Judgmental quotes,a simple act of gratitude summary,vibram barefoot running shoes uk,focus books tavistock - Good Point

admin | to meditate in silence | 23.08.2014
1 You may think you can condemn such people, but you are just as bad, and you have no excuse!
I was falsely accused by someone on Youtube because I stated that a certain artist who was performing Christian music and began incorporating secular music into their shows should not be singing such music.
When anyone posts a comment we have no right to assume their spiritual condition unless it is evident. I guess my biggest issue is the fine line between judgement and trying to lead others to do what Christ wants us to do. Enter your email address to subscribe to this blog and receive notifications of new posts by email. The power of sin is so strong it was only broken by God sacrificing a piece of himself to overcome it–no other power could defeat sin and death! Even though this point can sometimes be difficult to accept, being able to acknowledge the reality of even our darkest inclinations, as well as be able to share them with God, and those whom we trust without shame or fear of condemnation, is one of the most beautiful parts about Christianity–it is both a gift and command from God! Does God look down on us when we offer things up to him with humility, and a sincere heart filled with a desire to change?
So why would we, a people who claim to know, and love God, not share his same burning, passionate desire to see everyone around us set free, without showing a hint of judgment over even the most heinous sins? Instead, it is common that we gossip and look down on one another in judgment as if we are so perfect ourselves–what part of God’s personality are we reflecting when we act this way?
We Expect God To Forgive Us, So Why Would We Not Want The Same Forgiveness To Be Shown To Others? Can you imagine standing in front of God’s throne and answering for why we condemned, or gossiped about, people for their sins after we expected so much unconditional forgiveness from God during our lives? Would you honestly want anyone to stand before God and be judged for anything, knowing full well it might be the very thing that causes them to go to hell? Now one of the Pharisees invited Jesus to have dinner with him, so he went to the Pharisee’s house and reclined at the table. When a woman who had lived a sinful life in that town learned that Jesus was eating at the Pharisee’s house, she brought an alabaster jar of perfume, and as she stood behind him at his feet weeping, she began to wet his feet with her tears. Do not confuse claiming forgiveness with actually walking in it, as that is the difference between simply being religious vs. I mean come on, as if we ever did anything to earn God’s forgiveness or love in the first place, we should be filled with gratitude and humility over receiving such an amazing gift! What we overcome, and are in the process of overcoming, is God’s glory as Jesus died to set us free live as the light of the world, which means we should be unafraid of living out-loud!
As being a teenager, I have to face the one of the most judgemental(sp) places. DUN DUN DUN, high school.
Therefore I tell you, do not worry about your life, what you will eat or drink; or about your body, what you will wear. Hey Nate kD  God bless you, i love your artticles their great, i pray God continues to work in u and bless you ! 1) Do not wait for them to apologize or stop their behavior in order to forgive them, let any negative emotions or thoughts go as quickly as possible.
The situation with the person in your church sounds like it could be tough, as from what you are saying they are focused on outward appearances and “rules”, but how did they respond when you spoke to them about past difficulties? It sounds like you addressed the issues openly, so it is important to know how they responded as that says a lot about where their heart is at, more so than how they act outwardly–it is great you spoke up politely! Sometimes, it can be very helpful to talk about our feelings of difficulty with people from a place of vulnerability and humility, as, if received and spoken right, it can give others a perspective they may not have had and can lead to repair.
Regarding your sister, that is amazing that the two of you are the only Christians in your household, how did you come to know Jesus? Sorry for the delay in getting back, I am not sure if you heard, but I was mugged last week, and my jaw got broken in a couple places. When your parents were upset over you becoming a Christian, did they say why, that is great your brother and mother are going to church! Are you concerned your sister will be okay once you leave, it sounds like you a very positive influence on her life, will you two be attending the same church if you live in a dorm? This week I attended the annual Society for Cinema and Media Studies conference in Chicago. Other than the title change and some added clips (yay internet!), the  paper below  is what I presented last Wednesday.
