The author reflects on how Comic Con has coincided with major relationship events in his life, from an early trip there with an ex-girlfriend, to attending panels during his divorce proceedings and failed relationships in subsequent years. However, in his most recent trip to Comic Con with his daughter, he finds relationship success and sees her fully embracing her interests, helping him shift his perspective to appreciate the positives in his life rather than focusing on past failures.
The document discusses how love has become an important theme and element in modern video games. It traces the history of love stories in games back to early games where the goal was often to rescue a captured princess. As games advanced technologically, they were able to tell more complex love stories through dialogue, cutscenes, and fully-realized character relationships. Popular franchises like Mass Effect, Halo, and Red Dead Redemption have explored intimate relationships and the emotional impacts of both romantic and platonic love. The document argues that major game studios now consider storytelling, including conveying themes of love, to be as important as gameplay.
Our film Rendezvous is a 1950s romantic drama with elements of film noir. It follows the affairs between four main characters - Bridget, her husband Raymond, a detective, and Vivienne. Bridget has an affair with the detective, who is also seeing Vivienne. Vivienne then seduces Bridget's husband Raymond, twisting the relationships. The film explores the secret meetings and deception between the characters against the backdrop of 1950s England. It aims to subvert film noir conventions by focusing on the female characters and their relationships.
This document provides an overview of the history and evolution of the romantic comedy genre. It discusses the origins of rom coms in Shakespearean plays and early 20th century films. It then outlines different subgenres that developed over time, such as comedies of manner, screwball comedies, sex comedies, and radical/neotraditional romantic comedies. The document also lists some of the most prominent actors, directors, conventions, and key films within the genre. Overall, it traces how romantic comedies have changed to reflect different societal attitudes around love, sex, and relationships over the decades.
The Fast and the Furious is a 2001 street racing film directed by Rob Cohen and starring Vin Diesel and Paul Walker. It follows undercover cop Brian O'Conner who infiltrates the street racing scene in Los Angeles to investigate a series of truck hijackings. He bonds with the leader of a street racing crew, Dom Toretto, and finds himself drawn into a life of fast cars and illegal street racing. The film culminates in a climactic three-way chase scene between Brian, Dom, and the hijackers. Though the film relies on street racing tropes and simplistic dialogue, the focus is firmly on the pulse-pounding car chase sequences.
The document discusses the use of lighting in the film Big Eyes to emphasize the differing personalities and character arcs of Margaret Keane and her husband Walter. It notes that in early scenes depicting Margaret's hope and relationship with Walter, the lighting is bright and airy. However, once Walter begins taking credit for Margaret's art, the scenes become dimmer and use more shadows. Throughout the film, the lighting illuminates Margaret as the true artist but casts Walter in shadow, representing his lies. The climax in court also uses lighting - with Walter brightly lit but Margaret in shadow - to represent the societal expectations that silenced women at that time.
1) Genre provides audiences with familiar codes and conventions to create expectations about the types of stories, characters, and themes in a film.
2) Producers can use genre as a guide to conform to audience expectations or challenge conventions.
3) While genre gives audiences comfort, it can also limit films and actors that break out of expected types. Blending genres or subverting expectations can both please and surprise audiences.
A report was published about Hannah Bonser, who killed a teenager. The report found systemic failures by social services and health organizations to properly identify and help Bonser, who had mental health issues and warned agencies she might harm someone. Despite being known to many agencies and seeing many professionals, no one took lead responsibility for her care. As a result of these missed opportunities and lack of communication, Bonser was not identified as a high risk, with tragic consequences for her victim. The failures show the need for better risk monitoring, record keeping and training among organizations.
The summary analyzes the document, which discusses the new season of the TV show American Horror Story: Hotel. It introduces the main characters played by Lady Gaga and other actors. The plot involves a detective investigating mysteries at the Hotel Cortez, owned by Lady Gaga's vampire character. It notes this season connects more to previous seasons and is intended to be the darkest yet. It also discusses other related TV shows and movies briefly - Scream Queens, Crimson Peak, and Fright Nights haunted houses.
