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Heartbreak hurts on Valentine’s Day. Therapists explain what we can learn from movie breakups

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Heartbreak hurts on Valentine’s Day. Therapists explain what we can learn from movie breakups

Whereas Valentine’s Day provides many Angelenos an excuse to rejoice with a cherished one, it’s additionally a painful reminder for others of romances gone bitter. The heartache that comes with the top of a relationship can really feel excruciating.

It’s the ending of an unstated contract, a connection that’s severed, stated G Roman Gupta, an L.A.-based licensed medical social employee and therapist. In some instances, we all know why the partnership didn’t work out, and in different situations, we’re left questioning what went flawed.

Mimi Fayer, an L.A.-based licensed marriage and household therapist, explains that breakups are a results of folks’s personalities, priorities and circumstances on the time. There isn’t a singular purpose why two folks resolve to finish their dedication to one another.

Generally we flip to our favourite Hollywood film {couples} to search out consolation or to attach with their onscreen ache.

Therapists Fayer, Gupta and Laura Heck and Zach Brittle of Marriage Remedy Radio share what we are able to be taught from fictional relationships that finish in tearful (however generally acceptable) separations. Heads-up, there are spoilers.

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“500 Days of Summer season”

Breakup state of affairs: Differing expectations

A mutual love for the Smiths — and mischief in Ikea — plunges Summer season (Zooey Deschanel) and Tom (Joseph Gordon-Levitt) right into a fling. Although Tom, a hopeless romantic, believes Summer season is the one, she tells him she doesn’t need to be somebody’s girlfriend. It in the end results in the top of their unlabeled relationship.

Heck stated lots of people know from the start of a relationship what their companion’s expectations are. Summer season instructed Tom she wasn’t searching for something severe. She requested him if that was OK, and he stated sure, regardless that that wasn’t true.

However some folks suppose they’ll change their companion. It’s the concept that “if [I] can simply present them a very good time, finally they’ll acquiesce to my need,” she stated.

Youthful {couples} usually don’t have a transparent concept of what their nonnegotiable values are but, she stated. For instance, it would take time to comprehend that one individual desires kids and the opposite doesn’t.

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“Sure, they need to be in a relationship with you, they need to have a very good time, however finally it’s going to return all the way down to these nonnegotiable values,” Heck stated.

What else can we be taught?

Finish with compassion. Summer season once more expresses her curiosity in simply being mates with Tom, however the dialog ends with Tom storming off. “He’s somebody that attaches in a short time,” Gupta stated. “So my recommendation to him could be, possibly it’s best to take it gradual, dude. Possibly you shouldn’t do the identical factor. Meet this individual the place they’re, and hearken to them. Hear them.”

After a while, the 2 see one another once more and are capable of be amicable. Brittle stated it’s good that the connection ended with care and compassion, not with contempt or an try for both to manage the opposite individual.

“Should you’re going to be an individual that garners and deserves the respect of different folks, you must stay in that kind of compassion house far more than that contempt house,” he stated.

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“Midsommar”

Breakup state of affairs: Codependency

On this horror-thriller movie, Christian (Jack Reynor) and Dani (Florence Pugh) are in a relationship that’s on the verge of ending, however a household tragedy retains them collectively. On a visit with Christian and his mates to a Swedish city throughout its midsummer competition, the couple’s fractured tie deteriorates additional as Christian pulls away. He feels trapped and doesn’t have persistence for a grieving Dani.

Florence Pugh as Dani, left, and Jack Reynor as Christian in a scene from “Midsommar.”

(Gabor Kotschy / A24)

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Gupta stated that movies usually depict these relationships as one individual leaning an excessive amount of on one other. However in actual life, he stated, these {couples} are sometimes based mostly on codependencies.

“We at all times have a look at it [as] the one that gained’t let go, however they need to be discovering somebody who can be re-creating that sample for themselves,” he stated.