I want to begin this discussion of affect in the transmedia franchise by discussing a scene from A Very Potter Musical, a full length stage musical written, directed and performed by a group of University of Michigan performing arts students and recorded and broadcast online via YouTube in 2009. These lines—and the whole number for that matter, highlight the relationship between affect and music—how the compulsion to sing or dance is frequently pre-cognitive.
I am also using affect in this talk to reference the very real emotional connections between fans and the texts they love. So what does a singing and dancing Lord Voldemort have to do with transmedia franchises and affect, the subject of today’s panel?
As a transmedia franchise that includes 7 novels, 8 blockbuster films, a Disney theme park, toys, videogames and countless other product tie-ins, Harry Potter fandom is necessarily broad, heterogeneous, and expressed through a range of media platforms: thousands of fan-created websites, newsletters, slash, conventions, a thriving genre of Harry Potter­-themed rock music known as “wrock,” and even an activist group known as the Harry Potter Alliance. One way that AVPM creates an intimate relationship between fan and text is by transforming the multibillion dollar Harry Potter transmedia franchise—the ultimate form of mass culture–back into folk culture. For example, film musicals often offer up images of the diegetic audience to compensate for the “lost liveness” of the stage, serving as a serving as a stand in for the film audience’s subjectivity (27). Likewise, Feuer argues that many musicals include characters who are not supposed to be professional singers and dancers but who instead sing and dance for the love of it.
We marvel, not at Rowling’s fantastical prose nor at the wonders of CGI, but at the cleverness of the students who have put on this show. When watching AVPM the amateurish costumes and sets, the imperfect sound and image quality, and the occasional mistakes, lets us know we know we are watching Harry Potter fans who are just like us—rather than seasoned professionals. In addition to creating intimacy between fan and text, A Very Potter Musical—due to the genre’s focus on the joys of song–creates an affective relationship between viewer and text. Likewise, the films cue us in to Harry’s desires via longing close ups or by frequently putting Ginny in a position to be rescued by Harry. In AVPM, however, Ginny performs the torch song “Harry,” which puts a literal and metaphoric spotlight on what it feels like to be in love with the Boy Who Lived. Ginny’s moving performance, in which she dances awkwardly with Harry’s guitar—a proxy for her absent love object—provides a renewed emotional connection with this secondary character. Here again we can see how the choice of genre—the musical—allows Potter fans an entry point into the transmedia franchise that is personal and intimate.
One thing all of these performances share is a nervous, almost giddy, sense of joy—we can trace the joy expressed in the original AVPM performance as it is then translated and transmuted through each fan video—a domino effect of pure love. Although there is a separation between performer and audience here, I believe that the significance of AVPM lies in the affective relationships it facilitates between fan and text, even if the text’s various performers are performing online with one another, as opposed to face to face in a filk song circle. This entry was posted in Film, The Internets and tagged A Very Potter Musical, Darren Criss, Fan Fiction, Fan Studies, HARRY POTTER, Henry Jenkins, Hollywood Musicals, Transmedia.
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Last year I wrote a blog post detailing my biggest television pet peeves because TV shows are filled with conventions that are used and reused until they drive their audiences nuts.
He had been persecuted and despised for his ugliness, and now he heard them say he was the most beautiful of all the birds. And that’s pretty much the problem I have with the myth of the ugly duckling when it is translated into a film or TV show. Fast forward a few years to one of my all-time favorite films, The Breakfast Club (1985, John Hughes). Even as an insecure preteen I noted with dismay that the pre-makeover Allison was actually very, very pretty. In every case, the decision to be studious or artistic or slightly different from everyone else transforms a woman who would normally have more suitors than an alley cat in heat into a lonely spinster.
