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jesse eisenberg

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leslie的所有物

没有感情的搬运工 ins上翻到的

没有感情的搬运工 ins上翻到的

瑞希

2011年名利场好莱坞特刊封面拍摄,菲王子和霸总西❤️

2011年名利场好莱坞特刊封面拍摄,菲王子和霸总西❤️

彡森攸信

【TSN】甲板十年祭 超长文原著分析(?)

【TSN】原著时间线虐点大放送(甲板十年 来重温吗)

https://www.bilibili.com/video/BV1QT4y1u7yH/


  最近刚看完原著 The Accidental Billionaires,(将原著安利给英语老师你就可以按全班头)按照原著的时间线稍微剪了一点点,24章~29章的剧情(虽然因为索金大大把时间线压缩了好像没太剪出来orz)


  渣剪警告!字幕是自己配的所以有些地方翻译稍微改了一下(可能会不太恰当但我尽力了TAT)


  (其实不用去...

【TSN】原著时间线虐点大放送(甲板十年 来重温吗)

https://www.bilibili.com/video/BV1QT4y1u7yH/


  最近刚看完原著 The Accidental Billionaires,(将原著安利给英语老师你就可以按全班头)按照原著的时间线稍微剪了一点点,24章~29章的剧情(虽然因为索金大大把时间线压缩了好像没太剪出来orz)

 

  渣剪警告!字幕是自己配的所以有些地方翻译稍微改了一下(可能会不太恰当但我尽力了TAT)

 

  (其实不用去看视频(bushi),主要是想写一写自己读原著时的一些看法/分析)

  (超级主观!求轻喷)

  (超长流水账警告)

 

 


 

  原著的时间线是冻结账户(2004.07.28)→Peter Thiel 50万天使投资(2004.09)→叫Eduardo去签合同(2004.10)→百万会员夜(2004.12.03)→Ambush/摔电脑(2005.04.04)

 

  视频最开始的争吵内容在原著里是Eduardo给Mark的信里说的(认为自己作为公司的CFO被left out了),不得不说索金大大将线上矛盾转移到线下的改编真的非常厉害,时间线紧凑了很多,当然原著的“信件往来”更能解释为什么Eduardo会做出这么极端的举动,所谓“退一步越想越气”嘛



  打电话那段在原著里有一个比较长的时间跨度

  (They had it out on the phone a number of times——arguing like any two friends might, who were involved in something that had gotten bigger than either of them had really expected——but they'd come to a sort of dédente)

  放在电影里一个电话解决了Mark和Sean面对Eduardo冻结账户这个“不成熟”的行为的谴责+告知Eduardo天使投资的事+将Eduardo邀请到加州签文件三件事

  (索金大大的剧本也挺好看的,读的时候感觉每一句都是语音→_→)

  打电话这里在原著也是有小小小小糖的,Mark好几次说到要帮Eduardo平衡学业和事业,叫Eduardo不要那么操心(awwwww),两位也有很认真地在沟通和处理矛盾,维护他们的友(ai?)情,双箭头石锤了。

  

  虽然原著没有电影紧凑,但是原著的文笔超级神仙,安利安利安利!!(TMI:作者也是哈佛毕业的,“真·人均哈佛”),而且因为是多视角叙述,读者可以从Eduardo/Sean的角度看待他们的矛盾,也更容易看到事情的全貌(反思一开始cp脑说马总渣的我)。


  以前一直以为我会在看原著的时候非常崩溃+虐心,但其实没有,因为叙述很冷静平淡,可以让你跳出cp脑站在每个人的视角去分析和权衡每一个举动的利弊,所以到后面看到Ambush我已经完全能理解Mark的决定了。

 



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  • Facebook对于Eduardo来说究竟是什么?


Chapter 25(Sean视角):


  Sure, if Facebook didn't work out, Mark could always go back to school—but Sean doubted he ever would. He was going to continue his endless summer; and most likely, Dustin would stay on in California as well.


  But Eduardo? Well, from what Sean knew of the kid, Eduardo would never quit school. He'd already proven that he wasn't going to give up everything else for Facebook. That simply wasn't who he was. He had other interests. For instance, back at Harvard, from what Sean understood, he had the Phoenix. In New York, he'd had that internship, even though he'd quit in the first week.


  Eduardo would go back to school. But Mark Zuckerberg had found his place in the world.


