all of these issues "trivial and not real issues". The only offer of a solution was $150 dollars and a $50 discount of a trip planned with her through her other business.
If anyone is looking to hire a coordinator i highly recommend avoiding any company in florida with fairy tales in the name. Especially if Michelle is the coordinator.
submitted by Salt-Adhesiveness498 to weddingplanning [link] [comments]
The wedding begins and I walk my grandma down. I return to walk my mom down and as my mom and I are entering the aisle she repeats dont forget you have to come back here when your done. Both my mom and I were confused and asked why but we were already moving and not trying to stop my sisters wedding. So I return after walking my mom down the aisle. I ask why i was supposed to be her when id been told per my sister the bride and my mom I was just supposed to walk 2 people down the aisle. This is when I was informed that the coordinator had made a fhange without alerting my sister or mom. i was now suppowed to help bring the rings down the aisle...which meant i had to sit behind closed doors and miss my own sisters wedding.
I missed out on everything except the I do's and was furious. However I am containing my rage because it is my sisters wedding day. So I head over to the reception hall with my parents and girlfriend. When we get there over half the decor had not been touched or set up. Even tho lugh my sister had paid extra for someone to specifically get it all set up. So my family my girlfriend and I all jump in to help finish setting up. The coordinator yells at us saying we cannot be in the room and doing all this. Stating Disney does not allow this, even though none of the disney staffed has said a thing.
So my dad, girlfriend, and I all leave the room but my mom stays behind to help. Shes working on stuffing gift bags when she is yelled at again by the coordinator that she cannot be in the room. My girlfriend and I are down the hall from the room and can here all this clearly. My mother comes out flustered and ranting about how nothing is going to be finished in time. By the time the doors opened for the reception all that was up was a photo op station, a table for messages for the bride and groom, some gift bags and a few centerpieces. My sister had about $300 dollars worth of decor unused.
We all sit down and enjoy dinner. After dinner my parents are asking the coordinator why none of her people are working the photo area which they were hired to work. Apparently none of them knew how to work a poloroid and assumed it was broken when nothing but white pictures were printed. Instead of doing that or planning the rest of the evening the coordinator and her team were taking photos of themselves or dancing the night away on the dance floor. Then about half an hour before we all were supposed to go to a show at epcot, she walks up to me and says you know you have another job tonight. You have to bring the cake and the decorations to your sisters room. I just reply how am I supposed to do that with no car, no room key and I wasnt the one hired for that task. She did not seem to like that answer and stormed off. I mentioned that interaction with my parents who were also annoyed with her because that was specifically in the contract as an extra cost item.
So the night ends. She brings the cake to my sisters room, but forgets to leave all the used and unused decor. So my parents the day after are calling and trying to find out what happened to the rest of their stuff. Apparently she had left it in someone elses car and never took it out. So my parents arranged to have it dropped off. When it was dropped off all of my sisters decor was there, but so was another events decor.
It has been a few weeks of emails and calls back and forth. Not only has this company yet to even apologize for any of this, but the have instead called all of these issues "trivial and not real issues". The only offer of a solution was $150 dollars and a $50 discount of a trip planned with her through her other business.
If anyone is looking to hire a coordinator i highly recommend avoiding any company in florida with fairy tales in the name. Especially if Michelle is the coordinator.
2024.05.29 00:47 _Triple_ [STORE] 900+ KNIVES/GLOVES/SKINS, 100.000$+ INVENTORY. BFK Lore, Gloves Amphibious, Skeleton Fade, Bowie Emerald, BFK Auto, Gloves MF, Talon Doppler, Gloves POW, Bayo Tiger, Gut Sapphire, Stiletto MF, M9 Ultra, Ursus Doppler, Flip Doppler, M9 Stained, Nomad CW, Paracord CW, AK-47 X-Ray & A Lot More
Everything in my inventory is up for trade. The most valuable items are listed here, the rest you can find in My Inventory
Feel free to Add Me or even better send a Trade Offer. Open for any suggestions: upgrades, downgrades / knives, gloves, skins / stickers, patterns, floats.