This entry was posted in Film, Television and tagged " Molly Ringwald, "Goody Two Shoes, Adam Ant, adorkable, Ally Sheedy, Ann Hathaway, crazy cat lady, Lea Michele, Mary Stuart Masterson, Premiere Week 2011, Rachel Leigh Cook, The Breakfast Club, The Myth of the Ugly Duckling, Tori Spelling, Zooey Deschanel. And, of course, a lot of the episode was devoted to Kurt (Chris Colfer) and his strained relationship with his heteronormative father.
This entry was posted in Television and tagged "Preggers", big improvement, Chris Colfer, Glee, Jenna Ushkowitz, Lea Michele, Mike O'Malley, Mr. Of course, stereotypes are not inherently problematic, particularly when a show seems to revel in its stereotypes. By including (and promoting) a diverse range of characters and then not utilizing them within the narrative or the musical numbers, the show seems to be saying that tokenism is enough. However, there are indications that the show will start allotting more screen time to some of its other perfomers. But the show’s secondary storyline finally yielded some screen time to Mercedes and her somewhat inappropriate crush on Kurt. This most recent episode seems to indicate that the show will shift its storylines (and its solos) to different characters from time to time. This entry was posted in Television and tagged Amber Riley, American film musical, Chris Colfer, Color Me Badd, Cory Monteith, Dianna Agron, Don't Stop Believin', Glee, I Wanna Sex You Up, Jane Lynch, Jazmine Sullivan, Jenna Ushkowitz, Journey, Kevin McHale, Lea Michele, Patrick Gallagher, Poison, racism in American television. I suppose I understand why Nussbaum would include this statement in her review of Girls. Sometimes when I watch a film or television show, a moment rings so true that I wonder, briefly, if the creator has somehow read my diary. I was honestly confused about what, exactly, Lena Dunham was trying to tell us about her character, Hannah Horvath.
Instead, this scene reveals the pelvic exam, that necessary female rite of passage, for what it is — very, very, very uncomfortable. The tone of the series also became clear to me here because Hannah, in her attempt to fill the air with conversation, launches into a ludicrous monologue about AIDS.
The thing is that, these days if you are diagnosed with AIDS, it’s actually not a death sentence. In the same way, Hannah’s infuriating rant about AIDS is a wonderful crystallization of her character.
In fact, people in their early twenties are really no better than people in their early teens. A 23-year-old is like a very independent, very entitled toddler who can drive a car and is legally allowed to drink. When Charlie gets on stage and announces that his next song was wrriten for his girlfriend, Marnie looks pleased (even though we know she does not truly love Charlie). As I watched this slow-moving car crash I was overwhelmed with a confusing mixture of sadness, humiliation, and awkward triumph. There is currently not a single leading character on Girls that couldn’t be played honestly and convincingly by a black actor or a Pakistani actor or a Taiwanese actor. This entry was posted in Television, Uncategorized and tagged Claire Danes, Curb Your Enthusiasm, GIRLS, HBO, Jordan Catalano, Lena Dunham, My So-Called Life, pelvic exams, SOPRANOS, white chicks.
This entry was posted in Television and tagged Annie Hall, Bored to Death, Curb Your Enthusiasm, Entourage, HBO, Heather Burns, Jason Schwartzman, Manhattan, Olivia Thirlby, Ted Danson, Veronica Mars, Woody Allen, Zach Galifianakis. When 16 and Pregnant debuted on MTV in the summer of 2009,  I had no desire to watch it (I had assumed, wrongly, that it was some kind of Pro-Life propaganda show).

While part of Teen Mom‘s allure is this bittersweet reminder of my own struggles to raise a young child (as well as the Schadenfreude that comes from watching truly bad parenting in action), I am also drawn to the show because I view the Teen Moms as their parents as well.
This is why the inclusion of Catelynn and Tyler, the only couple of the group who decided to put their baby up for adoption, is such an interesting counterpoint to the other stories on Teen Mom.
