Play it on: PlayStation 4, PlayStation 5, Xbox Series X/S, Xbox One, Nintendo Switch, PC Current goal: Get some gaming spooks in for the season
This year, Halloween fell on a Thursday, and I was so busy with work and other things that I didn’t manage to make much time for spooky gaming in the days leading up to it. I still have a hankering for some interactive scares, however, so this weekend, I hope to play one of the landmark games in the history of survival horror, officially translated into English and released in the States for the first time: Clock Tower. The new version, Clock Tower: Rewind, comes to us courtesy of WayForward and represents my first real chance to play the 1995 SNES horror classic.
I actually don’t know much about the original Clock Tower, and I’ve kept it that way on purpose, as I want to go in knowing as little as possible and figure it out for myself. It’s scarier that way. But in short, it’s a 2D, survival horror point-and-click game that tells the story of Jennifer, a teenage orphan who’s adopted by a family with a big, spooky manor, and finds herself stalked by a horrifying entity known as Scissorman. WayForward’s release lets you play an enhanced version of the game “which features numerous gameplay additions and quality-of-life refinements,” and I may check that out as well, but for starters, I’ll be playing in Original mode, and experiencing the game just like it was when it scared the socks off of so many Japanese players way back in 1995. Sure, it may be November now, but I’m gonna linger in late October for just a little bit longer if it’s all the same to you. — Carolyn Petit
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Kenneth Shepard, Moises Taveras, Carolyn Petit, Ethan Gach, and John Walker
At Midnight I’ll Take Your Soul | Trailer 1964 #movie
In 1964, Brazilian director, co-writer, and star José Mojica Marins unleashed his singular creation—Coffin Joe—into the world of horror cinema. At Midnight I’ll Take Your Soul kicked off a film series built around the character, a murderous undertaker who’s the most monstrously awful guy you’ll ever meet, while also being someone you simply can’t take your eyes off whenever he’s onscreen. Stream on Shudder.
Breakups are tough and miserable – even if you are a celebrity. But there are ways marijuana can help!
The buzz in the celebrity world is about the breakup of Beniffer – Jennifer Lopez and Ben Affleck. It has dominated the news, but it reflects everyone’s journey in relationships. Almost everyone suffers a miserable breakup in their life. The ending of relationship doesn’t always have a logical reason or comes in a methodical planned way, it is usually messy, emotional and draining for a while. And it can lay heavy on someone’s mind and heart. One bright note is there are 4 ways marijuana can help in a messy break up.
Breakups can upend a life. Hurt, grief, and a sense of failure when a relationship ends is common. It often mean a big change in your daily routine, which can feel overwhelming and a constant reminder of the loss. Weight gain and lack of good sleep can also be part of the after effects. But, in the right dose and intention, marijuana can help you through.
Photo by Clker-Free-Vector-Images via Pixabay
The first way to help is with sleep, with 35-45% increased odds of insomnia symptoms this is key. A good night dozing can help with a tough day of change. So, it is critical to nip long term disruptions it in the bud. Research studies have shown, with the correct dosage, marijuana may have an overall positive effect on maintaining sleep.
The second way is to help with anxiety. Big change causes makes people anxious, the loss of a person you care about, sometimes identity gets wrapped up in the “we” of a relationship, causing a disruption on self perception. Time is the best way and most natural way to heal. But THC appears to decrease anxiety at lower doses. Work with a healthy professional to a figure out a plan to get you to a more positive place.
The third is to reeducation of alcohol consumption. Drinking too much after a breakup is unfortunately common, as the feelings of control alcohol provides can feel euphoric for a short period. But both physical and mentally it is not good. Light marijuana usage can relax you and put you in a better state of mind without hangovers, drunk texting and more.
The last way is personal health. While it is hard in the middle of a breakup to look ahead, marijuana can help you with looking good for the future. While the myth is stoners are lazy, couch potatoes eating…cannabis can get you moving. Like dopamine, it allows us to feel a sense of pleasure and reward, which has the effect of motivating us. Consuming a sativa strain can help you get out of bed and move which could include a workout!
A lifetime of scarfing down sci-fi, video games, and comic books brought director Brad Peyton to the job of said lifetime: directing Jennifer Lopez in a frickin’ mech-suit movie. Signing on for Atlas, now streaming on Netflix, was an easy yes: With two big-budget Dwayne Johnson vehicles under his belt, Rampage and San Andreas, Peyton was no stranger to A-list-driven spectacle. Still, the film was an intimidating prospect for someone with a deep appreciation for mech suits, mech tanks, oversized mecha, and all the made-up classifications in between.