All Buyouts are listed in cash value.
KNIVES
★ Butterfly Knife Lore (Factory New), B/O: $7194.77
★ Butterfly Knife Autotronic (Minimal Wear), B/O: $2025.74
⎯★ M9 Bayonet Ultraviolet (Field-Tested), B/O: $557.87
★ M9 Bayonet Stained (Well-Worn), B/O: $529.41
★ M9 Bayonet Boreal Forest (Field-Tested), B/O: $465.39
⎯★ Talon Knife Doppler (Factory New), B/O: $1295.27
★ Bayonet Tiger Tooth (Minimal Wear), B/O: $746.28
★ Karambit Bright Water (Field-Tested), B/O: $688.15
⎯★ Flip Knife Doppler (Factory New), B/O: $547.93
★ Flip Knife Autotronic (Minimal Wear), B/O: $476.69
★ Flip Knife Case Hardened (Battle-Scarred), B/O: $278.18
★ Flip Knife Black Laminate (Well-Worn), B/O: $258.83
★ Flip Knife Urban Masked (Field-Tested), B/O: $181.64
⎯★ Stiletto Knife Marble Fade (Factory New), B/O: $686.04
★ Stiletto Knife Doppler (Factory New), B/O: $665.41
★ Stiletto Knife, B/O: $601.39
★ Stiletto Knife Crimson Web (Field-Tested), B/O: $418.25
★ Stiletto Knife Night Stripe (Field-Tested), B/O: $227.80
★ Stiletto Knife Boreal Forest (Field-Tested), B/O: $194.96
★ Stiletto Knife Safari Mesh (Field-Tested), B/O: $192.79
⎯★ Nomad Knife Crimson Web (Field-Tested), B/O: $518.11
★ Nomad Knife Scorched (Field-Tested), B/O: $169.78
★ Nomad Knife Forest DDPAT (Battle-Scarred), B/O: $166.88
★ StatTrak™ Nomad Knife Blue Steel (Field-Tested), B/O: $335.79
⎯★ Skeleton Knife Stained (Well-Worn), B/O: $442.05
★ Skeleton Knife Urban Masked (Minimal Wear), B/O: $426.24
★ Skeleton Knife Boreal Forest (Field-Tested), B/O: $314.03
★ StatTrak™ Skeleton Knife Fade (Minimal Wear), B/O: $2361.28
★ StatTrak™ Skeleton Knife Urban Masked (Field-Tested), B/O: $376.53
⎯★ Ursus Knife Doppler (Factory New), B/O: $557.12
★ Ursus Knife, B/O: $471.42
★ Ursus Knife Blue Steel (Minimal Wear), B/O: $212.37
★ Ursus Knife Case Hardened (Battle-Scarred), B/O: $187.66
★ Ursus Knife Damascus Steel (Field-Tested), B/O: $178.18
★ Ursus Knife Ultraviolet (Battle-Scarred), B/O: $155.13
★ Ursus Knife Boreal Forest (Battle-Scarred), B/O: $124.26
⎯★ Huntsman Knife Black Laminate (Minimal Wear), B/O: $204.83
★ Huntsman Knife Black Laminate (Field-Tested), B/O: $184.50
★ StatTrak™ Huntsman Knife Lore (Battle-Scarred), B/O: $224.11
⎯★ Bowie Knife Gamma Doppler (Factory New), B/O: $2142.02
★ Bowie Knife, B/O: $230.44
★ Bowie Knife Damascus Steel (Factory New), B/O: $209.20
★ Bowie Knife Ultraviolet (Minimal Wear), B/O: $180.51
★ Bowie Knife Ultraviolet (Field-Tested), B/O: $131.03
⎯★ Falchion Knife Night (Field-Tested), B/O: $132.54
★ Falchion Knife Urban Masked (Well-Worn), B/O: $112.81
★ Falchion Knife Scorched (Field-Tested), B/O: $108.81
★ Falchion Knife Forest DDPAT (Field-Tested), B/O: $107.82
★ Falchion Knife Safari Mesh (Field-Tested), B/O: $107.46
★ StatTrak™ Falchion Knife Ultraviolet (Field-Tested), B/O: $143.08