In light of the many US Weekly cover stories about the show’s cast,  blogs and online  news sites have been debating whether or not Teen Mom glorifies teen pregnancy. This entry was posted in Television and tagged 16 and Pregnant, Amber Portwood, Baltierra baseball cap FTW!, Catelynn Lowell, Farrah Abraham, Maci Bookout, MTV, Teen Mom, teen pregnancy, US Weekly.
I have many thoughts on this section of scripture but I want to hear what it speaks to you.
When you say they are wicked and should be punished, you are condemning yourself, for you who judge others do these very same things.2 And we know that God, in his justice, will punish anyone who does such things.3 Since you judge others for doing these things, why do you think you can avoid God’s judgment when you do the same things? I feel it speaks to many—that judgment of others is something we all struggle with, no matter denomination or lack thereof. I am an atheist and grew up with very Christian family.  I have always been the same person. I care! But for those who have professed their faith in Christ, they are held to a different standard. As long as we are accepting of everyone, and then discipling each other instead of judging each other, I think we allow the church to become a reckoning force in this fallen world. Sometimes, I just do it as a matter of fact and in response to something someone has said or done…not in response to them wanting my Christian or Biblical perspective. So why do Christians gossip and look down on one another as they struggle against things only God himself has the power to overcome? 2 For in the same way you judge others, you will be judged, and with the measure you use, it will be measured to you.
It can be very easy to have frustration towards our parents carry over into other relationships, especially ones with our brothers and sisters; what are you forgiving that makes you feel like a doormat? Though Williams makes a passing reference to musicals in her list of potential body genres, the musical is rarely discussed in terms of its relationship to affect. In fact, the syntax of the musical favors emotion in that the genre’s most valued characters are those who sing and dance because they love it so much–because the pure bliss of performance cannot be resisted. By translating key plot events from the Harry Potter franchise into musical numbers, I am arguing that A Very Potter Musical transforms the fantasy franchise’s key opposition between good and evil to the musical’s own preoccupation with joie de vivre over monetary gain.
A Very Potter Musical, which seems to straddle the spaces between fan fiction, wrock, and possibly even filk, disguises its budget limitations with winking musical performances, self reflexivity, and the unabashed passion of its actors.
Whereas folk art is an expression of the community who is also its audience, mass art is disseminated to its audience already made, articulating its values for them. Many Hollywood musicals include a diegetic audience that cues the non-digetic audience in about how to feel about a performance—if they clap and cheer, the performance was successful. This use of “amateurs” gives us the feeling that stars are singing and dancing on screen because they love to, not because they are being paid to do so.
For example, in Harry Potter and the Sorcerer’s Stone, the evil Lord Voldemort attempts to revive his body by attaching what little remains of his soul to the simpering Professor Quirrell. Such moments work, to quote Feuer again, to “pierce through the barrier of the screen” (1). For example, in Harry Potter and the Goblet of Fire, Harry Potter’s participation in the Triwizard Tournament leads him to engage in battle with a Hungarian Horntail, a fierce breed of dragon. Harry thus relies on the power of music—rather than magic—to win a seemingly insurmountable challenge.
And Ginny’s performance—which is passionate but imperfect as she struggles to hit her big notes—creates an affective relationship with this character that may not have been possible when watching the Potter films. Indeed, there are numerous covers of “Harry” on YouTube, a testament to the way that AVPM allows Potter fans a different, more embodied way, to express their fandom.
Likewise, the comments on each video are generally supportive, with the Potter fan community coming together to support each new iteration of the original fan text.
By depicting bodies that must express themselves through song and dance, A Very Potter Musical is an ideal venue for understanding the importance of affect in fan fiction. Even the elder-tree bent down its bows into the water before him, and the sun shone warm and bright.
I did not see this film in the theater, but by the time I was in junior high it seemed to be playing on TBS every single Saturday afternoon. Who cares if film and TV audiences are repeatedly asked to view highly attractive women as “ugly”? I’m glad Kurt was a featured player and for the most part, I thought his story arc was intelligently rendered. For example, Glee is filled with numerous high school movie cliches, including snotty, blonde cheerleaders (Dianna Agron) and a squat, laconic football coach (Patrick Gallagher). Is Glee going to be the kind of program that pays diversity a lot of lip service without actually putting it into practice?