  Facebook只是Eduardo众多爱好中的一小部分,Eduardo不可能为了Facebook放弃掉他剩下的东西。



Chapter 28(Eduardo视角):


  Tomorrow, hopefully, would be the beginning of things going back to normal between him and Mark—so that when he graduated, he could go right back to his old role as Mark's founding partner. The idea was pretty pleasing to him—because in a way, it meant he could extend his college life even further, because as big a company as Facebook became, Eduardo was pretty sure it would always feel like college to him. At Facebook, he could keep on postponing the real world, just like Mark was doing, maybe forever.


  Facebook对于Eduardo是一个“逃离现实生活”的借口,而他的“现实生活”存在在校园中,学业才是他生活的中心。


  Eduardo将Facebook的一切都看做自己“大学生活”的延伸。换句话说,他没有看到Facebook的潜力和它不可估量的未来,而是将其视作一个“dorm room project”,也因此在Facebook刚起步的时候就要开始create revenue,拉广告,但这一点被Mark视作很不“cool”的事情,Mark认为Facebook不该止步于此。



  这点认识上的差异最终让他们越走越远





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  • Eduardo究竟适不适合Facebook?



  我们再来看看Mark和Sean是怎么看待Facebook的。



  与Eduardo不同的是,Sean在第十七章刚出场的时候就认为Facebook是“Billion-dollarvaluation or bust”,传说中的“一眼看到未来市值”。他认为Facebook有着不可估量的未来,这点与Mark的观点是高度契合的。


  虽然Facebook的发展速度大大超出了Mark一开始的预料,但是他冷静迅速地caught on to the situation,并且积极面对,和Sean一起去拉Peter Thiel的天使投资。同样是面对一个始料未及的迅猛发展,Eduardo因为认知上的差异被left behind了。


  Sean作为Mark和Eduardo友谊的局外人,他在看一件与友谊相关的商业问题时,视角会更透彻、更不易被情绪所影响。

  因为Sean的叙述和分析特别通透,我对他转粉了(dbq以前一直觉得他是小三orz)。



Chapter 25(Sean视角):


Which left the question of Eduardo. Initially, Mark had decided, and Sean had agreed, Eduardo would still get his 30 percent. The intention was to include Eduardo and involve him as much as he wanted to be involved.


Going forward, people had to be given shares based on the amount of work any particular individual gave to the company. This wasn't some dorm-room project anymore, this was a real company, with a real investor.



  在Sean的叙述里,Mark有点too soft on Eduardo(Mark一开始执意要给Eduardo 30%的股份),并且认为Eduardo也应该像Sean/Dustin/Peter一样,干多少活拿多少股份。


  他觉得Eduardo在纽约拉广告商的事没有什么着落,却占着公司30%的股份。他在第二十五章解释了权利和权益的对等关系,也点明了Eduardo这种行为的错误所在,将稀释股份的操作合理化。



Chapter 25(Sean视角):


  Really, it was something Eduardo should understand. It wasn't about two kids in a dorm room anymore.


  And if he didn't get it? If he didn't understand? If he didn't want to understand?


  Well, in many ways, if Eduardo didn't get it—then in Sean's opinion, he didn't really care about Facebook the same way they did. Then he was no better than the Winklevoss twins, trying to grasp onto Mark' s ankles as he headed toward the heavens.


  Eduardo would have to understand. And if he didn't?


  Then, in the larger scheme of things, he didn't matter. He didn't exist.


  To Mark and Dustin and Sean, Facebook was everything. It was their lives.



  在Sean的视角,Eduardo是一个商人。作为一个商人,他早就应该明白这些规则。如果他不明白,那他会挡了Facebook的路。Facebook是Sean的第三次机会,因此他绝不允许任何人sabotage。Eduardo冻结账户的行为给他们造成了很大的威胁,Sean也绝不允许这样一个达摩克利斯之剑悬在Facebook的头上。


  “To Mark and Dustin and Sean, Facebook was everything”,对于Sean和Mark来说,Facebook是一切。这与Eduardo的理念大相径庭,刚刚我们也讲到了,Facebook对于Eduardo来说只是他众多爱好中的一个。



  在Sean的分析中,Eduardo手上有了太大的权力,而他本人没有实质性的作为,Sean因此直接得出结论:“我们不需要这个人。”


  他说“Eduardo would go back to school, but Mark has found his place in the world”,也算是一语道出了Eduardo身上背负了太多,注定会和Mark分道扬镳的原因。



(小彩蛋:电影里Mark电话里飙语速“Domino”那段原著里是Sean的分析)






  Sean认为Eduardo做的事情十分愚蠢,那么Eduardo真的没有意识到自己的问题吗?