The document provides an analysis of the 2009 film Zombieland. It begins with an overview of the film's plot, which follows four survivors traveling through a zombie-infested America. The analysis then examines how the film establishes the horror, comedy, and adventure genres through its use of zombies, gore, character banter, and geographical quests. It discusses the film's main purposes of generating profit and entertaining audiences through a thrilling narrative. Finally, it identifies the film's target audience as genre fans and mainstream viewers aged 16-24, as well as fans of the stars featured in the film.
The document provides a detailed summary and analysis of the 2010 film True Grit, directed by the Coen Brothers. It discusses the film's adaptation of the 1968 Charles Portis novel of the same name. The film tells the story of 14-year-old Mattie Ross who hires Marshal Rooster Cogburn to help her track down her father's killer, Tom Chaney. The summary highlights the gritty and determined personalities of the main characters as well as the film's achievements in reviving the Western genre for modern audiences. It praises the performances of Jeff Bridges as Cogburn and Hailee Steinfeld as Mattie Ross.
The Effect of Gangster Culture on the Gangster Film GenreJthomas1
Ìý
The document discusses how gangster culture has influenced codes and conventions in gangster films over time. It analyzes the 1932 film Scarface and how Al Capone influenced the film with his flashy suits and illegal activities. Next, it examines the 1993 film Scarface and how it was influenced by the cocaine trade and gang culture of 1980s Miami. Finally, it discusses the 1990s film Menace II Society and how it represented the rise of black and Hispanic gang culture influenced by events like the East Coast-West Coast rap feud. Over the decades, gangster films have mirrored real-life changes in gangster culture through their evolving depictions of violence, criminal activities, and racial tensions.
Romantic comedies originated from Shakespearean plays that depicted lovers reunited after overcoming obstacles. Early romantic comedies in film included silent films from the 1920s. In the 1930s, "comedies of manners" focused on relationships between the rich and poor, while "screwball comedies" featured fast-paced dialogue and slapstick humor. Sex comedies of the 1950s-1970s explored gender differences and relationships. By the 1970s, romantic comedies questioned whether true love exists and focused on personal happiness rather than "happily ever after" endings. Today, popular "neo-traditional" romantic comedies follow the traditional structure but depict more realistic relationships.
The document discusses how lighting in the film Big Eyes emphasizes the differing natures of the main characters, Margaret and Walter Keane. It analyzes several scenes where lighting highlights Margaret as the true artist but shows Walter in shadow as he lies and takes credit for her paintings. By the end of the film, the courtroom scene uses lighting to symbolize the societal expectations of the time that kept women like Margaret in the darkness, despite her being in the right.
The document criticizes several popular romantic films as actually depicting stalker-like behavior disguised as romance. It analyzes scenes from "Say Anything" where Lloyd follows Diane obsessively and tells her father his goal is to be her boyfriend. In "The Graduate", Ben secretly follows Elaine around campus after she breaks up with him. "Love Stalker" is praised for depicting a situation where a man stalks a woman after she breaks up with him. The document warns that obsessive behavior and lack of boundaries shown in these films should not be considered realistic or healthy in real relationships.
This document provides a review of the slasher film "My Bloody Valentine 3D". It summarizes that the film blends slasher and thriller genres about a masked killer seeking revenge on those who caused a mining accident. While some elements work well, like the mystery surrounding the killer's identity, other aspects seem flawed, such as forced flashbacks. The review provides analysis of the film's characters, setting in a mining town, references to other slasher films, and orchestral soundtrack.
This marketing plan summary focuses on promoting the comedy film "For Old Time's Sake" which follows the story of three retired super villains who attempt to escape from the Super Villain Detention Center. The plan outlines a four phase strategy that includes targeting comic book festivals, distributors, screenings, and consumers. Key elements involve festival marketing with ground teams and comic giveaways, screening research opportunities, a September platform release date to ride comic book interest, and a creative strategy balancing classic and modern styles.
Seth Rogen and Megan Fox were interviewed together by USA WEEKEND magazine. Both actors rose to fame from television sitcom roles before breaking into major movies. During the interview, they discussed their careers, working with respected directors, and double standards in Hollywood based on gender. They also poked fun at each other and shared amusing anecdotes from filming their recent movies.
