Jane: I have excellent impulse control.
Cho: You bought a pony for Lisbon yesterday.
Jane: I said excellent, not perfect.
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@thechaotickalamari
Jane: I have excellent impulse control.
Cho: You bought a pony for Lisbon yesterday.
Jane: I said excellent, not perfect.

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Jane: I think Lisbon threatened that suspect too hard. Lisbon: I did not threaten him. Cho: You put your hand on your hip. Rigsby: That’s how we know it’s serious. Van Pelt: It’s honestly terrifying.
Poirot: The murderer is in this room. Hastings: That’s alarming. Poirot: It is also statistically obvious.
Jane: I can explain.
Lisbon: Start with the horse.
Cho: There’s always a horse.
Cho: That's a terrible idea.
Jane: Then why are you helping?
Cho: Curiosity

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Μια ωδή στη Χαρά Χάσκα ως πρότυπο του φεμινισμού και της γυναικείας χειραφέτησης
Εν όψει της επιστροφής της αγαπημένης σειράς που σημάδεψε τη δική μου,τουλάχιστον, παιδική ηλικία με τρόπο ανεξίτηλο, κρίνω απαραίτητο να μιλήσω επιτέλους για τον εικονικό ρόλο της Χαράς Χάσκα.
Έτος 2003 και κάπου ,σε ένα σαλόνι, ένα μικρό κοριτσάκι έχει στηθεί μπροστά στην τηλεόραση, έτοιμη να δει την καινούργια σειρά των ανθρώπων πίσω από το "Κωνσταντίνου και Ελένης", το οποίο ήδη παρακολουθεί μανιωδώς κάθε μεσημέρι, αφού γυρνάει απ' το σχολείο.
Κάθε εβδομάδα και νέο επεισόδιο, και με κάθε επεισόδιο ένα ακόμα κορίτσι μαγεύεται απ' την πρωταγωνίστρια. Και ξαφνικά μια ολόκληρη γενιά αρχίζει να πιστεύει ότι "μια γυναίκα μπορεί".
2006 και η σειρά τελειώνει...
..Ή μήπως όχι;
12 ολόκληρα χρόνια η σειρά προβάλλεται ασταμάτητα κάθε μεσημέρι (αργότερα και τα ξημερώματα με υπότιτλους) και η Χαρά μπαίνει σε όλα πλέον τα ελληνικά σπίτια.
Τι είναι αυτό όμως που διαφοροποιεί τη Χαρά από όλες τις καπάτσες που έκαναν κατά καιρούς την εμφάνισή τους στην ελληνική τηλεόραση;
Η απάντηση κρύβεται στο ίδιο της το όνομα...
Η Χαρά είναι μια γυναίκα που δεν είχε μια εύκολη ζωή. Έχασε τους γονείς της νωρίς, υπήρξε άτυχη στον έρωτα και αναγκάστηκε να αναθρέψει ένα παιδί ολομόναχη σε μια κοινωνία που δεν έδειξε καμία συμπόνοια σε μια γυναίκα που αγωνίζεται για να διεκδικήσει ακόμα και τον αέρα που αναπνέει.
Ωστόσο δεν έχασε ποτέ το κέφι της και το δυναμικό ταπεραμέντο της. Όσες αντιξοότητες κι αν συνάντησε πάντα μάζευε τα κομμάτια της και κοίταζε μπροστά, ελπίζοντας ενάντια σε κάθε ελπίδα ότι τα πράγματα θα φτιάξουν.
Ο πληθυσμός του Κολοκοτρωνιτσίου, όμως, και κατ' επέκταση οι θεατές της σειράς δεν αγάπησαν τη Χαρά μόνο για το κέφι και για την αισιοδοξία της αλλά και για το απαράμιλλο θάρρος και την ουσιαστική και ανιδιοτελή καλοσύνη της.
Ύψωσε το ανάστημα της απέναντι σε όλους, δεν αρνήθηκε ποτέ την πραγματική της ταυτότητα και δεν ενέδωσε στο μποικοτάζ και τις προσβολές ολόκληρου του χωριού .Παράλληλα δεν δίστασε ποτέ να βοηθήσει αυτούς που τη χρειάστηκαν (βλ. Τρελαντώνης, Σταυρούλα, Γωγώ, Τασία,Πηνελόπη ακόμα και Ματούλα) και από τους καναπέδες της έχει περάσει το μισό χωριό .
Νιώθει πάντα με ένταση, αγαπαέι σε βάθος, προστατεύει τους δικούς της ανθρώπους, λέει αυτό που σκέφτεται, χαμογελάει πλατιά και έχει το βλέμμα στραμμένο στον ουρανό.
Η Χαρά Χάσκα είναι η χαρά της ζωής και αποτελεί πρότυπο για κάθε γυναίκα, αποδεικνύοντας ότι με τη σωστή ισορροπία θάρρους, θράσους, καλοσύνης και αισιοδοξίας κάθε γυναίκα μπορεί...
Η Χαρά Χάσκα είναι πανέμορφη εσωτερικά ( τα ατελείωτα πόδια είναι απλά ένα μπόνους).