  当然不是这样。


Chapter 27(Eduardo视角):


  It was a choice he had made. He had nobody to fault but himself. He could have moved out to California. He could have taken time off from school. 


  百万会员夜上,当他站在加州狂欢的人群中时,他意识到了自己对这帮年轻人仍停留在校园的认识是多么过时,也得出了结论,“不管怎么说,错误都出在自己身上。”他做出了选择,他就要承担选择的后果。



  Eduardo不傻,他已经发现了自己并不适合Facebook,只是不愿意在最后的时刻来临前承认罢了。






—————————————————————————

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  • Eduardo:被压力与梦想割裂的生活



  Eduardo的教育环境给了他极高的自尊心。


  当他发现Facebook的迅猛发展已经超出他预料的情况时,他的自尊心不允许他承认自己的判断出现了失误,于是他转而去批评Sean的存在,认为Mark忽略了自己和自己做出的努力,甚至选择了“冻结账户”这一极端的举动。


  当然,站在Eduardo的角度,Facebook吃他的用他的,却不让他参与任何决策,(甚至完全否认了他在拉广告商这件事上的付出,)这点确实足够让任何人崩溃。



  Eduardo本人也存在矛盾。


  一方面,Eduardo充分认可自己的能力,他足够自信;另一方面他也过分自卑,不敢露怯,因此在失误的情况下选择了用极端的方式来告诉别人,自己仍掌控着大局。



Chapter 27(Eduardo视角):


  Eduardo still lived in a dorm room. He walked to classes, through the now snow- covered Yard, lost in the cold shadows of Widener Library.


  It was a choice he had made. He had nobody to fault but himself. He could have moved out to California. He could have taken time off from school. Anyway, he was a senior, now, only five months to go before graduation. Then he could throw himself into Facebook like the rest, go right back to where he and Mark had started.



  Eduardo因为家族的原因,一直在努力地去证明自己,这一点在电影里有更多的强调。他想要得到父亲的认可(Phoenix和Facebook都是)。

  电影里,他在Facebook刚went online的时候对Mark说“You have no idea what it means to my father”;在打官司的时候说“Now father won't even look at me.”


  正因为这些东西都是他获得认可的凭证,他什么都不愿意放弃。Mark和Dustin可以放弃学业来到加州,但是Eduardo不行,于是他在令人头疼的毕业季和Facebook之间反复横跳。


  一方面是学业压力,另一方面又因为他远离Facebook的中心(where it's all happening),远离加州的人脉和资源,他无法对Facebook的情况做出最精确的判断。



  也同样是因为他急需认可,他不敢去做成功率不是100%的事情。他的教育环境和他背负的东西使他无法像Mark和Sean一样能无所顾忌地去做事。


  他需要在自己投入精力和金钱的事情上看到回报(比如在Facebook刚起步的时候就说要去找广告商),他需要对自己做的事情有绝对的把控。


  对于他来说,Harvard的学业便是这样一个他可以把控的、没有风险的投资,因此他将Harvard视作“home”,视作自己最后底牌,他也永远不会放弃这张底牌;对等地,Harvard也不会放弃他,Harvard会给Eduardo安全感。



  这种安全感在小说的各个地方都有体现。



  在百万会员夜上,Eduardo看到自己同学们在加州的生活在想的是“这里跟学校太不一样了”,“Eduardo still lived in a dorm room. He walked to classes, through the now snow-covered Yard, lost in the cold shadows of Widener Library”。


  Eduardo从来没有真正地离开过校园。




  在Eduardo经历了betrayal/ambush之后,他的第一个想法也是“He had to get out of there. Back to Harvard. Back to the campus, back home.” 


Chapter 29(Eduardo视角):


  To Mark Zuckerberg and Facebook, Eduardo Saverin no longer existed.


  Eduardo felt the walls closing in around him.


  He had to get out of there.


  Back to Harvard. Back to the campus, back home.