The document provides reviews and background information on the movie "City of God" directed by Fernando Meirelles. It depicts the violent subculture that has persisted for decades in the slums of Rio de Janeiro, Brazil. The movie follows the character Rocket and shows the poverty, crime, and gang violence that many children in the slums face and that drives them to join gangs. It highlights the lack of opportunity, law enforcement, and desperate conditions that have perpetuated a cycle of violence over generations in the City of God slums.
This document provides an overview of the history and evolution of the romantic comedy genre. It discusses the origins of rom coms in Shakespearean plays, then traces the development of various subgenres over time, including comedies of manner in the 1930s, screwball comedies in the 1930s focusing on strong female leads, sex comedies of the 1950s-1970s, and more radical romantic comedies of the 1960s addressing topics like sex. It also lists some of the most prominent actors, directors, conventions, and influential films in the genre.
This document provides an overview and summary of the TV show "Power" including:
- The premise of the show following main characters in the New York City drug trade.
- Key people behind the show including executive producer Curtis "50 Cent" Jackson and creator Courtney Kemp.
- Descriptions of main characters played by actors like Omari Hardwick and Joseph Sikora.
- Context around the drug wars in New York City that inspired the show's setting and themes.
- The consistent narrative theme throughout the show of James "Ghost" St. Patrick's attempts to leave the drug business despite obstacles.
This document compares the films Atonement and Dear John. Both films are set during wartime and involve themes of longing and romance. Atonement, directed by Joe Wright and starring James McAvoy and Keira Knightley, made more money overall and received more positive reviews. Dear John, directed by Lasse Hallstrom and starring Channing Tatum and Amanda Seyfried, made more money in its opening weekend but received more mixed reviews. The document recommends targeting a romantic, historical film at females aged 16+ to capture the emotions of longing.
The document proposes a gritty British crime film titled "Cut with Glass" that follows a drug dealer named Chris trying to rise through the ranks of the drug trade. The film would take place in a rural area rather than a big city to show drugs are a problem everywhere. It would run about an hour and 45 minutes. The target audience would be teenagers and young adults who could relate to the portrayal of drugs in their towns. The plot outline describes Chris dealing drugs and getting in trouble with his suppliers after they discover he was cutting cocaine with glass. They kidnap Chris and another dealer, and Chris must strike a new deal to survive.
This document provides an overview of the history and evolution of the romantic comedy genre. It discusses the origins of rom coms in Shakespearean plays and early 20th century films. It then outlines different subgenres that developed over time, such as comedies of manner in the 1930s, screwball comedies in the 1930s focusing on fast-paced dialogue, and sex comedies from the 1950s-1970s highlighting differences between men and women. Radical romantic comedies in the 1960s focused on personal happiness rather than relationships. Recent neotraditional rom coms emphasize compatibility and compromise. Key conventions, directors, actors, and top-grossing films are also mentioned to analyze trends in the genre.
The document provides background on the 2002 film City of God, directed by Fernando Meirelles. It depicts the cycle of violence in the slums of Rio de Janeiro over decades, as seen through the eyes of the narrator Rocket. The film shows the poverty and lack of opportunity that drive many children in the slums to join gangs. It highlights the norms of the subculture, such as widespread gun ownership and drug use. The violence and lack of law enforcement have created a hopeless environment where survival depends on crime.
This review summarizes the movie "Meet the Browns" and provides criticism of some of its unrealistic elements. It introduces the plot about a single mother named Brenda who takes her children to Georgia for her estranged father's funeral. There she meets her extended family, the fun-loving Browns, and finds love with a basketball scout. However, the reviewer criticizes unrealistic aspects like the age difference between Brenda and her son, her ability to afford expensive clothing and makeup while struggling financially, and Madea only having a brief cameo. The reviewer concludes that while Tyler Perry's works usually have them laughing, this movie unravels and is not as funny as his previous films.
The document discusses the romantic comedy film genre. It notes that romantic comedies typically follow a three-act structure: two main characters meet and begin a relationship that is interrupted by some conflict before ultimately reuniting by the end. Romantic comedies aim to make the audience feel happy and usually portray opposites attract relationships resolving their differences. Elements like music and lighting are used to help convey emotions. The document also discusses how the filmmakers aimed to make a romantic comedy appealing to younger audiences by including relatable teenage behaviors.
