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Jun. 21st, 2015 05:33 pm![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
chocolatepotSo yesterday I finished a particular small project I can't talk about right now. Today I took my vacation dress to the park, pinned up the hem, and started sewing it, but went home because it felt like it would rain at any minute. Finished it, then pinned the hem for my striped shirting dress. That took forever. This thing is seriously frumpy. Next pattern I cut out is going a size smaller on the waist.
It's funny, I never cared for the 1950s/60s before so I didn't consume a lot of media relating to it, but now I can't get enough. Watched the Astronauts' Wives Club premiere (liked it, couldn't tell some of the brunettes apart unfortunately), Three Coins in the Fountain, and ... a movie whose name I already forgot because I was meh on it. Woman has Soviet secrets carved on a steel mirror she needs to get to Santa Fe, there are bad guys everywhere, she meets up with a guy on the road and they travel together? Today I've been watching Ascension which is RIDICULOUS, two episodes in and my mind has been blown like three times. Great retro-futuristic aesthetic. I have some issues with the unbearably classist "on Earth, young people had an infinity of choices, but we have to stay here!" thing, also wondering about some worldbuilding holes (like the lack of sexism outside of theprostitutes sorry I mean stewardesses, but I do like the aesthetic.
I wasn't going to see any movies this weekend, but I was invited to go to Inside Out, so I did, and I way, way overthought it as usual. It was incredibly heavy - Pixar is of course always working on two levels, always dealing with dark themes for young people, but the basic theme here is "the importance of sadness as a facet of happiness, and being contented with nostalgia without dwelling on it". Seriously. This way overshadowed the death to me, to the point where the latter seemed like going through Pixar's "this is REAL" motions.
(Warning: incredible overthinking here) Not sure if it was meant to mean anything or if it was just for design purposes, but it was interesting on a worldbuilding level that the mother's emotions were all female and led by sadness, while the father's were all male and led by anger. Does everyone's emotions settle into one gender (and one representation) as they age? Or is Riley genderqueer? Is the leader determined by which emotion comes into being first, or do they all develop in the same sequence, and the leader in adulthood comes about during adolescence? Is it not really creepy that in this universe literally no humans have free will or their own personalities, and that every individual headful of emotions is alone in the universe because they will never connect to another Joy, another Disgust, etc.?
Sadness's voice bothered me the WHOLE TIME, it was so familiar yet unplaceable. Waited until the credits, and it was Phyllis Smith - Phyllis from The Office! Nice to see/hear her getting a leading role. Lewis Black was a great choice for Anger. Recognized Mindy Kaling just before the end; never recognized Bill Hader at all.
That said, I can't stand the way the characters are tightly-packed dots - in the close-ups it just looked awkward to me.
It's funny, I never cared for the 1950s/60s before so I didn't consume a lot of media relating to it, but now I can't get enough. Watched the Astronauts' Wives Club premiere (liked it, couldn't tell some of the brunettes apart unfortunately), Three Coins in the Fountain, and ... a movie whose name I already forgot because I was meh on it. Woman has Soviet secrets carved on a steel mirror she needs to get to Santa Fe, there are bad guys everywhere, she meets up with a guy on the road and they travel together? Today I've been watching Ascension which is RIDICULOUS, two episodes in and my mind has been blown like three times. Great retro-futuristic aesthetic. I have some issues with the unbearably classist "on Earth, young people had an infinity of choices, but we have to stay here!" thing, also wondering about some worldbuilding holes (like the lack of sexism outside of the
I wasn't going to see any movies this weekend, but I was invited to go to Inside Out, so I did, and I way, way overthought it as usual. It was incredibly heavy - Pixar is of course always working on two levels, always dealing with dark themes for young people, but the basic theme here is "the importance of sadness as a facet of happiness, and being contented with nostalgia without dwelling on it". Seriously. This way overshadowed the death to me, to the point where the latter seemed like going through Pixar's "this is REAL" motions.
(Warning: incredible overthinking here) Not sure if it was meant to mean anything or if it was just for design purposes, but it was interesting on a worldbuilding level that the mother's emotions were all female and led by sadness, while the father's were all male and led by anger. Does everyone's emotions settle into one gender (and one representation) as they age? Or is Riley genderqueer? Is the leader determined by which emotion comes into being first, or do they all develop in the same sequence, and the leader in adulthood comes about during adolescence? Is it not really creepy that in this universe literally no humans have free will or their own personalities, and that every individual headful of emotions is alone in the universe because they will never connect to another Joy, another Disgust, etc.?
Sadness's voice bothered me the WHOLE TIME, it was so familiar yet unplaceable. Waited until the credits, and it was Phyllis Smith - Phyllis from The Office! Nice to see/hear her getting a leading role. Lewis Black was a great choice for Anger. Recognized Mindy Kaling just before the end; never recognized Bill Hader at all.
That said, I can't stand the way the characters are tightly-packed dots - in the close-ups it just looked awkward to me.