⎯★ Paracord Knife Crimson Web (Minimal Wear), B/O: $486.48
★ Paracord Knife Blue Steel (Battle-Scarred), B/O: $163.12
⎯★ Survival Knife Blue Steel (Battle-Scarred), B/O: $138.26
★ Survival Knife Night Stripe (Field-Tested), B/O: $131.03
⎯★ Gut Knife Sapphire (Minimal Wear), B/O: $1127.79
★ Gut Knife Gamma Doppler (Factory New), B/O: $286.17
★ Gut Knife Doppler (Factory New), B/O: $246.55
★ Gut Knife Marble Fade (Factory New), B/O: $240.77
★ Gut Knife, B/O: $210.49
★ Gut Knife Lore (Field-Tested), B/O: $194.22
★ Gut Knife Case Hardened (Battle-Scarred), B/O: $151.51
★ Gut Knife Blue Steel (Minimal Wear), B/O: $124.94
★ Gut Knife Rust Coat (Well-Worn), B/O: $118.99
★ Gut Knife Boreal Forest (Minimal Wear), B/O: $109.80
★ StatTrak™ Gut Knife Doppler (Factory New), B/O: $237.96
⎯★ Shadow Daggers Gamma Doppler (Factory New), B/O: $264.92
★ Shadow Daggers Marble Fade (Factory New), B/O: $253.03
★ Shadow Daggers Tiger Tooth (Factory New), B/O: $237.22
★ Shadow Daggers Crimson Web (Field-Tested), B/O: $153.40
★ Shadow Daggers Autotronic (Minimal Wear), B/O: $144.42
★ Shadow Daggers Blue Steel (Field-Tested), B/O: $105.20
★ StatTrak™ Shadow Daggers Damascus Steel (Minimal Wear), B/O: $150.46
⎯★ Navaja Knife Fade (Factory New), B/O: $365.99
★ Navaja Knife Doppler (Factory New), B/O: $228.93
★ Navaja Knife Marble Fade (Factory New), B/O: $227.43
★ Navaja Knife Slaughter (Factory New), B/O: $209.06
★ Navaja Knife, B/O: $203.16
★ Navaja Knife Case Hardened (Well-Worn), B/O: $132.57
★ Navaja Knife Damascus Steel (Factory New), B/O: $121.69
★ Navaja Knife Damascus Steel (Minimal Wear), B/O: $109.95
★ Navaja Knife Damascus Steel (Field-Tested), B/O: $100.41
★ StatTrak™ Navaja Knife Fade (Factory New), B/O: $369.01
★ StatTrak™ Navaja Knife Damascus Steel (Field-Tested), B/O: $109.95
GLOVES
★ Sport Gloves Amphibious (Minimal Wear), B/O: $2394.67
★ Sport Gloves Omega (Well-Worn), B/O: $572.33
★ Sport Gloves Bronze Morph (Minimal Wear), B/O: $338.88
★ Sport Gloves Big Game (Field-Tested), B/O: $323.66
⎯★ Specialist Gloves Marble Fade (Minimal Wear), B/O: $1652.07
★ Specialist Gloves Tiger Strike (Field-Tested), B/O: $599.14
★ Specialist Gloves Crimson Web (Well-Worn), B/O: $231.57
★ Specialist Gloves Buckshot (Minimal Wear), B/O: $126.21
⎯★ Moto Gloves POW! (Minimal Wear), B/O: $996.99
★ Moto Gloves POW! (Field-Tested), B/O: $383.31
★ Moto Gloves POW! (Well-Worn), B/O: $276.00
★ Moto Gloves Turtle (Field-Tested), B/O: $180.28
⎯★ Hand Wraps CAUTION! (Minimal Wear), B/O: $502.29
★ Hand Wraps Giraffe (Minimal Wear), B/O: $180.73
★ Hand Wraps CAUTION! (Battle-Scarred), B/O: $178.32
⎯★ Driver Gloves Queen Jaguar (Minimal Wear), B/O: $181.01
★ Driver Gloves Rezan the Red (Field-Tested), B/O: $101.66
⎯★ Broken Fang Gloves Jade (Field-Tested), B/O: $127.88