“I was very aware of what had come out ahead of me,” Peyton tells Polygon. The director cites James Cameron’s Aliens and Avatar as obvious but undeniable milestones in the art of on-screen mechs. He knew that the Titanfall games put pressure on any new live-action attempt, having created full immersion into the experience of mech fighting. But when he started imagining how to rethink mechs, he returned to the first piece of mecha media that really blew him away: Stuart Gordon’s Robot Jox.
Peyton can’t quite explain why Robot Jox was his holy grail, but in talking to him, it’s obvious: Like Gordon’s whiz-bang vision of the future, where Earth’s conflicts are settled by colorful mech duels, Atlas needed clear, well-defined logic that would ground the world-building, but also let him rip in the action department in a way that would delight his inner child. And at the end of the day, he needed to be original.
“My biggest thing was: I knew I had to separate from everything,” Peyton says. “I had no interest in repeating. I said, Pac Rim’s [mechs] are this big. In Avatar, they’re this big. In Titanfall, they’re this big. So mine is gonna be this big. This one might be square and blocky, so mine is gonna be circular. I come from animation. So a lot of it started with me sketching the silhouette and figuring how to make it unique and different.”
Atlas takes place in a relatively sunny future that still exists in the shadow of an impending apocalypse. Decades earlier, a rogue artificial intelligence named Harlan (Shang-Chi’s Simu Liu) fled Earth for an alien planet with the intent of one day returning to lay waste to humanity. When scientists discover Harlan’s whereabouts, Terran forces launch a mission to take the fight to the robot army’s doorstep. Leading the charge: Atlas Shepherd (Lopez), a data analyst recruited to go full Jack Ryan on Harlan’s ass. Of course, the attack doesn’t go as smoothly as the Earthlings would hope, and Atlas has to begrudgingly click into an AI-powered mech suit in order to survive an alien planet populated with androids who want her dead.
The grounded futurism of Atlas’ Earth led Peyton and his creative team to extrapolate from current military tech for the mech design. Rounded edges and exhaust pipes are lifted from F-18 planes. The interior control panels were built for theoretical functionality.
“I had to understand all the tech from the inside out,” Peyton says. “Because of my experience on San Andreas, where I had to understand how a helicopter worked intimately to tell Dwayne what buttons to press and not to press — at least when he would listen to me! — I took that experience and wanted to make a similar experience for [Lopez]. I laid it out with the art department of why there are screens in certain places, why there are holograms in other places. And then on the day, I’m giving her little wires to be like, ‘That’s what this screen is. That’s where the screen is.’ So after going through the blocking, I pulled those away, and she had to memorize where they were.”
Image: Netflix
Drawings and schematics were only half of the equation. After drafting a design, Peyton set out to make his vision come to life. Coming at it from an animation background, that meant animating various walk cycles to see if the bipedal machine could move the right way.
“The first couple of designs we had when we animated them to see how they would work — very basic animation, walk, run, walk, jog, run cycles — looked so clunky and terrible,” Peyton says. The animation team found a groove when they clarified the dynamic between man and machine. “[The mechs] are intuitive devices. The concept that I came up with was, the soldier is the brain. He doesn’t have to be super strong. He’s not like a grunt — the machine is the grunt. He is the emotional cognitive device that syncs with this thing. So it has to be able to be as fluid as a person who’s been trained in it.”
As Atlas traverses the biomes of Harlan’s base planet — from snowy tundras to swamps inspired by Peyton’s love for Return of the Jedi — the film’s hero loosens up on her “no AI” stance and forms a cognitive link with her mech’s digital interface. Like a twist on the buddy-cop movie, the two bond for survival, which presents itself as more fluid mech motions. Early on, Atlas might be bumbling around a rocky cliff. By the end, she’s running, rolling, and slapping the hell out of robot assailants with mech-fu. The early walk cycle tests came in handy for the dramatic evolution, which Peyton was able to program into an enormous soundstage gimbal rig that stood in for the mech suit. Lopez was surprisingly well suited for the demands of the mech choreography.
