I don't think many people realize how important this episode, and Brooklyn Nine-Nine in general, are. The show's talked about many issues, and I think it's very important that this episode focused on white supremacy and police brutality towards the black community. I love Brooklyn Nine-Nine and I think it's one of the most underrated sitcoms of this generation. More people should focus on this show. Please do not get it cancelled.
Thank whatever higher power is up there that this show is finally back. Had I had to wait one more week, I swear I would've exploded from anticipation.
Unfortunately, every once in a while real life gets in the way of my watching TV shows, which is why I was unable to review 4x15 when it first aired. So, if you don't mind, I'd like to very quickly say a few things about "Self Control":
That was the best fucking episode this show has ever done and I still haven't fully recovered from it.
I CAN'T BELIEVE ELIZABETH HENSTRIDGE AND IAIN DE CAESTECKER INVENTED ACTING. These two smol humans are so incredibly talented and their performances in that episode were earth-shattering.
I love FitzSimmons. I really do. But I ship Jemma and Daisy so hard that it actually hurts a little bit. The sweaty hug, the lingering looks, the hand-holding, it was all so gay that my brain short-circuited. I've spent the last month binge-reading BioQuake fanfiction. Send help.
Robot May made me cry like a baby. Yup. That's another sentence I never thought I'd write, but here we are!
And now, moving on to 4x16:
I can't believe they just went and changed the logo to Agents of HYDRA. I'm internally screaming. That is so extra.
So, the Framework is a bleak, nightmare-inducing reality. I don't get it. If you had the power to create a whole new world, why would you make it like this? It's awful.
I love Brett Dalton and it's good to see him again, but damn, I hate Ward's bitch ass. Watching that slimy motherfucker put his hands on Daisy made me want to throw up. And then he turned out to be a good guy? That's a twist I didn't see coming. I think it's very cool. It doesn't redeem real-life Ward's actions, of course, but it's interesting to see a different version of the character, one that isn't a homicidal lunatic.
Evil Fitz is terrifying. His dad must've been one messed up dude. Also, I sincerely hope that Jemma will punch Aida in the face for seducing him. I was so grossed out when they kissed. It's just wrong.
I appreciated all the little things that Coulson had in his file. The references to Tahiti, the Cellist, LA Quake (good one, writers) and Lola made me smile.
Jemma, my baby! My tiny badass! I love her so much. She just doesn't give a fuck. She'd fight all of HYDRA by herself armed with nothing but a plastic fork and a lot of determination if she had the chance. And yet another wonderful performance from Elizabeth. I shouldn't even be surprised anymore, but she still blows my mind.
"- Are HYDRA all Nazis?
- Every last one of them."
Cue the "My longest yeah boy ever" video.
"Daisy, they're coming! You need to do something before Psycho Stalker shoots us!"
I've never wanted to marry anyone more in my life. Your fave could never.
To be honest, the thing I would like to see the most in the Framework is FitzSimmons meeting. It could be such a fantastic scene. Just imagine, Fitz interrogating Jemma or something and feeling oddly drawn to her despite the fact that she's an enemy of HYDRA, Jemma desperately trying to get him to remember, emotions all around... I really want this to happen.
Seeing Daisy with long hair and hearing people call her Skye made me reflect on how much she's changed since the show started. I definitely prefer season 4 Daisy to season 1 Skye. I mean, I've loved her since day one, but her character arc has been phenomenal and I adore the person she's become.
Coulson remembers Daisy! Agents, assemble! Aida's electrical ass won't kick itself!
I can't wait for the next episode. I'm so excited that I can't breathe.
I watched episode 7 of the Mandalorian today, so "The Rise of Skywalker" isn't even the best Star Wars I've watched in the last 24 hours.
This is not a movie about dragons and the world of Kumandra. This is about Earth, this is the real world. We are divided, groups of people completely hating each other inside the same nation.
Unfortunately we are facing our own Druun, our plague. But as in the movie, this isn't our biggest problem. The real enemy is our inability to work together as a community, to put aside political views and really trust each other, working together for the best of everybody.
Beyond the important and necessary message, the movie is a fun adventure, the world building is great and the technical aspect is what you would expect of a Disney movie.
Ouch.
The visuals are breathtaking, as already shown by the trailers.
ScarJo is trying, you can tell that she wants this to be her new franchise.