—————————————————————————

—————————————————————————






  Mark和Sean看到了Facebook的无限未来,他们决意为它付出一切,因为他们是自由的,是无所顾忌的。


  Eduardo渴望认可,无法舍弃自己的底牌,却被“自由”的Mark所吸引。有时候我不禁想,或许他们从一开始认识时就注定了结局。




(小彩蛋:原著他俩正式认识是在加勒比之夜)





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  附赠:Ambush全过程(哭瞎)







(以上的分析完全主观!我超喜欢Wardo的,但只是想把Wardo也有做错的地方写出来,马总其实不渣TAT 他们那个时候才二十出头刚进入社会 谁年轻的时候不犯一点错呢orz)



科林摩根的帽子

《禁区》卷西x卷西

看完《双重人格》之后脑洞大开,剪了一个卷西x卷西的水仙,bgm《禁区》,想必内容就很好猜了23333

是有剧情的,剧情看b站简介

b站传送门:http://t.cn/A62LQ4d2

注意避雷:有车慎入/斯德哥尔摩

看完《双重人格》之后脑洞大开,剪了一个卷西x卷西的水仙,bgm《禁区》,想必内容就很好猜了23333

是有剧情的,剧情看b站简介

b站传送门:http://t.cn/A62LQ4d2

注意避雷:有车慎入/斯德哥尔摩

杰西艾森伯格格不入

If I could only see one more person,

that would be YOU.

If I could only see one more person,

that would be YOU.

Jesse E

Uncover the Forgotten Wartime Heroism of Marcel Marceau in Resistance

Jesse Eisenberg and UT student-turned-filmmaker Jonathan Jakubowicz find strength in silence

BY RICHARD WHITTAKER, FRI., MAY 15, 2020

[图片]

In strife, we find ourselves. That's the story of Resistance, which sees two men revealed...

Uncover the Forgotten Wartime Heroism of Marcel Marceau in Resistance

Jesse Eisenberg and UT student-turned-filmmaker Jonathan Jakubowicz find strength in silence

BY RICHARD WHITTAKER, FRI., MAY 15, 2020


In strife, we find ourselves. That's the story of Resistance, which sees two men revealed in the crucible of war. On one side was Nazi war criminal Klaus Barbie, a monster empowered by the Third Reich. His polar opposite – and the true center of Jonathan Jakubowicz's Resistance – was Marcel Marceau. The famous French mime, whose iconic white-faced creation Bip the Clown captivated generations, was a member of the French Jewish Resistance. Yet, rather than picking up a gun, Marceau smuggled hundreds of orphaned Jewish children across the border into Switzerland, using his art to help distract and calm the children. Jakubowicz said, "That's what makes him the greatest mime of all time."

On May 17, the Austin Jewish Film Festival will hold a free webinar with Jakubowicz and Jesse Eisenberg, who plays the mime and wartime hero who saved lives through unconventional means. It will be a virtual homecoming for Jakubowicz, a former UT-Austin student from Venezuela whose debut feature, Secuestro Express, was executive-produced by local creative force Elizabeth Avellán.

The event comes at a time when we are all thinking more than ever about those that Jakubowicz called "civilian heroes," a sentiment Eisenberg echoed. "Three months ago I don't think we necessarily would be able to predict who would be the heroes of this moment. We wouldn't have thought that the person who works at the grocery store is going to be risking their lives to keep some semblance of society afloat. We wouldn't have thought that the pizza delivery guy is going to be somebody who is risking their health for a social benefit." Similarly, he said, "You wouldn't have thought the mime is going to be able to be a hero. Only in retrospect do you go, of course there are going to be kids who are orphaned who are going to require not only a guardian figure, but somebody who keeps them entertained, and gives them a semblance of normalcy."

When developing the script, Jakubowicz knew that he needed an actor who could provide "a physical performance that goes beyond the script, that takes the goal of going beyond entertaining and moving people through unexpected ways." By happenstance, he learned that Eisenberg's mother had been a children's party clown while the actor was growing up, and the pieces all fit together. "By midway through the script, I was basically writing it for him."

That's why Eisenberg got a most unusual pitch packet from Jakubowicz. He recalled, "I received the movie script, which is typical to receive, and a side-by-side picture of Marcel Marceau and me, which is atypical." He was caught off guard by the physical similarity, and also by the shared history: Their families were from the same part of Poland and had left as part of the Jewish diaspora – the Eisenbergs to New York, the Mengels (Marceau's real name) to Strasbourg. And then, of course, there was his family connection to clowning.