The document discusses the romantic comedy film genre. It notes that romantic comedies typically follow a three-act structure: two main characters meet and begin a relationship that is interrupted by some conflict before ultimately reuniting by the end. Romantic comedies aim to make the audience feel happy and usually resolve conflicts in a realistic rather than idealized manner. Key elements of romantic comedies include themes of love and fate, contrasting main characters, relatable stories, and lighthearted music and cinematography.
This document provides tips for surviving an English 1302 course by giving advice on assignments such as an annotated bibliography and researched argument essay (RAE). It recommends annotating readings by writing notes in text margins to summarize paragraphs, and circling unfamiliar words. The tips are meant to make the heavy workload more manageable and help students better understand course material.
The document provides instructions for using a website that writes essays for students. It outlines a 5-step process: 1) Create an account with an email and password. 2) Complete a form with assignment details and deadline. 3) Review bids from writers and choose one based on qualifications. 4) Review the completed paper and authorize payment. 5) Request revisions to ensure satisfaction, with a full refund option for plagiarized work. The website aims to fully meet student needs for original, high-quality content.
The summary analyzes the document, which discusses the new season of the TV show American Horror Story: Hotel. It introduces the main characters played by Lady Gaga and other actors. The plot involves a detective investigating mysteries at the Hotel Cortez, owned by Lady Gaga's vampire character. It notes this season connects more to previous seasons and is intended to be the darkest yet. It also discusses other related TV shows and movies briefly - Scream Queens, Crimson Peak, and Fright Nights haunted houses.
The document provides an analysis of the 2009 film Zombieland. It begins with an overview of the film's plot, which follows four survivors traveling through a zombie-infested America. The analysis then examines how the film establishes the horror, comedy, and adventure genres through its use of zombies, gore, character banter, and geographical quests. It discusses the film's main purposes of generating profit and entertaining audiences through a thrilling narrative. Finally, it identifies the film's target audience as genre fans and mainstream viewers aged 16-24, as well as fans of the stars featured in the film.
The document provides a detailed summary and analysis of the 2010 film True Grit, directed by the Coen Brothers. It discusses the film's adaptation of the 1968 Charles Portis novel of the same name. The film tells the story of 14-year-old Mattie Ross who hires Marshal Rooster Cogburn to help her track down her father's killer, Tom Chaney. The summary highlights the gritty and determined personalities of the main characters as well as the film's achievements in reviving the Western genre for modern audiences. It praises the performances of Jeff Bridges as Cogburn and Hailee Steinfeld as Mattie Ross.
The Effect of Gangster Culture on the Gangster Film GenreJthomas1
Ìý
The document discusses how gangster culture has influenced codes and conventions in gangster films over time. It analyzes the 1932 film Scarface and how Al Capone influenced the film with his flashy suits and illegal activities. Next, it examines the 1993 film Scarface and how it was influenced by the cocaine trade and gang culture of 1980s Miami. Finally, it discusses the 1990s film Menace II Society and how it represented the rise of black and Hispanic gang culture influenced by events like the East Coast-West Coast rap feud. Over the decades, gangster films have mirrored real-life changes in gangster culture through their evolving depictions of violence, criminal activities, and racial tensions.
Romantic comedies originated from Shakespearean plays that depicted lovers reunited after overcoming obstacles. Early romantic comedies in film included silent films from the 1920s. In the 1930s, "comedies of manners" focused on relationships between the rich and poor, while "screwball comedies" featured fast-paced dialogue and slapstick humor. Sex comedies of the 1950s-1970s explored gender differences and relationships. By the 1970s, romantic comedies questioned whether true love exists and focused on personal happiness rather than "happily ever after" endings. Today, popular "neo-traditional" romantic comedies follow the traditional structure but depict more realistic relationships.
The document discusses how lighting in the film Big Eyes emphasizes the differing natures of the main characters, Margaret and Walter Keane. It analyzes several scenes where lighting highlights Margaret as the true artist but shows Walter in shadow as he lies and takes credit for her paintings. By the end of the film, the courtroom scene uses lighting to symbolize the societal expectations of the time that kept women like Margaret in the darkness, despite her being in the right.
