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6 things Taylor Swift has taught me about living well | CNN

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6 things Taylor Swift has taught me about living well | CNN

Editor’s Word: That is considered one of an occasional sequence of private essays from CNN workers and contributors.



CNN
 — 

Along with her prolific tune writing and curated eras, the world has gotten an intimate look right into a younger lady rising up by Taylor Swift’s music.

Her lyrics, speeches, movies and even a 2020 documentary, “Miss Americana,” have advised the story of a lady looking for her place on the planet by approval and applause rising into a girl who finds a extra sustainable supply of happiness.

And now with the discharge of her newest album, “Midnights,” Swift followers have been invited to glimpse again into the struggles and classes she is investigating in her subsequent part of her life.

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I used to be 12 years previous after I began listening to Swift’s music. I cried alongside as Drew didn’t see by her pretend smile within the halls of highschool. I twirled by daydreams of younger love. I processed along with her the heartbreak of long-gone relationships, discovering the place we’d or won’t have been at fault. I grappled with the very fact and fiction behind reputations.

Over the 16 years she has been within the limelight, I’ve been one of many younger ladies who felt like Swift – by her stumbles and victories – was singing proper to her. Over that point, here’s what I’ve discovered from Taylor Swift about residing higher.

(A be aware to my fellow Swifties: I do know I’ve missed some issues. Don’t blame me – I had an editor-imposed phrase restrict.)

Let’s take Swift’s music video for “Anti-hero,” a monitor from her newest album “Midnights,” for instance, though it’s hardly the primary time she has addressed her insecurities and flaws head on.

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“It’s me. Hello. I’m the issue, it’s me,” Swift sings over a scene wherein two variations of herself – which might be imagined because the non-public and public variations – meet.

They enjoy taking pictures till she is sick, run from ghosts of individuals she ghosted, smash guitars as they dance and even meet a 3rd (large) model who highlights her insecurities round being what she calls “a monster on the hill too massive to hang around.”

The play and chaos ends with the three Taylors assembly collectively to share a bottle of wine and mirror because the solar goes down.

There’s a peace discovered when her completely different personas come collectively, and the issues she won’t like about one are complemented by the others. I might be fast to fixate on the components of myself I don’t like, however for me that scene completely captured the objective I’m striving for: accepting the numerous aspects of myself.

Taylor Swift in her documentary,

“There’s all the time some customary of magnificence you’re not assembly,” Swift stated in her “Miss Americana” documentary. “If you happen to’re skinny sufficient, then you definately don’t have {that a}** that everyone needs. However if in case you have sufficient weight on you to have an a**, then your abdomen isn’t flat sufficient.”

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Noting that hypocrisy, Swift describes her evolving relationship along with her physique and a historical past of disordered consuming within the movie. Amid a barrage of images and physique commentary within the tabloids and on social media, she spoke of a interval when she would train closely and slowly starve herself to fulfill a great.

The video for Anti-hero additionally touches on this as Swift seems to be down at a scale with no numbers, simply the phrase “fats.” The picture sparked dialog amongst viewers, a few of whom discovered it fatphobic whereas others noticed it as a glance into her intrusive ideas that include a historical past of disordered consuming.

“I’ve discovered through the years, it’s not good for me to see footage of myself on daily basis,” she stated. “Now I understand, when you eat meals, have power and get stronger, you are able to do all these exhibits and never really feel it.”

“I’m quite a bit happier with who I’m,” Swift stated within the documentary. “It’s simply one thing that makes my life higher – the truth that I’m a dimension 6 as a substitute of a dimension 00.”

NSAI Songwriter-Artist of the Decade honoree, Taylor Swift performs onstage during NSAI 2022 Nashville Songwriter Awards at Ryman Auditorium on September 20, 2022 in Nashville, Tennessee.

When the person she alleged to have assaulted in 2013 her sued her in 2015, she countersued for a greenback (and received). When she had an issue with how streaming companies paid artists, she took off all her music. When she received right into a dispute over her music possession, she turned rerecording her work right into a sequence of extremely anticipated occasions. When “Taylor Swift is canceled” was trending on Twitter, she turned the expertise into an album.

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Swift has a historical past of exhibiting how you can construct a palace on the rubble from a devastating blow. Sure, she is a really highly effective celeb with much more assets than the common individual, however I’ve felt empowered as I watch her get up for herself – and infrequently additionally others who face related conditions with much less privilege.

And even with the time that she took out of the general public eye lately to guard her privateness along with her beau Joe Alwyn, she fashions that it’s OK to search out methods to guard your self and, the place potential, push again.

Coming into the political dialog is a selection that Swift has painted as a troublesome one.

She was lengthy silent on her stances, a seemingly-neutral place that garnered a lot reward from public figures. In her documentary, she stated that silence was in pursuit of being seen as a “good woman.”

However in her music now, she wonders if she has been too good. Although there have been criticisms that her activism got here too late, now we have gotten a extra empowered Taylor Swift lately – one who backs candidates, promotes LGBTQ organizations and makes use of her platform to extend voter turnout.

