#quaranti

[sweetvoidstuff]

Till the end

Cha Hyun Su x Reader Summary: In a dimly lit room, you pledge unwavering support to Cha Hyun Su, breaking the haunting shadows. A connection forms, transforming the space into a promise of shared resolve.

Autors Note: I haven't written stories in quite a while, but I have the desire to pick it up again. English isn't my native language, so I use some tools to help with that and welcome any constructive criticism.

Masterlist

~~~~~

The soft glow of the room's single lamp cast a warm ambiance, though it couldn't dispel the shadows lingering in Cha Hyun Su's haunted eyes. In the quiet solitude of the quarantie room, Cha Hyun Su stared into the distance, his thoughts swirling. The Green Home Apartment tenants grew more and more antsy about him. You entered quietly, the door creaking softly behind you. His gaze met yours, a mix of surprise and uncertainty flickering across his features. Not many came to visit him, afraid he could turn into a monster. But not you, never you. Taking every oppurtunity to visit him.

"I'll stay with you till the end," you declared, your voice unwavering. You moved closer, the determination in your eyes matching the firmness in your words. There was a pause, a silence that seemed to stretch, but you held your ground.

Hyun Su's eyes betrayed a flicker of concern. For a moment, he remained still, as if processing the weight of your promise. It was a promise that echoed with a depth he hadn't expected. The ghosts of his past, the haunting memories that had trailed him relentlessly, seemed to hesitate in the face of your unwavering commitment.

A hesitant smile played on his lips, a glimmer of hope breaking through the darkness that had consumed him for so long. "I appreciate that," he responded, a hint of hesitation in his voice. "But I don't want to bring you any harm."

Your gaze remained steadfast, "I know what I'm getting into. I'm not afraid of you."

In that quiet room, your presence became a lifeline, a tether to a reality where he wasn't alone in his struggles. He wanted, needed to believe you.

"Thank you," he finally whispered, his voice laced with gratitude. As he met your eyes, a connection sparked - a shared understanding that in the journey ahead, no matter how challenging, you would be there for him. The room, once suffocating with shadows, now held the promise of a shared journey, with you standing resolute by his side.

#cha hyun soo #cha hyunsu #sweet home x reader #sweet home netflix #cha hyun su x reader #sweet home imagines #kdrama #song kang

[fagcrisis]

okay so one of the things I’ve been thinking about for a while is coruscant having like a Quarantine District? since there’s so many people there and so many species and there are parts of the planet which are just completely abandoned I think they probably have a whole slice of the city set aside for the (poor) contagious, completely automated and completely deserted even though there are people living in the buildings. and it’s probably got so many funding issues and “human” rights violations and probably some heinous things happened there during the shift into the empire anyway. do you have thoughts on this/general thoughts on sickness and healthcare on coruscant

OH that sounds super interesting!! i definitely think bc theres evidence that people can be banned from entire districts (tcw and some legends books talk about this) peoples access to higher levels can literally be cut off so theyre forced to live in really old levels that have been abandoned by larger industries and the infrastructure of the city

the concept ur proposing sounds a lot like the tarsis lower city in kotor, which in part was able to be established due to how the city is structured? and while it literally is just coruscant 2.0, one major difference is that on tarsis the city does not burrow down below the surface in any major way, so thats why the outcasts are able to establish settlements and essentially serve as a quarantine zone for the rakhgoul disease. i don't think anything similar could be established on coruscant due to just how fucking massive it is, a quarantine district would have to be guarded not just from all sides but below and above the district as well, which would require a lot more work and manpower than the city has been shown to be capable/willing to sacrifice. i think in the event of a disease (that must happen in parts of the city weekly or smth) residents are quarantied in smaller quarantine areas (think a housing block or 2) that are dispersed throughout districts and sort of similarly to fire drills children are taught where the one closest to them is and whats the protocol in getting there in a way that endangers the least people