The document criticizes several popular romantic films as actually depicting stalker-like behavior disguised as romance. It analyzes scenes from "Say Anything" where Lloyd follows Diane obsessively and tells her father his goal is to be her boyfriend. In "The Graduate", Ben secretly follows Elaine around campus after she breaks up with him. "Love Stalker" is praised for depicting a situation where a man stalks a woman after she breaks up with him. The document warns that obsessive behavior and lack of boundaries shown in these films should not be considered realistic or healthy in real relationships.
This document provides a review of the slasher film "My Bloody Valentine 3D". It summarizes that the film blends slasher and thriller genres about a masked killer seeking revenge on those who caused a mining accident. While some elements work well, like the mystery surrounding the killer's identity, other aspects seem flawed, such as forced flashbacks. The review provides analysis of the film's characters, setting in a mining town, references to other slasher films, and orchestral soundtrack.
This marketing plan summary focuses on promoting the comedy film "For Old Time's Sake" which follows the story of three retired super villains who attempt to escape from the Super Villain Detention Center. The plan outlines a four phase strategy that includes targeting comic book festivals, distributors, screenings, and consumers. Key elements involve festival marketing with ground teams and comic giveaways, screening research opportunities, a September platform release date to ride comic book interest, and a creative strategy balancing classic and modern styles.
Seth Rogen and Megan Fox were interviewed together by USA WEEKEND magazine. Both actors rose to fame from television sitcom roles before breaking into major movies. During the interview, they discussed their careers, working with respected directors, and double standards in Hollywood based on gender. They also poked fun at each other and shared amusing anecdotes from filming their recent movies.
The document provides reviews and background information on the movie "City of God" directed by Fernando Meirelles. It depicts the violent subculture that has persisted for decades in the slums of Rio de Janeiro, Brazil. The movie follows the character Rocket and shows the poverty, crime, and gang violence that many children in the slums face and that drives them to join gangs. It highlights the lack of opportunity, law enforcement, and desperate conditions that have perpetuated a cycle of violence over generations in the City of God slums.
This document provides an overview of the history and evolution of the romantic comedy genre. It discusses the origins of rom coms in Shakespearean plays, then traces the development of various subgenres over time, including comedies of manner in the 1930s, screwball comedies in the 1930s focusing on strong female leads, sex comedies of the 1950s-1970s, and more radical romantic comedies of the 1960s addressing topics like sex. It also lists some of the most prominent actors, directors, conventions, and influential films in the genre.
This document provides an overview and summary of the TV show "Power" including:
- The premise of the show following main characters in the New York City drug trade.
- Key people behind the show including executive producer Curtis "50 Cent" Jackson and creator Courtney Kemp.
- Descriptions of main characters played by actors like Omari Hardwick and Joseph Sikora.
- Context around the drug wars in New York City that inspired the show's setting and themes.
- The consistent narrative theme throughout the show of James "Ghost" St. Patrick's attempts to leave the drug business despite obstacles.
This document compares the films Atonement and Dear John. Both films are set during wartime and involve themes of longing and romance. Atonement, directed by Joe Wright and starring James McAvoy and Keira Knightley, made more money overall and received more positive reviews. Dear John, directed by Lasse Hallstrom and starring Channing Tatum and Amanda Seyfried, made more money in its opening weekend but received more mixed reviews. The document recommends targeting a romantic, historical film at females aged 16+ to capture the emotions of longing.
The document proposes a gritty British crime film titled "Cut with Glass" that follows a drug dealer named Chris trying to rise through the ranks of the drug trade. The film would take place in a rural area rather than a big city to show drugs are a problem everywhere. It would run about an hour and 45 minutes. The target audience would be teenagers and young adults who could relate to the portrayal of drugs in their towns. The plot outline describes Chris dealing drugs and getting in trouble with his suppliers after they discover he was cutting cocaine with glass. They kidnap Chris and another dealer, and Chris must strike a new deal to survive.