“Her background as a dancer is what allowed her to really gauge that quickly,” Peyton says. “As much as she looks like she’s walking, [the mech] is walking her, and she has to react like she’s walking. So that training as a dancer allowed her to step right into it.”
Image: Netflix
It also helps that Lopez routinely performs for thousands all by her lonesome on a stadium stage. Peyton says Atlas turned out to be one of the most demanding shoots of his career, simply because for six to seven weeks, it was just Lopez performing solo on a gimbal rig that would be completely painted over with plate shots, VFX environments, and bursts of other action sequences shot elsewhere. Occasionally, voice actor Gregory James Cohan would dial in to perform the dialogue of Smith, her AI companion.
All the prep work required to realize a mech with the capacity for real action, and clicking in a star who was up to control it, was in service of jolting the audience, says Peyton. The first time we see the mechs in action isn’t in an act of valor; they’re caught in an ambush, mid-flight. The carrier ship goes down — and so does Atlas, in her rig. Peyton’s imagination swirled at the possibilities, as evidenced in the finished sequence. “[The mech] would be tumbling, it would be spinning, it would be hit by debris. What would it be like to be trapped in that tin can? What would it sound like? What would it feel like? And once I get through that experience, well then, how can I up the ante? Well, what if I fall through black clouds, and I’m falling into basically a World War II dogfight, but with mechs and drones? […] That’s just the first, I don’t know, 20 seconds of a two-minute sequence.
“That’s how I design,” he says. “I want to surprise you. I want to give you something you can’t see anywhere else.”
Greg returns to discuss Episodes 109-112 with Juliet. They cover many firsts for Felicity: her first Thanksgiving away from home, her first finals, her first time (almost). It’s a momentous stretch for Felicity and for TV as we now know it. Jennifer Garner appears as a guest star, playing Noel’s girlfriend Hannah, and it’s her first step into the J.J. Abrams cinematic universe. We commemorate the occasion as Garner comes on the podcast to talk about auditioning for the role of Hannah, working with J.J. on Alias, and why she’s seen every episode of Felicity despite appearing in only a few of them.
Next time: Episodes 113-115. Watch on Hulu.
Hosts: Amanda Foreman, Greg Grunberg, and Juliet Litman Executive Producers: JJ Abrams and Matt Reeves For Bad Robot Audio: Executive Producer Christina Choi, Producer Shaka Tafari For The Ringer: Executive Producer Sean Fennessey, Executive Producer Juliet Litman, Senior Producer Kaya McMullen, Producer Erika Cervantes Original Music: Eric Phillips Sound Design: Kaya McMullen Mixing and Mastering: Scott Somerville
You may have heard that Jennifer Lopez made her own autobiographical version of Cloud Atlas where she journeys through time and space to heal her heart through the redemptive power of self-love and flower petals. You may have heard that her journey includes a steampunk Flashdance homage and a Ben Affleck jump scare and that Jane Fonda leads a sort of Greek-chorus-meets–Inside Out think tank of celestial beings. And those rumors (all true) may have stirred up some questions in your soul like: why, how, who, and huh? But perhaps most importantly: What on Jane Fonda’s green earth did we do to deserve such a thing?
Now, the tone with which you ask that last question might depend on how you typically respond to the artistic stylings of one Jennifer Lynn Lopez. Do you see her as a visionary? A Hollywood septuple threat? An artist constantly reinventing herself? A star who’s outkicked her talent coverage but continues to iterate on a public persona that’s never been particularly convincing as a contemporary auteur?
Nah, not that last one—this movie rules. It is singularly weird, and should be treated as such!
This Is Me … Now: A Love Story (huge win for punctuation) makes not a lick of narrative sense, and yet it is a masterpiece—as long as the barometer for what constitutes a masterpiece is “being extremely Jennifer Lopez.” One thing I’ve always respected about J.Lo is that she is going to sell you J.Lo, whether you meant to walk into the J.Lo shop or not. Was anyone expecting a sequel to her 2002 album This Is Me … Then 22 years later? Certainly not. (Except maybe J.Lo—why else would she name her album that in the first place?) Was anyone demanding that J.Lo make a visual album? I don’t think so. (Except, again, J.Lo, who is never not saying, “I guess I’ll just have to DO IT myself,” about an artistic endeavor that is entirely and wholly about … herself.) But then Jennifer Lopez reunited with Ben Affleck, the man she dedicated This Is Me … Then to in 2002, called things off with three days before their planned wedding, then got back together with and ultimately married 20 years later. Such a reunion deserved something more than just a sequel album.