there have probably been instances of entire levels getting shut down due to a disease and just letting nature play its course/waiting till a vaccine was developed, i can absolutely see that happening

im probably gonna make a separate post on star wars healthcare bc man its dumb

#star wars meta

[fibula-rasa]

Lost, but Not Forgotten: Look Your Best (1923)

[alternate title: The Bitterness of Sweets]

Direction: Rupert Hughes

Scenario: Rupert Hughes

Camera: Norbert Brodin

Choreography: Ruth St. Denis

Studio: Goldwyn

Performers: Colleen Moore, Antonio Moreno, Earl Metcalfe, Martha Mattox, William Orlamond, Orpha Alba, Francis McDonald, Eleanor Boardman (in a bit role)

Premiere: 18 February 1923, Temple Theatre, Detroit, MI

Status: presumed entirely lost

CW: Dieting / Weight Loss

Synopsis (synthesized from magazine summaries of the plot):

On the streets of New York’s Little Italy, Perla Quaranta* (Moore) dances to the music of her father’s (Orlamond) barrel organ. Unfortunately, Perla’s mother (Alba) has a tendency to grab whatever is at hand for use as a projectile in the midst of arguments with Perla’s father. After one particularly raucous fight, her parents are arrested and sentenced to 30 days. Fortunately for Perla, the owner of a dance troupe, Carlo Bruni (Moreno) scouted her dancing on the streets and hires her to replace a recently fired dancer. The previous girl in Bruni’s “Butterfly Act” was let go after gaining too much weight to do the wirework demanded by the routine. Perla’s privation-induced petiteness is desirable for the role.

Bruni’s struggle with his weight has also apparently gotten in the way of his own work as a dancer. Perla takes well to the role and is a success in the act, which features a number of chorus girls dressed as butterflies flitting across the stage by wire. The stagehand, Krug (Metcalfe), takes a liking to Perla and takes her out regularly as the troupe goes on tour. The now gainfully-employed and avidly-courted Perla has access to all the sweets her heart desires and, in a repeat of her predecessor’s difficulties, she begins to put on pounds. Krug makes an advance on Perla, which she rebuffs. In his bitterness, Krug files Perla’s wires, assuming Bruni will blame the broken wires on her weight and fire her. During the next performance, Perla plummets to the stage and is injured. 

Bruni suspects Krug of tampering with the wires, and thrashes him. Bruni is arrested and also given 30 days. While Perla recovers in the hospital, another suitor appears in the form of a baker, Cabotto (McDonald), who buoys her spirits by describing all the different delectations he serves. Meanwhile, behind bars, Bruni envisions a new ballet for the troupe with Perla in a starring role. 

When Bruni is freed and Perla is recovered, they reunite and commit to dieting and to each other, via marriage. The new act depicts Perla as a white peacock killed by the hunter, played by Bruni, and mourned by an array of forest nymphs.

(At some point before the final dance number, Perla is reunited with her parents, but, from the synopses, I’m not sure of the order of events.)

* or Quaranti or Moroni based on various reviews

As a side note that I cover more in the annotations below: this plot doesn’t make much sense without a heavy dose of satire, right? The reviews didn’t leave me with a clear idea on whether the film lampoons diet culture or not and, unfortunately for us, unless somebody (maybe some sharp Michigander) makes a lucky discovery, we can’t find out for ourselves!

Transcribed sources & annotations below:

Motion Picture News, April 1922

Ruth St. Denis to Supervise Dance Scenes

The noted dancer, Ruth St. Denis, has been engaged by Goldwyn to supervise the dance scenes in Rupert Hughes’ new comedy, “The Bitterness of Sweets,” which he is himself directing.

The beautiful peacock ballet in this film will form the climax of the picture. The featured players, Colleen Moore and Antonio Moreno, are both busy practicing for this dance. Active work on the photography for “The Bitterness of Sweets” will soon be begun by Mr. Hughes. In the cast are William Orlamond, Orpha Alba, Earl Metcalfe and Martha Mattox.

—

Note: “The Bitterness of Sweets” was the working title of “Look Your Best.” 

I hadn’t heard of Ruth St. Denis before now, but seeing what an important role she had in the creation of Modern Dance in America—and that she was a teacher of both Martha Graham and Louise Brooks—it’s an insult to injury that this film appears to be lost. I’m not even sure how many films St. Denis worked on! Many of the reviews below cite the dance numbers as a true highlight of the film too.

