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Directors - Tom Hooper. 20741 votes. Release Year - 2019. &ref(https://m.media-amazon.com/images/M/MV5BNjRlNTY3MTAtOTViMS00ZjE5LTkwZGItMGYwNGQwMjg2NTEwXkEyXkFqcGdeQXVyNjg2NjQwMDQ@._V1_UX182_CR0,0,182,268_AL_.jpg). Abstract - Cats is a movie starring Jennifer Hudson, Judi Dench, and Taylor Swift. A tribe of cats called the Jellicles must decide yearly which one will ascend to the Heaviside Layer and come back to a new Jellicle life. countries - UK. Download movie d0 9c d0 b0 d1 87%d0 ba d0 b5 2017. &ref(https://images.unsplash.com/photo-1507924538820-ede94a04019d?ixlib=rb-1.2.1) Love it. Download Movie. Finished Vid: DDLC Review and Monika's piano Ok, I’m gonna spoil the shit outa this I’ve written this 6 times now, and this is all I can come up with to discuss DDLC without spoilers: Hi, I’m Mattyd and here's my review of DDLC: I laughed, I cried, I pooped myself. Thanks for watching! (credits) Yeah… that just won’t do. OK, stop. If you haven’t played DDLC, go download it and play it [ / steam]. It’s free, and should take you 3-4 hours to complete ? 5 if you’re reading it out loud to a group of ESL coma patients. All I will say it: if you don’t see credits… it’s not over! Play it, UNLESS you are easily disturbed or have any fragile psychological issues. Seriously! Take that warning to heart. The story gets ruthless and has left many an innocent soul shattered. It is brutal if you have any empathy. Having said that, pause this, and go play it ? we’ll be here when you get back, in whatever shape you come back in. SYNOPOSIS If you have played it, or watched others play it on a stream… then, let’s do this… so... IKR??? What in the holy fuck?? Was that not an awesome sauce of endearing, crushing, and chills or what?! Overview - Gird your loins This is my frank and unfiltered review of DDLC DDLC is a psychological horror pretending to be a Visual novel / dating simulator brought to us by Team Salvato ? led by Dan Salvato. Before DDLC Dan was renown previously for his modding work for Super Smash Bros Melee, and FrankerFaceZ a Twitch to add custom emotes to a channel. DDLC follows the “Main Character” (which is you the player, played in 1st person), who joins the school's Literature Club and interacts with its four female members. The game features a mostly linear story, with some alternative scenes and endings depending on the choices the player makes (think 'chose your own adventure). It is wonderfully sentimental and utterly charming as MCs interacts with the club and becomes interested in wooing one of its members. If you’ve never previously played a VN or dating sim, like me, you’re immediately surprised how quickly you become immersed and disarmed by the innocence of the characters, and endearing cutesy story. High School student… find a girl you like… try to make her your girlfriend… got it! But beneath the sweet candy coating lies insidiousness, intrigue, and more twists than a twisting… twisty… twister. Note to self, re-write that line. Do not publish. Now… I found the game watching the "Zero Punctuation" review (link / watch it until he says "spoilers" and you'll see where I was at). With only the understanding that it was (a) good and (b) scary, 2 things happened: I knew there was something amiss coming, but never sure what. I kinda guessed there would be a mystery I'd need to solve that one or more of the girls was behind, and then she would be very remorseful - which is kinda accurate in the way that the black death kind made people sick. But game was so adorable that I was suckered in anyway, and completely unprepared for the 1st reveal. And then so off balance, that the other reveals made me realize I was a toy that the game was playing with. DDLC plays the player masterfully in substance and execution. Now… Horror… Horror is different than Psychological Horror and DDLC is Psychological Horror. Its also spooky, but that's just a minor part of it. More-so, it is sweet, and written in an almost trance inducing manner, that when it gets "dark", the contrast is akin to walking down a path in a beautiful garden and suddenly falling into a tiger trap filled with the entire Cthulhu mythos. It is Breakfast Club, meets Fight Club, meets The Ring. The "spooky" is not the WHAT of what's happening, but the WHY behind it all, that is only slowly revealed to the player. Now, understand that I am a hard-ass and an occasional narcissist. It takes a lot to get my attention, and even more to get under my skin and make me feel. I'm also a trained tactician, so I don't surprise easily. DDLC masterfully pulled me in. This game caused me to go from zero-to-weeaboo in 2 hours, and then proceeded to curbstomp my soul and punch me in the ballies for the next 2 hours after. Act 1 - this club is filled with incredibly cute girls Act 1 can be described as a normal dating simulator. There’s girls, and you peruse one of them through a mini-game where you write them poems by picking words that match the girls personality. Depending on the girl you are interested in, different scenes appear - and your interactions with the girls you don’t pick also change. You start the game being guilted into checking out the school’s Literature club, which you end up joining and meet the rest of the characters…. And pick one to date Sayori is a youthful bundle of sunshine who values happiness the most. Adventurous, clumsy, and mischievous. She is the clubs vice-president and often the glue the binds the