It's edited quite nicely, it's got a (simple) story, and it's coherent.
So where did it go wrong?
One of the problems is that it takes away all of the philosophical depth from the original.
Well, that means you can still enjoy it from a simple action flick perspective, right?
Good luck with that.
This film has such a ridiculous amount of exposition, that it badly hurts the enjoyment of the film.
Many sequences consist of characters just talking to each other, and explaining the plot.
Things are definitely shown, but then the filmmakers don't think we're able to put two and two together, and hence add another explanatory scene.
As a result of that, the film doesn't take its time to develop the characters, meaning you won't care about them.
Top it off with an awful performance from Juliette Binoche, and you have your modern style over substance film.
3.5/10
I don't get nearly as excited about the MCU as I used to (mostly because they're churning out movies and TV shows at a rate that I just can't keep up with), but I thoroughly enjoyed this one. Definitely worth watching.
Some loose thoughts/things I enjoyed below (spoilers are marked):
- the story is good, the 2nd act is kind of slow, but it picks up towards the end
- the fight scenes are super cool and creative (especially the one on the bus and the one on the scaffolding)
- I liked the way they utilized the rings in fights, it felt really fresh and like something we haven't seen before
- the final battle is actually awesome (monkey brain loves big monsters and explosions)
- the cast is excellent (I'm particularly thrilled to see Awkwafina getting more recognition)
- the soundtrack is beautiful and I love the way they used traditional Chinese melodies
- badass women all around (Michelle Yeoh my beloved)
- impeccable CGI
- some gorgeous scenery
- MORRIS
- loved the callback to the Mandarin mess from Iron Man 3
- Brie Larson cameo (I know the fandom has collectively decided to hate her, but I don't care, that was a treat for me and me only)
- Xialing effectively utilizing girl power by taking over her father's crime empire (I feel like there was definitely some comic book reference flying over my head there but who cares). My friend and I joked that she'll be getting a Disney+ series shortly
Overall, it was a treat. Strongly recommend.
☼ a masterpiece ☼
someone: what’s up?
me: thinking about The Korean Gothic Lesbian Revenge Thriller That’s Captivated Cannes
beautiful acting, great directing, astounding writing, i simply love being slapped in the face by plot twists and this was an especially amazing movie because it not only had one twist but two!
i mean i had to take a fukcing step back because that shook me in the best possible way god bless you chan-wook
Such a phenomenal and truly important episode. This is definitely the best they've ever done and certainly going in my Top 10 of the year, and probably staying there. Literal art!
Alex' coming out was so pure/real and important fml. Yes straight ppl this is how you develop a gay character. That storyline is real as fuck IT HAPPENS IN THE FUCKING REAL LIFE so get over the "the writers just want to please the gays or can the writers stop writing stories that have nothing to do with their sexual preference?". We need/deserve this rep. And finally, i'm so glad the writers pulled this off i'm really looking forward to see maggie falling for alex ahhhhh fuck
Definitely the most beautifully constructed body of work of the year. This aesthetic, wonderfully directed and edited piece of video keeps it compelling from the very start to the end, as Mr. Jenkins proves for the first time he is a genre virtuoso, whose screenplay is plaintively artful and remains outstanding all over the film, a combination that delivers a masterful, at times unsettling filmmaking of immaculate ecstasy. Allow me to say something short and simple as it should be: this — ladies and gentlemen — is the movie of the year. This, is the story of a lifetime.
It's been some time since I've seen a movie that I had the feeling I should/could/would watch again and again and again but this... I definitely will.
A marvel on so many levels... the cinematography alone! And the soundtrack... and the acting. I adore this movie. It has not left my mind since I've seen it and it will be there for quite some time I think.
BEST ROMANTIC COMEDY IN YEEEARSSSSS
throws an Emmy at Chyler Leigh's head because somehow she manages to outdo herself every week and it's ridiculous
I didn't expect Supergirl to do a horror episode, but they actually kinda pulled it off. The scenes at the research station were sufficiently creepy. And the parasite looked really good.
Drunk Kara was absolutely adorable and hilarious.
The Guardian is fine. I liked James and Winn's interactions in this episode. Kudos to Jeremy Jordan for his angry speech at the DEO. It was amazing. And the idea to lace the suit with lead so Kara can't see inside it was pretty brilliant.
