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taking two bbcs at the same time and loving every moment #anal #bbc #blacked #analporn #spitroast #threesome #whitegirl #snowbunny #analsex #doggy #bj #blowjob #head #oral #bigdick #gangbang #analdoggy #doggyanal #backshots

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15,613 görüntüleme • 3 ay önce •via X (Twitter)

NSFW#anal#bbc#blacked#analporn#spitroast#threesome#whitegirl#snowbunny#analsex#doggy#bj#blowjob#head#oral#bigdick#gangbang#analdoggy#doggyanal#backshots
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Tonight I met former hostage Moran Stella Yanai. Moran wants this story to be told and shared... She was taken by 13 TERRORlSTS from the Nova Festival. She endured 54 days of torture and captivity. "How did you get through every second, every minute, every day?" I asked. "Faith and purpose," she said. "I spent my time getting through moments." Moran gave herself purpose. She made it her mission to look out for the two women in captivity with her. Most of the "fire" in the room was directed at her. She'd have a gun held to her head one moment. Play cards with the captor the next. She made it her mission to gather information from Hamas. Everything she did in captivity was strategic. Moran made it her mission to keep her mind, her spirit, her imagination. From time to time, she'd hear a blip on Israeli radio. She found signs and symbols in those seconds. She lost 50% of her hearing. Came back covered in lice, sores, and filled with infections. Broken bones. "The physical problems are nothing. It's all mental." She says she lives with a feeling that it's possible to be taken hostage again. Because it happened before. But the thing Moran said most is, "I won." She did. And she continues to win every day. "I'm a better person now." And that question I asked Moran at the start? That's the same question I ask every Holocaust survivor. I didn't tell her that. But within the first sentence of answering, she used the word Holocaust in referring to her experience. I've hugged many Holocaust survivors. It always gives me such an indescribable feeling of comfort and resilience. And when I hugged Moran goodbye, I got that same feeling again.🎗️
4:44

Tonight I met former hostage Moran Stella Yanai. Moran wants this story to be told and shared... She was taken by 13 TERRORlSTS from the Nova Festival. She endured 54 days of torture and captivity. "How did you get through every second, every minute, every day?" I asked. "Faith and purpose," she said. "I spent my time getting through moments." Moran gave herself purpose. She made it her mission to look out for the two women in captivity with her. Most of the "fire" in the room was directed at her. She'd have a gun held to her head one moment. Play cards with the captor the next. She made it her mission to gather information from Hamas. Everything she did in captivity was strategic. Moran made it her mission to keep her mind, her spirit, her imagination. From time to time, she'd hear a blip on Israeli radio. She found signs and symbols in those seconds. She lost 50% of her hearing. Came back covered in lice, sores, and filled with infections. Broken bones. "The physical problems are nothing. It's all mental." She says she lives with a feeling that it's possible to be taken hostage again. Because it happened before. But the thing Moran said most is, "I won." She did. And she continues to win every day. "I'm a better person now." And that question I asked Moran at the start? That's the same question I ask every Holocaust survivor. I didn't tell her that. But within the first sentence of answering, she used the word Holocaust in referring to her experience. I've hugged many Holocaust survivors. It always gives me such an indescribable feeling of comfort and resilience. And when I hugged Moran goodbye, I got that same feeling again.🎗️

dahlia kurtz ✡︎ דליה קורץ

64,974 görüntüleme • 1 yıl önce

『SmartBoom · Auralis 100-Days celebration · SO Bangkok Led Screen support Live Action Shoot』 From the massive 100-meter screen at CW to the 15 screens in the EM District, from the 112 MRT subway screens to the two giant ones at SO Bangkok—Auralis has been glowing brightly with SmartBoom for a full 100 wonderful days! ✨ Our dear Best JieJie has always held a warm and steady dream: to let SmartBoom’s light shine on every special screen in Bangkok. That’s why each new fan support might appear on a different spot—we may not always get to snap photos right away, but every time it lights up, it’s our loving way of spreading this joy all over the city. As long as SmartBoom sparkles anywhere in Bangkok, that simple moment feels truly magical and romantic. And with each new screen, there’s a fresh opportunity—for someone passing by to notice, stop for a second, feel touched, and fall in love. That’s our deepest, most heartfelt hope. The three of us are working hard in our own gentle ways, loving and trusting each other, taking one step at a time toward a brighter future —— hand in hand. 🩵 📍 SO BKK: 2 N Sathon Rd, Si Lom, Bang Rak, Bangkok ‼️ Best spot: One Bangkok ⏰ Sep 1–3, 06:00–24:00 🔄 30 sec/108 plays #SmartBoom #Auralis #BXXMRVW #smartchisanupong บอ อู มอ บูมบูม🐋✨ Smart Chisanupong
0:31

『SmartBoom · Auralis 100-Days celebration · SO Bangkok Led Screen support Live Action Shoot』 From the massive 100-meter screen at CW to the 15 screens in the EM District, from the 112 MRT subway screens to the two giant ones at SO Bangkok—Auralis has been glowing brightly with SmartBoom for a full 100 wonderful days! ✨ Our dear Best JieJie has always held a warm and steady dream: to let SmartBoom’s light shine on every special screen in Bangkok. That’s why each new fan support might appear on a different spot—we may not always get to snap photos right away, but every time it lights up, it’s our loving way of spreading this joy all over the city. As long as SmartBoom sparkles anywhere in Bangkok, that simple moment feels truly magical and romantic. And with each new screen, there’s a fresh opportunity—for someone passing by to notice, stop for a second, feel touched, and fall in love. That’s our deepest, most heartfelt hope. The three of us are working hard in our own gentle ways, loving and trusting each other, taking one step at a time toward a brighter future —— hand in hand. 🩵 📍 SO BKK: 2 N Sathon Rd, Si Lom, Bang Rak, Bangkok ‼️ Best spot: One Bangkok ⏰ Sep 1–3, 06:00–24:00 🔄 30 sec/108 plays #SmartBoom #Auralis #BXXMRVW #smartchisanupong บอ อู มอ บูมบูม🐋✨ Smart Chisanupong

SmartBoom_Best JieJie

17,682 görüntüleme • 1 yıl önce

Look at the relief on Sweet Momma's face when she sees Martin Miller after hours on a Saturday night. Sweet Momma came to The City of Mobile Animal Services as part of a neglect case along with her two puppies. While her babies grew up and found loving homes, Sweet Momma was left behind. Not a single application. Not one meet and greet. Now this forgotten girl waits alone in her kennel day after day. Every evening, Martin stops by to spend time with her. The moment she sees him, Sweet Momma rushes out, lays her head in his lap, and clings to him with pure relief. It's as if she's saying, "Please don't leave me here." Sweet Momma is just 2 years old, weighs 56 pounds, and is wonderful with dogs, cats, and people. She has so much love to give and deserves a family of her own. Please help us get Sweet Momma out of the shelter and into a home where she will never be forgotten again. 📍 Mobile, Alabama Adoption Application:
1:57

Look at the relief on Sweet Momma's face when she sees Martin Miller after hours on a Saturday night. Sweet Momma came to The City of Mobile Animal Services as part of a neglect case along with her two puppies. While her babies grew up and found loving homes, Sweet Momma was left behind. Not a single application. Not one meet and greet. Now this forgotten girl waits alone in her kennel day after day. Every evening, Martin stops by to spend time with her. The moment she sees him, Sweet Momma rushes out, lays her head in his lap, and clings to him with pure relief. It's as if she's saying, "Please don't leave me here." Sweet Momma is just 2 years old, weighs 56 pounds, and is wonderful with dogs, cats, and people. She has so much love to give and deserves a family of her own. Please help us get Sweet Momma out of the shelter and into a home where she will never be forgotten again. 📍 Mobile, Alabama Adoption Application:

Leisha

74,381 görüntüleme • 2 ay önce

Heat (1995) Dir. Michael Mann Mann on the how he prepared the coffee shop scene. "We did two things: We discussed the scene. Then we did some rehearsals, but I was wary because the entire movie is a dialectic that works backward from its last moment... Both men recognize that their next encounter will mean certain death for one of them. Gaining an edge is why they've chosen to meet. So we read the scene a number of times before shooting—not a lot—just looking at it on the page. I didn't want it memorized. My goal was to get them past the unfamiliarity of it. But of course these two already knew it impeccably. We shot that scene with three cameras, two over-the-shoulders and one profile shot, but I found when editing that every time we cut to the profile, the scene lost its one-on-one intensity. I'll often work with multiple cameras, if they're needed. In this case, I knew ahead of time that Pacino and De Niro were so highly attuned to each other that each take would have its own organic unity. Whatever one said, and the specific way he'd say it, would spark a specific reaction in the other. I needed to shoot in such a way that I could use the same take from both angles. What's in the finished film is almost all of take 11—because that has an entirely different integrity and tonality from takes 10, or 9, or 8. All of this begins and ends with scene analysis. It doesn't matter if it's two people in a room or two opposing forces taking over a street. Action comes from drama, and drama is conflict: What's the conflict?"
6:17

Heat (1995) Dir. Michael Mann Mann on the how he prepared the coffee shop scene. "We did two things: We discussed the scene. Then we did some rehearsals, but I was wary because the entire movie is a dialectic that works backward from its last moment... Both men recognize that their next encounter will mean certain death for one of them. Gaining an edge is why they've chosen to meet. So we read the scene a number of times before shooting—not a lot—just looking at it on the page. I didn't want it memorized. My goal was to get them past the unfamiliarity of it. But of course these two already knew it impeccably. We shot that scene with three cameras, two over-the-shoulders and one profile shot, but I found when editing that every time we cut to the profile, the scene lost its one-on-one intensity. I'll often work with multiple cameras, if they're needed. In this case, I knew ahead of time that Pacino and De Niro were so highly attuned to each other that each take would have its own organic unity. Whatever one said, and the specific way he'd say it, would spark a specific reaction in the other. I needed to shoot in such a way that I could use the same take from both angles. What's in the finished film is almost all of take 11—because that has an entirely different integrity and tonality from takes 10, or 9, or 8. All of this begins and ends with scene analysis. It doesn't matter if it's two people in a room or two opposing forces taking over a street. Action comes from drama, and drama is conflict: What's the conflict?"