“Every survivor’s story requires some kind of miracle, and some selfless person putting their life on the line.”– Jesse Eisenberg

Eisenberg still went through months of formal training in mime. Yet, it wasn't until they got to set, and were working on one vital scene – where Marceau distracts distraught orphans through an early version of his classic routine Walking Against the Wind – that Jakubowicz saw him truly understand what he had learned. "He completely forgot about technique, and started focusing on making sure the children got what he was doing. Part of the reason the scene is so moving is that Jesse is going through the same thing that Marcel went through, which is the realization that technique is second to emotion."

It was a make-or-break scene for Eisenberg as a mime artist, because this is the moment that he has to truly entertain the kids – not just in the performance, but on the set. He'd even rehearsed a dozen back-up improvisations with one of his mime coaches, Tomsa Legierski, all pulled from Marceau's repertoire. "They were fail-safes if the kids weren't laughing," he said. "It really felt like I was using live market research. If the kids like it, then we knew that it would work in the movie. But then it has this other effect, selfishly, that I was doing the right thing. Because even if the technique was slightly off, the fact that the kids were reacting to it was so much more important."

The menace from which they were fleeing was Hauptsturmführer Klaus Barbie, dubbed the Butcher of Lyon for his acts of barbarity and played with chilling fury by Matthias Schweighöfer. That two iconic figures of the mid-20th century – the mime and the murderer – were in the same city at the same time for Eisenberg was less about the men than what the circumstances brought of them. He said, "These two guys were operating in the most heightened of ways – Barbie in the worst possible way, and Marceau in the best possible way."

Jakubowicz goes to great lengths to show them as mirror opposites, but at the same time Barbie is never a cartoon. "Nazis are so often portrayed as this alien force, or these monsters who are completely unrelatable. I think the only way we can ensure that something like this never happens again is to truly understand that these were humans. This was a nation that was completely convinced they were on the right side of history."

Ultimately, Barbie was a savage whose hideous urges were indulged, even lauded, by society. In Marceau, Jakubowicz sees someone for whom his heroic actions and his art are summed up in that one word: resistance. "The essence of miming is using the illusion that some object is offering resistance. You put your hand on a wall that doesn't exist, but the audience can see it because it is offering resistance to the hand. Is resisting fighting, or is resisting survival, or is resisting creating visual elements where nothing exists?"

For Eisenberg, the story of Marceau is not an aberration, but familiar. His lineage is filled with both survivors and victims of the Holocaust, and the difference was often a Marceau: not a larger-than-life figure, but one of those civilian heroes who uses what they have to save a stranger. He said, "Every survivor's story requires some kind of miracle, and some selfless person putting their life on the line."


Austin Chronicle: For a long time, Marcel Marceau was instantly recognizable globally. But there are three elements of this film when it comes to talking about him. First, that there are a lot of people who have forgotten about him, or never knew how important he was as a popular figure. Then there's the aspect of introducing them to this story that they may not know. But then there's a third component, that he was almost the definitional French performer, and a lot of people didn't know he was Jewish.

Jesse Eisenberg: Part of the reason that they're not fully known is that he, personally, was not interested in talking about it. I don't know why. I think I can speculate. There was a certain humility there, in not talking about this heroic thing that he did. And just extrapolating on what I know about Marceau, I think he just wanted to be seen as an artist, and not distract audiences with his personal life – which includes his work during the war.

It's also about his iconic status. His look became synonymous with mime, and there was a period in the Eighties were mime was something that was silly. It was the guy in Central Park who came up to you on a date and was an inconvenience. I think Marceau did everything he could to counteract that trope because he was such an amazing performer. So one of the things this movie does is not only show the beauty of the craft of mime, but how it was used so practically to entertain these children in the most horrific circumstances.

AC: When did you first find the story of his involvement with the Jewish resistance?

Jonathan Jakubowicz: I think the first time I heard it was probably in social media. There's this site called Open Culture that's always filled with very interesting stuff, and I remember that they mentioned that, and I had no idea either. First of all, I had no idea that Marcel Marceau was Jewish, and the notion that he was heroic in the war was unbelievable to me, and immediately felt like a movie. So I started doing research, and I realized that it wasn't really a secret. The information was there. He just didn't see himself as a hero. He always downplayed even to himself what he did.

There's a very emotional speech he gave when he received the Wallenberg Medal of Honor. He says, when you see millions of people dying around you, there's no way that you feel important because you save dozens, or even hundreds. Very late in his life, he realized he did something very important, and that's when he began to share it.

