Norway fans are doing a “Viking Row” up the escalator at Boston’s South Station before heading to the World Cup
Adding this to the list of things I’ve never seen before and probably never will again
☁️| Imagine that Taylor Swift's song is for the moment when Jessie finds out that Emily named her daughter after her.
"She had meant more to her kid than she ever knew"
Chelsea Handler: “Now that your favorite leader is making the draft mandatory, I assume all of you will be signing up to go fight in Iran. Or do you tough alpha males only go to the Middle East for comedy festivals?”
Brutal.
if my husband went on tv and talked about me the way the men on The Valley talk about their recently postpartum wives, I swear to you, I'd make Gone Girl look like child's play.
@stuholden Happened in our first game of the Spring u14 girls. My keep made 2 saves the entire game, this was her second save. Got off the ground and he blew the whistle as the ball hit her foot. 🙄
All the President’s Men turns 50 today.
This famous “six‑minute shot” is a masterclass in phone acting and pure technical nerve.
Director Alan J. Pakula and cinematographer Gordon Willis pull off a single, unbroken slow zoom: from a wide, humming newsroom to a tight close-up on Redford. No cuts. No safety net. Tension builds in real time.
Redford carries it with typical quiet confidence. Six minutes of note-taking and talking into a phone, no flashy “Oscar clip.” He even flubs a name (“McGregor” for “Dahlberg”), corrects himself naturally, and Pakula keeps it because it feels authentic.
The background is part of the story. As Woodward hones in on his phone call, everyone behind him huddles around a TV watching Senator Tom Eagleton resign. The contrast is deliberate: they chase the “obvious” headline, while the camera drifts past them to Woodward, and the real story.
To hold Redford and the busy background in focus early on, they used a split‑diopter lens, then had to ease it out as the camera moves in. A technical tightrope. The timing of both actor and cinematographer is spot on.
As Woodward closes in on the truth, the world literally falls away: the newsroom blurs, the noise fades, and we lock into his obsession. It’s one of cinema’s great moments: Redford doing almost nothing—and somehow everything at the same time.
What makes this shot brilliant is the contrast it carves between Redford and the newsroom around him. The visual language does the talking: he’s locked in, disciplined, driven, all focus and fire. He stands apart because the work matters more than anything else.
I am going to be retweeting shit like this all fucking day so unfollow now if you can’t handle the truth. Not my fault the men’s hockey team decided to be pathetic losers!
Sidenote I never want to do anything for a man again, that’s the level of hate I’m at right now