Gangster Cinema Central

52,284 görüntüleme • 6 ay önce

A DEVELOPER TAUGHT GIT WITH A BOX OF CHILDREN'S TOYS AND ENGINEERS WITH TEN YEARS IN SAY IT'S THE FIRST TIME THE THING EVER ACTUALLY MADE SENSE 90 minutes, one table, a pile of Tinkertoys. No wall of jargon -- he builds a real Git repo out of plastic rods right in front of you. -> The moment he snaps the first pieces together, Git stops being scary command-line magic and becomes what it really is: a chain of tiny objects pointing at each other. Branches, merges, rebase, the staging area -- every concept that's ever burned you at 2am -- he rebuilds with toys until a four year old could follow. He calls Git a two-trick pony. After this you'll see exactly why. Memorizing commands was never the skill -> holding the graph in your head is. And with an AI agent now committing and rebasing on your machine all day, that mental model is the only thing between you and a history you can't read. Scroll the comments and you'll see the same thing over and over: this is the talk that finally made Git click and made people the one their whole team comes to when it breaks. Bookmark & watch it today. It's the 1.5 hours that pays you back for the rest of your career ↓
1:39:13

A DEVELOPER TAUGHT GIT WITH A BOX OF CHILDREN'S TOYS AND ENGINEERS WITH TEN YEARS IN SAY IT'S THE FIRST TIME THE THING EVER ACTUALLY MADE SENSE 90 minutes, one table, a pile of Tinkertoys. No wall of jargon -- he builds a real Git repo out of plastic rods right in front of you. -> The moment he snaps the first pieces together, Git stops being scary command-line magic and becomes what it really is: a chain of tiny objects pointing at each other. Branches, merges, rebase, the staging area -- every concept that's ever burned you at 2am -- he rebuilds with toys until a four year old could follow. He calls Git a two-trick pony. After this you'll see exactly why. Memorizing commands was never the skill -> holding the graph in your head is. And with an AI agent now committing and rebasing on your machine all day, that mental model is the only thing between you and a history you can't read. Scroll the comments and you'll see the same thing over and over: this is the talk that finally made Git click and made people the one their whole team comes to when it breaks. Bookmark & watch it today. It's the 1.5 hours that pays you back for the rest of your career ↓

slash1s

228,065 görüntüleme • 2 ay önce

NHS DESTROYED THE WOMAN WHO CAUGHT ITS DOCTORS STEALING FROM IT Sharmila Chowdhury sharmila chowdhury gave 30 years of spotless service to the @NHS. Not one disciplinary mark. Not one complaint. She was the budget holder for radiology at Ealing Hospital NHS Trust, which means she could see exactly where the money was going. What she saw was two consultant radiologists billing the NHS for shifts they were spending at a private hospital down the road. The Trust lost £250,000 of public money through those arrangements. She reported it to her line manager. Her medical director. HR. Counter Fraud. The Department of Health. The Treasury. Number 10. She had a paper trail so airtight that ITV undercover surveillance later caught the same consultants still absent during paid hours, and caught Miranda Harvie and Akkib Rafique taking direct cash payments from patients for private ultrasounds inside the NHS building, money going straight into their own account. So what did the Trust do with this documented, camera-confirmed, publicly broadcast fraud? They sacked her. On fabricated counter-allegations from a subordinate she had herself reported for breaching patient safety. The man who filed those allegations later sent an email signed off with "0800-F***-YOU-B****." He received a Top Mentor award from the Trust that same year. Sharmila won the Interim Relief Hearing. She won the internal appeal. The judge asked the Trust to reinstate her. The Trust said no and refused to let her return. She was blacklisted. Job offers were withdrawn the moment employers discovered who she was. She settled out of court in 2012 with two years pay, out of which she had to pay £77,500 in legal fees alone. 38 Degrees38 Degrees In July 2013, she was diagnosed with breast and lung cancer. Multiple consultants believe this is a direct result of the sustained stress of her treatment as a whistleblower. The consultants she reported kept their jobs. George Osborne said he could not get involved. Andrew Lansley said he could not get involved. David Cameron said he could not get involved. Every single official body, every single minister, every single department looked at a proven, camera-documented NHS fraud case and decided it was an employment matter. Read Sharmila's full case: sharmilachowdhury com Sources: Health Select Committee written evidence | Daily Mail | The Independent | BBC News (UK) | Channel 4 | The Guardian | The Times and Sunday Times | The Mirror | Channel 4News | ITV
1:38

NHS DESTROYED THE WOMAN WHO CAUGHT ITS DOCTORS STEALING FROM IT Sharmila Chowdhury sharmila chowdhury gave 30 years of spotless service to the @NHS. Not one disciplinary mark. Not one complaint. She was the budget holder for radiology at Ealing Hospital NHS Trust, which means she could see exactly where the money was going. What she saw was two consultant radiologists billing the NHS for shifts they were spending at a private hospital down the road. The Trust lost £250,000 of public money through those arrangements. She reported it to her line manager. Her medical director. HR. Counter Fraud. The Department of Health. The Treasury. Number 10. She had a paper trail so airtight that ITV undercover surveillance later caught the same consultants still absent during paid hours, and caught Miranda Harvie and Akkib Rafique taking direct cash payments from patients for private ultrasounds inside the NHS building, money going straight into their own account. So what did the Trust do with this documented, camera-confirmed, publicly broadcast fraud? They sacked her. On fabricated counter-allegations from a subordinate she had herself reported for breaching patient safety. The man who filed those allegations later sent an email signed off with "0800-F***-YOU-B****." He received a Top Mentor award from the Trust that same year. Sharmila won the Interim Relief Hearing. She won the internal appeal. The judge asked the Trust to reinstate her. The Trust said no and refused to let her return. She was blacklisted. Job offers were withdrawn the moment employers discovered who she was. She settled out of court in 2012 with two years pay, out of which she had to pay £77,500 in legal fees alone. 38 Degrees38 Degrees In July 2013, she was diagnosed with breast and lung cancer. Multiple consultants believe this is a direct result of the sustained stress of her treatment as a whistleblower. The consultants she reported kept their jobs. George Osborne said he could not get involved. Andrew Lansley said he could not get involved. David Cameron said he could not get involved. Every single official body, every single minister, every single department looked at a proven, camera-documented NHS fraud case and decided it was an employment matter. Read Sharmila's full case: sharmilachowdhury com Sources: Health Select Committee written evidence | Daily Mail | The Independent | BBC News (UK) | Channel 4 | The Guardian | The Times and Sunday Times | The Mirror | Channel 4News | ITV

Artur Nadolny

392,336 görüntüleme • 3 ay önce

Elon Musk plans to solve the hardest problem in artificial intelligence by leaving the planet. Musk: “Within a few years, we will be launching solar powered AI satellites, because space is really the source of immense power, and then you don’t need to take up any room on Earth.” Right now every AI company on Earth is locked in the same fight. Power, land, water, cooling, permits, grid capacity. Building a data center means negotiating with utilities, with municipalities, with infrastructure designed for a world that no longer exists. Musk is not trying to win that fight. He is making it irrelevant. Earth intercepts roughly one two-billionth of the sun’s output. The rest has been pouring into empty space for four and a half billion years. A panel in orbit sees no night, no clouds, no atmosphere. It collects several times what the same panel would on the ground, and it never stops. Musk: “You can scale up to hundreds of terawatts a year.” All of human civilization runs on about 20 terawatts. Every car, every factory, every furnace, every server on the planet. He is describing a supply an order of magnitude larger than everything we have ever built, assembled above our heads, taking up nothing. The energy is not the breakthrough. The energy is the prerequisite. Musk: “What questions do we not know to ask that we should ask? And AI will help us with these things.” We do not need AI to answer faster. We need it to reveal what we are built to miss. We evolved to track threats across open plains. There are questions in physics and biology and mathematics that the human brain cannot form, and the limit is architecture, not intelligence. Every jump in understanding we have ever made arrived with a new instrument. The telescope, the microscope, the spectrograph. AI is the first one aimed at the blind spot itself. Musk: “We may encounter aliens, or we may find many long-dead alien civilizations.” The universe is 13.8 billion years old. Billions of worlds had a head start on ours, measured in eons. The sky is quiet. Civilizations rise, stall, and vanish, and the universe moves on without them. Most people read that as a warning. It is closer to a deadline. Three things let a species outlive its own planet. Intelligence that reaches past human limits. Propulsion that carries life beyond one world. Energy that scales past what a single planet can supply. Every civilization that went silent presumably lacked at least one of them. We are the first to be building all three at once. Musk: “I just want to know what’s going on. I’m curious about the universe. That’s my philosophy.” We are alive at the exact moment the tools caught up to the questions. Curiosity is the engine. Everything else is logistics.
0:55

Elon Musk plans to solve the hardest problem in artificial intelligence by leaving the planet. Musk: “Within a few years, we will be launching solar powered AI satellites, because space is really the source of immense power, and then you don’t need to take up any room on Earth.” Right now every AI company on Earth is locked in the same fight. Power, land, water, cooling, permits, grid capacity. Building a data center means negotiating with utilities, with municipalities, with infrastructure designed for a world that no longer exists. Musk is not trying to win that fight. He is making it irrelevant. Earth intercepts roughly one two-billionth of the sun’s output. The rest has been pouring into empty space for four and a half billion years. A panel in orbit sees no night, no clouds, no atmosphere. It collects several times what the same panel would on the ground, and it never stops. Musk: “You can scale up to hundreds of terawatts a year.” All of human civilization runs on about 20 terawatts. Every car, every factory, every furnace, every server on the planet. He is describing a supply an order of magnitude larger than everything we have ever built, assembled above our heads, taking up nothing. The energy is not the breakthrough. The energy is the prerequisite. Musk: “What questions do we not know to ask that we should ask? And AI will help us with these things.” We do not need AI to answer faster. We need it to reveal what we are built to miss. We evolved to track threats across open plains. There are questions in physics and biology and mathematics that the human brain cannot form, and the limit is architecture, not intelligence. Every jump in understanding we have ever made arrived with a new instrument. The telescope, the microscope, the spectrograph. AI is the first one aimed at the blind spot itself. Musk: “We may encounter aliens, or we may find many long-dead alien civilizations.” The universe is 13.8 billion years old. Billions of worlds had a head start on ours, measured in eons. The sky is quiet. Civilizations rise, stall, and vanish, and the universe moves on without them. Most people read that as a warning. It is closer to a deadline. Three things let a species outlive its own planet. Intelligence that reaches past human limits. Propulsion that carries life beyond one world. Energy that scales past what a single planet can supply. Every civilization that went silent presumably lacked at least one of them. We are the first to be building all three at once. Musk: “I just want to know what’s going on. I’m curious about the universe. That’s my philosophy.” We are alive at the exact moment the tools caught up to the questions. Curiosity is the engine. Everything else is logistics.