Is something going to happen to J'onn because of White Martian blood?
Well, Mon-El is dead. I mean, not really, but I can't say I'd miss his pasty annoying ass.
Now, let's get to the more emotional and less comprehensible part of this review:
Alex came out to Kara, and of course there had to be a misunderstanding, but that scene at Kara's apartment was beautiful. Everything about it was perfect, from the soft music and the warm lighting to all the acting choices. Alex talking about Maggie and calling her beautiful was just so pure and cute and it made me want to bite my hand off. You know the feeling. Don't lie to me.
AND THEN ALEX KISSED MAGGIE! I had to pause the episode and calm my racing heart. I was so excited and happy that I felt like I was about to explode. But underneath all that there was a nasty little gremlin sitting in my stomach, whispering "Maggie's gonna reject her", so I hesitated for a good minute before hitting play.
And guess what?
The gremlin was fucking right and I hate life.
Don't get me wrong. I want Alex and Maggie's relationship to develop slowly. And Maggie had a good reason for not wanting to get involved with a baby gay who's just starting to figure herself out. The calm, reasonable part of me knows that. But the far more vocal, far less logical part wants them to get together immediately.
Alex's heartbreak destroyed me. Holy shit. My poor baby. I'm sobbing because of her. The way she choked and stuttered and could barely talk... so real and completely devastating.
Well, Peacemaker’s time of holding the the title of best opening credits dance sequence of the year turns out to be short lived.
This is like a great Black Mirror episode (the philosophical kind, not the dystopian kind).
I’d also highly recommend it if you’re a fan of Alex Garland (the visuals in this reminded me a lot of Devs).
We’ve seen this concept of humans and AI living together done before (Westworld, Blade Runner), but this is more focussed on family relationships and drama, which makes it very fresh.
The cinematography is out of this world, acting is top notch across the board, good score, interesting storytelling that goes in directions you don’t expect, thematically rich, tight editing, it’s really great stuff.
Just know what you’re getting into: it’s reflective and meant to give you food for thought, it’s not a pulpy thriller about AI taking over the world.
8.5/10
There's nothing I've ever needed more than Alex's storyline.
Chyler's performance could not be more real; she's done so much justice to Alex Danvers and made her character so legitimate.
Alex's discovery of her sexuality, her coming out, her entire experience is so, so close to my own (and likely many gay women) that I can't thank the writers enough for giving this to us. I definitely could not stop the tears when Kara told Alex she wasn't alone in it. This could not be more important at a time where it feels like minorities are continuously disregarded and mistreated. My heart is so full after this episode.
I love how they compared Holden and Burton's characters by the one drinking coffee and the other drinking alcohol. Very poetic.
I never was a big fan of the over-the-top and outright goofy episodes of the X-Files but this one had me giddy throughout. The writing and twists (in the meta, dis-information kinda way) were excellent and had me hooked from the start. Besides the numerous easter eggs and brain-burny comments linking conspiracy, reality, memory fiction and everything in between this was indeed a good glimpse in our present time.
The "shame shame" fingers (in our area called "sliep sliep") made me chuckle. They really don't do that anymore do they... It's all so poco. This episode was great and a sublime way of introducing the "end" of the X-Files and them being so irrelevent in this day and age (even though we all know they were, and maybe are, completely relevent still).
And just when you thought it couldn't get any gayer... it does
Really surprised how much I love this. Was expecting a cheesy teen show but this is genuinely great. Definitely going to check out the comic books now.
This episode just confirms to me that AoS is the best of the current superhero/comic shows.
Great episode once again! Besides te whole 'aliens are bad, people are good' stuff, which has been with us since the fish season, the whole episode was quite good. Those hate crimes they were commenting on the show need to be talked about, but to me, it's getting a little bit repetitive. It's as if they just picked up one topic only to drop it at the next minute but keep on talking about it.
The whole Kara trying to use her powers without actually showing that she's Supergirl was actually quite good and pretty funny. Lena's gotta be suspicious now. So Kara leaves the room and 5 seconds later Supergirl appears. Coincidence? I think not!
Silly me for thinking that this would finally be the episode when Lena found out Kara is actually Supergirl. They're seriously dragging it way too much. Now I'm not buying the whole Lena already knew. If she knows she wouldn't be all buddy buddy with Kara. But writers, please, just let her know. It's seriously dragging Lena. She's one of the most intelligent people in the world, yet she's still clueless about her identity.