This document provides an overview of the history and evolution of the romantic comedy genre. It discusses the origins of rom coms in Shakespearean plays and early 20th century films. It then outlines different subgenres that developed over time, such as comedies of manner in the 1930s, screwball comedies in the 1930s focusing on fast-paced dialogue, and sex comedies from the 1950s-1970s highlighting differences between men and women. Radical romantic comedies in the 1960s focused on personal happiness rather than relationships. Recent neotraditional rom coms emphasize compatibility and compromise. Key conventions, directors, actors, and top-grossing films are also mentioned to analyze trends in the genre.
The document provides background on the 2002 film City of God, directed by Fernando Meirelles. It depicts the cycle of violence in the slums of Rio de Janeiro over decades, as seen through the eyes of the narrator Rocket. The film shows the poverty and lack of opportunity that drive many children in the slums to join gangs. It highlights the norms of the subculture, such as widespread gun ownership and drug use. The violence and lack of law enforcement have created a hopeless environment where survival depends on crime.
This review summarizes the movie "Meet the Browns" and provides criticism of some of its unrealistic elements. It introduces the plot about a single mother named Brenda who takes her children to Georgia for her estranged father's funeral. There she meets her extended family, the fun-loving Browns, and finds love with a basketball scout. However, the reviewer criticizes unrealistic aspects like the age difference between Brenda and her son, her ability to afford expensive clothing and makeup while struggling financially, and Madea only having a brief cameo. The reviewer concludes that while Tyler Perry's works usually have them laughing, this movie unravels and is not as funny as his previous films.
The document discusses the romantic comedy film genre. It notes that romantic comedies typically follow a three-act structure: two main characters meet and begin a relationship that is interrupted by some conflict before ultimately reuniting by the end. Romantic comedies aim to make the audience feel happy and usually portray opposites attract relationships resolving their differences. Elements like music and lighting are used to help convey emotions. The document also discusses how the filmmakers aimed to make a romantic comedy appealing to younger audiences by including relatable teenage behaviors.
The document discusses the romantic comedy film genre. It notes that romantic comedies typically follow a three-act structure: two main characters meet and begin a relationship that is interrupted by some conflict before ultimately reuniting by the end. Romantic comedies aim to make the audience feel happy and usually resolve conflicts in a realistic rather than idealized manner. Key elements of romantic comedies include themes of love and fate, contrasting main characters, relatable stories, and lighthearted music and cinematography.
This document provides tips for surviving an English 1302 course by giving advice on assignments such as an annotated bibliography and researched argument essay (RAE). It recommends annotating readings by writing notes in text margins to summarize paragraphs, and circling unfamiliar words. The tips are meant to make the heavy workload more manageable and help students better understand course material.
The document provides instructions for using a website that writes essays for students. It outlines a 5-step process: 1) Create an account with an email and password. 2) Complete a form with assignment details and deadline. 3) Review bids from writers and choose one based on qualifications. 4) Review the completed paper and authorize payment. 5) Request revisions to ensure satisfaction, with a full refund option for plagiarized work. The website aims to fully meet student needs for original, high-quality content.
The document provides instructions for using the HelpWriting.net service to have papers written. It outlines a 5-step process: 1) Create an account with an email and password. 2) Complete an order form with instructions and deadline. 3) Review writer bids and choose one. 4) Review the completed paper and authorize payment. 5) Request revisions until satisfied, with a refund option for plagiarism. The service uses a bidding system to match requests with qualified writers.
Sample Essay My Favorite Teacher. Online assignment writing service.Linda Singleton
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The document discusses how Alfred Hitchcock uses mise-en-scene techniques like setting, cinematography, and expressive visual elements to establish atmosphere and mundane normalcy at the beginning of Rear Window. As the film progresses, these techniques reveal more about the narrative and characters. Specifically, the opening sequence uses mise-en-scene to introduce the voyeuristic protagonist Jeff and foreshadow how events observed through his perspective will disrupt the established equilibrium.
The passage describes a 14-year-old boy's experience trying out for his high school football team as a freshman. He is scared and out of shape, expecting to collapse from the physical demands of tackle football. The coach runs the players hard at practice, making the boy want to quit. However, the coach later pulls him aside to say he sees potential in the boy and wants to help him improve his skills and confidence through hard work.