Christian had plans to interrupt up with Dani, however after studying of her mother and father’ loss of life, he selected to stay round to help her. Though this looks like the proper factor to do, Gupta stated, it’s unhealthy habits to increase a relationship you don’t need to be in. Christian may have stated, “I do know this horrible factor occurred to you, however I can’t be right here for you,” and ended their relationship, Gupta stated.

What else can we be taught?

Know when to interrupt up. There’s each an emotional and a rational element to each resolution people make, Gupta stated. A wrestle we encounter pre-breakup is deciding whether or not a choice to separate could be good for us, regardless that it wouldn’t really feel good.

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“As quickly as you end up in a relationship the place you’re saying, ‘It’s going to harm an excessive amount of to do that, however I ought to do that,’ you’re most likely in a state of affairs the place it’s time to make a change,” he stated.

The concern of that ache, Gupta stated, shouldn’t be sufficient to maintain you in a nasty state of affairs. Dragging issues out will simply make it worse.

“Our American tradition and our progress on individuality makes us really feel like we’re not accountable” for others’ emotions, Gupta stated. “Nevertheless, while you’re in a relationship, you might be. You might have some possession.”

“Loopy Wealthy Asians”

Breakup state of affairs: Household battle

Nick Younger (Henry Golding) invitations his girlfriend, native New Yorker Rachel Chu (Constance Wu), to Singapore to fulfill his household. On the journey, Rachel learns Nick hasn’t been totally sincere about his household’s wealth — or their possible disapproval of her.

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A man and a woman hold hands as they talk to the man's mother.

Michelle Yeoh, from left, Henry Golding and Constance Wu star in “Loopy Wealthy Asians.”

(Sanja Bucko / Warner Bros. Footage)

Rachel tries a number of occasions to achieve the approval of Nick’s mom (Michelle Yeoh). She breaks up with him after she involves imagine his household won’t ever settle for her.

Gupta stated many Asian cultures have particular expectations about relationship and romance. Fayer noticed that in some cultures, when you enter a relationship with somebody, you additionally enter a relationship with that individual’s household. The important thing to a wholesome relationship is wholesome boundaries with relations. Nick didn’t set these boundaries, so his mom, prolonged household and mates meddled within the relationship.

Additionally, as a substitute of being sincere with Rachel, he saved his household background and their expectations from her.

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“You may’t put your companion in some messed-up state of affairs and simply count on them to bounce again in a tradition the place household is so essential,” Gupta stated.

Added Fayer, “I feel plenty of occasions, folks get type of caught up in eager to make the connection work it doesn’t matter what.”

What Rachel did appropriately, she stated, was to know her boundaries and never compromise who she is for another person.

What else did we be taught?

Sit together with your emotions. After Rachel ends her relationship with Nick, she spends a number of days in mattress — an act that appears damaging however is OK, Fayer stated. Rachel reached out for assist and went to a spot she felt cherished and supported to take the time to course of her emotions. It’s wholesome to spend time going by the phases of grief.

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“We’re all continuously making an attempt to run away from [our feelings] on a regular basis,” stated Fayer. “The issue with that’s you’re not permitting your self the house to completely really feel or course of what occurred.”

“La La Land”

Breakup state of affairs: Lack of compromise

On “one other day of solar,” Mia (Emma Stone), an aspiring actress, and Sebastian (Ryan Gosling), a struggling jazz pianist, fall in love. Whereas making an attempt to navigate their aspirations for the longer term, Mia attends Sebastian’s gigs and pushes him towards his objective of opening a jazz membership, however Sebastian’s help of Mia falls quick.

A man and a woman walk across a bridge arm-in-arm.

Ryan Gosling as Sebastian, left, and Emma Stone as Mia in “La La Land.”

(Dale Robinette / Lionsgate)

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There are plenty of competing forces in a relationship, Gupta stated. An enormous a part of a relationship is discovering compromises that don’t require excessive concessions. It’s additionally OK to comprehend that you really want one thing else greater than you desire a relationship.