Dustin

48,963 görüntüleme • 22 gün önce

When Michelangelo finished this statue, the story goes that he struck it across the knee with his hammer and shouted: "Why don't you speak?" Looking at it, you can see why he expected an answer. The figure is Moses, carved by Michelangelo between 1513 and 1515 for the tomb of Pope Julius II, and it stands today in the church of San Pietro in Vincoli in Rome. It is one of the most lifelike things ever cut from stone, and Michelangelo himself is said to have considered it his most living creation. According to the legend, when it was done, the silence of something so alive was more than he could bear. He hit its knee and demanded that it speak. Some say a faint mark on the knee is still there… Look first at the head, and you will see something strange: two horns rising from his hair. They are not a symbol of evil. They are one of the most famous translation errors in history. When the Hebrew scriptures were rendered into Latin, the word describing Moses coming down from Mount Sinai, karan, was read as "horned." But the same set of letters can also mean "radiant," "emitting rays of light." Moses' face was not growing horns. It was shining. By Michelangelo's time the mistranslation was centuries old and fixed in tradition, so he carved the horns, as nearly every artist before him had. Then look at the face. The head is turned to one side, the brows drawn down, the eyes fixed on something beyond the room. Many scholars believe Michelangelo caught Moses in a single specific instant: the moment he comes down from the mountain holding the commandments and sees his people worshipping a golden idol, the breath before his fury erupts. The whole body is tensed on the edge of motion, and yet it will never move. Michelangelo believed every block of marble held a living figure inside it, waiting to be set free. With Moses, he came closer than anyone ever had, and when he laid down his tools, only one thing was still beyond him: he had made a man who could do everything but speak... I started this newsletter because our past is extraordinary, and fewer and fewer people are showing us how to see it. Every week I try to. If that is something you would like to be part of, you can join at the link below, and if you'd like to support my work, a paid subscription is what makes it possible: Thanks for reading.
0:54

When Michelangelo finished this statue, the story goes that he struck it across the knee with his hammer and shouted: "Why don't you speak?" Looking at it, you can see why he expected an answer. The figure is Moses, carved by Michelangelo between 1513 and 1515 for the tomb of Pope Julius II, and it stands today in the church of San Pietro in Vincoli in Rome. It is one of the most lifelike things ever cut from stone, and Michelangelo himself is said to have considered it his most living creation. According to the legend, when it was done, the silence of something so alive was more than he could bear. He hit its knee and demanded that it speak. Some say a faint mark on the knee is still there… Look first at the head, and you will see something strange: two horns rising from his hair. They are not a symbol of evil. They are one of the most famous translation errors in history. When the Hebrew scriptures were rendered into Latin, the word describing Moses coming down from Mount Sinai, karan, was read as "horned." But the same set of letters can also mean "radiant," "emitting rays of light." Moses' face was not growing horns. It was shining. By Michelangelo's time the mistranslation was centuries old and fixed in tradition, so he carved the horns, as nearly every artist before him had. Then look at the face. The head is turned to one side, the brows drawn down, the eyes fixed on something beyond the room. Many scholars believe Michelangelo caught Moses in a single specific instant: the moment he comes down from the mountain holding the commandments and sees his people worshipping a golden idol, the breath before his fury erupts. The whole body is tensed on the edge of motion, and yet it will never move. Michelangelo believed every block of marble held a living figure inside it, waiting to be set free. With Moses, he came closer than anyone ever had, and when he laid down his tools, only one thing was still beyond him: he had made a man who could do everything but speak... I started this newsletter because our past is extraordinary, and fewer and fewer people are showing us how to see it. Every week I try to. If that is something you would like to be part of, you can join at the link below, and if you'd like to support my work, a paid subscription is what makes it possible: Thanks for reading.

James Lucas

107,661 görüntüleme • 2 ay önce

The Dance Between Elizabeth and Darcy: A Swordfight Cloaked in Ceremony In the 1995 adaptation of “Pride and Prejudice”, the dance between Elizabeth Bennet and Fitzwilliam Darcy at the Netherfield ball is no romantic interlude. It is a confrontation carefully veiled beneath the forms of etiquette. Screenwriter Andrew Davies once described their exchange as “a swordfight set within a dance.” Indeed, every step forward or back obeys the courtesies of the ballroom, yet every word lands like a probing thrust. It is precisely this fusion of polished surface and underlying conflict that renders the scene one of the most charged moments in the series. In Regency society, dancing was among the few social rituals that allowed a man and a woman to remain near one another for an extended period. They might take hands, meet each other’s eyes, and converse without breaching decorum. At the same time, the rules bound them together until the music ended. The dance thus created a rare and charged circumstance: two people were required to sustain each other’s presence for the full length of the set, no matter how the conversation unfolded. The production exploits this circumstance with remarkable restraint. For much of the sequence, director Simon Langton keeps Elizabeth and Darcy together in medium shots and two-shots. Rather than cutting constantly between isolated close-ups, the camera often holds both speaker and listener within the same frame, allowing the audience to register dialogue, glances, and the smallest shifts of expression simultaneously. The choice ensures that every remark is immediately answered by the other’s reaction, rather than becoming two separate lines of speech. The blocking itself follows the architecture of a Regency dance. Elizabeth and Darcy continually change places, hands, and orientation, yet the movements always return them face to face. The rhythm of the dance supplies natural pauses in the conversation. Each time the partners separate and reunite, the two-shot continues to contain them both, so that every look, silence, and reply becomes part of the quiet contest taking place. The sound design preserves the atmosphere of a crowded ballroom. Carl Davis’s music mingles with the soft tread of feet, the rustle of other couples, and the low murmur of surrounding conversation. Against this continuous backdrop, Elizabeth and Darcy’s words remain clear yet never detach themselves from the larger space, so that their exchange feels like a natural strand within the evening rather than a private duet. Considered separately, the camera placement, blocking, and sound are all understated. Combined, they do not call attention to the dance itself; they transform the dance into the very arena for their dialogue. Within that arena, the film’s true interest lies not in the steps but in the shifting awareness of the two characters. For Elizabeth, this is the first moment when the opinions she has already formed about Darcy are tested against an immediate reality. From the opening lines she holds the initiative. She begins with perfectly proper remarks—“I believe we must have some conversation…” and “You should say something about the dance…”—yet her choice of words and tone carry a quiet irony more than any genuine wish for connection. As the exchange continues, she steers its tempo with pointed questions and sharp replies, gradually drawing the talk toward the subject that truly concerns her: George Wickham. This is not an open effort to understand Darcy; it is a verification of conclusions she has already reached. Yet that self-assurance is no longer entirely intact by the end of the dance. Jennifer Ehle conveys the slight fracture through the smallest of changes. Elizabeth’s voice remains intelligent and cutting, but her gaze is no longer purely interrogative. When she says, “I hear such different accounts of you as to puzzle me exceedingly,” she does not underline the line with sharp sarcasm. Her eyes flicker; a brief hesitation appears before the familiar sharpness returns. That nearly imperceptible moment reveals the first crack in a prejudice that had previously seemed airtight. If Ehle portrays a perception beginning to fracture, Colin Firth constructs Darcy as a man determined to preserve composure. From the outset he rarely initiates. He answers Elizabeth’s openings with brief questions, then attempts to steer the talk toward safer ground. As she continually returns the conversation to probing subjects, he grows more guarded, allowing longer pauses before he replies. Firth never expresses tension through dramatic gesture. A momentary stillness of the eyes, a measured hesitation before speaking, or a carefully controlled expression is enough to show that Darcy is weighing every word. By the time he says, “I wish, Miss Bennet, that you would not attempt to sketch my character at the present moment,” his voice remains level, yet it also reveals discomfort at the knowledge that she is trying to fix his character. Darcy never allows emotion to breach the bounds of civility, but the very effort of restraint exposes the pressure he feels. The dance does not cause him to abandon self-command; it forces him to recognize that Elizabeth judges him not by rank or reputation, but by what she believes to be true—and that his own dignity and reserve are insufficient to alter her view. Taken together, the restrained cinematic language and the psychological progression of both characters make plain that the sequence was never conceived as a romantic interlude. The entire scene directs attention to the dialogue itself. Within the strict framework of Regency etiquette, every question, every reply, and every silence becomes part of a contest of wits between two people intent on defending both their view of the other and the way they themselves are seen. The contest at Netherfield therefore ends without a victor. Elizabeth has not relinquished her prejudices, nor has Darcy succeeded in changing the way she regards him. Yet the encounter has already opened the first small fissure in the understanding of each. Elizabeth begins to doubt conclusions that once seemed certain; Darcy realizes for the first time that composure and dignity alone cannot secure the understanding of the woman he respects. That is what gives the image of “a swordfight set within a dance” its lasting force: the confrontation concludes not with a winner, but with the irreversible knowledge that neither can continue to see the other in quite the same way. The dance between Elizabeth and Darcy reflects a familiar paradox of human exchange: in many conversations, what people strive to protect is not merely their opinion, but the way they see another person and the way they wish to be seen in return. Thus a dialogue can easily become a struggle for the right to interpret, rather than an opportunity for genuine understanding. Perhaps that is the scene’s most enduring insight. Understanding rarely arrives fully formed within a single conversation. Yet conversation itself can be the place where the first cracks appear in settled prejudice. Only from those cracks can people begin, at last, to see one another truly.
5:00

