'Steve Jobs' Review

Michael Fassbender as Steve Jobs

How does one depict someone so complicated, emotionally alienated, and complex? Well, a keen attempt was made in Danny Boyle’s Steve Jobs, written by Aaron Sorkin based on the book by Walter Isaacson. It begins at one of three grandiose product launches for Apple painting a portrait of the man behind these Apple machines and compositely crafted instruments, exposing his peculiar sensitivities, his light hearted humor, and his completely diabolical, tyrannical egomania. Yep - he wasn’t painted in the most positive light, but it is certainly within a very raw and real one.

The initial scene in which we meet Jobs, played by Michael Fassbender, is interfused with a plethora of zigzagging story lines and metaphoric portraits, really setting the tone for each of his launches and the various internal, protruding issues he is forced to deal with prior to each of his performances. How he reacts to these conflicting struggles really provides the viewer a greater idea of who Jobs is than the singular, overlapping issues brought to him themselves, and we see his generous and selfish sides juxtaposed to one another like yin and yang.

The most pressing story line remains within Jobs' relationship with ex lover Chrisann Brennan, played by Katherine Waterston, and their child Lisa, played by Makenzie Moss and Perla Haney-Jardine. His communication, or lack thereof, with these particular characters exposes certain sides to Jobs that are sometimes selfish, sometimes heartwarming, and often times horrendously narrow-minded. The viewer desperately wants to like Jobs, especially as much as we like him in the inspirational messages and quotes that famously survived him, but it becomes difficult when he refuses to pay child and life support to the mother of his child. At the final product launch, Jobs, whose worth at this point exceeds hundreds of millions of dollars, and his initial refusal to pay for Lisa's tuition after her acceptance to Harvard University makes us want to reach through the cinematic screen and shake him - just as we do our iPhones when they're not working properly - and make him do what we want correctly, appropriately, and efficiently. (Just pay her damn tuition, Jobs - we want to say) Finally, he has a change of heart and offers to pay his daughter's tuition, making us love the dear, proverbial Apple product we see in Jobs again.

Another dynamic scrupulously surveyed in Steve Jobs is Jobs' relationship with his colleagues, primarily with Joanna Hoffman, played by Kate Winslet and Steve Wozniak, portrayed by Seth Rogen. In one of the most intimate and heart wrenching scenes, Jobs likens himself to a composer, for whom all of his colleagues are artists playing instruments. He claims that artists play instruments, the composer plays the artists - and Jobs, himself, is the composer. Thus another scene in which he damningly subordinates his co-workers, each of whom he would be nothing without. You see, in this particular portrait, he isn't the most likable guy, but one could not help but love his urge to bring about the best in people, perfection in another, and his drive to build a smoothly running, well oiled machine in Apple. Though one may hate him, we cannot help but respect his ambition as so depicted in this feature. He was the one who called all the shots, even if he wasn't the one pulling the trigger, in a way. Yes - he is very much like an Apple product himself, and one we want to work so badly in a vein sculpted to our own needs, likes, and dislikes- and, in the film, we find ourselves playing around with him, figuring out the various applications present within his mind that mere humans need an iPhone to download. And, even in his moments of thorough emotional abandonment and appalling disrespect of those around him, we come to hold on to him as though we would our own Apple devices without wanting to return the product. Yes, Steve Jobs is very much an extension of his products themselves as much as they are an extension of him, and one cannot help but remain fascinated with this binary relationship.

Koran Saines on Education

Koran Saines for Supervisor

Quality education is a key component of any healthy, sustainable community. Koran Saines is a strong believer in strengthening our school systems and investing in their maintenance, welfare, and progress. Loudoun County Public Schools are currently underfunded and an increase in teacher’s pay, an implementation of full-day kindergarten, and wholly endorsing the LCPS budget will attract and retain successful teachers, while providing students an environment to thrive. Yes, it’s true -- Loudoun County does not currently offer full-day kindergarten and this circumstance is simply unacceptable. Under Koran’s supervision, he will work to ensure that our school systems acknowledge the importance of providing full-day kindergarten academics, that LCPS is fully funded, and that the youth of Loudoun County are given the educational opportunities they deserve. 

Valley of the Dolls: A Feminist Portrait or A Work Subordinating the Female Experience?