Fayer added that if Sebastian and Mia actually wished to be in one another’s lives, they might have made the connection work. Realistically, she stated, Mia would have been gone for a number of months to movie, and Sebastian would have been on tour, however they might have come again to one another.

What else did we be taught?

Talk your wants. Fayer stated it was demoralizing for Mia to really feel that Sebastian wasn’t reciprocating the help she’d proven him throughout their relationship.

Having the ability to talk our wants in a relationship requires a certain quantity of vulnerability and intimacy.

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“There have been issues of their relationship that saved constructing and constructing. It principally culminated when he didn’t present as much as her play and Mia felt unsupported,” she stated.

“Somebody Nice”

Breakup state of affairs: Whether or not to commit

Jenny (Gina Rodriguez) and Nate (LaKeith Stanfield) are in a contented nine-year relationship. Jenny accepts a job overlaying music for Rolling Stone that requires her to maneuver to San Francisco. Nate tells her he can’t see himself dwelling anyplace aside from New York, so he ends their partnership.

A couple laughing and cuddling on a bed.

Gina Rodriguez as Jenny and LaKeith Stanfield as Nate in a scene from “Somebody Nice.”

(Sarah Shatz / Netflix)

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Gupta stated whereas the breakup was upsetting, Nate’s response was wholesome. He was upfront with Jenny by telling her he couldn’t preserve a relationship with out her bodily being there. Nate genuinely supported her profession transfer, however he knew what sort of relationship he wished.

The true purpose for any breakup, Gupta stated, is that it’s over as a result of it was time for it to be over.

What else can we be taught?

Keep away from numbing. Jenny proposes having an evening out together with her girlfriends to rejoice her transfer and neglect about her breakup. Heck stated in Hollywood movies, we don’t see the portrayal of accepting unhappy emotions. As an alternative, we see: “OK, we simply broke up. Let’s get hammered and take my thoughts off of it.”

Heck stated it’s OK to be unhappy. You’re grieving a loss.

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Wholesome coping expertise

People don’t like endings or loss. A breakup can really feel like abandonment. However Gupta stated these emotions are nothing to be ashamed of. We are able to be taught from these experiences.

“Figuring out the way you reply to abandonment, figuring out the way you reply to loss can solely find yourself making you a stronger, more healthy individual,” he stated.

Listed below are some methods to deal with the top of a relationship (whether or not or not it’s with a romantic companion, pal or member of the family) and develop.

Grieve. Grieving is available in all varieties, Brittle stated. There are 5 phases of grief in psychiatrist Elisabeth Kübler-Ross’ extensively used mannequin, and the way in which folks undergo the phases shouldn’t be linear — apart from the final stage: acceptance. We do need to undergo once we lose one thing we love, and what that appears like is completely different for every individual.

Write your emotions down. An expertise can take up an infinite quantity of house in your thoughts, Gupta stated. Continuously fascinated about a breakup will be your physique’s fight-or-flight response to that have. If you write your emotions down, “your fears, worries and upset emotions are often solely 5 issues,” he stated. Writing them down will help floor your self within the actuality of what these ideas are.

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Hold busy. Gupta stated, “Your physique wants one thing to do to reengage with your individual life.” Undertake actions that make you’re feeling good.

Burn the reminiscences. Rituals corresponding to tearing up outdated photos or throwing an outdated T-shirt within the hearth can deliver some peace and closure. Brittle stated our brains can fixate on a breakup till we really feel the top is resolved.

“The ritual is de facto about saying, ‘Nope, that is the top,’ in order that my mind will not give cognitive room to that have,” he stated.

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Summer's Hot Spot For The Stars: Spain … Bienvenida!

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Summer's Hot Spot For The Stars: Spain … Bienvenida!