The Dance Between Elizabeth and Darcy: A Swordfight Cloaked in Ceremony In the 1995 adaptation of “Pride and Prejudice”, the dance between Elizabeth Bennet and Fitzwilliam Darcy at the Netherfield ball is no romantic interlude. It is a confrontation carefully veiled beneath the forms of etiquette. Screenwriter Andrew Davies once described their exchange as “a swordfight set within a dance.” Indeed, every step forward or back obeys the courtesies of the ballroom, yet every word lands like a probing thrust. It is precisely this fusion of polished surface and underlying conflict that renders the scene one of the most charged moments in the series. In Regency society, dancing was among the few social rituals that allowed a man and a woman to remain near one another for an extended period. They might take hands, meet each other’s eyes, and converse without breaching decorum. At the same time, the rules bound them together until the music ended. The dance thus created a rare and charged circumstance: two people were required to sustain each other’s presence for the full length of the set, no matter how the conversation unfolded. The production exploits this circumstance with remarkable restraint. For much of the sequence, director Simon Langton keeps Elizabeth and Darcy together in medium shots and two-shots. Rather than cutting constantly between isolated close-ups, the camera often holds both speaker and listener within the same frame, allowing the audience to register dialogue, glances, and the smallest shifts of expression simultaneously. The choice ensures that every remark is immediately answered by the other’s reaction, rather than becoming two separate lines of speech. The blocking itself follows the architecture of a Regency dance. Elizabeth and Darcy continually change places, hands, and orientation, yet the movements always return them face to face. The rhythm of the dance supplies natural pauses in the conversation. Each time the partners separate and reunite, the two-shot continues to contain them both, so that every look, silence, and reply becomes part of the quiet contest taking place. The sound design preserves the atmosphere of a crowded ballroom. Carl Davis’s music mingles with the soft tread of feet, the rustle of other couples, and the low murmur of surrounding conversation. Against this continuous backdrop, Elizabeth and Darcy’s words remain clear yet never detach themselves from the larger space, so that their exchange feels like a natural strand within the evening rather than a private duet. Considered separately, the camera placement, blocking, and sound are all understated. Combined, they do not call attention to the dance itself; they transform the dance into the very arena for their dialogue. Within that arena, the film’s true interest lies not in the steps but in the shifting awareness of the two characters. For Elizabeth, this is the first moment when the opinions she has already formed about Darcy are tested against an immediate reality. From the opening lines she holds the initiative. She begins with perfectly proper remarks—“I believe we must have some conversation…” and “You should say something about the dance…”—yet her choice of words and tone carry a quiet irony more than any genuine wish for connection. As the exchange continues, she steers its tempo with pointed questions and sharp replies, gradually drawing the talk toward the subject that truly concerns her: George Wickham. This is not an open effort to understand Darcy; it is a verification of conclusions she has already reached. Yet that self-assurance is no longer entirely intact by the end of the dance. Jennifer Ehle conveys the slight fracture through the smallest of changes. Elizabeth’s voice remains intelligent and cutting, but her gaze is no longer purely interrogative. When she says, “I hear such different accounts of you as to puzzle me exceedingly,” she does not underline the line with sharp sarcasm. Her eyes flicker; a brief hesitation appears before the familiar sharpness returns. That nearly imperceptible moment reveals the first crack in a prejudice that had previously seemed airtight. If Ehle portrays a perception beginning to fracture, Colin Firth constructs Darcy as a man determined to preserve composure. From the outset he rarely initiates. He answers Elizabeth’s openings with brief questions, then attempts to steer the talk toward safer ground. As she continually returns the conversation to probing subjects, he grows more guarded, allowing longer pauses before he replies. Firth never expresses tension through dramatic gesture. A momentary stillness of the eyes, a measured hesitation before speaking, or a carefully controlled expression is enough to show that Darcy is weighing every word. By the time he says, “I wish, Miss Bennet, that you would not attempt to sketch my character at the present moment,” his voice remains level, yet it also reveals discomfort at the knowledge that she is trying to fix his character. Darcy never allows emotion to breach the bounds of civility, but the very effort of restraint exposes the pressure he feels. The dance does not cause him to abandon self-command; it forces him to recognize that Elizabeth judges him not by rank or reputation, but by what she believes to be true—and that his own dignity and reserve are insufficient to alter her view. Taken together, the restrained cinematic language and the psychological progression of both characters make plain that the sequence was never conceived as a romantic interlude. The entire scene directs attention to the dialogue itself. Within the strict framework of Regency etiquette, every question, every reply, and every silence becomes part of a contest of wits between two people intent on defending both their view of the other and the way they themselves are seen. The contest at Netherfield therefore ends without a victor. Elizabeth has not relinquished her prejudices, nor has Darcy succeeded in changing the way she regards him. Yet the encounter has already opened the first small fissure in the understanding of each. Elizabeth begins to doubt conclusions that once seemed certain; Darcy realizes for the first time that composure and dignity alone cannot secure the understanding of the woman he respects. That is what gives the image of “a swordfight set within a dance” its lasting force: the confrontation concludes not with a winner, but with the irreversible knowledge that neither can continue to see the other in quite the same way. The dance between Elizabeth and Darcy reflects a familiar paradox of human exchange: in many conversations, what people strive to protect is not merely their opinion, but the way they see another person and the way they wish to be seen in return. Thus a dialogue can easily become a struggle for the right to interpret, rather than an opportunity for genuine understanding. Perhaps that is the scene’s most enduring insight. Understanding rarely arrives fully formed within a single conversation. Yet conversation itself can be the place where the first cracks appear in settled prejudice. Only from those cracks can people begin, at last, to see one another truly.

🌸🎵 Beautiful Melody 🎶💖

30,330 görüntüleme • 1 ay önce

IS THE POST OFFICE WAITING FOR BETTY BROWN TO DIE BEFORE IT PAYS UP?? Betty Brown ran the Annfield Plain Post Office in County Durham with her husband Oswall from 1985 to 2003. Good business. Nice customers. No problems. Then Horizon arrived in 2000, built by Fujitsu Fujitsu UK, and the till started lying. First night it was £500 short. Within weeks it was £1,500 to £1,600 a week, every week. Betty and Oswall paid every shortfall out of their own pocket because the alternative was being branded a thief. They handed over more than £50,000. Betty says the real figure was closer to £100,000. That was their retirement money, poured into a hole created by software nobody at the Post Office bothered to question. Betty was never prosecuted. Small mercy. Instead a manager decided she was too old for the job and needed replacing with someone who understood the technology. She was pushed out in 2003. Oswall died a year later. Betty believes the stress helped kill him, and says his dying thoughts were about whether the Post Office had finally been in touch. She spent the next two decades fighting for compensation while the people who built and defended a broken system kept their salaries, their bonuses and their pensions. In 2025, aged 92, Betty finally settled her claim. In 2026 she received an OBE from King Charles at Windsor Castle. She used the moment to tell him that money does not equal justice, and asked him to pass that on to the Prime Minister. She still had not received a single penny of her settlement by the time she collected the medal. That is the British state's idea of closure. Ruin someone for over two decades then hand them a piece of metal before the cheque clears. Betty says every subpostmaster caught up in the Horizon scandal deserves the same recognition she got. She is right. None of them asked for a medal. They asked for their money and their names back. SOURCES BBC News (UK) ITV News ComputerWeekly Nick Wallis Karl Flinders
1:15

IS THE POST OFFICE WAITING FOR BETTY BROWN TO DIE BEFORE IT PAYS UP?? Betty Brown ran the Annfield Plain Post Office in County Durham with her husband Oswall from 1985 to 2003. Good business. Nice customers. No problems. Then Horizon arrived in 2000, built by Fujitsu Fujitsu UK, and the till started lying. First night it was £500 short. Within weeks it was £1,500 to £1,600 a week, every week. Betty and Oswall paid every shortfall out of their own pocket because the alternative was being branded a thief. They handed over more than £50,000. Betty says the real figure was closer to £100,000. That was their retirement money, poured into a hole created by software nobody at the Post Office bothered to question. Betty was never prosecuted. Small mercy. Instead a manager decided she was too old for the job and needed replacing with someone who understood the technology. She was pushed out in 2003. Oswall died a year later. Betty believes the stress helped kill him, and says his dying thoughts were about whether the Post Office had finally been in touch. She spent the next two decades fighting for compensation while the people who built and defended a broken system kept their salaries, their bonuses and their pensions. In 2025, aged 92, Betty finally settled her claim. In 2026 she received an OBE from King Charles at Windsor Castle. She used the moment to tell him that money does not equal justice, and asked him to pass that on to the Prime Minister. She still had not received a single penny of her settlement by the time she collected the medal. That is the British state's idea of closure. Ruin someone for over two decades then hand them a piece of metal before the cheque clears. Betty says every subpostmaster caught up in the Horizon scandal deserves the same recognition she got. She is right. None of them asked for a medal. They asked for their money and their names back. SOURCES BBC News (UK) ITV News ComputerWeekly Nick Wallis Karl Flinders

Artur Nadolny

72,934 görüntüleme • 13 gün önce

732 days. More than two years. A yellow Labrador weighing nearly 34 kilograms lived through all that time without wagging his tail even once. They called him Gunner. And they also called him something colder: “too broken.” Gunner had been returned twice and passed through three shelters. His file described a dog who flinched at every sudden movement and often sat staring at the wall for hours. The second family left a note the shelter manager never forgot: “We don’t think he’s capable of feeling joy.” From then on, Gunner became a shadow. His tail lay still. No one expected anything from him. Time was running out. Then a woman seven months pregnant named Sarah saw his profile at 2:15 a.m. Her husband looked at the photo and said, “He looks empty inside.” Sarah replied softly but firmly: “I know. That’s why we have to try.” They brought Gunner home. He stood motionless in the middle of the living room for ten minutes, as if bracing for the next bad thing. For a month, Sarah never forced him. She simply existed in the same space, jotting down every small victory in a journal: the first time he finished his food, the first time he nudged her hand with his nose. But his tail remained still. Then baby Lily arrived six days early, weighing less than three kilograms. When her father carried the car seat through the front door, Gunner walked forward slowly, lowered his head, and sniffed the air around her blanket. And for the first time in 732 days, his tail moved, a single, gentle wag. Just one wag. But it was enough to change the entire house. From that moment, Gunner became a guardian. He slept outside Lily’s door every night. Labradors were bred for generations to be intuitive partners. The baby never trained him. She simply unlocked the purpose that had been buried deep inside him. Gunner’s story is not only about a dog being rescued. It is about despair so prolonged that a living being can forget how to feel joy. Being returned multiple times does not just take away a home, it takes away the belief that one is still worthy of love. That is why the first wag after more than two years of silence felt so powerful. Not because it was grand, but because it came from a place where hope had almost disappeared. Some wounds cannot be healed by technique alone. They only open in the presence of another being, small, innocent, and without demand. Baby Lily carried no expectations. She simply existed. And that existence was enough to reawaken a heart that seemed to have gone dark. The story reveals a quiet truth: many beings labeled “broken” have not lost the ability to love. They have simply been left too long in a state of despair. The essential thing is not complete repair, but creating the space for them to remember who they once were. Sometimes a second chance does not need to be dramatic. It only needs to come at the right time, from the right person. 💖
4:28