Some describe Valley of the Dolls as a work of cheap art, a “dirty soap opera” or a modern, contemporary melodrama stocked with cliches and contraband stereotypes, limiting the viewer’s capacity to appreciate quality, pure gold cinema. Others view it as a feminist, women-will-rule-the-world-one-day pioneer and groundbreaking piece of work, giving voice to a population of drug-fettered women who are often ignored, shunned, and deemed too incapable to live a life of quality and self-made/self-earned excellence. Yes, Valley of the Dolls is that rare feature for me that qualifies itself as both a work of trash and a work of class, with a consistent sprinkle of brilliance, or drug-induced mania, throughout -- always a certain recipe for any iconic, cult classic. And to go a little bit deeper, the work itself is as much a piece of feminist lore as it is an outstanding, distinct rebellion against traditional cinema. It conveys that restless sense of enthusiasm that many works of melodramatic fare engage in while communicating such conceptual matter from a strictly female perspective. This perspective, of course, is what strikes me as the most fascinating angle of the entire piece and is what brings me to write about it today. Specifically, each central female character experiences a series of traumas and a subsequent backlash of their respective ordeals, shocks, and mental afflictions -- how they deal with these strains is a different matter, but remain pertinent to the overall appearance of Valley of the Dolls. The escapist allure of drugs, or “dolls”, remains compelling, and a comprehension of the various traumas these female characters endure stand as requisite for a viewer’s understanding for their need to use ‘uppers’, ‘downers’, and various ‘stabilizers.’ So - what is it about Valley of the Dolls that evokes its longevity - its durability - and cinematic stamina, especially when so many question its qualifications as such an artistic piece? Well, I say its magnetism lies within its female perspective from a trio of beautiful, charismatic women (a natural recipe to draw in any crowd), and its inherent fearlessness in the face of feminine trauma and the escapist reality that drugs tend to provide in the face of such personal and external demons. 

Valley of the Dolls is centered around three female characters pursuing their dreams and careers in the entertainment industry, opening with Anne’s departure from her New England town of Lawrenceville, Massachusetts - a sequence loaded with the subliminal vow that she will never return and little doubt of her success in New York, the locale to which she is headed. Upon her arrival in New York City, she begins working for a talent agency, meeting Neely O’Hara and Jennifer North in the process. All of the women become quick friends and discover that fame, good fortune, and its various obstacles may not have been worth its keen pursuit after all.

Each of these characters experiences a series of traumas and internal obstacles - beginning  with O’Hara’s firing from the Broadway play of which she is a part. This leads to her eventual main role in a nightclub act and ultimate move to Hollywood, where she becomes a star. Her initial firing, though fairly meaningless at the time of its occurrence, sparks a subliminal, unconscious desire to escape from the realities of the effects of rejection and she goes to great lengths to alleviate the shock of such forced exclusion. Though this defense mechanism serves her well initially, provoking her drive to succeed as an actress and singer, it hurts her in the long term, as we see in her ultimate spiral into drugs and alcohol. Ultimately, she is committed to a sanitarium as her desire to escape the circumstances is too strong to face the definitive reality of her situation and deal with their consequences. We see this dynamic within Jennifer and Anne as well. Jennifer escapes from the realities of her circumstances through drugs, eventually committing suicide, whereas Anne does so in a more healthy, fact-facing manner.

Jennifer’s reliance on drugs or any need to escape her current realm of self-perceived dissatisfaction parallels the escapist need we see within O’Hara. It’s self-destructive, it’s self-damaging, and it’s self-harmful. The audience comprehends that Jennifer’s first series of traumas does not occur on-screen, but during her childhood, as we discover in the telephone conversations we witness between herself and her mother. Her mother’s continual requests for payment checks and incessant dismissals of Jennifer’s talents indicate that her unfortunate mental state was present before we meet Ms. North, unlike O’Hara and Anne, whose mental decline we witness firsthand. Jennifer’s condition continues to worsen as her relationship with Tony Polar deteriorates due to his own worsening mental and internal health. Her relationship with Polar not only exacerbates her own insecurities, but intensifies her crippling depression. Polar is committed to a sanitarium and, in order to pay his hospital bills, she is compelled to work in the soft core pornographic industry which, again, heightens her sense of self-uncertainty and doubt. To escape, she relies on her precious ‘dolls’ or drugs to assuage her personal demons and, ultimately, takes her own life as these hindrances become too much to handle.