Summer 2025 Hot Spot For
The Stars: Spain …
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Take a peek at Stephen Sondheim's papers, now at the Library of Congress

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Take a peek at Stephen Sondheim's papers, now at the Library of Congress

More than 5,000 items from composer/lyricist Stephen Sondheim, including lyric and music sketches and unpublished scripts, are now housed in the Library of Congress.

Shawn Miller/Library of Congress, Stephen Sondheim Collection, Music Division


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Shawn Miller/Library of Congress, Stephen Sondheim Collection, Music Division

When Mark Eden Horowitz, a senior music specialist at the Library of Congress, created a show-and-tell of the Library’s music collection for Broadway legend Stephen Sondheim back in May of 1993, he wasn’t expecting to prompt tears.

He’d filled a room with some of the Library’s millions of music-related items – ones he thought might strike a chord with the composer-lyricist widely credited with bringing sophistication and artistry to the American musical. They included manuscripts from Sondheim’s mentor and fellow lyricist Oscar Hammerstein II and his music teacher and fellow composer Milton Babbitt; scores by composers Béla Bartók, Aaron Copland, Johannes Brahms; items from West Side Story and other shows on which Sondheim had collaborated.

Each was a jewel of the Library’s collections, but there was one crown jewel.

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“When I brought out Gershwin’s manuscript for Porgy and Bess, he cried,” remembers Horowitz.

Within weeks, Sondheim let Horowitz know he was bequeathing his papers to the Library of Congress. And the importance of protecting them came into sharp relief when a fire broke out in Sondheim’s home less than two years later. It started in Sondheim’s home office, where the papers were stored in cardboard boxes on wooden shelves.

“It’s the closest in my life I’ve ever come to seeing an actual miracle,” says Horowitz. “There’s no reason why these manuscripts should not have gone up in flames — paper in cardboard on wood, feet from a fire that melted CDs. It truly is miraculous.”

Composer and lyricist Stephen Sondheim in 1976.

Composer and lyricist Stephen Sondheim in 1976.

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Now that the papers — more than 5,000 items including lyric and music sketches, scores, unpublished scripts, and all sorts of miscellany — are safe in the Library’s collection, Horowitz says he’s forever being surprised by them even though he knows Sondheim’s work well. He taped hours of interviews with the Broadway composer, which became a book called Sondheim on Music: Minor Details and Major Decisions. That subtitle is a riff on a lyric in a song from Sunday in the Park with George. Horowitz says that sifting through the collection has reminded him that Sondheim really meant another lyric in that song: “Art isn’t easy.”

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“I’m appreciating in a way I never had before how much effort he put into everything,” he says. “Just page after page after page …”

He pulls out a thick folder containing 40 pages of lyric sketches for a single song — “A Little Priest” from Sweeney Todd — his show about a barber who slits his customers’ throats and a baker who has the bright idea of baking them into meat pies.

It’s a song rife with rhyme and 31 variously tasty victims, but Horowitz points out that there are many, many more in the lyric sketches (scribe, cook, page, farmer, baker, driver, gigolo, mason, student) that didn’t make it into the song. “I added them up, and there were 158 that he’d considered.”

He thumbs through the sketches, scribbled in longhand using Blackwing pencils on 8 ½ x 14” lined, yellow legal pads, for one particular abandoned couplet – “everybody shaves except rabbis and riff-raff.”

“I just love the fact that he came up with that.”

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The Library of Congress' new Stephen Sondheim collection includes many pages of lyric sketches for the song "A Little Priest" from the musical Sweeney Todd. In his notes, Sondheim brainstormed dozens of potentially tasty victims for the demon barber of fleet street, most of whom never made it into the song.

The Library of Congress’ new Stephen Sondheim collection includes many pages of lyric sketches for the song “A Little Priest” from the musical Sweeney Todd. In his notes, Sondheim brainstormed dozens of potentially tasty victims for the demon barber of fleet street, most of whom never made it into the song.