732 days. More than two years. A yellow Labrador weighing nearly 34 kilograms lived through all that time without wagging his tail even once. They called him Gunner. And they also called him something colder: “too broken.” Gunner had been returned twice and passed through three shelters. His file described a dog who flinched at every sudden movement and often sat staring at the wall for hours. The second family left a note the shelter manager never forgot: “We don’t think he’s capable of feeling joy.” From then on, Gunner became a shadow. His tail lay still. No one expected anything from him. Time was running out. Then a woman seven months pregnant named Sarah saw his profile at 2:15 a.m. Her husband looked at the photo and said, “He looks empty inside.” Sarah replied softly but firmly: “I know. That’s why we have to try.” They brought Gunner home. He stood motionless in the middle of the living room for ten minutes, as if bracing for the next bad thing. For a month, Sarah never forced him. She simply existed in the same space, jotting down every small victory in a journal: the first time he finished his food, the first time he nudged her hand with his nose. But his tail remained still. Then baby Lily arrived six days early, weighing less than three kilograms. When her father carried the car seat through the front door, Gunner walked forward slowly, lowered his head, and sniffed the air around her blanket. And for the first time in 732 days, his tail moved, a single, gentle wag. Just one wag. But it was enough to change the entire house. From that moment, Gunner became a guardian. He slept outside Lily’s door every night. Labradors were bred for generations to be intuitive partners. The baby never trained him. She simply unlocked the purpose that had been buried deep inside him. Gunner’s story is not only about a dog being rescued. It is about despair so prolonged that a living being can forget how to feel joy. Being returned multiple times does not just take away a home, it takes away the belief that one is still worthy of love. That is why the first wag after more than two years of silence felt so powerful. Not because it was grand, but because it came from a place where hope had almost disappeared. Some wounds cannot be healed by technique alone. They only open in the presence of another being, small, innocent, and without demand. Baby Lily carried no expectations. She simply existed. And that existence was enough to reawaken a heart that seemed to have gone dark. The story reveals a quiet truth: many beings labeled “broken” have not lost the ability to love. They have simply been left too long in a state of despair. The essential thing is not complete repair, but creating the space for them to remember who they once were. Sometimes a second chance does not need to be dramatic. It only needs to come at the right time, from the right person. 💖

Beauty of music and nature 🌺🌺

48,581 görüntüleme • 18 gün önce

In 2003, the most hated team in the NBA did the kindest thing anyone has ever done on a basketball court. April 25, 2003. Rose Garden, Portland. Game 3 of the first round against Dallas. The Blazers are down 2-0 and facing elimination from the moment they wake up. That Blazers team had a nickname. The Jail Blazers. They were, at the time, maybe the least likable team in professional sports. Arrests. Suspensions. A roster full of guys the national media treated as villains. Portland fans were exhausted by them. Before the game, a 13 year old girl named Natalie Gilbert walks to center court to sing the national anthem in front of 19,980 people. What nobody in the building knew is that she was sick. She had the flu. She later said she just didn't feel like herself at all that day. She gets a few lines in. And then her brain goes blank. She sings "star's last gleaming" instead of "twilight's last gleaming," realizes it instantly, and stops. She looks around. She puts her hand to her face. Thirteen years old. Twenty thousand people. National television. Frozen. There is no worse feeling available to a human being. And then a man walks out of the Portland huddle. Maurice Cheeks, the head coach, minutes away from a playoff elimination game, leaves his team, walks across the floor, puts his arm around her shoulder and says, "C'mon." Then he starts singing with her. Now understand something. Maurice Cheeks cannot sing. At all. He is not remotely trying to rescue the performance. He's just refusing to let a kid stand there alone. He keeps his arm around her the whole way. He feeds her the next words. And within a few seconds, all 19,980 people in that building stand up and sing it with them. A moment that was going to define a little girl's life in the worst possible way became the exact opposite. Dan Patrick wrote at the time that Cheeks' simple actions had become the defining moment of the entire playoffs. They went on Jay Leno together. CNN. Good Morning America. It became one of the first truly viral NBA moments, years before that word meant anything. Portland lost the game. They lost the series. Cheeks finished his Blazers tenure with a fairly ordinary record and was eventually let go. Now here's the ending. In March 2025, almost 22 years later, Maurice Cheeks came back to Portland as an assistant coach with the New York Knicks. The Blazers found Natalie Gilbert. She's 35 now. Married. Goes by Natalie Zito. She's also, as it turns out, a Blazers season ticket holder. They brought her back to sing the anthem again. She nailed it. The whole building erupted. And the camera cut to Cheeks on the sideline, beaming like a proud father. The two of them met before the game and hugged. What she said afterward is why this story matters. She explained that she'd been made fun of a lot as a kid, and that in the moment she felt most helpless and hopeless, a stranger walked right over with no hesitation. "This moment changed my life." And then she said something even better. That she wouldn't go back and change any of it. That seeing him again and finding out he's still the same standup guy proved it was all real. Twenty two years. One arm around a shoulder. Follow the Sports ON Tap, we post a story like this every day.
0:43

In 2003, the most hated team in the NBA did the kindest thing anyone has ever done on a basketball court. April 25, 2003. Rose Garden, Portland. Game 3 of the first round against Dallas. The Blazers are down 2-0 and facing elimination from the moment they wake up. That Blazers team had a nickname. The Jail Blazers. They were, at the time, maybe the least likable team in professional sports. Arrests. Suspensions. A roster full of guys the national media treated as villains. Portland fans were exhausted by them. Before the game, a 13 year old girl named Natalie Gilbert walks to center court to sing the national anthem in front of 19,980 people. What nobody in the building knew is that she was sick. She had the flu. She later said she just didn't feel like herself at all that day. She gets a few lines in. And then her brain goes blank. She sings "star's last gleaming" instead of "twilight's last gleaming," realizes it instantly, and stops. She looks around. She puts her hand to her face. Thirteen years old. Twenty thousand people. National television. Frozen. There is no worse feeling available to a human being. And then a man walks out of the Portland huddle. Maurice Cheeks, the head coach, minutes away from a playoff elimination game, leaves his team, walks across the floor, puts his arm around her shoulder and says, "C'mon." Then he starts singing with her. Now understand something. Maurice Cheeks cannot sing. At all. He is not remotely trying to rescue the performance. He's just refusing to let a kid stand there alone. He keeps his arm around her the whole way. He feeds her the next words. And within a few seconds, all 19,980 people in that building stand up and sing it with them. A moment that was going to define a little girl's life in the worst possible way became the exact opposite. Dan Patrick wrote at the time that Cheeks' simple actions had become the defining moment of the entire playoffs. They went on Jay Leno together. CNN. Good Morning America. It became one of the first truly viral NBA moments, years before that word meant anything. Portland lost the game. They lost the series. Cheeks finished his Blazers tenure with a fairly ordinary record and was eventually let go. Now here's the ending. In March 2025, almost 22 years later, Maurice Cheeks came back to Portland as an assistant coach with the New York Knicks. The Blazers found Natalie Gilbert. She's 35 now. Married. Goes by Natalie Zito. She's also, as it turns out, a Blazers season ticket holder. They brought her back to sing the anthem again. She nailed it. The whole building erupted. And the camera cut to Cheeks on the sideline, beaming like a proud father. The two of them met before the game and hugged. What she said afterward is why this story matters. She explained that she'd been made fun of a lot as a kid, and that in the moment she felt most helpless and hopeless, a stranger walked right over with no hesitation. "This moment changed my life." And then she said something even better. That she wouldn't go back and change any of it. That seeing him again and finding out he's still the same standup guy proved it was all real. Twenty two years. One arm around a shoulder. Follow the Sports ON Tap, we post a story like this every day.

the Sports ON Tap

683,605 görüntüleme • 21 gün önce

p.s: a long read but worth. love it every time taynew talk about their relationship dynamic, can literally sit all day long hearing the whole thing ♡ 💬 Did Hin told Te beforehand about cheek-to-cheek or Tay just got attacked by Hin? 🐳 No discussion before, Hin just did it. You guys must be know my personality and Hin’s personality well already. I’m the type who— how do I say it, I have to think before doing. Here’s the thing, I just took Enneagram course. Before, it was just self-taught and I knew my type, but after meeting this guru and got to dive in deeply, turns out I’m actually the type I never thought of before. As well as New. These Enneagram types are truly something we should study super deeply because it can shift depends on wings and arrows point that show in stress or relaxed situation, but finding our real true type is so difficult to find. I got Type 5, which the knowledge type, I’d feel less secure when I think my knowledge is not enough. I’ve always thought I was Type 9, the peacemaker, turns out I’m Type 5. So what I’m trying to say is, we have completely different personalities, New is the jumper one. He doesn’t like doing lot of practice, you know, doing the same thing over and over. He’s that, “Don’t put too much thought into it, just do it.” which actually can be a good side of him at some point. He won’t think much and let his instinct works. I’d say that both of our personalities got its own good and bad side. New can use his intuition, more realistic, you know, he can be a thing the way he wanted it to be—I can’t find the right words. But that’s not how I am, I tend to use my head too much, which actually can be an obstacle for my profession at some points. I won’t be able to jump when at one point I have to jump, because I’m too afraid of my unpreparedness and feel less secured. My head needs it to be structured about what to do for me to have a courage to do it. Instead, New will be like, “Like this and this, ok let’s do it.” As I said, these two personalities has its own good and bad side to be working in this industry. Thus, in growing up we have to adapt and pick each other good side to fulfill what we lack of. I have to learn how to jump, New has to learn how to be more structured and secured. I have to learn to think less, because after thinking much, in the end it never really give good results anyway. Every single time, I always do it better during practice than the real performance because I think too much. This is such a really bad side for someone who uses their head too much. For New, he always do it better in the real performance than practice, every single time. But “Faak Jai” is maybe the first performance I think I did it (better on real day). At that time, I tried to think the way New did, to focus on the present, and I’m proud of myself to can actually do it. It’s probably my first time ever since working in this industry to actually feel that kind of feeling. So about the cheek-to-cheek, yeah I think this is the perfect dynamics of TayNew, how I’m the overthinker one, while Hin always doing things not under control. Like, it’s a mix of well-prepared and spontaneity in both of us together. For example, if it’s New alone, it won’t look that smooth and look that well-prepared. On the other hand, if it’s me alone, there won’t gonna be such a magic moment that comes spontaneously. New fill things up and make things more perfect. If it were two people with the same personality like me, it’d be too rigid. This is the good side of having a work partner with different personality as us.
5:51