The impetus for the blogathon was a series of discussions I was having with some media studies scholars (primarily Kristen Warner and Jennifer Jones) about the hype leading up to the show’s April 15th premiere. I don’t care how old I get, I will never be comfortable having a doctor  slide her gloved hand into an area which is normally pretty selective about who may enter it, insert a cold metal instrument inside of me so as to make that personal opening wider, and then have a perfectly casual conversation about my summer travel plans as she examines my holy of holies like a miner digging for diamonds. Angela is so caught in the throes of her own teenage crush that she is only capable of viewing the world in terms of young women who get to be with their crushes and young women who are kept apart from them. You are confused, on the low end of the work totem pole or still trying to prove yourself (unless you’re Mark Zuckerberg), and yet you also are young.
We say and do very, very dumb things when we are in our early twenties, and that seems to be what Girls is about. Why am I picking on Girls for doing what just about every single TV show currently on the air does?
This stuff is indeed happening in Ivy League pockets throughout the United States, the only difference is it’s happening to black, Latino, and Asian people as well, not just Dunham and her trio of white friends.
It may come as a surprise to some Americans, but there are women of all races who freeload off their wealthy parents and work in tony art galleries.
And the pilot episode seemed to be headed in that vein: we meet a frustrated novelist named Jonathan Ames (Jason Schwartzman) just as his girlfriend, Suzanne (Olivia Thirlby), is moving out.
It became less about noir and more about Jonathan and his best friends Ray (Zach Galifianakis), a whiny, infantile comic book artist, and George (Ted Danson), the equally whiny and infantile editor-in-chief of an unnamed New York magazine. When the follow up series, Teen Mom, premiered last winter, I was more intrigued, but figured it was too late to jump on board. But, let me assure you: every new mother will make the mistake of going somewhere and forgetting to bring the diaper bag.
The episode in which Tyler calls another, older, adoptive father for support and advice was one of the most moving scenes in reality TV history (yes, really). Does Catelynn’s mother realize that the big metal machines following her around are video cameras? I would rather do good than bad.  I volunteer all year and I support christian values, but because I am an atheist, I am considered a bad person!  I will admit, I love your faith. If you try to tell them that they have done something displeasing to God, they call you judgmental because they not only want to be accepted, they want all their behavior to be accepted, too.
Of course, then there are the all-too-familiar instances when someone asks my opinion, when really all they want is for me to support their endeavors, even when I know it’s self-serving and not going to bring glory to God. You did not give me any water for my feet, but she wet my feet with her tears and wiped them with her hair. How we are sometimes lovers of the law and therefore so fast to judge other Christians or non-Christians. However, the instinct to sing or dance to a catchy tune is frequently takes place just before our conscious mind reminds us that such an impulse could lead to public humiliation.
Those characters who sing and dance purely for money or who overthink their art are usually proven to be villains, or at the very least, in need of reformation. In her study of Roswell fandom and genre in fan discourse, Louisa Stein argues that fans “use generic codes as points of identification with story and character, making fictional narratives and characters personally meaningful or resonant through processes of genre personalization” (2.4). Fan love fills in production gaps and adorns the visible seams of this otherwise amateur production. However, as so many fan studies scholars have noted, fan fiction allows fans to convert mass culture back into folk culture. By masking this professionalism, the musical’s performers are closer to us, the amateurs in the audience. In the book, and even more so in the film adaptation, this melding of two men—skull to skull–is a horrifying spectacle. So while AVPM is not spontaneous (clearly it was rehearsed and well though-out), its imperfections create the feeling of spontaneity, which is so central to the task of making mass art appear as folk art.