Screenshots via Prime Video
So, from the heart/soul/dreams of Jennifer Lopez comes a 55-minute-long narrative musical that Amazon paid to distribute, once again dedicated to the epic love she and Ben Affleck share. In one sense, This Is Me … Now: A Love Story is a visual album for This Is Me … Now, which also dropped on February 16. In every other sense, however, J.Lo has made a 55-minute movie about a Leo learning to love herself while singing and dancing her way through two decades of romantic misadventures. It is the most Jennifer Lopez thing Jennifer Lopez has ever done in a career that has always been fully devoted to performing at max Jennifer Lopez. It is the ultimate continuation of J.Lo telling what she sees as her hero’s journey: a mission to be understood by a society that has been inaccurately consuming her artistry and personal life for nearly three decades …
Casting yourself as the underdog with a self-funded budget of $20 million? Iconic behavior. There is no other celebrity this insistent upon reminding us that she is an artist. To be fair, though, I’ve never seen art quite like This Is Me … Now: A Love Story. It is as if Michael Scott was given an eight-figure budget to make Threat Level Midnight, or if The Room was created by a legion of astrology-obsessed musical theater nerds instead of Tommy Wiseau. Like those films, This Is Me … Now is pure camp most especially because of its creator’s sincere belief in its artistic significance. J.Lo is the FUBU of pop stars—everything she makes is for Jennifer Lopez, by Jennifer Lopez—and this celestial steampunk odysseyis no different.
I believe that Jennifer Lopez loves these 55 minutes of musical cinema she’s created, and that’s enough for me. But for anyone who’s not Jennifer Lopez, you may have some questions about the facts and figures of This Is Me … Now: A Love Story. The movie will not tell you outright why Jennifer Lopez’s robot heart is powered by flower petals, or why her character exclusively resides in terrifying futuristic homes made entirely of glass—so I’m here today to answer some common questions that may arise regarding everyone’s favorite new movie featuring both ellipses and a colon in the title.
Is this a musical? A movie? A musical movie? A movie musical?
Stunningly, This Is Me … Now: A Love Story is yet another entry into this year’s canon of films that don’t fully spell out that they’re musicals in their trailers. Sure, the This Is Me … Now trailer was scored by Jennifer Lopez’s “This Is Me … Now” song. But I kind of just assumed the movie would be that: scored. But no, Jennifer Lopez is breaking into song and dance at all times in this movie. That makes it a musical.
From the trailer, I’d also assumed this would be a feature-length film. But, again, no! It is a 55-minute movie that according to J.Lo should not be classified as a music video, yet it also isn’t nearly long enough to be feature length. So what is it? The trailer tells us it’s a “new INTIMATE, CINEMATIC, MUSICAL experience,” and you know what? I agree: Jennifer Lopez’s first self-written, self-funded, and self-starring creation certainly is a “new … experience.”
Does J.Lo play herself in this musical movie?
Let’s be absolutely clear: This Is Me … Now is autofiction. In the opening scene, we see Jennifer Lopez on the back of a motorcycle with a man who looks a lot like Ben Affleck (played, in silhouette, by Ben Affleck), which then crashes while traversing a lake, signifying the greatest heartbreak of her life. In the narrative of the film, J.Lo is reunited with that man once more after 10 years, three divorces, and a journey through time and song to find love with the most important person in her life: herself. These are not the precise details of Jennifer Lopez and Ben Affleck’s sprawling love story, but they’re close …
And yet, Jennifer Lopez’s character isn’t called Jennifer Lopez. She’s called “the Artist.” We only actually learn that from the movie’s closed captioning (“[The Artist laughs]”), as the movie works very hard to never call the character by a name—y’know, like Fleabag, if Fleabag was always doing intricate chest choreography instead of speaking directly to camera.
There are certainly indicators that the Artist is supposed to be world famous like J.Lo, but we learn absolutely nothing beyond the fact that she is permanently unlucky in love. “I know what they say about me, about hopeless romantics, that we’re weak,” the Artist says in one of her many monologues to her therapist. “But I’m not weak. It takes strength to keep believing in something after you keep falling flat on your face.” Some might also say it takes strength to produce nine studio albums and over 30 feature films and co-headline the Super Bowl … but that’s a story for a different for-J.Lo-by-J.Lo production. (It’s called Halftime, and she already made it, obviously.)
