jrlr

GREAT book of photographs older women with I-know-who-I- Am style: Advanced Style by Ari Seth Cohen. I think there's even a sequel now. Google it and check out the images - absolutely wonderful and reflective of the spot-on comments above by Film Noire and Tabbygirl521. "Remaining fuckable until they put you in the coffin" is 100% correct and also hilarious! I grew up in L.A. and worked in the entertainment idustry until I retired, and jesus, the minute you hit 35-40 you are absolutely invisible (even in under-the-line occupations like mine). You could walk down Sunset Blvd. naked and the only response you'd get (other than someone calling for an ambulence, maybe) would be a few people recoiling in horror at the sight of real breasts that might not be as perky as they were ten years before. I think designers are clueless about the fact that style for older women not only doesn't have to mean either frumpy or attempting to look like some fuck-toy, but that many of us have enough disposable income to spend on looking the way we like to look. Christ, the way the judges are slavering over women who are curvy or plus-sized or whatever should be embarrassing (to them) - you'd think that curves, like aging, were just invented. Aaron in his skivvies, just. . . eeeuw. Gender-fluid is one thing, Aaron is something else and it's not good.

No, your TV colors are fine. Her colors were bland pastels with the same mildly nauseating effect as potpourri.

Someone should slip some Adderall or Ritalin into their Red Bull, calm those hyperactive (I'm old - that's what we used to call ADD or ADHD or whatever they call it now) nitwits right the fuck down. Obviously their parents never taught them manners, boundaries or any humility whatsoever.

Love Brandon, but I really don't get his win except for the "very different" factor. Design - and side boob - aside, it's far too casual to qualify as evening wear IMO, it seemed like something you'd go sailing in (well, except for those sleeves). Thought Ayana should have been in the bottom - that ugly mishmosh of ugly colors and ugly fabrics was awful. Loved Amy's 1920's cape but the dress was terrible, and whoever said it was like Gwyneth Paltrow's Oscar dress was spot on. How could Aaron NOT get auffed with that. . .whatever it was? Claire's bitch face is hilarious - top of the heap as a special snowflake. If the twinsies aren't being intentionally obnoxious, then they are just tone deaf no-talents. I loved, loved, loved Kentaro's - but I'm a big fan of subtle in color and draping. I thought it was gorgeous and elegant. Maybe it didn't read "good" to the judges, but to me it was by far the most sophisticated piece on the runway.

Not one single original idea or look, mostly just trashy/flashy. Shock and Aww? LOL - the company should be called Meh and Ugh.

We are supposed to think that Morse does move to London, right? His apartment was stripped nearly bare inthe last scene and it wasn't just from having been burgled. And that he got his promotion, like his commendation and medal, for his courageous actions? I loved the juxtaposition of that druid-ish village against the power plant and this was a wonderfullly moody episode. They've used a lot of the pagan stuff on Midsomer, and it's always a bit of a shcok to see it inthe 20th century.. I half expected the creepy scarecrow to be the dead man's skeleton. Can't stand Joan - she's selfish and none to bright - and except for the Morse-is-unlucky-in-love theme, I don't understand why he is so ga-ga over her.

I LOVED Samantha's look - it was gorgeous, sophisticated and comfortable-looking, and I can't figure out why she is always stuck in the "safe" zone. I can (reluctantly) admit that Baldy Twin's look was very nice, but Samantha's certainly was better and should have been in the top 3.

Boredom? I know I am as this snoozer crawls agonizingly to its end.

I'm with you. What I really don't understand is how or why people who figure out the scam of this "religion" continue to believe that they are somehow doing something good for the world. What exactly DO they think they are accomplishing? If you've opened your eyes enough to see the bullshit of this cult, then wouldn't you also question the the claims they make about helping the world?

What a dissapointing episode. Okay as far as suspense with the FBI/warrant/arrest, but all the stuff with Fitz was so ridiculous and irritating. Poor Fitz who has alienated everyone in his life has no one to turn to when Ted is caught; poor Fitz is completely ignored by the ENTIRE office full of agents after the capture; poor Fitz doesn't get any credit because Genelli (?) claims ithe linguistic forensice idea was his. And worst of all was the idiotic scene with Fitz in Ted's cabin gettng his fingerprints on evidence and even using Ted's typewriter. I'll certainly watch the last episode, but this ultimately banal series could have been much, much better and I expect better from producers Kevin Spacey and John Goldwyn.

From Melissa's repeated "I'm in so much pain" claims I think the drugs have stopped working for her, other than to keep her from going through withdrawals. She is one of the least sympathetic addicts I have ever seen on this show - so self-aware that she knows exactly how to dress and look and act for hooking and online porn, but so self-pitying and deluded with the usual "I love my child more than anything in the world." No, Melissa, you love drugs (and the spotlight) more than anything in the world. As for her having been molested by one of pathetic-weakling-enabling mom's boyfriends, I'd say it's a given. I guess I've been watching this show for too long to not assume that.