So while this musical number is a practical way to disguise the absence of state of the art special effects, it also highlights the way that music can impact the body, turning a fierce dragon into a purring kitten.
The goosebumps that appear on my arms as Ginny sings, are a testament to the way that music generates an affective viewing experience. AVPM demonstrates the way that mass culture can be transmuted back into folk culture, thereby offering fans of the transmedia franchise a personalized, emotional engagement.
Like most kids of my generation, everything I thought I knew about being a teenager came from this film (or some other John Hughes film). I guess my problem with all of this is that in these films and television shows I am told, over and over, that certain key signifiers make attractive women into unattractive or undesirable women. My enthusiasm for the program largely stems from my love of the American film musical: Glee is peppered with elaborate, often integrated, musical numbers. The show also includes a homosexual character, Kurt (Chris Colfer), who loves Liza Minelli and obsesses over his fashion choices and a wheel-chair bound character, Artie (Kevin McHale) with thick, horn-rimmed glasses and sweater vests.
But, the early complaints about Glee have been that its African American, Asian, homosexual, and handicapped characters have taken a backseat to the show’s white, heterosexual, able-bodied characters.
And she looked pretty fierce in her black jumpsuit and fringed red jacket (even if such clothing is completely inappropriate for washing cars).
That unfortunate statement came from a glowing preview written by television critic Emily Nussbaum. Can we move on to what I want to talk about now?” If you have the critical fortitude to acknowledge privilege, like when Hannah’s friend scoffs at her for whining about having to pay her own bills (reminding her that he has $50,000 in student loans), then you better well deal with it.
Angela, who has been mooning over her first real crush, Jordan Catalano (Jared Leto), suddenly snaps out of her reverie.
Hannah feels that having AIDS would somehow be simpler and more desirable than having to find a job or a boyfriend just as Angela can only see the benefits of being hunted down by blood-thirsty Nazis.
Because Girls is written and produced by an extremely smart and talented young woman and if she can’t find a way to make non-white characters, non-straight characters, or non-wealthy characters the default setting, then who is going to do this? Like Charlie, Jefferson (and every audience member whose world view is routinely hidden from mainstream television) has his own apartment, filled with cleverly constructed shelving units and lofted beds. As Jonathan stakes out his first case we see him standing in the rain in the moonlight, his childish bowlcut dripping onto his khaki trench coat.

In HBO shows about male friendship, like Entourage, there is a clear alpha male (Vincent Chase) and a clear buffoon (Johnny Drama) but no so here.
For these men women provide pain, torment and delight, but ultimately these men seek out the company of other men.
Watching these girls encounter the various pitfalls inherent in being a first time parent reminds me of the first year of my daughter’s life, and how incredibly challenging and rewarding it was. It will likely happen just once because the consequences of that mistake will remain seared in your brain for eternity. I think back to when I was 16 — how I slept until noon on the weekends, got drunk at parties, obsessed about my appearance and social standing, and generally thought of nothing but myself.
We therefore expect to see Catelynn and Tyler having a wonderful time in comparison with the harried mothers featured on the show.
Mark my words: after spending a childhood watching her father pack and unpack his bags, leave and return, over and over, Leah will have a warped vision of how a loving relationship is supposed to work. I’m thinking in particular about the episode in which Maci considers moving in with a group of girlfriends, and bringing Bentley along.
And that these video cameras are recording her atrocious behavior and then broadcasting it to millions of people across the world? I agree that Teen Mom is not realistic, primarily because it’s cast is all white (with the exception of Farrah whose father is Hispanic, I believe?). I admire it and wish I could have it, but I can’t.  I just want people to know, it is harder to live without any thing than to live with with hope! You did not give me a kiss, but this woman, from the time I entered, has not stopped kissing my feet.