since im on a roll about tragedies:
i am sick to death of fourth wall breaks that are funny. i want fourth wall breaks that make me want to cry.
give me hamlet looking up during his monologue to see the audience and plead with them for help. give me orpheus, on the road back up from the underworld begging us to make sure eurydice is there, to tell him she is safe. give me orpheus turning when the audience stays silent.
give me someone, bloody and full of tears monologuing to the camera when the narrative has wound itself so tight that they can't escape it anymore.
"youre just watching me. help me. im dying and im rotting and im losing myself and you wont do a thing."
i want the tragedy to be the performance. i want the tragedy to be, truly, in the eyes of the beholder.
Omg yes, "funny 4th wall breaks" are ridiculous
I remember watching a show and I think the twins had a fight and when the older brother came in he was like "What's up with you guys did you not read the script?" Wow💀 hilarious
And when the show was ending, sometime along the way they had changed the kid actress and she was like "uh nah I'm getting paid for only half the episodes" girl what-
I like when watching a show to feel that it's real- I know it's not. But I want to pretend it is. When the younger daughter says she's not getting paid enough because she's only in 20 episodes.... that's ruining the whole thing
There are ways it could be interesting without adding much too the plot or ruining it
Manolakis saying "I want to watch Konstantinou kai Elenis" when the actor who played his dad was the same one who played Konstantino and then I spent the rest of my childhood wondering whether in the "Kafe tis charas" universe "Konstantinou kai elenis" had a different actor
Or when Fotis said "when I was in high school I dreamed of Mpalanika being my teacher" and his last role was him being a high schooler and that was his teacher and now someone created a theory of Savvatogenimenes being just a dream but we're ignoring that
And I haven't watched this one but I've seen the scene on tiktok, "blah blah To live happy together" "Oh I haven't watched it." (The title was happy together)
And I've seen edits of this on tiktok but I think It was like "oh I saw a weird dream" and then it was a scene with the writer being like "I created you" and the girls had a life crisis
Jane: I have a question.
Cho: Dangerous start.
Jane: That's not a no.

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Jane: If this works, it'll be brilliant.
Lisbon: And if it doesn't?
Cho: It'll still be memorable.
Amy: We need structure. Jake: I have chaos. Does that help? Rosa: No. Holt: It does not.
Lisbon: One day you'll go too far.
Jane: Today?
Lisbon: See, that's the problem.
Wylie: How do you stay calm?
Cho: Lower expectations.
Lucy: I hear something in the hallway. Lockwood: Probably nothing. George: That’s how horror movies start. Lockwood: We are not in a horror movie. something screams Lucy: We are now.

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Lisbon: Why are you banned from another carnival? Jane: Apparently you can’t “psychoanalyze” the clown. Cho: He made the clown cry. Jane: In my defense, he had unresolved issues. Rigsby: You told him his balloon animals reflected emotional repression. Jane: They did!
Abbott: What happened here?
Jane: Do you want the short version or the honest version?
Abbott: Those are different?
Cho: Very.