★ Broken Fang Gloves Needle Point (Minimal Wear), B/O: $124.55
⎯★ Bloodhound Gloves Guerrilla (Minimal Wear), B/O: $127.94
★ Hydra Gloves Case Hardened (Field-Tested), B/O: $102.55
WEAPONS
AK-47 X-Ray (Well-Worn), B/O: $478.95
AUG Hot Rod (Factory New), B/O: $425.83
StatTrak™ M4A1-S Hyper Beast (Factory New), B/O: $413.95
M4A4 Daybreak (Factory New), B/O: $309.51
StatTrak™ AK-47 Aquamarine Revenge (Factory New), B/O: $305.43
AK-47 Case Hardened (Well-Worn), B/O: $196.38
StatTrak™ M4A4 Temukau (Minimal Wear), B/O: $174.64
P90 Run and Hide (Field-Tested), B/O: $167.03
AWP Asiimov (Field-Tested), B/O: $153.33
Souvenir SSG 08 Death Strike (Minimal Wear), B/O: $140.00
M4A1-S Printstream (Battle-Scarred), B/O: $124.70
StatTrak™ M4A1-S Golden Coil (Field-Tested), B/O: $117.48
AWP Asiimov (Well-Worn), B/O: $115.97
StatTrak™ Desert Eagle Printstream (Minimal Wear), B/O: $112.96
StatTrak™ AK-47 Asiimov (Minimal Wear), B/O: $110.85
Souvenir M4A1-S Master Piece (Well-Worn), B/O: $102.42
AK-47 Bloodsport (Minimal Wear), B/O: $100.53
Trade Offer Link - Steam Profile Link - My Inventory
Some items on the list may no longer be available or are still locked, visit My Inventory for more details.
Send a Trade Offer for fastest response. I consider all offers.
Add me for discuss if there is a serious offer that needs to be discussed.
2024.05.29 00:29 Klutzy_Parfait_1527 Shrek Theory: Far Far Away Is Next Door to Astro Boy (2009)'s Metro City
Hi, this is a theory about the Shrek franchise that ties into the 1st movie and musical it was based off. Pinocchio gets fed up with being a fairy tale creature, and leaves the swamp offscreen/offstage to walk to Metro City, the home of Astro Boy, his cousin. Astro Boy is the cousin of all other Pinocchio titular characters in general, too. He needs a confidence boost from him, and how does he walk so easily from the swamp to that city? In the 2009 Astro Boy movie, the Shrek franchise is referenced twice; first, one of the characters, Hamegg says "Once upon a time", which is a general way fairy tales start, except for Pinocchio's story, further making Pinocchio stand out, and Dr. Tenma later tells Astro they need to get someplace "far away", just without the extra 'far'. And Metro City, once in the sky, goes down to the surface, as in the ground, and becomes Far Far Away's neighbor, just past Duloc. In both the 1st Shrek movie and the musical, Pinocchio hangs out here offscreen/offstage with Astro Boy. After the events of both these things, after Duloc became deserted, he and the other fairy tale creatures move to Far Far Away, so Pinocchio could live even closer to his cousin. I hope this gets confirmed in Shrek 5.
submitted by Klutzy_Parfait_1527 to u/Klutzy_Parfait_1527 [link] [comments]
2024.05.29 00:12 Puzzleheaded-Gap-193 Red flags!