This movie is about love and love only. Ultimately, the Artist’s monologue ends with the line, “I believe in soulmates and signs and hummingbirds.” Because her name is the Artist, not the Writer.
OK then, so is Ben Affleck in this movie?
Ben Affleck … is in this movie. The entire point of the movie, after all, is that every mistake J.Lo has ever made in her life—every liquor-swilling boyfriend who’s ever broken any one of her metaphorical and also quite literal (in this movie) glass houses—has been leading back to Ben Affleck. So, obviously … in this movie … Affleck plays a TV commentator named Rex Stone, wearing a Donald Trump wig and a Mrs. Doubtfire prosthetic nose, and also occasionally proselytizing the news in the background of scenes. This character makes exactly no sense, but in one scene he does manage to deliver the film’s entire thesis statement when he says, “In 2012, the no. 1 question people asked was, ‘What is love?’”
Sorry, what people? Asked who? Why is 2012 the reference point here? The answer to all of those questions is: It doesn’t matter. The only thing that matters in the world is love. And if you’re wondering what the “top questions” people ask now are, according to Rex Stone, they’re: “Where my refund? Why women kill? Will I get laid? Is Europe a country? How I screenshot a Mac? Am I preg-erant? And why my poop green?”
It’s the funniest sequence of the movie, and I would bet my On the J.Lo newsletter subscription that Ben Affleck wrote that little diddy himself.
So how does this movie communicate a complicated timeline that spans 20 years, three divorces, and multiple time jump dream sequences?
In a word: bangs. Anytime we cut to J.Lo and she has bangs, we are in the present. Anytime she doesn’t have bangs, she is either in the past, in a dream, or in some version of the present (recent past) that she’s relaying to her therapist.
J.Lo’s bangs are ascritical to the plot of This Is Me … Now as the robot heart that’s powering the Artist’s metaphysical world (more on that in a minute). But because J.Lo is eternally ageless, at times we also have to rely on a basset hound puppy aging into an elder basset hound to understand that J.Lo has spent the last decade or so growing, healing, and preparing her heart to love Ben Affleck again.
What inspired Jennifer Lopez to make this movie?
Other than Ben Affleck, I have several theories: moments that occurred throughout the film that made me think, “This line/scene/image has clearly been rattling around in Jennifer Lopez’s head for a decade, so she decided to create an entire $20 million passion project around it.” They are as follows:
When she says to one of her future ex-husbands (played by the famously blond adult male Derek Hough), “You feel like home to me … but I left home for a reason.” J.Lo loves this line, you can just tell.
The movie opens with a million AI-rendered images of Jennifer Lopez depicted within the Puerto Rican folktale of Alida and Taroo … and I just know that Jennifer Lopez got one look at herself as a Greek goddess or a space explorer in December 2022 and thought, “I HAVE to get this imagery to the people.”
J.Lo learned a lot about astrology at some point, it made her realize a bunch of stuff about herself (classic Leo), and she decided to spend $20 million relaying that information to the public.
J.Lo did inner child work with a therapist. Quite literally, there is a dream sequence in this movie in which J.Lo apologizes to her younger self on the dark and dirty streets of the Bronx, and once she does, the sun comes out, and both J.Los break into song. Of course, we know it’s a dream sequence because the Artist is relaying it to her therapist, Fat Joe.
Is Fat Joe a licensed therapist?
From what I can tell, no. But he does wear a full beige outfit with all the confidence and gravitas of your richest aunt, so he’s at least believable as a therapist. Also believable? That J.Lo would try to pry personal details out of her therapist in order to bond. (“You’re such a Taurus. What sign is your wife?”)
You said we’d get back to this: Why is Jennifer Lopez’s heart powered by flower petals?
Right. After the Artist crashes on the motorcycle, signaling the greatest heartbreak of her life, we’re taken inside the Heart Factory, where an oiled-up and tank-topped Jennifer Lopez is yelling, “It’s gonna break!” I don’t know how to convince you that I’m not lying to you about the events of a J.Lo musical, but I promise I am not. There is a giant metal heart pulsing above the factory workers which has apparently reached “critical petal levels.”