I love Nia. I seriously love her talks. So passionate and warming. I love that she waited until it was necessary to mention that she's transgender. That's actually how people talk and I'm glad the writers went that route.
Also, something tells me that Nia went to that pizzeria for a reason and not just to get an expresso. Who goes to an Italian pizza place to get a coffee when there are dozens of coffee places near your office? Her scene with Brainy was totally worth it, though.
I'm disappointed. If I'm not mistaken, Brainy ordered 12 pizzas, but he left with just 5?!?! Come on! I'm disappointed.
His relationship with Alex is starting to warm my heart. It's great to see both if the bonding. I'm really happy to see them growing up.
I wonder what Russian Kara is up about. I thought they might talk about it a little, but nothing. Guess we'll have to wait to see what happens.
Sobering documentary on how a small town can disregard the sexual assault of high school girls in favour of the rapists, the football jocks, and the bullying that persists for the victims. Heartbreaking and maddening. Whilst one can hope the abusers can become better people than the actions they have committed, with repentance and sorrow, there is a need to remember the victims of these crimes and how difficult it is for them to move on. The film details the stories of a few and despite the sadness there is hope.
We must all remember that our actions have consequences. We should not be defined by what we do or what happens to us. We all have a future and life can get better. Speak out against those who hurt you. Protect yourself from harm. Be a good person and treat all others with care and compassion for the human beings they are and the life they possess.
[5.8/10] Here’s what kills me about Inhumans. There’s good ideas here, and solid takes on characters and conflicts that, in other hands, could be compelling. Maximus struggling with his insecurity with being a human, Auron realizing that her leader and lover’s intentions were not pure or idealistic, and Black Bolt struggling with being lethal vs. being merciful are all solid at worst stories to play out on this show.
And in brief moments, they work. Maximus feeling stung by the perception that Auron only thinks he’s good “for a human” is a good beat. Auron realizing what she’s aligned herself with and trying to save Gorgon is an interesting turn. And Medusa talking to Black Bolt about the idea of people sharing different versions of the same pain is nice, even poignant thought.
The problem is that the clunky dialogue prevents most of these scenes and ideas from really working at anything other than an abstract level. And they’re only fodder for corny story beats that leave the viewers either bored or rolling their eyes. To the point, Maximus’s frustrations only lead him to a cheesy “parlay” with Black Bolt where Maximus predictably double-crosses his brother. Auron’s part, while leading to a solid bit of chemistry with Karnak, just leads to a standard “why isn’t this working?!” attempt to revive Gorgon. And Black Bolt’s initial attempts to be merciful and then later attempt to be more forceful is just a tired version of an old trope that builds to a standard supervillain plot.
Inhumans seems to want to go for complexity with Black Bolt as a leader, but that’s hard because the character is speechless and Anson Mount isn’t nearly good enough of an actor to convey the range of emotions required without dialogue, and Scott Buck & co. aren’t good enough at writing around that limitation, and the direction and editing and production of the show isn’t good enough to convey that visually. So the result is that Medusa (who’s quickly become the standout of an underwhelming series) makes an understandable demand that she be included as an equal in big decision and not lied to, and it all kind of amounts to nothing because she’s talking to a cardboard stand-in of a character and the episode just keeps on trucking.
At least there’s some good action in this one. While Karnak’s fight is still a little awkward in its pacing, the Matrix-like leaps and perspective ships make for a pretty cool moment as he disabled some attackers. And while the soundtrack chosen was silly as all hell, Triton’s Assassin’s Creed-esque ninja moves to corner Maximus on Attalan were well-done as well.
But that’s the thing about Inhumans -- for every one good thing, there’s two bad things. Triton’s moves are cool, but the show makes a big deal out of the character despite the audience having seen him for about two personality-less minutes, so his return has no impact. And Maximus’s ensuing confrontation with Black Bolt should be the climax of the series, but instead it culminates in a Bond Villain plot that would make Blofield blush.
And don’t get me started on the Gorgon crap. Last week felt like a fake out anyway. But between bringing back Triton and Gorgon in the same episode (not to mention Auron earlier in the season) the show has basically guaranteed that death is meaningless and shouldn’t be taken seriously in this series.