Thats a very sad part of being in love.. our eyes get blinded by our own infatuation for them.. love for them.. what others can see we usually wants to miss at some subsconscious level.. we know that if we dig into things we ll get dissappointed that the other person doesnt love us as much as we do.. so all the way long in relationship we use to blindfold our ownself .. so that the pink bubble of love doesnt get burst out.. all the red flags indicating that the other person is just playing around and not at all in love or something deep.. we just ignore them.. and focuses on the good parts of relationship which is a boon when your partner is a right person for you.. but it ends up very disappointing with the wrong person… where when breakup happens then our eyes gets open.. then on clubbing all the chains in past all the hints of red flags of past .. we come to conscious level.. our pink bubble gets burst and reality hits very hard at stomach at such point.. very hard to swallow it becomes that how fool of us that we were not even seeing the clear things which was not even needed to put more brains into.. we were in our own world where things were so smooth so fairy tale like.. uff life is so harsh sometimes.. and this chemical brain plays so many games with us.. defeat at our own level where these chemicals stops us to see the true reality of the relationship! Beware fellas.. love is not something which is served at everyones plates so easily..
submitted by Puzzleheaded-Gap-193 to BreakUp [link] [comments]
2024.05.29 00:12 Puzzleheaded-Gap-193 Red flags!pink bubble
Thats a very sad part of being in love.. our eyes get blinded by our own infatuation for them.. love for them.. what others can see we usually wants to miss at some subsconscious level.. we know that if we dig into things we ll get dissappointed that the other person doesnt love us as much as we do.. so all the way long in relationship we use to blindfold our ownself .. so that the pink bubble of love doesnt get burst out.. all the red flags indicating that the other person is just playing around and not at all in love or something deep.. we just ignore them.. and focuses on the good parts of relationship which is a boon when your partner is a right person for you.. but it ends up very disappointing with the wrong person… where when breakup happens then our eyes gets open.. then on clubbing all the chains in past all the hints of red flags of past .. we come to conscious level.. our pink bubble gets burst and reality hits very hard at stomach at such point.. very hard to swallow it becomes that how fool of us that we were not even seeing the clear things which was not even needed to put more brains into.. we were in our own world where things were so smooth so fairy tale like.. uff life is so harsh sometimes.. and this chemical brain plays so many games with us.. defeat at our own level where these chemicals stops us to see the true reality of the relationship! Beware fellas.. love is not something which is served at everyones plates so easily..
submitted by Puzzleheaded-Gap-193 to confessions [link] [comments]
2024.05.29 00:11 Puzzleheaded-Gap-193 Red flags we always use to miss in love..
Thats a very sad part of being in love.. our eyes get blinded by our own infatuation for them.. love for them.. what others can see we usually wants to miss at some subsconscious level.. we know that if we dig into things we ll get dissappointed that the other person doesnt love us as much as we do.. so all the way long in relationship we use to blindfold our ownself .. so that the pink bubble of love doesnt get burst out.. all the red flags indicating that the other person is just playing around and not at all in love or something deep.. we just ignore them.. and focuses on the good parts of relationship which is a boon when your partner is a right person for you.. but it ends up very disappointing with the wrong person… where when breakup happens then our eyes gets open.. then on clubbing all the chains in past all the hints of red flags of past .. we come to conscious level.. our pink bubble gets burst and reality hits very hard at stomach at such point.. very hard to swallow it becomes that how fool of us that we were not even seeing the clear things which was not even needed to put more brains into.. we were in our own world where things were so smooth so fairy tale like.. uff life is so harsh sometimes.. and this chemical brain plays so many games with us.. defeat at our own level where these chemicals stops us to see the true reality of the relationship! Beware fellas.. love is not something which is served at everyones plates so easily..
submitted by Puzzleheaded-Gap-193 to ExNoContact [link] [comments]
2024.05.29 00:07 deblunked Warwick Goble - Green Willow and other Japanese fairy tales Pl.09 (1910)
 | submitted by deblunked to MysticalArts [link] [comments] |
2024.05.29 00:03 Miserable_Feather Afraid of being miserable in the future and in a job - while being miserable.
