UnicornFace

@cantonmeow did Papa have a porno collection too?😂

Papa meows🐈got me into classical music at an early age. I started going through his CD collections since I was 10, and started composing music when I was 15. One of my tasks this trip was to clear out his CD collection since he passed 2 years ago, most of it I've been familiar with for over 3 decades. Deutsche Grammophon, Decca, EMI, Karajan, Solti, Horowitz... Everything's digital, and nobody uses CDs anymore, but I was able to donate the bulk of his collection to CD recycling companies who hopefully will be able to put them into good use. I saved about 10 CDs that he played the most frequently just for his memory, and I placed them next to his remains. Carpe diem.

@JoyceCarolOates @jeremypgordon Its One Battle After Another.

at last saw the powerful/disturbing "The Secret Agent" (Brazilian, in Portuguese) which was nominated for an Academy award last year; directed by much-admired Kleber Filho & with a brilliant (if heartrending) performance by Wagner Moura, the first Brazilian actor to have been nominated for an Academy Award. this is indeed a grueling experience at nearly 3 hours of achingly "real" realism set beside which our American blockbusters "Sinners" & "One Battle at a Time" (also Academy Award nominees/ winners) are big/bombastic/Broadway-amplified entertainments that scarcely share the planet with "The Secret Agent." with all respect for American filmmaking, just a few minutes saturated in this quietly terrifying film reveal to us the difference between enormous American affluence in film budgets & that of the rest of the world, of "indie" masterpieces.

Very pleased. $CIFR $IREN

@jgtokyo @IFCCenter @Film_Movement is this shit any good?

The North American theatrical release of Chie Hayakawa’s RENOIR launches May 29th at the @IFCCenter New York City, expanding to 13 more cities across the US and Canada through distributor @Film_Movement. Hayakawa will be on hand for IFC screenings on both the 29th and 30th!

@TrustlessState TLDR : Another lettuce handed bitch.

@andy_samuelson I call bullshit. Joachim Trier comes across as a nice dude

I worked as a street guard on this scene. Dozens of pissed of people not being able to get to work. Director didn’t smile or say good morning once to any of the crew receiving complaints about his production.

@mikealfred See you at $200

I was hanging with some good friends on Friday night and then this happened.

@JustinCChang Tree of Life is a POS. Von trier was robbed

Cannes 2011: probably the most roundly satisfying slate of winners in all the years I've attended. No glaring omissions, a perfectly judged tie in Grand Prix, a Palme for the ages. (Yes, I know MELANCHOLIA had it in the bag before that press conference. I don't care!)

@KrisPatel99 Bruh Ikea looks better than this

People keep asking so here they are… They retail for $649 and $599 + Tax + $100 to 300 delivery Roughly ~$1500 My cost 800 + $30 for delivery and assembly. Paid $30 for delivery. Gave another $30 as a tip. Was it worth it?

@DannyDrinksWine @StephenKing Do you still feel this way? Film has aged well

"What’s basically wrong with Kubrick’s version of 'The Shining' (1980) is that it’s a film by a man who thinks too much & feels too little; and that’s why, for all its virtuoso effects, it never gets you by the throat and hangs on the way real horror should." --- Stephen King Full Excerpt: "Stanley Kubrick‘s version of 'The Shining' (1980) is a lot tougher for me to evaluate [than 'Carrie' (1976)], because I’m still profoundly ambivalent about the whole thing. I’d admired Kubrick for a long time and had great expectations for the project, but I was deeply disappointed in the end result. Parts of the film are chilling, charged with a relentlessly claustrophobic terror, but others fall flat. I think there are two basic problems with the movie. First, Kubrick is a very cold man—pragmatic and rational—and he had great difficulty conceiving, even academically, of a supernatural world. He used to make transatlantic calls to me from England at odd hours of the day and night, and I remember once he rang up at seven in the morning and asked, “Do you believe in God?” I wiped the shaving cream away from my mouth, thought a minute and said, “Yeah, I think so.” Kubrick replied, “No, I don’t think there is a God,” and hung up. Not that religion has to be involved in horror, but a visceral skeptic such as Kubrick just couldn’t grasp the sheer inhuman evil of the Overlook Hotel. So he looked, instead, for evil in the characters and made the film into a domestic tragedy with only vaguely supernatural overtones. That was the basic flaw: Because he couldn’t believe, he couldn’t make the film believable to others. The second problem was in characterization and casting. Jack Nicholson, though a fine actor, was all wrong for the part. His last big role had been in 'One Flew over the Cuckoo’s Nest' (1975), and between that and his manic grin, the audience automatically identified him as a loony from the first scene. But the book is about Jack Torrance’s gradual descent into madness through the malign influence of the Overlook, which is like a huge storage battery charged with an evil powerful enough o corrupt all those who come into contact with it. If the guy is nuts to begin with, then the entire tragedy of his downfall is wasted. For that reason, the film has no center and no heart, despite its brilliantly unnerving camera angles and dazzling use of the Steadicam. What’s basically wrong with Kubrick’s version of 'The Shining' is that it’s a film by a man who thinks too much and feels too little; and that’s why, for all its virtuoso effects, it never gets you by the throat and hangs on the way real horror should. I’d like to remake 'The Shining' someday, maybe even direct it myself if anybody will give me enough rope to hang myself with." (From Stephen King's interview to Playboy, 1983) P.S: On this day, 46 years ago, "The Shining" (1980) had its limited release in the USA & Turkey.