Overall, this is another underwhelming outing from the series, and if it was just uniformly awful and lacking in any redeeming qualities, it would be easy to just write it off as a completely unsalvageable misfire. But by finding interesting things with the characters, and being completely inept at doing so, Inhumans is an all the more frustrating sort of failure.
"What happens in the Misty Dunes stays in the Misty Dunes."
The murder of the week has never been a less significant part of an episode than it was tonight. In more interesting news, Clive is still D&D'ing!!! That is so freaking awesome. And Ravi is in the game, too, but that's not surprising. And the cute new cop joins in! Workplace lockdowns just bring people together, I guess.
All in all, a consistent hour from start to finish. And I'm really rooting for Clive to finally find a little ol' ray of sunshine in the romance department. On the character front, Isobel is an appealing new addition and the casting is good there. And finally, the absence of anything from the Robert Knepper story line is a big plus since it's been nothing but a distraction that hasn't been going anywhere.
Well after seeing the first episode.I can't see what all the fuss is about. It's only putting the spot light on events that are sadly true. Google college racist parties an see what goes on at some colleges. If we don't confront the issues then they will remain an issue.
Manny and Luke only ever want to impress girls and it just gets so boring because there's absolutely no progress. And usually it's also incredibly awkward or weird ("Don't you know anything about trains? Chicks go crazy. The vibrations get them all worked up. Also, they're trapped which is nice.")
I mean actually it's not like any of the characters can ever surprise me anymore. They all got so one-dimensional that you can basically foresee every plot twist and joke.
Far and away the best episode Agents of Shield has ever produced. The only episode that can give it a run for its money is last season's spotlight episode on how May earned her nickname. There's a lesson there -- centering an episode on an individual story, particularly one that centers around one of the better actors in the cast, gives the show a focus that is often lacking when trying to juggle multiple intersecting plotlines at once.
This was a hell of a showcase for Elizabeth Henstridge. The production design team helped. (Production design as a plus in 'Agents of Shield"? I"m as surprised as you are.) The blue tint was a cheap way to sell the alienness of the world, but it totally worked, and the dessert topography really sold the desolateness of the environment and contributed to the sense of hopelessness in that world.
But Henstridge is what made the episode work. She sold the isolation, the small moments of crestfallen loneliness and discouragement, the little joys of success and friendship, the simple humanity of a survival story. Her burp, her wistfulness when she says "My dad would like you," and her conversations with an imaginary Fitz (a nice nod toward Fitz doing the same routine last season) all made her feel like a three-dimensional person in an extreme situation. There's a sense that this is Marvel's take on 'Castaway' or even 'Last Man on Earth', and doing this kind of laser-focused narrative requires a lot of the actors involved. These types of stories are, by necessity, character pieces; Henstridge was more than up to the challenge, and it deepened my appreciation for Simmons.
The actor who played Will was pretty good as well, and while his story could have felt too cliche, it worked in the context of the episode as a whole. Really, this felt like a well-structured science fiction short story as much as it did an episode of an ongoing series, and that's not a knock. Knowing Fitz and Simmons's relationship helped give certain moments more weight and significance, but it could almost work as a standalone piece. That's how strong and self-contained this was.
There was also a legitimate sense of menace from the planet. The zomibe-like astronaut, the tentacle creature, and the dust storms all suggested something frightening and alien about this world. It prompted so many great emotional moments from the two characters stuck on it. Doing an episode like this, so unlike AoS's usual M.O., was something of a gamble, but it paid off like gangbusters here.
We applaud when the siblings win, though we should cry. We are applauding the worldwide decision to kill the planet and everything on it. Though, it is a good movie that can make you root for human extinction.
[9.8/10] Growing up is hard enough. Figuring out who you are, figuring out the balance on what’s in the core of your soul and what parts of it you’re willing to share with the world is a difficult endeavor under the best of circumstances. Throw in the difficulties of living in a household of addiction, of a sexual preference that earns you additional scorns, and an already fraught journey becomes a cruel and unforgiving one.
Despite the harshness of these difficulties, Moonlight finds the beauty forged within that crucible, the kindnesses large and small, the transcendent moments and connections, that help a sweet, put upon young boy have something to hold onto as he becomes a man. It is, despite the aesthetic pleasures of its gorgeously shot scenes, at times an ugly, dispiriting film, but ultimately a life-affirming one, centered on the unique challenges of its protagonist, struggling to define himself, and finding his way among the pitfalls and gentler paths of growing up.