p.s: a long read but worth. love it every time taynew talk about their relationship dynamic, can literally sit all day long hearing the whole thing ♡ 💬 Did Hin told Te beforehand about cheek-to-cheek or Tay just got attacked by Hin? 🐳 No discussion before, Hin just did it. You guys must be know my personality and Hin’s personality well already. I’m the type who— how do I say it, I have to think before doing. Here’s the thing, I just took Enneagram course. Before, it was just self-taught and I knew my type, but after meeting this guru and got to dive in deeply, turns out I’m actually the type I never thought of before. As well as New. These Enneagram types are truly something we should study super deeply because it can shift depends on wings and arrows point that show in stress or relaxed situation, but finding our real true type is so difficult to find. I got Type 5, which the knowledge type, I’d feel less secure when I think my knowledge is not enough. I’ve always thought I was Type 9, the peacemaker, turns out I’m Type 5. So what I’m trying to say is, we have completely different personalities, New is the jumper one. He doesn’t like doing lot of practice, you know, doing the same thing over and over. He’s that, “Don’t put too much thought into it, just do it.” which actually can be a good side of him at some point. He won’t think much and let his instinct works. I’d say that both of our personalities got its own good and bad side. New can use his intuition, more realistic, you know, he can be a thing the way he wanted it to be—I can’t find the right words. But that’s not how I am, I tend to use my head too much, which actually can be an obstacle for my profession at some points. I won’t be able to jump when at one point I have to jump, because I’m too afraid of my unpreparedness and feel less secured. My head needs it to be structured about what to do for me to have a courage to do it. Instead, New will be like, “Like this and this, ok let’s do it.” As I said, these two personalities has its own good and bad side to be working in this industry. Thus, in growing up we have to adapt and pick each other good side to fulfill what we lack of. I have to learn how to jump, New has to learn how to be more structured and secured. I have to learn to think less, because after thinking much, in the end it never really give good results anyway. Every single time, I always do it better during practice than the real performance because I think too much. This is such a really bad side for someone who uses their head too much. For New, he always do it better in the real performance than practice, every single time. But “Faak Jai” is maybe the first performance I think I did it (better on real day). At that time, I tried to think the way New did, to focus on the present, and I’m proud of myself to can actually do it. It’s probably my first time ever since working in this industry to actually feel that kind of feeling. So about the cheek-to-cheek, yeah I think this is the perfect dynamics of TayNew, how I’m the overthinker one, while Hin always doing things not under control. Like, it’s a mix of well-prepared and spontaneity in both of us together. For example, if it’s New alone, it won’t look that smooth and look that well-prepared. On the other hand, if it’s me alone, there won’t gonna be such a magic moment that comes spontaneously. New fill things up and make things more perfect. If it were two people with the same personality like me, it’d be too rigid. This is the good side of having a work partner with different personality as us.

deeコ

22,979 görüntüleme • 6 ay önce

There are two people standing between the world and a ceasefire, and in Armstrong’s telling they aren’t acting in anyone’s interest but their own. “You’ve got two, what I would honestly say are lunatics,” he says. “It’s Netanyahu in Israel and Zelensky in Ukraine.” His verdict on both: “Neither one is interested in any kind of a peace deal.” Behind them sits a class of operators who don’t care which flag they march under. Armstrong has known the neocon world up close for decades, going back to the men who built it, and he says the pattern never changes. “They’ll go to any party who’s ever going to do war. That’s all they want.” The proof writes itself in real time, in the politicians who hated Trump while there was peace and adored him the moment the bombs fell, then turned on him again when he started talking about ending it. The strategy driving the latest round has already failed once. Decapitate the leadership, the thinking goes, cut the head off the snake, and the body dies. Iran watched that movie and rewrote the ending. They decentralized into four tiers, so that taking out the Ayatollah changes nothing. The snake didn’t die. Taiwan, Armstrong notes, is now studying the same playbook. Which raises a question the war planners never seem able to answer. You kill the leader of a country of tens of millions of newly radicalized people, and then what? There is no plan. There never is. As Armstrong puts it, “all they have is one objective,” and “They can’t think beyond the end of their nose.” He calls it the exact opposite of Sun Tzu, who taught that if you don’t know your enemy you lose. The neocon version refuses to talk to the enemy at all, because talking might accidentally produce peace. And that, he argues, is the actual danger to the country. Not Iran. The people in our own capital who keep lighting matches: “they are the real threat to national security because they can start World War III.”
8:23

There are two people standing between the world and a ceasefire, and in Armstrong’s telling they aren’t acting in anyone’s interest but their own. “You’ve got two, what I would honestly say are lunatics,” he says. “It’s Netanyahu in Israel and Zelensky in Ukraine.” His verdict on both: “Neither one is interested in any kind of a peace deal.” Behind them sits a class of operators who don’t care which flag they march under. Armstrong has known the neocon world up close for decades, going back to the men who built it, and he says the pattern never changes. “They’ll go to any party who’s ever going to do war. That’s all they want.” The proof writes itself in real time, in the politicians who hated Trump while there was peace and adored him the moment the bombs fell, then turned on him again when he started talking about ending it. The strategy driving the latest round has already failed once. Decapitate the leadership, the thinking goes, cut the head off the snake, and the body dies. Iran watched that movie and rewrote the ending. They decentralized into four tiers, so that taking out the Ayatollah changes nothing. The snake didn’t die. Taiwan, Armstrong notes, is now studying the same playbook. Which raises a question the war planners never seem able to answer. You kill the leader of a country of tens of millions of newly radicalized people, and then what? There is no plan. There never is. As Armstrong puts it, “all they have is one objective,” and “They can’t think beyond the end of their nose.” He calls it the exact opposite of Sun Tzu, who taught that if you don’t know your enemy you lose. The neocon version refuses to talk to the enemy at all, because talking might accidentally produce peace. And that, he argues, is the actual danger to the country. Not Iran. The people in our own capital who keep lighting matches: “they are the real threat to national security because they can start World War III.”

The Vigilant Fox 🦊

13,126 görüntüleme • 2 ay önce

CNN’s Kate Bolduan tried to trap Senator Fetterman with a gotcha question on Iran — but he ended up giving an answer she wasn’t expecting. The interview quickly unraveled as Fetterman’s responses REFUSED to fit the network’s narrative. CNN ENDED the segment while Fetterman was still speaking. BOLDUAN: “The Israeli defense minister posted today that…every leader appointed by the Iranian regime will be an unequivocal target for elimination.” “That’s going forward. So that is a US goal going forward?” FETTERMAN: “Yeah just keep killing, killing them until they’re until they’re gone.” “I mean, absolutely. I saw that I’ve read that, that they’re going to target who they ever elect to be their next leader and kill them. Absolutely.” “I fully support it. So that’s that’s what’s entirely appropriate.” “Now they have to decide, are we going to continue for [to] choose now peace and or now we’re going to try to destroy Israel. They really don’t have those capabilities.” “At this point, it’s just empty rhetoric because we all know that Iran is [isn’t] able to really project the kinds of damage.” Bolduan was not happy and fired back: BOLDUAN: “So then who who decides what leader should lead Iran then? If you think that the United States should take part in taking out every leader going forward, if it doesn’t meet the right measure.” Fetterman remained unfazed. FETTERMAN: “Well I mean, hey I’m sorry, I absolutely support killing the leadership of the Iranian [regime]. Absolutely, I absolutely support that.” “I think that’s entirely appropriate until hopefully they’ll pick someone that realizes that they need to live and coexist in peace in the region and stop trying to destroy Israel and destabilize the region.” Bolduan’s frustration was visible as she tried to wrap up: BOLDUAN: “Senator John Fetterman, thank you for your time.” But Fetterman wasn’t done. FETTERMAN: “That’s another thing Democrats say; no one will mourn the death of the Ayatollah. Well, yeah so that that’s just another way saying it’s a good thing that he’s been killed right?” “I’ll call it what it is, I won’t say, well, I won’t weep for him, you know, just call it what it is it’s like it’s a good thing that he’s been erased now and then if they pick another one that wants to do the same thing, erase them too.” Bolduan seemed flustered and issued a clarification before cutting Fetterman off completely. BOLDUAN: “I hear your point. But I have had…every Democrat who’s been on this show that I’ve heard is having two thoughts in their head at once, which is it is good to have the Ayatollah gone, but they do not agree and do not understand the justification of going in now with this war at this moment.” “That is the distinction I’ve heard from other Democrats on the show, but we are now out of time Senator, thank you for your time.” The camera cut away from Fetterman as he was still speaking.
2:34

