Home of the all-around movie/book/TV/music geek girl. 21 years old; college student majoring in Film with a minor in Art History. Born and raised in Brooklyn, New York. Fan of (in alphabetical order): Woody Allen, Wes Anderson, Blackadder, The Blacklist, Doctor Who (and - to a lesser extent - Torchwood), Elementary, Freaks and Geeks, Grimm, Harry Potter, House, Indiana Jones, It's Always Sunny in Philadelphia, Inspector Lewis, James Bond, Jane Eyre, The Late Late Show with Craig Ferguson, Late Night with Jimmy Fallon, Law & Order (all kinds), Lost, LOTR, the Millennium trilogy (Stieg Larsson); Murder, She Wrote; The Nanny, Paul Newman, The Office, Once Upon a Time, Parks and Recreation, Project Runway, Pushing Daisies, Saturday Night Live, Sherlock, Three's Company (though I am usually laughed at for that), The Twilight Zone, Undeclared, Tom Waits, The Who, movies in general (especially older movies but not exclusively), analyzing movies via a blog (http://theironcupcake.wordpress.com) and many other awesome things. I think I'm an INTJ, if you know about MBTI.
Farewell to the Godfather of Make-up, Dick Smith. He was the first make-up artist to win a lifetime achievement AcademyAward. R.I.P.
Martin Lewis (1881-1962), Subway Steps (1930), drypoint on paper, 20.8 x 34.6 cm (plate). Collection of Smithsonian American Art Museum, Washington, DC, USA. Via Smithsonian.
O. Louis Guglielmi, The River, 1942
"In The River, Louis Guglielmi depicted female figures alongside an expanse of blue water. Hemmed in by the monolithic concrete riverbank, with an industrial landscape in the distance, the natural flow of water seems controlled and possibly reshaped. The expressions of the three women standing in the foreground are concealed from the viewer, contributing to the sense of ambiguity created by the vivid contrast between the natural and man-made landscapes. Commenting on The River, one critic noted that Guglielmi “interprets the relationship of man to his city environment. Often more profound than social consciousness, his work somehow suggests the theme of man oppressed by his own great triumphs.”” (x)
James Ensor, c. 1895-1896
- Automat, 1927
- New York Movie, 1939
- A Woman In The Sun, 1961
- Office at Night, 1940
color me disappointed: this second run of the film skipped the ending credits at the pizzeria (which I caught when I turned the TV on)
serious flaw: is anyone ever shown Tweeting or Tumbling during the sharknado?
it’s true: all New Yorkers carry shark-killin’ equipment in their car trunks
I’m not sure which was the greater gif-ing moment: Ian Ziering’s slo-mo approach to connect the wire or that one guy whirling through the sharknado (or was that Ian? I can’t recall)
"Let’s go kill some sharks!" - Fin
"YEEEAAAHHH!" - NYC
(favorite bit so far)
"They’re sharks. They’re scary. No one wants to get eaten."
Truer words never spoken, IZ
I reeeeally need that meteorological image of the weather girl and the shark map to be my next Facebook timeline photo, pronto