different personalities together. Sayori is also your longest friend, and you two take care of each other, and care deeply about the others welfare ? but until recently you had fallen out of touch with her as her carefree personality can be annoying at times, and sleeps in a lot. She likes all your poems, because you write them, but contrary to her bubbling personality, bittersweet, wistful, melancholy, and romantic words truly touch her. Yuri is a tall, curvaceous, and extremely socially awkward book worm. She likes good atmospheric horror and a nice cup-a tea. Getting to know Yuir, you find that She has been avoiding people in preference of immersing herself in books. As you bring her out of her shell, she is easily embarrassed and unpredictably passionate. Yuri is incredibly versed in literature. She embraces metaphors in her poetry as a way to emphasize the emotions she is trying to capture and convey. Words alone are not enough. When you're able to woo her in game with poetry, she sees that you "get it", and that connection is what she didn't know that she has been missing.. looking for. Like her poem words, her personality is richly complex, deep, dark, and very passionate. Natsuki is very cute (but do not call her that), she’s a spunky petit underclassman who has a very direct and often cutting personality. She likes to bake and is extremely independent! MC shares much in common with her (Manga, Anime, cupcakes), although dealing with her is often takes work as she has a bit of a temper. Getting to know Natsuki, you find that beneath the prickly exterior, she is genuinely sincere and intensely attentive. She is a great poet in a very direct uncomplicated manner, and her word choices are always the "cute" and "simple" ones. Monika is winsome, athletic, intelligent, kind, charming, encouraging, and focused. A natural leader and the clubs president and cares about the well-being of its members, especially you. She’s enjoying learning the piano, and she directs the clubs activities beyond the ample free time that the members get. She lets you know that “she’s always listening” if you have any ideas for the club. But there is no path to pursue Monika… I will admit that there is a bit of tedium at times moving through Act 1, but well worth the effort. Once you pick a girl to pursue, you get to spend time with them. And you also find out some very nice things about them… as well as some not so nice things... Yuri likes knives and rubberbands between awkard self-second guessing, and reckless passionate impulses. Natsuki strict dad won’t let her keep her Manga at home, or have anyone over. She has confidence issues and puts up a strong combative front to compensate. Finally, you learn that Sayori’s manic extrovertism hides her deep crippling depression. Her oversleeping is actually her inability to find a reason the get out of bed. As well, Sayori cannot deal with the romantic feeling she has for you. She hears voices that tell her she’s not good enough to be cared about, and she just want to disappear. Which she does. …and BOOM goes the dynamite. OMG Act 2 - WHY OH WHY DIDN'T I TAKE THE BLUE PILL!!! NOW ? every well-adjusted person who get this part immediately goes back to the last game save so they can try and replay this part and save Sayori... the saves are gone. They’re gone ? what the fuck?! So you restart a brand new game and this time you’ll really focus on Sayori, you’ll fix this ? you have to. But Sayori is gone from the game. // Sayori - I should have paid her more attention. If I had I would have known she was hiding sadness and I would have given her the attention that she deserves to alleviate all of it. // This was an incredible jolt, going from saccharine sweet innocence to a real based mental health issue that turns tragic... and I was rattled and completely off ballance. Pole-axed by the trap set, that I blindly stepped into. AND there is a felling that I personally could have prevented this... even though I can't. but I couldn't shake it. AND THEN you're back at the literature club. And this time it’s just you, Monika the club president, Yuri the vice president, and Natsuki… eating Natsuki's cupcakes, drinking Yuri's tea, and listening to Monika's encouragement, like it never happened and Sayori never existed. But wait, there's more... The as you continue on you realize your are decending deeper into madness as you find out even more about the girls, you also notice that they seem even
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I was apprehensive before going to see this, as a massive fan of the stage musical, but it did not disappoint! From the incredible dancing (interesting to see a previous reviewer claim that Francesca Hayward in the role of Victoria could neither dance nor sing - interesting, as she is a principal with the Royal Ballet - pretty good for someone who 'can't dance. to the outstanding vocals throughout. My only complaint was I saw it in the cinema, so I couldn't join in with singing and dancing. Meni nije pre terano smešan video.
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This film is like a Hallucinogenic trip in Pet World. There is no plot, as such, just lots of incidental plots and action, plus wasted talent! I am not adding more to this review, as the film is utter nonsense. Guessing who the stars are under the CGI is a good game to play, that's if you're forced like me to go and see it. 2/10 for the wild experience only. Oh, and a few laughs at how bad it is.