@TedPillows RIP

Korean funeral company "Parents' Love" lost ₩49,800,000,000 of their clients' money on a 2x $BMNR long trade. Insane.

@mikealfred @njshoreinvest 💯dude is a fking drama queen

@njshoreinvest Just pay cash and stop with this whole drama. Grow up.

My friends ask me why I don't just buy our dream house now for $2-3M. I get the appeal, this is the finish line we were all told to chase growing up. Here's the trade nobody mentions. You don't just buy the house. You buy the mortgage that decides when you can quit. You buy the performance reviews you can't afford to bomb. You buy the Sunday night anxiety that comes with knowing a bad quarter at work changes everything. I'd rather have $3M sitting in the market. It buys the option to walk away from my job tomorrow. It buys time off whenever I want it. It buys the quiet in my own head when my boss sends a Friday afternoon email. The dream house is a nice view from a cage. In 10 years I can have both. Right now I only need the one that sets me free.

@teslantir @KrisPatel99 @amitisinvesting @stevenfiorillo @RealMattMoney This. Lol

@KrisPatel99 @amitisinvesting @stevenfiorillo @RealMattMoney @amitisinvesting doesn’t have a job, @stevenfiorillo just quit his job, only hope is if @RealMattMoney wants to buy it cash. lol

I have a private goal in mind for the next few years... I want to buy a Townhouse in the middle of Manhattan and live their part time so I can hang out with my friends @amitisinvesting @stevenfiorillo @RealMattMoney. Maybe we can pool some capital together and buy a place that has a studio on the ground level and invite guests. NYC's First retail investor Financial Podcast studio. What are your thoughts?

@matthughes13 how about the POS $BMNR

The next $AMD $MU $LITE type percentages will be made in #crypto My bets are on $ETH $NEAR $SUI $LINK $AVAX $XRP and the list goes on

@fundstrat Evidently the far future

$ETH is the settlement layer of the future

Rate my portfolio: - $200,000,000 stocks - 4 Pokémon cards - $10,000 emergency fund - $1,200 checking account Would you change anything?

@ShardiB2 $DRAM to 100

$MU has hit escape velocity 1k next

@BitcoinAIGuy i'm rich bitch

SOMEBODY KNOWS $IREN

$IREN LFG TO $100

@alainastruc This some passionate slop extrapolated from a 2 minute trailer 😂😂😂

The only thing epic here is the aesthetic catastrophe. Nolan is a cerebral director of the global anglo world, all his intelligence put to industrial ends. Grey matter for a grey world. Nothing in this trailer is Greek. Nothing is Mediterranean. No olive groves and no white stone burning under the sun and no salt and no pine and no sea-glare. A deracinated Odyssey, made for imaginary nobodies from nowhere. The script feels like it's going to be the work of a diligent student who took down the events of the Odyssey one by one, forgetting that this is not a novel but an archaic poem, from a time when men and women lived each word as a heartbeat, who sang the soul and flesh of a people and of a world at once real and supernatural. A poem in which Telemachus does not say "my dad is coming home." The Odyssey deserved a Parajanov or a Fellini or a Welles, someone larger than life, a Dionysian ogre, someone hungry, someone who could make a film that smells of figs and raw wool and roasting meat and tar and blood. Monsters that are actually monstrous and seductive witches with real venom and golden shields catching real light and banquets going on for days. And the women of the poem, who are everywhere in Homer and seem so cold and dull here. Circe in her smoke and Calypso in her cave and Penelope at her loom, the sensuality of witches and the rigid loyalty of wives, all replaced by a fashion-armor Athena and a Penelope played as a strong American woman. And then there is what the Odysseus of the trailer says: "No one can stand between me and home, not even the gods". The cunning sufferer who knew how to bow to divine forces turned into a defiant individualist who bows to no one. Greek cunning replaced by American autonomy. The poem's central lesson reversed in a single line of dialogue. I usually don't mind Hollywood slop, but this has made me weirdly angry, and the film isn't even out yet. I feel as if a red line has been crossed, some hubris that has gone too far. The gods have been angered. How could they not be, with the decapitation of that statue at the end of the trailer? An iconoclastic gesture absent from Homer, usual with the monotheistic traditions that have spent centuries smashing pagan images. Nietzsche said he would believe only in a god who knew how to dance. Apollo without Dionysus produces exactly this: cerebral, cold, unambiguous. I cannot trust a filmmaker who is not hungry enough to banquet with the gods.