Shawn Miller/Library of Congress, Stephen Sondheim Collection, Music Division


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Shawn Miller/Library of Congress, Stephen Sondheim Collection, Music Division

Next, Horowitz pulls out sheet music where these lyric sketches are written more formally as actual lyrics. But this is still an interim step, before a final piano score of the song, followed by page after page of typescripts of lyrics.

“In theory the song is done, but he’s still working on it,” marvels Horowitz, “and modifying it and changing a single word or a phrase. It’s the perspiration behind the inspiration.”

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“I mean here,” he says, pointing to a line handwritten on a typed lyric sheet, “he’s written in ‘we have some shepherd’s pie peppered with actual shepherd‘ — one of the great lines, but he’s inserting it. He never let them go until the show opened, or sometimes even after they opened. Always trying to perfect things.”

That’s a habit his papers suggest Sondheim developed at the start. There are tantalizing hints of his thought processes going all the way back to his high school musical, By George, which he wrote while attending George School, a Quaker boarding school in Bucks County, Pa., in 1946.

The program lists 21 songs, including “Meet You at the Donut,” “Puppy Love,” and “Wallflower’s Waltz.”

The papers also include a piano sonata he wrote in college, a song he sent unsolicited to Judy Garland, a personal birthday tune he penned as a premium for a PBS fundraiser, a treatment for Breakdown, a play, or maybe a TV show that he wrote with Larry Gelbart, his A Funny Thing Happened on the Way to the Forum collaborator, and lots of other miscellany including a “humming song.”

All of this will doubtless be grist for many a doctoral dissertation. As will a remarkable internal monologue — never spoken or sung — that he penned for Glynis Johns, the leading lady in A Little Night Music. It’s for the scene where she sings the most popular song Sondheim ever wrote: “Send in the Clowns” — two pages of stream of consciousness for the actress about what her character is thinking and feeling. One page is what she’s trying to communicate in the scene to her unhappily married longtime lover. The other is what she’s thinking to herself.

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Here’s a bit of what she wants her lover to realize: “I’ll tell you why you’re here: You have an awkward feeling because you don’t know you’re trapped. You think you’ve made your bed and you have to lie in it. The hardest human thing to do is sever a relationship. I can’t fire my accountant. Also, you like to suffer which we all have a capacity to do.”

And this is what she’s thinking to herself: “It was good that we didn’t get married back then. I was too busy on other things, and you used to be a strong and willful man. Recklessness has its time and so has seriousness. You have finally been stricken by tremors of feeling above the navel!”

“Why didn’t he write that line in the song?” I wonder aloud. “Doesn’t sing well,” Horowitz laughs.

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The first page of Stephen Sondheim’s manuscript for the hit song “Send in the Clowns” from A Little Night Music (1973).

The first page of Stephen Sondheim’s manuscript for the hit song “Send in the Clowns” from A Little Night Music (1973).

Shawn Miller/Library of Congress, Stephen Sondheim Collection, Music Division


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Shawn Miller/Library of Congress, Stephen Sondheim Collection, Music Division

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And the collection isn’t just rich in lyric sketches. “I don’t think I’ve ever seen a composer, even a classical composer, who does as much music sketching as he does,” Horowitz says as he walks to a piano to play a few examples. The ones he picks all have notes that pop out of a song’s key signature in ways that ought to sound odd, but that instead make the lyrics that sit atop them sound conversational.

Horowitz finds it comforting that Sondheim’s musings and music will now reside on Library of Congress shelves where they can be in a kind of symbiotic conversation with the nearby collections of George Gershwin, who inspired him, and Oscar Hammerstein who mentored him. Also with the collections of composers Sondheim inspired and mentored — say, Rent‘s creator Jonathan Larson, who kept “notes about conversations he had with Sondheim after Sondheim saw things he’d done.”

“I like to imagine them whispering to each other at night,” smiles Horowitz.

Whispering, no doubt, about the art of putting art together, bit by bit.

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