It is a lovely (and to my mind, superior) companion piece to Richard Linklater’s Boyhood, another coming of age tale told in pieces with a reserved but introspective bent. Certainly, the circumstances of Chiron and Mason are markedly different. And Moonlight does not share Boyhood’s ambitious ten-year film schedule, instead relying a trio very talented actors who manage to turn three separate performances into one remarkably unified character. But both gain strength and meaning from the contrast of who the young men at the center of these films are at various points in their development, and how they explore what lessons, ideas, modes of being, stick with them or come back later in life, and what falls by the wayside.
It is a film that is both strikingly specific but also universal. Director Barry Jenkins does well to explore the particular hardships of being stuck in the middle of a parent who doesn’t know how to deal with her son’s differences and labors under an addiction and a mentor who accepts those differences, who guides this young man and gives him tools to survive, but who also feeds his mother’s dependency. Moonlight also succeeds in its focus on Chiron’s fraught attraction to his best friend, Kevin, bound up with all the fears and insecurities of teenage affection, with the added challenges of homosexuality and race that deepen the sense of unsteadiness, self-doubt, and betrayal that come with such steps into adulthood. There is a specificity to these threads, a depth and particularity to Chiron’s unique struggle through uncharted waters.
And yet, it is rooted in such recognizable emotions and motivations that the film transcends his individual story at the same time it embraces it. Moonlight explores the perilous effort to define yourself – in relation to, in opposition to, in the shadow of blessings and pain – from the misfit kid who doesn’t know where he belongs, to the troubled teenagers who find comfort but make their choices, to the adult who remakes himself in a loved one’s image. That struggle is an eternal one, one experienced by everyone, even as its given poignant life in one young man’s story.
The most universal, heartening, and at times heartbreaking aspect of Moonlight, however, is that it is also a love story. As much as the core of the film is about Chiron’s development, about the man he would become and the boy he was to get there, the heart of the movie is in the relationship between him and Kevin. In their gentle companionship as children, to their shared vulnerabilities and comfort on the beach in adolescence, to their cautious but tender reunion as adults, Moonlight depicts one of the most complicated, most believable, and most compelling love stories to make its way to celluloid in years. There is a truth in the pair’s few tentative steps, in the hesitant way their romance moves forward and crumbles in turn, and the baggage and lives lived that hang in the background as it’s rebuilt, that gives it a force unmatched.
The shape of that love story is given form by the incredible art direction, editing, and cinematography in the film. At a time when where the two stand in relation to one another is very uncertain, Moonlight lingers on images of Kevin lovingly preparing a meal for Chiron. The warmth of the process, the tactile effort of it, become the focus in a fashion that tells you everything about how Kevin feels without anyone needing to say it. At other point, the camera swirls around, giving you a view of the tumult in this corner of Miami and the man at the center of the orbit. And by the same token, the film’s use of color is outstanding, with crisp blues that stand for the choices confronted Chiron, as outlined by the man who takes him under his wing, often isolating it amid white space or primary colors. There’s a warm naturalism in how the film is shot, where every hue pops and a gentle glow that permeates moments harsh and beautiful.
But all that beauty is in service of what is, unassumingly, a tremendous ensemble film. As the film passes through the years, only Naomie Harris (who gives an incredible performance as Chiron’s mother Paula) appears in all three segments. And despite their comparatively brief appearances, Janelle Monáe and especially Mahershala Ali make big impressions as the early lights in Chiron’s life. But with that lack of continuity, it falls to the tripartite collection of actors who portray Chiron and Kevin at different points in their lives to carry the whole, and each rises to the occasion. There is a unity to these two young men, from youth to adulthood, a cohesiveness to their struggles and their character even as each changes dramatically, that speaks to the overwhelming talents of the actors young and old, and the quality of the writing that support them.
Moonlight is simply a superlative film, one whose merit and impact, I must confess, are hard to capture with the clumsy implements of the written word. It is wide in scope, spanning years and grazing eternal truths, but also focused and succinct on the compelling story of Chiron and committed to providing a glimpse of his inner life. It shows harrowing events in gorgeous ways, and tender moments with artistic care. It is a film about who we are, and who we choose to be, that finds power and beauty in the spaces in between.