I am truly afraid of being miserable in the future, in particular in a job. I fear to do a job in which I would be miserable and when I scroll trough the job options available to me that is the only way I can imagine myself, being miserable in whatever that job is. This results in me trying to find an answer, trying to find a way in which I would not be unhappy. Ironically this keeps me busy way longer than a miserable job would do. I'm quite literally spending all my waking hours to find an answer either externally or in a document basically writing every thought out and having a conversation with my thoughts.
I am afraid of being miserable in the future and in a job I don't have true passion for. But the ironic thing is that I actually am already miserable as is, right here with my current status of being (being miserable, no prospects of owning a house still living with my parents, no job, no income, no social connections, no social skills, mild social anxiety, insecure, ashamed of myself and my life, I'm not having contact with woman also because of shame, poor family relationships could also be because of me because I'm ashamed to talk about myself and my life, I'm quite worried of the years that have already past without me experiencing anything really, my mental health is probably also not really good which is logical considering what if have listed already I assume, I'm spending all my hours on trying to find a solution, not pursuing hobbies or creative endeavors).
So I'm still trying to find an answer. Is it just so that life is suffering? Is it not better for me to miserable in a job that just being miserable in my current being? For at least that provides an income. Is that the story I need to tell myself, I don't know, it is still sounds kind of bleak.
Is it a mindset thing? Should I somehow change my mindset and suddenly find joy in a job that I don't actually like? Or would I just be selling myself a lie?
Is it just a part of life to do something you don't like for 8 hours a day? Am I somehow caught up in believing in a fairy tale that doesn't exist? Do I still belief I could become an a prince or astronaut or a professional soccer player?
I know I'm living a miserable life. So? Is then the only thing I can do to try and reduce my suffering? Or accept it and live miserable for the coming years until I break?
I'm just getting a foggy mind for I know I'm living a miserable life now. But I also imagine a miserable life in the future, for I cannot imagine myself being happy in any of the jobs available to me.
submitted by Miserable_Feather to selfimprovement [link] [comments]
I am afraid of being miserable in the future and in a job I don't have true passion for. But the ironic thing is that I actually am already miserable as is, right here with my current status of being (being miserable, no prospects of owning a house still living with my parents, no job, no income, no social connections, no social skills, mild social anxiety, insecure, ashamed of myself and my life, I'm not having contact with woman also because of shame, poor family relationships could also be because of me because I'm ashamed to talk about myself and my life, I'm quite worried of the years that have already past without me experiencing anything really, my mental health is probably also not really good which is logical considering what if have listed already I assume, I'm spending all my hours on trying to find a solution, not pursuing hobbies or creative endeavors).
So I'm still trying to find an answer. Is it just so that life is suffering? Is it not better for me to miserable in a job that just being miserable in my current being? For at least that provides an income. Is that the story I need to tell myself, I don't know, it is still sounds kind of bleak.
Is it a mindset thing? Should I somehow change my mindset and suddenly find joy in a job that I don't actually like? Or would I just be selling myself a lie?
Is it just a part of life to do something you don't like for 8 hours a day? Am I somehow caught up in believing in a fairy tale that doesn't exist? Do I still belief I could become an a prince or astronaut or a professional soccer player?
I know I'm living a miserable life. So? Is then the only thing I can do to try and reduce my suffering? Or accept it and live miserable for the coming years until I break?
I'm just getting a foggy mind for I know I'm living a miserable life now. But I also imagine a miserable life in the future, for I cannot imagine myself being happy in any of the jobs available to me.