Exhibitor’s Herald, 8 April 1922

Rupert Hughes Personally Directs Filming of Story

Rupert Hughes’ new Goldwyn photoplay “The Bitterness of Sweets,” is a story of Italian-Americans, instead of the Irish-Americans that he has depicted so frequently in the past. The author has assumed the directorial reins in the making of his own picture.

Colleen Moore is playing the role of an Italian dancer with a craving for sweets, which tend to make her too fat for the dancing art. Antonio Moreno has been signed to Goldwyn to play opposite Miss Moore in this comedy-drama.

Moving Picture World, 13 May 1922

SINCE Rupert Hughes has taken to directing his own pictures at the Goldwyn studios in Culver City he has been swamped by visitors. They like to hear him spouting epigrams through his megaphone. Colleen Moore, who is now being directed by him in “The Bitterness of Sweets,“ already has jotted down the following bits:

You can’t use imitation silk before the motion picture camera. The lens is even quicker to detect imitation emotion. 

Horace said: “He who would make others weep, must first have wept himself.”  Every motion picture director should have that on his wall.

Ever since I was six years old people have been prophesying that I was going to kill myself with overwork. All the prophets are now dead. 

We could make some very fine motion pictures if we didn’t have to bother with cameras and lights.

The censors are going to stop crime by censoring the films. Why don’t they put an end to diseases by burning the medical books which describe them? 

When an actor loses control of himself he loses control of his audience.

—

Note: the timeline for the production to release of this movie is really something. They commenced filming somewhere around the end of April/early May 1922, but it wasn’t released until late February of 1923.

Motion Picture Magazine, June 1922

On the Camera Coast

[excerpt]

Things are stirring down at Goldwyn’s once more, with Rupert Hughes at work on his own story, “The Bitterness of Sweets,” Colleen Moore. Colleen made such an impression in two of the Hughes pictures that she will be retained as the featured player in all of his productions into which she can possibly be fitted.

—

Note: This doesn’t appear to have come to fruition?

Motion Picture Magazine, September 1922

…There were long waits between the scenes of the new Rupert Hughes production “The Bitterness of Sweets,” but Colleen Moore didn’t mind them. She provided musical relaxation…

Exhibitor’s Trade Review, October 1922

Colleen Moore Sets New Record

Will Be Featured by Five Different Distributing Companies Within Space of Two Months

A record unique in the annals of the motion picture business is being set this fall by Colleen Moore, beautiful and talented young star. Exhibitors who stand by one or another distributing company and who have therefore not had the opportunity to play any of these pictures in which Miss Moore has been featured will note with interest that no less than five distributing companies will offer productions in which she is featured during the coming fall months.

First National will shortly present “Slippy McGee,” the Oliver Morosco production of Marie Conway Oemler’s well known story, in which Miss Moore plays the leading feminine role.

Goldwyn will soon release two pictures in which Miss Moore will be featured. The first will be Rupert Hughes’ production of “The Bitterness of Sweets,” which was personally directed by the author. Tony Moreno plays opposite Miss Moore in this production. The second Goldwyn feature will be “Broken Chains,” the widely advertised $10,000 prize story which was transferred to the screen under the capable direction of Allen Holubar.

Hodkinson has already delivered to its exchanges the prints of “Affinities,” a picturization of the Mary Roberts Rhinehart story of the same name. This is a Ward Lascelle production in which Miss Moore is starred.

Universal announces that Miss Moore will soon be seen in the featured feminine role in “Forsaking All Others,” a drama which has just been completed under the direction of Emile Chautard. It will be released as a Jewel special.

Rounding out the quintet, Vitagraph is now nearing completion of a picturization of the famous old stage success “The Ninety and Nine,” with Miss Moore in the featured role and directed by Dave Smith. This production will also be a special release.