The healthiest persona out of the three is Anne, who simply moves back home to Lawrenceville to cope with the traumas she witnesses and experiences in the entertainment industry. Her form of escape is not through dolls, but through relocation. Though Jennifer and Neely both relocate to L.A. after their time in New York, their movement is executed out of a desire to succeed rather than cope with a circumstance, as they rely on drugs to escape their traumas. Anne, however, experiences trauma that is much less than the hurtles and criticisms of the entertainment industry, but through her relationship with men, which, through her female perspective, is overcome-able through a move back home.

Each of these women experiences trauma. Each of these women has a means of escape. And each of these women offer differing ideas of what trauma is and particular formulations for a mental departure from such mental and emotional grievances. What sets them apart are the distinct and internal methodological procedures through which they survive their various tragedies. Yes, “Valley of the Dolls” is a portrait of a literal and figurative long-distance marathon of female endurance and aptitude, testing feminine will power, whether its through subordination, triumph, or rejection, and the ability or lack thereof to survive the menacing interpersonal and external discomforts of life’s inevitable obstacles. 

Part I, A Rough Sketch

Some describe Valley of the Dolls as a work of cheap art, a “dirty soap opera” or a modern, contemporary melodrama stocked with cliches and contraband stereotypes, limiting the viewer’s capacity to appreciate quality, pure gold cinema. Others view it as a feminist, women-will-rule-the-world-one-day pioneer and groundbreaking piece of work, giving voice to a population of drug-fettered women who are often ignored, shunned, and deemed too incapable to live a life of quality and self-made/self-earned excellence. Yes, Valley of the Dolls is that rare feature for me that qualifies itself as both a work of trash and a work of class, with a consistent sprinkle of brilliance, or drug-induced mania, throughout -- always a certain recipe for any iconic, cult classic. And to go a little bit deeper, the work itself is as much a piece of feminist lore as it is an outstanding, distinct rebellion against traditional cinema. 

Democratic Debate: How Will Hillary Come Out On Top??

The current Hillary Clinton campaign for presidency has experienced a bumpy, not-so-fun, and exhausting ride -- primarily due to the skewed efforts of the Benghazi committee against her use of a private email server. This has really hurt Hill at the polls, giving her fellow Democratic opponents the room to achieve their varied agendas and campaign objectives, whereas much of her focus is extended towards answering this so-called “scandal.” 

Additionally, her outspoken opposition to the Obama administration’s Trans-Pacific-Partnership deal has swayed support from Democratic voters who back this international, social, and economic treaty. This really gives her opposing candidates room to endorse their own economic concerns, especially Sanders - who will surely take advantage of this situation and I’m curious to see how Hillary will answer inquiries revolving around her own solutions on international trade and communication.

So, what do you think? Will Hillary come out on top despite the challenges facing her? I say absolutely, but I’ll guess we’ll just have to wait and see.

Iconic Style Basics: How Does Ursula Andress Inspire Your Wardrobe??

Ursula Andress is not only a true style icon, but she's a Bond girl, a comedian, a brilliant mind, a former love interest to the late James Dean, and one hell of a talent. She certainly embodies the whole package and that's why so many adored and still adore her work, her unique persona, and sexy, inherent charisma. Though there is so much to discuss about the iconic Andress and her distinct brilliance, in this post, I'm choosing to place a primary focus on her stylistic influence and how her fashionable impact has made its way into my own wardrobe. She is an inspiration to me, and here's why...

This is Ursula in the iconic white bikini she sports in "Dr. No" ... 

I don't have a white bikini, but the cropped bustier I'm wearing is exactly the same type of style as the bikini top Ms. Andress is wearing in the previous photo, mine is simply without straps and a bow - it's also patterned. I chose to pair it with a white skirt to parallel her white bikini bottoms in true Andress fashion..

Andress was such a fan of clean, crisp, white clothing...

And I bought this dress because of her over a year ago. I wear it all of the time, sometimes with boots, sometimes with heels, and other times with a pair of flats. It also works well with statement bracelets and rings.

She loved to show off her legs in sweet slinky tops...

Anddd so do I. There is so much I could pair this with it's ridiculous. I would provide suggestions but that truly is its own post. The jewelry, the bottoms, the hair - I can do anything with this and Andress taught me how.