Forgetting the most important thing: That a lot of us used to do the same things but it was through the grace Jesus Christ we were set free. Likewise for fans of the musical, A Very Potter Musical offers an affective entry point into the vast narratological universe of Harry Potter, making the franchise more personally meaningful. The lengths that fans will go to express their adoration for a beloved text have been well-documented by fan studies scholars like Henry Jenkins, who describes fan fiction as “a celebration of intense emotional commitments and the religious fervor that links fandom to its roots in fanaticism” (251).
I would add that by explicitly relying on the syntax and semantics of the musical, AVPM is even more adept at creating the sense that mass art is folk art.
A similar effect is created when watching the streaming video of the live stage performance of AVPM. AVPM offers a similar experience, only the performers we are watching really are amateurs in that the show itself is a labor of love rather than a profit-generating venture.
However, in AVPM the inability to create a CGI monster and the need to improvise becomes one of the show’s best gags. Furthermore, Glen Creeber argues that the rawness of online video and the solitary viewing conditions it generates creates a sense of intimacy and authenticity not found in cinema or television.
And in the film adaptation, we get to see this fantastical scene come to life through the magic of CGI. The consumption of spectacle is a pleasure central to the Potter franchise but in AVPM these are replaced with the pleasures of musical performance.
Viola! Ant Ant is totally going to screw your brains out in that hotel room while his horny butler watches through the keyhole.
Rachel (Lea Michele) and Finn (Cory Monteith) have received far more screen time, characterization and most importantly, solos, than any of the other young characters. The episode also featured a tender moment when Kurt finally vocalizes, for the first time, that he is gay.
Had the show simply been promoted as a new quirky portrait of a pirvileged, highly-educated but emotionally immature young woman’s struggles to make it as an artist in New York City, I am not sure our blogathon would have taken place at all. I enjoy Nussbaum’s work, particularly the way she writes about female characters on TV, but this was an absurd thing to write (well, to be fair, she was quoting her colleague). The scene opens with Hannah wearing one of those flimsy hospital gowns that open in the back, a piece of clothing that is engineered to make patients feel humiliated and therefore, pliant.
I felt this way when Charlie (Christopher Abbott) serenaded his girlfriend, Marnie (Allison Williams), with excerpts from Hannah’s stolen diary that document their relationship from her cynical and judgmental perspective.
After a while, the disparity between our affinity for these shows and their lack of affinity towards us puts reality into stark relief: When we look at Lena Dunham and Jerry Seinfeld, we see people with whom we have a lot in common. But like Marnie, white audiences won’t ever know this until we take the time to visit this apartment and look around. When he goes to a bar to pump the bartender for information he orders a whisky and promptly chokes on it. This is certainly a recipe for misogyny and for  stereotyped female characters, but this doesn’t happen in Bored to Death.
He even rewatched the Season 2 premiere with me, pausing the DVR every few minutes to fill me in on each mother’s backstory. For example, in one episode, Farrah takes her daughter, Sophia, to the car wash and realizes that she has forgotten to bring diapers.
I do wish MTV had included more women of color to better reflect the reality of teenage pregnancy in America.
Contrary to what some people believe, Christians can be accepting of all people, while at the same time, not accepting their sinful behavior. I usually just assume that if someone talks about God and grew up in church, they must be a believer; but sadly, the world is full of those kinds of people.
I personally therefore think that when we judge people we do not fully understand Christ’s grace. I just turned 19 and shes 12 lol its hard for her not to let her emotions take control, so it can be very hard to talk to her.
This is not to say that Potter films and books don’t generate affect in their audiences, but rather that the structures of the musical create new opportunities for affect among Potter fans (and of course, for Potter fans who dislike musicals, AVPM will not provide any form of engagement because they won’t seek it out).
Jane Feuer argues that: “In basing its value system on community, the producing and consuming functions served by the passage of musical entertainment from folk to popular to mass status are rejoined through the genre’s rhetoric” (3).
As you heard in the “To Dance Again!” number, the laughter, applause, and hoots of appreciation stemming from the live, diegetic audience solidifies the non-diegetic audience’s understanding that these low budget performances are, in fact, successful — even when it is difficult to hear some of the actors’ lines and jokes are lost. He argues that the “homemade” aesthetic of webcam images creates the “profound intimacy of the image” (598).