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Tears have been in her eyes within the documentary footage that exhibits her telling her crew she was going to talk out for the primary time. It’s clear her confidence has grown on this enviornment within the time since – the Swift we see as we speak responding to the backlash of her political messaging is one that’s extra entire and comfy.

Taylor Swift attends Billboard Magazine: Women in Music 2019
Billboard Women in Music.

Her most heart-wrenching songs allude to feeling like an outsider, not realizing who she is going to discuss to at college, and falling wanting typical fairytale archetypes.

The happier Taylor, in the meantime, is one who shirks the “ought to.” Her fortunately ever after is hers and hers alone: whereas the general public eagerly awaits a wedding between Swift and Alwyn, she celebrates what she describes as their dedicated however non-public love in new tune “Lavender Haze.”

“Recently, I’ve been focusing much less on doing what they are saying I can’t do and extra on doing regardless of the hell I need,” she stated in her acceptance speech for the Billboard Lady of the Decade award in 2019.

I’m additionally typically reminded to giggle at your self somewhat, as one of many largest artists on the planet does when she caricaturizes herself chasing off males or dedicates a complete music video to her incapacity to bounce. I’ve discovered from Swift to not take life too critically and to be the primary to giggle at my blunders.

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It may be harmful to worship celebrities as infallible and restricted to the dimension we see within the public sphere, however I believe we are able to be taught from her with out portray her as excellent. Many younger folks rising up alongside Taylor Swift have discovered a lot as she shares her progress with us.

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Movie Reviews

Film Review: The Fire Inside – SLUG Magazine

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Film Review: The Fire Inside – SLUG Magazine

Film

The Fire Inside
Director: Rachel Morrison
Michael De Luca Productions, PASTEL
In Theaters: 12.25

I’m not a fan of combat sports in real life, yet I find that movies about them are nearly irresistible. Whether it’s Rocky, The Karate Kid, Warrior or the upcoming wrestling flick Unstoppable, the underdog who comes out swinging and bests their bigger, more experienced opponent always plays. It’s also nearly always the same movie, and that’s what makes The Fire Inside a knockout.

In this fact–based story, Claressa Shields (Ryan Destiny, A Girl Like Grace, Oracle) is a young woman from Flint, Michigan, who has one skill and one passion: boxing. Despite limited support from her family, Claressa is taken under the wing of Jason Crutchfield (Brian Tyree Henry, If Beale Street Could Talk, Godzilla vs. Kong), a coach at a local gym. As Jason becomes as much a surrogate father as a coach, Claressa trains with a ferocious determination and earns a spot on the 2012 Summer Olympic team —  Claressa “T-Rex” Shields becomes the first American woman to take home the gold in the sport at age 16. From there, Claressa goes from being a poor inner city kid with nothing to … a poor inner city kid with a gold medal overnight.  There are no endorsement deals, no professional career and seemingly no new worlds to conquer. As Claressa fights discouragement, she must find a path to lead her beyond a one time victory into a lasting better life.

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Rachel Morrison, the first woman to be nominated for an Academy Award for her work on Black Panther, makes a strong directorial debut, coming out swinging. She’s ably assisted by a terrific script by Barry Jenkins (Moonlight). The Fire Inside transcends the tropes of the genre by reaching the rush of climactic fight and then daring not to end there, instead delving into the reality that in Shields’  life, one triumph in the sports world doesn’t change your circumstances, especially for an uncouth young woman with no interest in playing the public relations game and selling a softer, more traditionally feminine image. We’ve heard the cliche “this isn’t just a movie about sports, it’s about life,” but such a candid look at a life-changing moment that does nothing to change your life, and learning how to face this, was something refreshingly new and honest. The often bleak and at times stunningly beautiful cinematography by Rina Yang, along with the stirring score by Tamar-kali, lift the sensory experience and go a long way to making this one a winner. 

Destiny shows potential as a breakout star, commanding the screen as effortlessly as Claressa commands the ring. Henry is the highlight of any film he’s in, and The Fire Inside is no exception, with his grounded performance keeping the film moving along and setting the tone for a story about learning that you can still lean on others while you’re believing in yourself. The sizzling chemistry between these two actors drives a poignant and entertaining story to a satisfying and believable conclusion that’s not the one you’re expecting.