This is probably my favorite look of hers - this long dark dress. 

And this is my absolute favorite dress - I treasure it. I haven't worn it to anything yet, and the only appearances it makes out of my wardrobe are the moments I'm bored and feel a need to play dress up. Like right now. I love it so much and I can't wait to wear it to something special :-)

A close up of the detailing.

And another one...

Andress in a chambray top..

....and me in a chambray top. So many ways to dress this up.

Also can be worn as a dress. 

All right, there you have it, my favorite pieces of style inspiration from the great Ursula Andress!! What are yours?? And are there any I failed to mention? Let me know and don't be shy :-)

And, as always, THANKS FOR READING Xxx

Water and Fruit til Sunday :)

 I had one overwhelming breakfast this morning filled with toast, cereal, eggs, and, ashamedly, a bit of chocolate (yes, chocolate...for breakfast) - after my meal I felt so guilty for all that I had consumed, took a look in the mirror, and just didn't feel like myself. Though the portions I had were not unhealthy, the sugars and fats - over time - could cause some major damage. Also, I had a little beer before I went to sleep last night so my face is extra puffy today. So, for my health, my body, and the maintenance of my facial features, I think I owe it to my arteries to go on a little bit of a detox. I posted a selfie - not for me to look at, I promise, but so people can see the puffiness of my features. At the end of my detox, I'll share a post-diet photo and, I promise, you will see a difference in my face. I've done these before, and a sugar free, gluten free, fattty free detox does just the trick to make anyone look ten years younger. ;-)

Water and fruit for the next five days.

Pre-detox photo.

A Brief 500 Words on Villeneuve's 'Sicario'

Denis Villeneuve’s Sicario is an unruly combination of violence, drugs, the ever present cinematic tendency towards the depiction of FBI-criminal relations, and, surprisingly, cemented with an under-rooted feminist theme declaring the strength of women, not only in film, but in any male dominated arena or specialty. In this case, Emily Blunt’s Kate Mercer is the one chosen to portray this male-female dilemma as the only woman on her FBI team, and does so with the utmost intelligence, rhythmic action, and dramatic creativity.

Granted, her character *surprise* is not given much to work with, but Blunt provides such a finesse to Mercer that her actions truly do speak louder than words - and the fractional material is taken in stride allowing Blunt’s Mercer an accessibility that may not have been present in lesser hands, especially with such a grandiose, overlong, intricate plot. 

The film begins in a whirlwind of dust, corpses, innocent Arizonian onlookers, and Kate's FBI crew who discovers these dead bodies in a regular, Arizonian suburban home courtesy of one of the most powerful Mexican drug gangs in history. And the discovery and re-discovery of dead bodies and the experiential manifestations of unexpected explosions do not stop there. When the FBI crew realizes the importance of going across the border (the first time) to find this gang and its leader to stop future... occurrences ... we come across even more gratuitous and unnecessary flashes of shootings, bombings, and the killing of innocent people. But it becomes easier to watch with the added talents of agents Matt Graver (Josh Brolin) and Alejandro (Benicio del Toro), and let me warn you, there is lots and lots of blood.

At least the cinematography of Roger Deakins is gorgeous and the landscape of Mexico is brought to life through his beautiful shots and clear technical acumen. The masterful score is equally as mesmerizing and Jóhann Jóhannsson's knocked it out of the park with his choices of instrumentation and consistent awareness of the character and cinematic beats - no note seems out of place.

Benicio del Toro provides such an edge to the film’s entirety, that any woman cannot help but drool at his on-screen presence. He nails every scene he’s in and his quiet charisma is definitely a force to be reckoned with, complementing the equal, intellectual energy Blunt brings to the table. Brolin’s intensity is additionally intriguing, and his performance evokes a level of watchability to the gory, un-watchability of the several violent scenes. And that takes some serious talent.

The feminist undertones are not solely present to generate a sense of female empowerment, but a greater thematic purpose of male-female equality. Yes, Emily Blunt’s role is incredibly feminist, but when balanced against Del Toro and Brolin, one comprehends that they are all equals to a whole - the sum of which could not work without the other. It is not just Blunt that is the knock out here, but her role’s ability to provide a humane fairness when playing against her male counterparts. There is humanity to it.