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Cats are the best! D. Ovo je smešo ha ha ha ha. At the behest of u/CaughttheDarkness, I’ve turned this comment into a post on portraying suicide in fictional works. When most people talk about the impact of the media on suicide, they are referring to what’s known as the “suicide contagion effect. ” Simply put, the suicide contagion is when the suicide of one person contributes to the suicide or suicidal behaviors of others. Examples of this include the 9. 4% increase in calls to suicide lines after the death of Robin Williams (Fink, Santaella-Tenorio & Keyes, 2018) and the 25% increase in calls after the deaths of Kate Spade and Anthony Bourdain (Connor, Pitofsky & Price, 2018). Given this, and the recent news that the show 13 Reasons Why sparked an increase in youth suicide (Bridge, et. al., 2019), it’s understandable that many of you are becoming wary of the depictions of suicide in your books. I’ll address the research on fictional portrayals of suicide, as well as give some tips you can use to help mitigate these factors. While the contagion effect with nonfiction works is well supported (Gould, Jamieson & Romer, 2003; Romer, Jamieson & Jamieson, 2006; Stack, 2000; Stack, 2003; Yang, et. al., 2013), the implication of fictional portrayals is muddier (Ferguson, 2018; Phillips & Paight, 1987). Gould, speaking at the Institute of Medicine (2001) suggested there are specific factors that contribute to suicide contagion. Namely: Repeated front-page style coverage Large headlines Celebrity status Perception of “rewards, ” such as grieving family and friends as “revenge. ” Suggestion that suicide is unavoidable; ie: “someone will be next. ” Relating politics to the suicide; ie: joblessness, immigration status, etc. Victims shown as having desirable attributes Stack (2009) agreed, hypothesizing that the exposure of nonfiction suicides through multiple outlets, and the lack of that in fictional portrayals, is what drives the difference. Social media and internet forums are creating a world where readers can have a never-ending feed of information on books they're interested in. While as of now, we don't have much information on the contribution of fictional books to the suicide contagion, it is recommended authors error on the side of caution. Authors are urged to do the following: Familiarize themselves with the best practices for journalists. These are available from The World Health Organization, Reporting on Suicide, and the New Zealand Youth Suicide Prevention Strategy. Research the subject of suicide. There’s free training available from The Suicide Prevention Resource Center. Crisis Text Line runs Crisis Trends, which has examples of messages received. Include hotline information in the front matter of your book. If you go into graphic detail on the death, you may also want to consider a content warning. Choose your words carefully. Avoid “committed suicide” and “successful suicide. ” Avoid lavish descriptions of the method. This would be a great place to go more introspective with your writing and focus on the character’s thoughts and feelings. Don’t feel as though you can’t depict suicide in your work. These books are valuable contributions and can spark vital discussions in readers. Follow best practices, do your research, and everything will be fine. References Bridge, J. A., Greenhouse, J. B., Ruch, D., Stevens, J., Ackerman, J., Sheftall, A. H., Horowitz, L. M., Kelleher, K. J., Campo, J. V. (2019). Association between the release of Netflix’s 13 Reasons Why and suicide rates in the United States: An interrupted time series analysis. Journal of the American Academy of Child & Adolescent Psychology. Advance Online Publication. Connor, A., Pitofsky, M., & Price, L. (2018, June 8). ‘We’re so extremely busy:’ More calling suicide prevention hotlines since celebrity deaths. USA Today. Ferguson, C. J. (2018). 13 reasons why not: A methodological and meta-analytic review of evidence regarding suicide contagion by fictional media. Suicide and Life-Threatening Behavior. Fink, D. S., Santaela-Tenorio, J. & Keyes, K. M. Increase in suicides the months after the death of Robin Williams in the US. PLOS One, 13 (2). Gould, M., Jamieson, P., & Romer, D. (2003). Media contagion suicide among the young. American Behavioral Scientist, 46 (9). Institute of Medicine (US) Committee on Pathophysiology and Prevention of Adolescent and Adult Suicide. Suicide Prevention and Intervention: Summary of a Workshop. Washington (DC): National Academies Press (US); 2001. SUICIDE CONTAGION. Phillips, D. P. & Paight, D. (1987). The impact of televised movies about suicide. New England Journal of Medicine, 317 (13). doi: 10. 1056/NEJM198709243171306 Romer, D., Jamieson, P. E., Jamieson, K. H. (2006). Are news reports of suicide contagious? : A stringent test in six U. S. cities. Journal of Communication, 52 (2). Stack, S. (2000). Media effects on suicide: A quantitative review of 293 findings. Social Science Quarterly, 81 (4). Media coverage as a risk factor for suicide. Journal of Epidemiology & Community Health, 57 (4). (2009). Copycat effects on fictional suicide: A meta-analysis. In S. Stack & D. Lester (Eds. ) Suicide and the Creative Arts pp. 231-243. New York: Nova Science Publishers, Inc. Yang, A. C., Tsai, S., Yang, C., Shia, B., Fuh, J., Wang, S., Peng, C., Huang, N. (2013). Suicide and media reporting: A longitudinal and spatial analysis. Social Psychology and Epidemiology, 48 (3).
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