CNN’s Kate Bolduan tried to trap Senator Fetterman with a gotcha question on Iran — but he ended up giving an answer she wasn’t expecting. The interview quickly unraveled as Fetterman’s responses REFUSED to fit the network’s narrative. CNN ENDED the segment while Fetterman was still speaking. BOLDUAN: “The Israeli defense minister posted today that…every leader appointed by the Iranian regime will be an unequivocal target for elimination.” “That’s going forward. So that is a US goal going forward?” FETTERMAN: “Yeah just keep killing, killing them until they’re until they’re gone.” “I mean, absolutely. I saw that I’ve read that, that they’re going to target who they ever elect to be their next leader and kill them. Absolutely.” “I fully support it. So that’s that’s what’s entirely appropriate.” “Now they have to decide, are we going to continue for [to] choose now peace and or now we’re going to try to destroy Israel. They really don’t have those capabilities.” “At this point, it’s just empty rhetoric because we all know that Iran is [isn’t] able to really project the kinds of damage.” Bolduan was not happy and fired back: BOLDUAN: “So then who who decides what leader should lead Iran then? If you think that the United States should take part in taking out every leader going forward, if it doesn’t meet the right measure.” Fetterman remained unfazed. FETTERMAN: “Well I mean, hey I’m sorry, I absolutely support killing the leadership of the Iranian [regime]. Absolutely, I absolutely support that.” “I think that’s entirely appropriate until hopefully they’ll pick someone that realizes that they need to live and coexist in peace in the region and stop trying to destroy Israel and destabilize the region.” Bolduan’s frustration was visible as she tried to wrap up: BOLDUAN: “Senator John Fetterman, thank you for your time.” But Fetterman wasn’t done. FETTERMAN: “That’s another thing Democrats say; no one will mourn the death of the Ayatollah. Well, yeah so that that’s just another way saying it’s a good thing that he’s been killed right?” “I’ll call it what it is, I won’t say, well, I won’t weep for him, you know, just call it what it is it’s like it’s a good thing that he’s been erased now and then if they pick another one that wants to do the same thing, erase them too.” Bolduan seemed flustered and issued a clarification before cutting Fetterman off completely. BOLDUAN: “I hear your point. But I have had…every Democrat who’s been on this show that I’ve heard is having two thoughts in their head at once, which is it is good to have the Ayatollah gone, but they do not agree and do not understand the justification of going in now with this war at this moment.” “That is the distinction I’ve heard from other Democrats on the show, but we are now out of time Senator, thank you for your time.” The camera cut away from Fetterman as he was still speaking.

Overton

164,562 görüntüleme • 5 ay önce

I wanted to say thank you to everyone for all of the kind comments & words about my dog Odom. He’s a fighter & I’m enjoying every moment I can. With his cancer diagnosis last week, I’ve been having a hard time & struggling with the thought of running the Disney World Marathon. I had put so much work & training into it, but I wasn’t as excited to do it because I’ve been sad about Odom. He’s been with me through so much, & it almost felt selfish to run. But I committed to the race, and got up early on Sunday morning to get ready. Being earlier than I typically wake up, I let the dogs go outside instead of taking them for a walk. As I headed out the door, Odom ran to it, & looked at me like he was saying, “We aren’t going for our walk?” He’s 15 years old, sick & at that moment, with his big floppy tail wagging, he wanted to go for a walk. I couldn’t believe it. He looked exactly the same to me as when I first got him from the Edmonton Humane Society society at 6 months old. That was him saying, “If I got the energy to get up & keep going, you should too.” The entire race, with every struggle, pain and negative thought that came into my head, I thought of Odom & his tail wagging in the morning wanting to go for a walk. Not only did it get me through the race, he gave me energy I didn’t know I had. While running, I thought of Odom & his enthusiasm in the morning, & seeing my family at the end. Those 2 thoughts got me to the finish line. At the beginning of the race, a runner had shared how she’d been dealing with cancer for years, & postponed a treatment to this week so she could run the entire marathon. She then encouraged others to run their best race. I was amazed by her strength. It reminded me of the quote, “Kindness is lending your strength instead of reminding others of their weakness.” Often, others are going through tough times and still give their energy to cheer on others. When things get hard, ask yourself what & who is getting you to your finish line, whatever your race may be. With stiff legs, Odom, Cooper & I got our walk in before going to bed. Seeing their tails wagging was the perfect end to my day.
1:25

I wanted to say thank you to everyone for all of the kind comments & words about my dog Odom. He’s a fighter & I’m enjoying every moment I can. With his cancer diagnosis last week, I’ve been having a hard time & struggling with the thought of running the Disney World Marathon. I had put so much work & training into it, but I wasn’t as excited to do it because I’ve been sad about Odom. He’s been with me through so much, & it almost felt selfish to run. But I committed to the race, and got up early on Sunday morning to get ready. Being earlier than I typically wake up, I let the dogs go outside instead of taking them for a walk. As I headed out the door, Odom ran to it, & looked at me like he was saying, “We aren’t going for our walk?” He’s 15 years old, sick & at that moment, with his big floppy tail wagging, he wanted to go for a walk. I couldn’t believe it. He looked exactly the same to me as when I first got him from the Edmonton Humane Society society at 6 months old. That was him saying, “If I got the energy to get up & keep going, you should too.” The entire race, with every struggle, pain and negative thought that came into my head, I thought of Odom & his tail wagging in the morning wanting to go for a walk. Not only did it get me through the race, he gave me energy I didn’t know I had. While running, I thought of Odom & his enthusiasm in the morning, & seeing my family at the end. Those 2 thoughts got me to the finish line. At the beginning of the race, a runner had shared how she’d been dealing with cancer for years, & postponed a treatment to this week so she could run the entire marathon. She then encouraged others to run their best race. I was amazed by her strength. It reminded me of the quote, “Kindness is lending your strength instead of reminding others of their weakness.” Often, others are going through tough times and still give their energy to cheer on others. When things get hard, ask yourself what & who is getting you to your finish line, whatever your race may be. With stiff legs, Odom, Cooper & I got our walk in before going to bed. Seeing their tails wagging was the perfect end to my day.

George Couros

15,861 görüntüleme • 2 yıl önce

Dad Films Hilarious Moment When Four Giant Dogs Realize They’re Headed to Their Favorite Place Do you remember the pure excitement of childhood surprises? One minute you think you’re heading to the grocery store for a boring errand, and the next your parents suddenly turn the car toward a theme park or the movies. That rush of unexpected joy makes your heart race and a huge smile spread across your face. As it turns out, this feeling isn’t limited to humans. Our four-legged friends—especially dogs—experience the same kind of delightful surprises, and sometimes they show it even more dramatically than we do. For most dogs, getting into the car usually signals one of two things: a trip to the vet (definitely not their favorite destination) or a fun outing to the park. Many dogs are surprisingly good at reading the route. A simple left or right turn after leaving the neighborhood can tell them exactly where they’re headed. Plenty of dog owners have stories of their childhood pets reacting instantly—right turn meant the dreaded vet, left turn meant adventure and freedom. This canine intuition shines perfectly in a viral video featuring four energetic German Shorthaired Pointers, or GSPs. These powerful hunting dogs are known for their sleek coats, athletic builds, and boundless energy. Packed into the car together, the four giant pups start off relatively calm. But the moment they realize the car isn’t heading toward the vet’s office, pure chaos erupts. They burst into loud, continuous howling that sounds exactly like a pack of wolves calling to one another. They jump up and down, tails wagging wildly, mouths open wide, and eyes sparkling with pure delight. Through all the noise, their dad stays impressively patient. He just smiles, clearly enjoying every second of his dogs’ explosive happiness. The howling isn’t complaining—it’s pure celebration and gratitude. It’s their way of saying, “Thank you for taking us to the best place ever!” Moments like this remind us how easy it is to create pure joy for our pets. A simple surprise trip to the park, a longer walk than usual, or even just taking a different route can turn an ordinary day into something special. Dogs don’t ask for much. They just want time with us, space to play, and the chance to feel loved. So the next time you load your furry friend into the car, consider adding a little surprise. Watch how quickly their excitement can light up the entire day—for both of you. Those four giant GSPs prove that sometimes the greatest happiness is waiting just around an unexpected turn. What’s the funniest or most exciting reaction your dog has ever had when realizing a trip to the park (or somewhere special) was happening? Share your story in the comments!
1:43

Dad Films Hilarious Moment When Four Giant Dogs Realize They’re Headed to Their Favorite Place Do you remember the pure excitement of childhood surprises? One minute you think you’re heading to the grocery store for a boring errand, and the next your parents suddenly turn the car toward a theme park or the movies. That rush of unexpected joy makes your heart race and a huge smile spread across your face. As it turns out, this feeling isn’t limited to humans. Our four-legged friends—especially dogs—experience the same kind of delightful surprises, and sometimes they show it even more dramatically than we do. For most dogs, getting into the car usually signals one of two things: a trip to the vet (definitely not their favorite destination) or a fun outing to the park. Many dogs are surprisingly good at reading the route. A simple left or right turn after leaving the neighborhood can tell them exactly where they’re headed. Plenty of dog owners have stories of their childhood pets reacting instantly—right turn meant the dreaded vet, left turn meant adventure and freedom. This canine intuition shines perfectly in a viral video featuring four energetic German Shorthaired Pointers, or GSPs. These powerful hunting dogs are known for their sleek coats, athletic builds, and boundless energy. Packed into the car together, the four giant pups start off relatively calm. But the moment they realize the car isn’t heading toward the vet’s office, pure chaos erupts. They burst into loud, continuous howling that sounds exactly like a pack of wolves calling to one another. They jump up and down, tails wagging wildly, mouths open wide, and eyes sparkling with pure delight. Through all the noise, their dad stays impressively patient. He just smiles, clearly enjoying every second of his dogs’ explosive happiness. The howling isn’t complaining—it’s pure celebration and gratitude. It’s their way of saying, “Thank you for taking us to the best place ever!” Moments like this remind us how easy it is to create pure joy for our pets. A simple surprise trip to the park, a longer walk than usual, or even just taking a different route can turn an ordinary day into something special. Dogs don’t ask for much. They just want time with us, space to play, and the chance to feel loved. So the next time you load your furry friend into the car, consider adding a little surprise. Watch how quickly their excitement can light up the entire day—for both of you. Those four giant GSPs prove that sometimes the greatest happiness is waiting just around an unexpected turn. What’s the funniest or most exciting reaction your dog has ever had when realizing a trip to the park (or somewhere special) was happening? Share your story in the comments!