AC: That's something that's quite common, that a lot of people who were involved in World War II didn't talk about it. It's something they put behind them, so how did you get the details you did?

JJ: When I was premiering my prior film, Hands of Stone, at the Cannes Film Festival, I was able to track down Georges Loinger, who was the first cousin of Marcel Marceau and the head of the Jewish Boyscouts of France during this entire operation. He was truly at the center of it all, and he was the one who invited Marcel to join at the beginning of the movie. I was able to meet with him in Paris – he was 106 at the time – and he started telling me a lot of what you see in the film. He had a terrific brain, and he remembered everything, and it was such an incredible story that I felt there was absolutely nothing else I could do with my life. I couldn't stop until I'd finished it.

AC: You're not just depicting mime, but a particular mime artist at a very specific moment in his creative career.

JE: Luckily, I had this incredible teacher, [Mime Theater Studios instructor and choreographer] Lorin Eric Salm who was not only a student of Marceau in France, but an unofficial chronicler of Marceau's life. So I had this wonderful two-pronged education. One was the technical craft of my performance, and the other was this almost academic history of not only the mime, but the origins of Marceau's specific work, and how he changed the craft.

AC: A lot of people don't realize how formal mime is, how much training there is, and even what is and isn't considered mime.

JJ: Lorin read the script, there was a scene where Marcel got onto stilts, and he told me, "That's not miming, that's clowning."

He'd teach Jesse very specific elements that Marcel used to do, even mistakes that Marcel considered mistakes in his own technique. ... There were elements that made the discipline specific to Marcel, some of the movements and some of the philosophy behind it: Make the impossible possible, and the invisible visible. It's a philosophy that Marcel used to teach his own students. It's the definition of what he's doing onscreen in our movie, but also in every one of his performances.

JE: To your point about the specificity and dogmatism in some of these areas of mime, I was doing certain things in the movie that only Marceau would do. There was a certain way he held his fingers together – in fact, he dissuaded his students from copying this [in] particular, whether it was because he wanted to teach them a more pure form or to keep it to himself, I don't know. But there's a great history of mime and when you delve into it, it's as serious a craft as any art form.

AC: And mime, like a lot of physical theatre, is very precise, where every movement has to be measured.

JE: My mother, when I was growing up, she performed clowning for children. My dad was a social psychology professor so he was able to assess what things about clowning were scary to kids, from a sociological perspective, so my mother was able to employ those techniques. So, for example, big shoes and a fake nose were very off-putting to children, so while she was doing this very silly performance, she did it with such precision. And, similarly, Marceau was an expert in precision. I think he performed 300 nights a year, even into his older age. He was so unbelievably precise, and in a way that's deceptive to an audience. They are experiencing mime as a kind of silly, abstract art form, but behind it was the precision of Baryshnikov. And sometimes as an actor you're performing naturalistic material, but with great actors they're performing naturalism with great precision, and it comes from training and experience. The real skill set is in doing it in such a way that the audience is not aware of your training.


SOURCE

杰西艾森伯格格不入

诅咒的色调好好看啊,就没调(调了也不会更好看的or2)


表情包爱好者顺手截两张表情包~

诅咒的色调好好看啊,就没调(调了也不会更好看的or2)


表情包爱好者顺手截两张表情包~

萨曼塔

前几天摸的动图

忘记po上来了

来看看TSN拍摄期超可爱卷~

(之后好少看到卷笑的这么甜了 呜呜)

前几天摸的动图

忘记po上来了

来看看TSN拍摄期超可爱卷~

(之后好少看到卷笑的这么甜了 呜呜)

萨曼塔

下了TSN的蓝光无字幕纪录片

摸几张jewnicorn名场面

💙💙💙💙

下了TSN的蓝光无字幕纪录片

摸几张jewnicorn名场面

💙💙💙💙

杰西艾森伯格格不入

16毫秒,

蜂鸟扇动一次翅膀的时间。

16毫秒,

蜂鸟扇动一次翅膀的时间。

NANA

《吃鲷鱼让我打嗝》第三十一章

《吃鲷鱼让我打嗝及其他故事》

作者:J. Eisenberg

翻译:S. Norton

V 约会

一个嗑了药的男人试图在酒吧勾引一个女人

嗨,你过得怎么样?介不介意我坐过来?我看到你一个人坐在这边然后我开始哭了。某种意义上,我们都是孤单一个人,但是在酒吧里孤身一人;在一个特定的为了让人遇见另一个人互相遇见而设计——还有什么是人?我们就只是碳基光的折射而已——是尤其无力的。你想要一片口香糖吗?我这儿剩了四片。

你是在等谁吗?在酒吧去接近一个人总是很尴尬的尤其是之后发现他们是在等人。我本来今晚也在等一个人,但是她放了我鸽子。那是我母亲,在我七岁时出车祸死了...