However, in AVPM, Harry defeats the dragon by summoning his guitar, not his broom, and then by performing an emo ballad about the futility of hand-to-hand combat entitled “Hey Dragon”. This was upsetting to me because at the time I wore a large pair of glasses, quite similar to the pair worn by the woman featured in the video, and I often wore my hair pulled back. Both of these women were beautiful from the start and the only people who insisted on their physical unattractiveness were the creators of these texts.
Well, start collecting cats and Hummel figurines now because you have a lonely life ahead of you, spinster. Sure, the musical television show has tried and failed to gain traction with American audiences, but Glee seems like it’s going to make it. Glee often operates at one move away from reality, but this scene was both grounded and touching. This is all that matters to Angela Chase and so her skewed (and horrifying) analysis of The Diary of Anne Frank makes perfect sense in this context.
This is the kind of scene that makes me happy that I study film and television for a living. So no, Girls is not unique in its erasure of all that is not white, straight and middle to upper-class.
Rather, women are a force to be reckoned with: they are inscrutable, independent and appear to function perfectly well without men (except when they need to borrow some sperm). So when I watch single parent Farrah working overtime at a pizza joint, then returning home to take care of her daughter, and then study, I feel an incredible sadness for her. However, for a scholar of film genres like myself, the show is quite useful for understanding the role that genre—specifically the musical–plays in the relationship between fandom, transmedia franchises and affect. This is especially important for something broadcast over the internet, since most viewers of AVPM are likely watching on their computer screens, alone. First published in 1843 (thanks Wikipedia!), Hans Christian Andersen’s famous story is about an unattractive baby duck who is abused by all who meet him until finally, one glorious day, he realizes that he is actually a beautiful swan!
The lyrics themselves (you can read them here), seem to be a critique of image and stardom and of the very transformation the woman makes.
I’m not sure that Artie, the parapalegic or Tina (Jenna Ushkowitz), the Asian American character, have had more than 2 lines between them yet. The audience is not expected to identify with Angela here (unless she is also a privileged 15-year-old in love, in which case, she might) but to understand that this scene is telling us what we need to know about Angela as we move forward through this series. And he ends up spending more money on bribing people for information than he makes on his first case. There’s a running joke in the series in which Jonathan and Ray find themselves tripping over trendy baby strollers whenever they want to kvetch together in their favorite coffee shop. Their sins of casting judgment, being prideful, and self-righteousness are no better or worse than the things that I struggle with. My desire is that this place will be welcoming to all, applicable to most, and challenging to some. The diegetic audience thus serves as a viewing companion, reassuring us about when to laugh or applaud. After Ray is bullied into getting a colonic and must endure a long subway ride home, Jonathan seems genuinely concerned, offering to massage his friend’s shoulders. By the time they reach their thirties, many men have started families, so for Jonathan and Ray these strollers are a threat, a mystery, a symbol of the responsibility they cannot take on. With Sophia in dire need of a diaper change, Farrah fashions a makeshift diaper out of towels (for the record, if the entire event had not been recorded by MTV’s cameras, there is NO WAY that the owner of the car wash would have consented to giving Farrah his towels to use as diapers. But at this age Farrah should be going to Homecoming dances and gossiping about boys and staying out past curfew and spending long stretches of her free time listening to music and writing tortured poetry while locked in her bedroom. I bawled through this scene. Thus, it is oddly the couple who chose not to raise their child that speaks most poignantly to the high emotional costs of an unplanned pregnancy.
Yes, these girls love their children, but they are girls who have been forced to become women way too soon. A world filled with unlikable characters who do awful things and it’s funny (Curb Your Enthusiasm)? You can bet that I will make both of my children watch Season 1 and Season 2 of Teen Mom when they start dating.

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