Thebadphilosopher - Sincerely, S

LAST NIGHT IN SOHO (2021) dir. Edgar Wright

Happy STS! How do your personal experiences shape the themes in your writing, if at all?

That is a good question. They certainly do, and with some characters I notice it more than others. My themes tend to revolve around Death as in the tarot: transformation. Which I've had to done A LOT of in the last years. So, personal growth (or lack thereof), dealing with emotions, especially anger, have been a pretty recurring theme. I suppose what changes is how I handle the themes, not so much the themes themselves.

I hope that answers you, my brain isn't willing to brain much 😅 thanks for the question!

Happy STS! How do your personal experiences shape the themes in your writing, if at all?

That is a good question. They certainly do, and with some characters I notice it more than others. My themes tend to revolve around Death as in the tarot: transformation. Which I've had to done A LOT of in the last years. So, personal growth (or lack thereof), dealing with emotions, especially anger, have been a pretty recurring theme. I suppose what changes is how I handle the themes, not so much the themes themselves.

I hope that answers you, my brain isn't willing to brain much 😅 thanks for the question!

Burn out on writing is still being a bitch, pass it on

In this shot from “Asteroid City,” Wes Anderson's signature symmetry and meticulous framing create a poignant visual metaphor for the emotional distance between Augie, played by Jason Schwartzman, and Midge, played by Scarlett Johansson. Positioned in their separate windows, they are flanked by the vast desert landscape, an expanse of negative space that visually articulates the barrier between them. The emptiness between the two characters underscores their isolation as they long for connection while remaining emotionally walled off by past experiences. The casino billboard, a symbol of artificial hope in the middle of this barren environment, reinforces the unattainable, fleeting nature of the relationship. Through this distance and quiet tension, Anderson and cinematographer Robert Yeoman capture the melancholic essence of two people bound by proximity but divided by circumstance.