Emotion & Music

699,879 görüntüleme • 9 gün önce

OP shared that she ran into Taejin last night (260812) in Baltimore — Jin and Tae went to a restaurant together 😭😭 OP went to both Baltimore concerts and even wore a whole Super Tuna outfit on the second day. Jin is her bias, and she happened to run into Taejin while she was having dinner with her husband 👤: “Literally just went to like one of our frequent spots that’s like right near where I live. Again, I’m not gonna say where it was. So we’re sitting out on this patio. It’s like us and like one other table, like a very small patio. And we order our drinks and all of a sudden two blacked out Cadillacs start rolling up like literally right behind where I’m sitting. And my friend who is across from me is like, hey, like there’s black Cadillacs behind you.” 👤: “I did not have my phone out. No one at my table had our phones out. Like we were just giving them their space, like admiring from afar, but basically out from the two Cadillacs walks, Jin and Tae, it was just those two though. So obviously I’m absolutely freaking the hell out. Like what the hell do you even do in that situation? They were absolutely stunning, obviously. Like we all know that they’re gorgeous, but like… absolute perfection.” 👤: “Tae was wearing like a cut off tank with a backwards hat and he was looking very jacked. And Jin had on like a zip up with a forward facing hat. It was probably like 5 to 7 yards away. Like it was insane. So obviously they go into the restaurant and we’re sitting there like… So how much to eat now? Like I lost my appetite. My hands are literally shaking.” 👤: “Eventually, the Cadillacs like come back. So I guess they were ready to leave and we were still out there. I basically like told myself, I was like, okay, I’m gonna look again, not gonna film, like, duh, would never do that. And I was like, if he looks over here, like I’ll wave. But other than that, like I’m not gonna like call his name, anything like that. No one was like harassing them outside or anything like that? I mean, I can’t speak to like what happened in the restaurant because I wasn’t in there. But everyone was being like very respectful.” 👤: “They come out and I’m like, you know, trying to casually just like watch Jin walk. And he does turn our way. I wave to him and he did wave back. So obviously my life was complete in that moment.” 👤: “And my dream was just that the boys would be able to explore the city freely and that they would enjoy it and have a good time. And it definitely seemed like they did. So I was so over the moon already because of that. And I hope if you were in town for the concert that you also had a nice time here.” 👤: “So yeah, in fact, my BTS weekend had not ended and it decided to end in the absolute best way possible. I am gonna go eat this and replay that moment in my head for the rest of my life.” OP also replied in the comments, “Tae was also taking some photos as he was leaving the restaurant and seemed very happy” Manifesting Taehyung posting those photos… 😭 cr. taylordoesparks (IG) 260812 #taejin #vjin #テテジン #뷔진
2:52

OP shared that she ran into Taejin last night (260812) in Baltimore — Jin and Tae went to a restaurant together 😭😭 OP went to both Baltimore concerts and even wore a whole Super Tuna outfit on the second day. Jin is her bias, and she happened to run into Taejin while she was having dinner with her husband 👤: “Literally just went to like one of our frequent spots that’s like right near where I live. Again, I’m not gonna say where it was. So we’re sitting out on this patio. It’s like us and like one other table, like a very small patio. And we order our drinks and all of a sudden two blacked out Cadillacs start rolling up like literally right behind where I’m sitting. And my friend who is across from me is like, hey, like there’s black Cadillacs behind you.” 👤: “I did not have my phone out. No one at my table had our phones out. Like we were just giving them their space, like admiring from afar, but basically out from the two Cadillacs walks, Jin and Tae, it was just those two though. So obviously I’m absolutely freaking the hell out. Like what the hell do you even do in that situation? They were absolutely stunning, obviously. Like we all know that they’re gorgeous, but like… absolute perfection.” 👤: “Tae was wearing like a cut off tank with a backwards hat and he was looking very jacked. And Jin had on like a zip up with a forward facing hat. It was probably like 5 to 7 yards away. Like it was insane. So obviously they go into the restaurant and we’re sitting there like… So how much to eat now? Like I lost my appetite. My hands are literally shaking.” 👤: “Eventually, the Cadillacs like come back. So I guess they were ready to leave and we were still out there. I basically like told myself, I was like, okay, I’m gonna look again, not gonna film, like, duh, would never do that. And I was like, if he looks over here, like I’ll wave. But other than that, like I’m not gonna like call his name, anything like that. No one was like harassing them outside or anything like that? I mean, I can’t speak to like what happened in the restaurant because I wasn’t in there. But everyone was being like very respectful.” 👤: “They come out and I’m like, you know, trying to casually just like watch Jin walk. And he does turn our way. I wave to him and he did wave back. So obviously my life was complete in that moment.” 👤: “And my dream was just that the boys would be able to explore the city freely and that they would enjoy it and have a good time. And it definitely seemed like they did. So I was so over the moon already because of that. And I hope if you were in town for the concert that you also had a nice time here.” 👤: “So yeah, in fact, my BTS weekend had not ended and it decided to end in the absolute best way possible. I am gonna go eat this and replay that moment in my head for the rest of my life.” OP also replied in the comments, “Tae was also taking some photos as he was leaving the restaurant and seemed very happy” Manifesting Taehyung posting those photos… 😭 cr. taylordoesparks (IG) 260812 #taejin #vjin #テテジン #뷔진

Lydia_taejin❤️💙💚

69,133 görüntüleme • 16 gün önce

They Didn’t Have to Like Each Other to Create Something Beautiful Patrick Swayze and Jennifer Grey stand in a white room, rehearsing for Dirty Dancing in 1987. There is no stage, no audience, no cinematic lighting. Just two people and the movements they have to repeat until they get them right. They look beautiful together. The way he holds her. The way she smiles as she comes down. Within a few seconds, you can almost imagine the entire movie taking shape inside that small room. Then I watch it again, and the room starts to bother me. It is too empty. Their clothes are completely ordinary. Some of the steps are still slightly off. There are moments when they don't quite move like a couple yet. This isn't romance in its finished form. This is work. And once you know that Swayze and Grey were not exactly easy with each other, the clip begins to feel different. They had worked together before on Red Dawn, and things had not gone particularly well. On Dirty Dancing, those differences were still there. Swayze was a professionally trained dancer, known for his discipline and high standards for every movement. Grey was more sensitive, more easily nervous, sometimes laughing at the wrong moment and uncomfortable with some of the lifts. They frustrated each other at times, and the rehearsal process was nowhere near as effortless as what we eventually saw on screen. So the “chemistry” people talk about wasn't simply two souls understanding each other. It was more like two very different personalities being placed in the same room and having to find a way to get the work done. They didn't necessarily have to like each other. But they had to learn to trust each other enough to keep going. I keep thinking about that lift. On screen, it looks like a moment of absolute trust. But in the rehearsal room, it was probably something much more practical: stay still, I'm here, let's try it again. That difference doesn't make the scene less beautiful. It makes it heavier. Because we usually see only the final result. We see the smile, the confidence and movements that seem effortless. We rarely see the dozens of attempts that came before—the missed beats, the frustration, the moments when someone wanted to walk away, and the decision to start again. That is what this rehearsal makes me think about more than the movie itself. Beautiful things aren't always created through harmony. Sometimes they are built from differences, pride, patience and one very simple decision: not to walk away. Swayze has been gone for many years. Grey is still here, and with time, she has spoken about him with greater tenderness. Yet this rehearsal continues to be watched, perhaps because it shows us the part that polished performances usually hide: the awkward, uncertain, unfinished middle, before everything becomes a legend. Two people who weren't particularly fond of each other helped create one of the most memorable couples in cinema. It sounds like a contradiction, but perhaps that contradiction is exactly what makes their story worth remembering. I don't know what that means to everyone else, but for me, it makes me think about how often we wait for something to become easy before believing that it is worth doing. Maybe not everything worthwhile begins with comfort. Some moments outlive the people who created them precisely because they were born from days that were awkward, difficult and uncomfortable—and from nothing more than the decision to stay one more time. Perhaps that is the most beautiful thing about that white room. They didn't have to like each other first. They just had to stay long enough to create something that millions of people would never forget.
1:00

They Didn’t Have to Like Each Other to Create Something Beautiful Patrick Swayze and Jennifer Grey stand in a white room, rehearsing for Dirty Dancing in 1987. There is no stage, no audience, no cinematic lighting. Just two people and the movements they have to repeat until they get them right. They look beautiful together. The way he holds her. The way she smiles as she comes down. Within a few seconds, you can almost imagine the entire movie taking shape inside that small room. Then I watch it again, and the room starts to bother me. It is too empty. Their clothes are completely ordinary. Some of the steps are still slightly off. There are moments when they don't quite move like a couple yet. This isn't romance in its finished form. This is work. And once you know that Swayze and Grey were not exactly easy with each other, the clip begins to feel different. They had worked together before on Red Dawn, and things had not gone particularly well. On Dirty Dancing, those differences were still there. Swayze was a professionally trained dancer, known for his discipline and high standards for every movement. Grey was more sensitive, more easily nervous, sometimes laughing at the wrong moment and uncomfortable with some of the lifts. They frustrated each other at times, and the rehearsal process was nowhere near as effortless as what we eventually saw on screen. So the “chemistry” people talk about wasn't simply two souls understanding each other. It was more like two very different personalities being placed in the same room and having to find a way to get the work done. They didn't necessarily have to like each other. But they had to learn to trust each other enough to keep going. I keep thinking about that lift. On screen, it looks like a moment of absolute trust. But in the rehearsal room, it was probably something much more practical: stay still, I'm here, let's try it again. That difference doesn't make the scene less beautiful. It makes it heavier. Because we usually see only the final result. We see the smile, the confidence and movements that seem effortless. We rarely see the dozens of attempts that came before—the missed beats, the frustration, the moments when someone wanted to walk away, and the decision to start again. That is what this rehearsal makes me think about more than the movie itself. Beautiful things aren't always created through harmony. Sometimes they are built from differences, pride, patience and one very simple decision: not to walk away. Swayze has been gone for many years. Grey is still here, and with time, she has spoken about him with greater tenderness. Yet this rehearsal continues to be watched, perhaps because it shows us the part that polished performances usually hide: the awkward, uncertain, unfinished middle, before everything becomes a legend. Two people who weren't particularly fond of each other helped create one of the most memorable couples in cinema. It sounds like a contradiction, but perhaps that contradiction is exactly what makes their story worth remembering. I don't know what that means to everyone else, but for me, it makes me think about how often we wait for something to become easy before believing that it is worth doing. Maybe not everything worthwhile begins with comfort. Some moments outlive the people who created them precisely because they were born from days that were awkward, difficult and uncomfortable—and from nothing more than the decision to stay one more time. Perhaps that is the most beautiful thing about that white room. They didn't have to like each other first. They just had to stay long enough to create something that millions of people would never forget.

Music over time🎻

74,921 görüntüleme • 2 gün önce