That’s right. Jennifer Lopez’s heart is powered by flower petals, and the only way to save it is for Jennifer Lopez to get in a jumpsuit, walk a gangplank out to the heart, journey inside its destructing valves, and start feeding rose petals to the dwindling fire that powers it while simultaneously breaking into the song “Hearts and Flowers” (get it???) with the rest of the workers down on the factory/dance floor.
It’s not until a little later in the movie that we learn this was a dream sequence (no bangs—I should have caught it), and much later in the movie, we see the petal levels stabilize enough to repair the broken heart. So yeah, Jennifer Lopez is basically just Being John Malkovich–ing inside her own heart for like 20 years (well … earth years, robot-heart years may be measured differently), trying to save herself so she can marry Ben Affleck.
You’re telling me Jennifer Lopez’s Ben Affleck movie stages an elaborate reference to Armageddon?
That’s exactly what I’m telling you.
Are there any other dream sequences in this movie?
I’m pretty sure that any scene that doesn’t happen directly in the presence of Fat Joe himself is a dream sequence, or at the very least a recounting of a dream or memory by the Artist to her therapist, which, again, is Fat Joe. These include, but are not limited to: the aforementioned heart factory, a love addiction intervention, the shattering of a glass home via physical abuse, watching a healing round of The Way We Were on a custom monogrammed Gucci-esque couch, and, of course, a Singin’ in the Rain homage. So you might be wondering …
Is there a wedding montage in this movie?
Oh yeah, you betcha. And it’s amazing. The Artist married three men across 10 years, one song (“To Be Yours”), and several wedding dresses. The first wedding dress features two heart-shaped mesh cutouts that perfectly frame J.Lo’s crotch. Romance!
Perhaps more unexpected, however, is the couples therapy montage, wherein all three husbands sit in front of Fat Joe alongside the Artist (this feels like a psychiatric moral gray area, Fat Joe). Dialogue selections include: “I’m a piece of art in her collection,” and, “I feel like I’m just another thing in her house.”
What I wouldn’t give to be a Gucci-monogrammed sectional in J.Lo’s house! But ultimately, the Artist grows tired of all of these uninspiring men, leaves them behind in their own futuristic houses, and starts fucking around with a bunch of dummies. Her friends are forced to give her an intervention, and Fat Joe recommends joining Love Addicts Anonymous …
Is Love Addicts Anonymous a real thing?
Technically it’s called “Sex and Love Addicts Anonymous,” but yes,it is indeed a real 12-step program (though J.Lo makes sure to clarify that she is not a sex addict in her autofictional musical movie). At J.Lo’sLove Addicts Anonymous meetings, you’re led by veteran character actor Paul Raci, and you express yourself exclusively through modern dance.
A particularly rich piece of dialogue comes when Paul Raci tells the Artist, after her impromptu performance of “Broken Like Me,” that “I know you feel like no one gets you.” To which Jennifer Lopez—a woman who is in the middle of making an hour-long music video about herself—responds: “I don’t even get me.”
But that was J.Lo … then. And this is J.Lo … now. And this J.Lo … has read her birth chart.
Do you need to have a casual understanding of astrology to understand this movie?
It would certainly help! Even though the movie starts with a Puerto Rican folk tale that continues to proliferate through the movie in the form of a hummingbird (bet you didn’t see a J.Lo neck tattoo coming!), we’re really expected to come in with our own knowledge of the zodiac.
Bare minimum, knowing at least a little about all 12 astrological signs will really help color in the Zodiacal Council when it shows up …
What is a Zodiacal Council?
Oh, well it’s a collection of humanoid representations of the 12 star signs who watch over the Artist from the heavens as she fumbles her love life. They are exposition machines who say things like, “She’s smart, she’s beautiful, and she seems so strong—why does she always need to be with somebody?!” But most importantly, they are played by the likes of Keke Palmer (Scorpio), Trevor Noah (Libra), Post Malone (Leo), Sofia Vergara (Cancer), Jenifer Lewis (Gemini), and Neil deGrasse Tyson (Taurus), and, as aforementioned, they are led by Jane Fonda the Sagittarius. (Congratulations to all Sagittariuses for this iconic Monster in Law representation—and apologies to Aquariuses and Capricorns, who are straight up not represented on the Cameo Council.)