The Fire Inside is a breath of fresh air in a genre that far too often settles for stale and dank. It provides enough inspirational warmth to fulfill its duties as an uplifting sports movie, but its got the stamina and the drive to go a few extra rounds and push its own limits. Unlike most boxing films, this champ doesn’t pull any punches. –Patrick Gibbs

Read more film reviews here:
Film Review: A Complete Unknown
Film Review: Babygirl 

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The 2024 Envelope Oscar Roundtables

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The 2024 Envelope Oscar Roundtables

The fear factor behind great art

Adrien Brody, Kieran Culkin, Colman Domingo, Peter Sarsgaard, Sebastian Stan and Jeremy Strong dive into their films, truth-telling and acting alongside your director. READ HERE

The word "Directors" in pink

Doubts, sure. Compromise? Never

6 directors on doubt, compromise and Timothée Chalamet. READ HERE

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Movie review: Reverence to source material drains life from ‘Nosferatu’

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Movie review: Reverence to source material drains life from ‘Nosferatu’

Passion projects are often lauded simply for their passion, for the sheer effort that it took to bring a dream to life. Sometimes, that celebration of energy expended can obfuscate the artistic merits of a film, as the blinkered vision of a dedicated auteur can be a film’s saving grace, or its death knell. This is one of the hazards of the passion project, which is satirically explored in the 2000 film “Shadow of the Vampire,” a fictionalized depiction of the making of F.W. Murnau’s 1922 silent horror film “Nosferatu: A Symphony of Horror,” in which John Malkovich plays the filmmaker obsessed with “authentic” horror.

This meta approach is a clever twist on the iconic early horror movie that looms large in our cultural memory. Inspired by Bram Stoker’s 1897 novel “Dracula” (with names and details changed in order to skirt the lack of rights to the book), “Nosferatu” is a landmark example of German Expressionism, and Max Schreck’s performance as the vampire is one of the genre’s unforgettable villains.

“Nosferatu” has inspired many filmmakers over a century — Werner Herzog made his own bleak and lonely version with Klaus Kinski in 1979; Francis Ford Coppola went directly to the source material for his lushly Gothic “Bram Stoker’s Dracula” in 1992. Now, Robert Eggers, who gained auteur status with his colonial horror film “The Witch,” the Edgar Allen Poe-inspired two-hander “The Lighthouse,” and a Viking epic “The Northman,” delivers his ultimate passion project: a direct remake of Murnau’s film.

His first non-original screenplay, Eggers’ version isn’t a “take” on “Nosferatu,” so much as it is an overly faithful retelling, so indebted to its inspiration that it’s utterly hamstrung by its own reverence. If “Shadow of the Vampire” is a playful spin, Eggers’ “Nosferatu” is an utterly straight-faced and interminably dull retread of the 1922 film. It’s the exact same movie, just with more explicit violence and sex. And while Eggers loves to pay tribute to the style and form of cinema history in his work, the sexual politics of his “Nosferatu” feel at least 100 years old.

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“Nosferatu” is a story about real estate and sexual obsession. A young newlywed, Thomas Hutter (Nicholas Hoult) is dispatched from his small German city to the Carpathian Mountains in order to execute the paperwork on the purchase of a rundown manor for a mysterious Count Orlok (an unrecognizable Bill Skarsgård), a tall, pale wraith with a rumbling voice that sounds like a beehive.

Thomas has a generally bad time with the terrifying Count Orlok, while his young bride at home, the seemingly clairvoyant Ellen (Lily-Rose Depp) is taken with terrifying nightmares and bouts of sleepwalking, consumed by psychic messages from the Count, who has become obsessed with her. He makes his way to his new home in a rat-infested ship, unleashing a plague; Ellen weighs whether she should sacrifice herself to the Count in order to save the town, which consists of essentially three men: her husband, a doctor (Ralph Ineson) and an occultist scientist (Willem Dafoe).

There’s a moment in the first hour of “Nosferatu” where it seems like Eggers’ film is going to be something new, imbued with anthropological folklore, rather than the expressionist interpretation of Murnau. Thomas arrives in a Romanian village, where he encounters a group of jolly gypsies who laugh at him, warn him, and whose blood rituals he encounters in the night. It’s fascinating, fresh, culturally specific, and a new entry point to this familiar tale. Orlok’s mustachioed visage could be seen as a nod to the real Vlad the Impaler, who likely inspired Stoker.

But Eggers abandons this tack and steers back toward leaden homage. The film is a feat of maximalist and moody production design and cinematography, but the tedious and overwrought script renders every character two-dimensional, despite the effortful acting, teary pronunciations and emphatically delivered declarations.

Depp whimpers and writhes with aplomb, but her enthusiastically physical performance never reaches her eyes — unless they’re rolling into the back of her head. Regardless of their energetic ministrations, she and Hoult are unconvincing. Dafoe, as well as Aaron Taylor-Johnson and Emma Corrin, as family friends who take in Ellen, bring a winking campiness, breathing life into the proceedings, while Simon McBurney devilishly goes for broke as the Count’s familiar. However, every actor seems to be in a different movie.

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Despite the sex, nudity and declarations of desire, there’s no eroticism or sensuality; despite the blood and guts, there’s nothing scary about it either. This film is a whole lot of style in search of a better story, and without any metaphor or subtext, it’s a bore. Despite his passion for the project, or perhaps because of it, Eggers’ overwrought “Nosferatu” is dead on arrival, drained of all life and choked to death on its own worship.

‘Nosferatu’

GRADE: C

Rated R: for bloody violent content, graphic nudity and some sexual content

Running time: 135 minutes

In theaters Dec. 25

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