The document discusses the issue of food waste in America, noting that 40% of food is never eaten and is wasted, while many people around the world suffer from hunger. It argues that Americans take the large amount of food available for granted and waste too much uneaten produce and food, and suggests Americans should focus on cutting down food waste to help address global hunger issues. A solution is needed to change attitudes towards food and reduce the tremendous amount wasted in America each year.
Apa Format Template For Word - LasopawikiNatasha Grant
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The document discusses how to request and complete an assignment writing request on the HelpWriting.net website. It outlines the 5 step process of creating an account, submitting a request form with instructions and deadline, reviewing writer bids and choosing one, revising the paper if needed, and having the option to request revisions until satisfied with the final product. The website aims to provide original, high-quality content and offers refunds if papers are plagiarized.
Apa Format Template For Word - LasopawikiNatasha Grant
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Comic Con Vs. Divorce: The Final BattleÌý|ÌýCraig Tomashoff
1. 9/18/15, 8:21 PMComic Con Vs. Divorce: The Final Battle | Craig Tomashoff
Page 1 of 2http://www.huffingtonpost.com/craig-tomashoff/comic-con-vs-divorce-the-_b_7795792.html
Craig Tomashoff Become a fan
Freelance writer
Posted: 07/15/2015 3:14 pm EDT Updated: 07/15/2015 3:59 pm EDT
Comic Con Vs. Divorce: The Final Battle
The annual Comic Con gathering in San Diego means different things to different people.
For fans of sci fi/fantasy, it's the chance to spend a few days wearing costumes and being with people who actually get you. For movie and
television studios, it's the chance to tease their next multi-million dollar, spandex-encased franchises. For the media, it's a chance to glorify a
group of people they will spend the rest of the year making fun of. For me, though, Comic Con has been like facing my own brand of
crippling Kryptonite -- divorce.
Let me explain via this timeline, and stay tuned for a vintage comic book twist ending:
1990 - I'd just moved to Los Angeles from Boston with my girlfriend of two years. We were both a little uncertain of such a major
commitment, but we tried it anyway. And in one of our first trips together as a California couple, she accompanies me on a magazine
assignment to San Diego. By accident, we stayed at a hotel filled with Comic Con revelers and from the chain mail-clad woman in the lobby
when we checked in to the people running through the hallways all night screaming about which room has the best parties, she and I bonded
over our mutual amusement with it all.
2006 - I'd been married for nine years. I'd had two kids. But like 50 percent of the population, this lifetime bonding thing has proven too
much to figure out. Before traveling to San Diego, I'd left my sleeping spouse a multiple page, single-spaced note about the problems I saw
with our relationship. I did a session on the phone with my therapist while driving down. And I knew that in a few days, my wife and I would
be going to couples therapy and probably separating. I'd never felt like more of a failure in my life, so I couldn't miss the irony in me hosting
a panel with some cast members of a show called Heroes.
2007 - Separated for close to a year. Adjusted to romantic failure by falling crazy in love for the first time since that separation became. The
future was looking bright. Only to get to Comic Con to moderate a dozen panels and have The Crush explain politely that I'd misread her
signals with the same ineptitude that the lone stranger in a horror film misreads a dark room as an invitation to come in. Now, that guy's
heart and mine had both been ripped out. He was the lucky one. At least he didn't have to try dating again.
2008, 2009 - Divorce finalized, I realize that just as that relationship wilts, the one with my kids should just be blossoming. My son was the
right age to appreciate Comic Con so for the next two years, I took him with me in order to a) impress him by moderating panels in front of
thousands of people and b) let him meet and get pictures with his favorite actors. One of these two plans worked out fine. Meanwhile,
walking the convention floor with my boy while seeing hundreds of happy families dressed together as Wookies or Captain Americas was a
constantly reminder that once again, I had made mistakes in life that could prove perilous for those I cared about.
2011 - Superhero movies get sequels. Why not do the same for post-divorce dads? As I arrived in San Diego to moderate a couple of panels,
a text buzzed in from the woman I'd been seeing for three months. She'd stopped answering my calls a week or so earlier, and there in text
form was her break up message. I'd been trying not to get my hopes up for this one, but the letdown from this romantic rejection replay felt
like the emotional equivalent of having to watch those Matrix sequels again.
Featuring fresh takes and real-time analysis from
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September 18, 2015
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