If you’re otherwise not a huge Jennifer Lopez fan, the Zodiacal Council scenes are pretty much the main reason to watch This Is Me … Now. It feels like a Super Bowl commercial in that none of these people ever filmed in the same room together, the narrative structure remains extremely thin throughout, a new person pops up with each new scene (hey look, it’s Jay Shetty!), and Post Malone is there, always seeming like he’s on the verge of performatively eating a bag of Doritos.
So did Jennifer Lopez make an hour-long, $20 million music video about being a Leo?
According to everything I learned about astrology from This Is Me … Now: A Love Story—yeah, she did. Leos are confident and assertive. Leos are enthusiastic, creative, and more self-conscious than you think. Leos are, above all else, hopeless romantics (at least according to my favorite Leo, Jennifer Lopez). And not only is Jennifer Lopez a Leo … she reunited with another Leo at the end of this movie whom she will eventually fall back in love with, marry, write an album about, and create an hour-long, absolutely bonkers, beautiful, gorgeous, perfect musical movie to accompany that album about …
And in a few weeks, This Is Me … Now: A Love Story will be followed up with The Greatest Love Story Never Told, a documentary about the making of this musical movie.
To drop a documentary about the musical you created about the album you wrote about your love story that the world has been consuming for over two decades, and to then call it “The Greatest Love Story Never Told,” well, I’m just gonna say it: classic Leo. Never change, Jennifer Lopez. And if you do, please make a musical about it.
But did you cry during This Is Me … Now: A Love Story?
So kind of you to ask, and yes, of course I did. The Artist healed her own heart through the power of time and Flashdance. She learned to love herself first in order to truly love another. She went back in time and space and told her 8-year-old self that she’s sorry and she loves her. She found Ben Affleck again on a beach in front of a giant, unexplained sand statue straight out of Game of Thrones.
It’s said a picture is worth a thousand words. But a photo also has the ability to freeze time and capture a priceless memory to hold forever. This May, APA! is partnering with the nationally acclaimed Jennifer Lindberg Studio to provide a beautiful photo of your pet that will also help support the long stay dogs of APA!.
All participants will receive a complimentary photo session by a talented portrait artist and a gift certificate to apply toward their portrait purchase, a total value of $850. Each participant will have one of their portraits published in a special coffee table book dedicated to the long stay dogs of APA!. A non-refundable reservation fee of $100 goes to APA! when the session is booked. More information and how to book your session can be found here.
This year’s goal is to raise $15,000 all in the name of the long stay dogs of APA!. Long-time volunteer, Jess Borda, reflects that these “incredibly special dogs need a little extra care — extra patience time or training to get ready for adoption” which is why their stay at the shelter may be 60+ days. “The fact that Jennifer is helping to showcase these special creatures means the world.”
Supporting nonprofits like this is rooted in Lindberg’s personal philosophy. She began her career with the goal of making a difference in the world by using her talents to help those in need. Lindberg says the organizations their fundraisers benefit are selected based on referrals from the clients who have used her services. “I learned about all of these nonprofits through our clients. We invite our clients to share their favorite nonprofits… (the ones) that positively impact their lives.”
We’re grateful that APA! has impacted so many human lives and equally grateful that businesses like Jennifer Lindberg Studio created special opportunities to support APA!, making a positive impact on the lives of pets while they await their adoptive homes.
When my daughter started kindergarten it was the first time ever I had to pack her lunch. In daycare, lunch was always provided and that made my life much easier! So I accumulated lunch ideas. My son was very easy and would eat leftovers or sandwiches but my daughter was a bit more particular. Plus she needed three snacks and a lunch for each day of school.
It’s not too difficult to keep kids lunches and snacks healthy and fresh. Most of these items are things that you can make in advance and store easily. It’s always a good idea to avoid sugar filled and refined foods. Kids need to be able to focus in school and stay alert. Too many sugary snacks leave them crashing and burning very quickly.
So, along with a water bottle, we figured out my daughter’s favorite healthy lunchbox combination.
Morning snack
Strawberries and blueberries
Chocolate almond (soy or rice) milk
Lunch
2 hard boiled eggs in a salad made of freshly cut cucumbers, avocado and tomatoes, topped with olives and pickles
Afternoon classroom snack
Homemade banana bread or muffin
Afternoon daycare snack
Red peppers and carrots with hummus
Other lunchbox ideas are zoodles with tofu, homemade soups, grilled chicken salads and of course lots of fresh, seasonal fruits and veggies. The idea is to keep it healthy and give our kids the tools they need to focus and learn.
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