《吃鲷鱼让我打嗝及其他故事》

作者:J. Eisenberg

翻译:S. Norton

V 约会

一个嗑了药的男人试图在酒吧勾引一个女人

嗨,你过得怎么样?介不介意我坐过来?我看到你一个人坐在这边然后我开始哭了。某种意义上,我们都是孤单一个人,但是在酒吧里孤身一人;在一个特定的为了让人遇见另一个人互相遇见而设计——还有什么是人?我们就只是碳基光的折射而已——是尤其无力的。你想要一片口香糖吗?我这儿剩了四片。

你是在等谁吗?在酒吧去接近一个人总是很尴尬的尤其是之后发现他们是在等人。我本来今晚也在等一个人,但是她放了我鸽子。那是我母亲,在我七岁时出车祸死了。

她实际上没死。我只是骗你呢因为我在否认因为她实际上已经死了。这就像是当一个熊猫宝宝被一个科学家强迫带离它母亲的身边。但我是那个宝宝而我母亲是那个熊猫母亲而那个科学家是我母亲犯错的刹车片。你有没有观看过棒球?你知道怎么取火吗?我可能会死在野外!你想要片口香糖吗?我这儿还剩三片。

所以,你想跟我出去玩儿吗?开个玩笑,我们已经在这儿了。我们在外面呢。什么是外面?我们都是碳基的!你想跟我做吗才是我真正想要问的。你想吗?我是说,当然不是在这儿,这可太尴尬了而且我母亲随时可能走进来,但我们可以回我的公寓,那挺味儿的因我很少冲厕所因为我觉得我这是在省水。但我在来这儿之前冲了下去是有预感我会遇到像你这样的人可能会被这个恶心着。这里就剩两片口香糖啦!这片口香糖所剩的时间不多了!我们在一百年后都会死翘翘!

你喝什么呢?这可真奇怪啊人们在这些地方喝了酒才能和其他人聊天。酒精是毒药,你知道。全是毒药,从腐烂的水果和蔬菜中酿造。这不是很奇怪吗?然后我们坐进车子里再开车回家!真是个棒主意啊:嗨,让我坐进这个玻璃和金属组成的死亡牢笼里然后在黑暗中开它个每小时60里!这可不像是我有个需要我的儿子!

你有一双美丽的眼眸,顺便提一句。在你虹膜基质上的光散开在你的眼内液中营造出一种似蓝非绿的颜色不知为何对我非常有吸引力。我还喜欢你的身材。你的乳沟对我来说非常有吸引力,尽管不可维持的,水平上,事实是你短裙里露出的腿让我感觉你非常急迫想跟人做,其实我也想。尽管我知道你几乎是碳基的而且我们几乎共享绝大多数相同的化学元素而且我们都是穿过大气层的反射的光,我还是非常希望能和你做。而即使我知道你在基因层面上和酒吧那头的那个地包天的女人是一样的,我还是想和你做远远超过我想和她做。

那是什么?你男朋友刚出现了?哦是的,我能明白你为什么更想和他约会。他比我更好看。我对自己身体感到很羞耻。我有个看上去很奇怪的胸骨,而他的看上去更有吸引力。他会生火吗?他想不想要我最后一篇口香糖?

哦是的!你扔在我脸上流得哪儿都是的啤酒得感觉真令人愉悦!谢谢你让我的神经系统在这么晚的时间里这样地活跃。

嗷!谢谢你,先生,一拳揍在我脸上来捍卫我对你的女友狂乱的求爱。血液现在正从我的脸上流下去绝望地试图延缓疼痛而我的前额叶皮质正做出一个精神信号来避免碳基生命形式同你那整齐排列的对称的胸骨。

好了,好了!我走就是了!

如果你看到我母亲,请告诉她我在盥洗室擦我的脸和护理我的伤口,还有如果那个地包天的女孩看上去要离开,告诉她等我几分钟因为我还是打算做。祝你有个愉快的夜晚,而这不过是地球遮住太阳时产生的一个任意的幻境罢了。

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