Mrs. Thursday has been married to a copper for over 20 years, so I don't find her reaction at all surprising or over the top. She might very well be terrified that Joan (whom I find increasingly dislikeable) has come to the same end as so many of Thursday's cases: kidnapped, raped, murdered and left in a ditch someplace with no i.d. Can't figure out what Morse even sees in Joan - particularly this version of her - or why he feels like he has to keep her secret when he knows damned well how much her parents are suffering. At least he could tell them that he has been in touch and she is still alive and well ("well" being subjective here) just to reassure them that she is still alive.

Thank you Nordly! It was Samantha Rei's dress that I really liked and thought was at least as dance-worthy as any of the others. It's hard to see in that picture, but I thought that the close-up on the show really showed beautiful and complicated craftsmanship. And her braided top last week was cool (despite twin whichever's disdainment for it). I hope she starts getting some notice.

Is there a link to last night's designs? There was someone in the middle whose design I loved, but I'm still not familiar with most of the designers by name.

It wasn't just cruel, it may have been one of the pivotal reasons that this kid with already-existing psychological problems went over the edge.

I found this episode really fascinating, but maybe it's because I was already aware of the MK Ultra experiments. The fact that he was put through this at sixteen is pretty hideous. Maybe if Ted had just sent a mail bomb to that evil asshole professor he would have stopped there (I'm not being serious, it's clear that the beliefs that he wrote about in his manifesto were already quite developed when he entered Harvard). It does make me wonder what happened to the other students who were deemed "suitable" for this government mind-fuck.

The trend in Hollywood has been skewing dark for at least a decade, and I think both tv shows and films use the mumbled/muffled talking and the so-dark-you-can-barely-make-out-what-is-happening-to-who lighting to PROVE that "this is dark, dark, dark material." It's an irritating and sloppy way to create atmosphere, because if the stories and characters are well written, the audience won't need to be hit over the head (or forced to use subtitles for American shows) to get the point.

The mother is a willingly brainwashed monster who will undoubtedly sell that gorgeous family land to her cult for pennies on the dollar (or leave to them outright in her will). She has the nerve to say "He didn't have a strong sense of family"? First of all, where would he get that from? Second, he was heartbroken over his father's death and the trauma clearly impacted him throughout his tragically short life. I doubt it will happen, since "blame the victim" really does appear to be the cult's mantra, but I hope she wakes up out of her delusional cult-mind some day and has to live with the responsibility of what she did to her children.

Poor Ray-as-Hamlet doesn't seem to remember that he still has two horrible kids who now never appear in scenes with him. And what is with Bridget telling that kid that her daddy gave him menigitis so that Abby could replace him in the clinical trial? Is that even possible and if it is, why would Ray tell Bridget? That leading man/headless corpse bit was a completely idiotic way to get Mickey's screenplay bought. I hate the fact that they've (apparently) turned Avi into a druggy villain This season is sloppy and tired, alternating between irritatingly unbelievable and just plain irritating - I'll probably stay with it because I'm averse to not knowing what happens, but won't bother with another season.

I thought it was from Bettina too. I'm not really understanding why the very grounded Joan would make a call like that unless it turns out that she was traumatized by the robbery and is suffering from PTSD. Didn't find the crime as confusing as it was overly-convoluted and at times (Pettibon sending herself the threatening messages, Morse drinking the LSD-spiked lemonade) far too predictable. Well at least Morse and Thursday seem to have reconciled, which is good because I don't like Thursday behaving like such a dick. This episode took me back to that era and my participation in all of that stuff. It happened to suit me well since I was always on the fringe, but I've thought for a long time that we (generationally) opened a pandora's box that might have been better left closed.

I finished each of the first two episodes with the "I guess I'll keep watching but I'm not sure why" feeling. So far, nothing about it has been compelling or even really suspenseful - just dark and trying-too-hard to be weird (especially the detective's character as a dominatrix-visiting bird whisperer). One thing that does make me curious is the seven stab wounds in the same places as the seven punches to the detective - is there some sort of Catholic symoblism about the number or the placement? Otherwise, meh, good enough for summer fill-in but that's about all.

What was with Bridget telling Ray "I saw the kid," or something like that? I took it as kind of ominous and made it seem like Bridget was stalking him for some yet-to-be-revealed reason.

Thank you!

It took me awhile to warm up to the show, but I'm glad I stuck with it because by the end I was rooting for a second season. At first I was put off by the familiar "Holllywood actors/directors on the fringe" angle, but as the characters developed, both the comedy and the tension were kicked up several notches and I started to get invested in the story and the people in it. I don't know who the actress playing the wolf girl is, but she broke my heart AND made me laugh, so kudos to a great supporting cast as well as to the three leads. I can't believe that the actress playing Ruth was Trudy on Mad Men - I don't think I ever would have put that together! I just wish the series would have hit its stride sooner.