The other day, I got a text message from my friend John. He was upset because I was “using him.” I had been texting him regularly, and I had to figure out what he meant. I had accidentally blocked him, and I’d been so busy with work that I had forgotten to unblock him. When I admitted my mistake, he asked me to unblock him, and I told him to unblock me instead. He did, and we texted for a bit longer. When we both got the chance to use the bathroom, I told him I’d be right back. I went into the bathroom and looked at myself in the mirror. I looked like I always did. I looked pretty good, and I was still unbl
“It’s not for the sensitive” is a common phrase for those who prefer to complain about their sensitive ears. If you suffer from extremely sensitive hearing, it’s hard to believe that you can go to a party and hear someone cough and not be bothered by it. If you like to complain about the sound of people talking, you’ll definitely like this blog.
You’ve got to be careful with your stuff when you travel, especially when you’re in a foreign country you don’t understand. For example, you might accidentally offend someone with your cigarette smoke, or perhaps they feel the need to tell you that they don’t like your tattoos. It’s all about being sensitive to different cultures, isn’t it?. Read more about highly sensitive person and let us know what you think.
Dasha Nekrasova’s debut includes daggers directed at Jeffrey Epstein, the royal family, and any sensitive audience sensibilities, but it’s funny and furious enough to get away with it.
There’s a fine line between a decent idea and one executed with full conviction, and “The Scary of Sixty-First” skates along it with wild, vicious abandon. Dasha Nekrasova’s daring, brave, darkly hilarious first film is based on a prank or a dare: Two female friends move into a very inexpensive apartment on Manhattan’s Upper East Side, which turns out to be owned by the late pedophile millionaire Jeffrey Epstein, and are soon overwhelmed by the place’s exceedingly bad feelings. As you would imagine, excellent taste isn’t a priority. But underneath Nekrasova’s film’s edgelord provocations and delightfully cheap B-movie stylings is a dark, seething anger that isn’t a joke: it’s delivered without filter or apology as a commentary on the abuse that powerful men inflict without repercussion.
Needless to say, the commercial prospects for a low-budget horror comedy about a pedophilia conspiracy aren’t promising. Nonetheless, following its virtual premiere in Berlin’s Encounters sidebar, “The Scary of Sixty-First” is anticipated to make waves on the festival circuit, turning enough heads with its button-pushing, of-the-moment fury and no-sacred-cows satire to start creating its own small cult. It’s a debut that, beyond its immediate present fire, promises plenty for the future for Nekrasova, best known as a co-host of the similarly daring podcast “Red Scare,” backing up its loud voice with scruffy filmmaking flair and a genuine, devoted sense of genre. In a mumblecore framework, giallo and grindhouse motifs coexist, with overt allusions to Kubrick and (appropriately) Polanski thrown in for good measure. Nekrasova’s voice, on the other hand, cuts through all of that referential noise with ease.
The clanging, doomy synths of Eli Keszler’s soundtrack give away that we’re at least partly in the hands of Dario Argento right away, but Hunter Zimny’s hazy Kodak lensing trades in muted millennial colors — and the New York we’re dumped into is pure Lena Dunham. Addie (Betsey Brown) and Noelle (Madeline Quinn, the film’s co-writer) are introduced in the middle of a frantic Manhattan apartment search that has produced unexpected paydirt: a spacious, furnished duplex on East 61st Street that they should never be able to afford in a million years. Sure, the decor is a little odd (what are those ceiling mirrors for? ), and the agent is particularly evasive when they ask about having the house cleaned. But, hey, a good deal is a good deal, so the young women sign the lease, move in, and revel in their fabulous new lifestyle.
Because the new atmosphere makes the roommates fractious and tetchy around one another, and the first night’s sleep causes disturbed dreams, the honeymoon period lasts just a day. In the meanwhile, additional investigation of the apartment uncovers human scratches on the walls and fading bloodstains on the mattress. Unidentified visitor (Nekrasova) asserts that she knows what’s going on: She rushes in, pretending to be a realtor, and tells a befuddled Noelle that she is staying in one of Epstein’s past party homes, where young girls have been held, raped, and perhaps killed.
It’s unclear what the stranger intends to accomplish with her amateur investigation – she believes Epstein was murdered, but isn’t that true of the majority of the internet? — On the other hand, Noelle is soon sucked into it. In short time, the two develop a passionate relationship; how sex in that particular bed can be a turn-on is one of the many unanswered riddles here.
If Addie wasn’t going through some worrisome changes herself, she’d be worried about these developments: She seems to have been possessed by the spirit (or at least the perception of the spirit) of one of Epstein’s teenage victims, as shown by her unpredictable, manic bursts of immature sexual expression. When she vomit up mid-intercourse, her gormless boyfriend (a wonderfully deadpan Mark Rapaport) is taken aback, but he survives:
Her frenzied masturbating in the symbolic presence of masculine power is portrayed in the film’s most ridiculous, out-to-offend scenes, whether at the intimidating entrance of an Epstein mansion or before a chintzy shrine of royally branded Prince Andrew items. Some viewers may fairly tune out at such times. Others will be rewarded with a gory conclusion that contextualizes parodic sexploitation as the stuff of masculine desire, while an ambiguous last rug-pull neatly alludes to the gaslighting of many a victim in this realm.
This is about as nice and relaxing as a clean dose of turpentine in terms of comedy. The fact that we laugh at all is a testament to Nekrasova and Quinn’s delirious, almost aesthetically vicious language, which ruthlessly puts Britain’s royal family in the firing line, making the most recent season of “The Crown” seem to be a Buckingham Palace PR campaign, among other targets.
Noelle’s passionate depiction of Queen Elizabeth II as a “batty old [expletive]” who arranged Epstein’s murder to preserve her family’s reputation may surprise angry royalists who petitioned Netflix for a content warning: Whether you laugh or gasp, such internet comedy is necessary for a work that asks us to examine how much we collectively protect the privileged just because of their status. “The Scary of Sixty-First,” a little film full of massive, irresponsible bombs, will certainly anger some people — but, as it smirkingly recommends, any wrath directed at it would be better directed elsewhere.
SCORE: 7 OUT OF 10
For this month’s blog post, we decided to write about music that is not meant for you and me, and the reason why. To do that, we went down the rabbit hole and listened to some of the most ridiculous and offensive songs we could find. Nothing is safe when we’re talking about music, and we’re not even sure we like any of these songs. Keep in mind, we may not like what you like. And, if we do like what you like, we’ll probably hate what you like.. Read more about how to communicate with a highly sensitive person and let us know what you think.
Frequently Asked Questions
What does it mean not to be sensitive?
It means that you are not easily offended, and you do not take things personally.
What makes a person super sensitive?
A person who is super sensitive is someone who has a heightened sense of smell, taste, touch, and sight. These senses are usually more active than the average persons.
Is it okay to be super sensitive?
It is okay to be sensitive.
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