—

Note: Slippy McGee (premiered June 1923, status unknown) , Broken Chains (premiered December 1922, extant), Affinities (premiered October 1922, status unknown), Forsaking All Others (premiered December 1922, status unknown), The Ninety and Nine (premiered December 1922, only 10 minutes of the film survive (available on Undercrank Productions’ Accidentally Preserved Vol. 4))

This item implies that LYB was intended for release in the fall/winter of 1922, though an exact date isn’t given.

Moving Picture World, October 1922

Moreno Signs to Act for Paramount

Antonio Moreno has signed with Paramount. This announcement was made during the past week in Hollywood where the popular “Tony” already has started work as leading man with Gloria Swanson in Sam Wood’s new production, “My American Wife,” which Monte M. Katterjohn has adapted from an original screen story by Hector Turnbull.

Moreno is admittedly one of the handsomest and most able actors on the screen. Recently he has been featured by Goldwyn and will soon be seen in two of that company’s new productions, “The Bitterness of Sweets,” a Rupert Hughes production, and “Passions of the Sea.”

The new Paramount picture in which Moreno will play opposite Miss Swanson is described as intensely romantic, the locale being Argentina. Moreno’s role is that of a handsome young aristocrat and politician, descendant of one of the old Spanish conquistadores, who falls in love with a beautiful American girl from Kentucky (Miss Swanson) whose horse out-races the valued track champion of the Latin nobleman.

—

Note: My American Wife (premiered February 1923, status unknown), Passions of the Sea (premiered in February 1923 as Lost and Found on a South Sea Island, extant)

Motion Picture News, February 1923

Pre-release Reviews of Features

“Look Your Best ” 

Goldwyn—Six Reels

(Reviewed by Charles Larkin)

TO EAT, to grow fat, to spoil one’s career. To starve, to keep thin, to become a great artiste. That is the choice given Perla Quaranta, a little Italian girl portrayed by Colleen Moore, who is one day noticed dancing in the streets by Carlo Bruni, manager of a small theatrical troupe, and who is given the place of the chorus lady who has fallen to the temptation of too many sweets, with the result that the perfect 36 has developed into an imperfect 40 or so. Perla is a success in the act but as she goes from town to town, accepting invitations from Krug, a stage hand, to dine, she also begins to take on weight. Krug, maddened at her coldness, when he makes advances, weakens the wire that holds Perla aloft in a butterfly stunt and she falls to the stage. Krug thought he could tell the folks Perla’s avoirdupois was to blame. Bruni, however, knocks Krug for a goal and gets thirty days for his gallantry. However, thirty days pass soon in some jails, and Bruni is soon out and starting a new ballet with Perla.

And so it goes. It isn’t much of a picture and there is a fight between Perla’s mother and father which takes up much footage and could be eliminated much to the improvement of the story. In fact, the dropping of these two characters throughout would not be missed in the least. To see a boisterous hurdy gurdy grinder jump from jail into a theatre box in a dress suit is not being done these days. There is a very artistic ballet scene toward the end of this picture.

This is not the best thing Rupert Hughes has written and adapted for the screen. Neither is it his best directed picture. Of course, one can’t expect any company to continue releasing masterpieces all the time. We can’t have a “Christian” every day. There have got to be some program pictures once in a while. This is one. It will serve its purpose and is suitable for second-class downtown houses, and there may be many who may find much humor in its fat and thin theme—especially those who are fighting either evil.

The Cast

Perla Quaranta…Colleen Moore 

Carlo Bruni…Antonio Moreno 

Pietro…William Orlamond 

Nella…Orpha Alba 

Krug…Earl Metcalfe 

Mrs. Blitz…Martha Mattox 

Alberto Cabotto…Francis McDonald

By Rupert Hughes. Directed by Rupert Hughes. Scenario by Rupert Hughes. Photographed by Norbert Brodin.

The Story—Deals with the horror in which some folks hold plain good old fat. A chorus girl having attained this terrible state, is fired and Perla, a daughter of Little Italy, is given her place in Bruni’s “Butterfly Act.” Perla made good and went on the road with the show. She also went out to dine with one Krug and began to put on flesh. Krug, a disappointed suitor, filed one of the wires which held Perla aloft in the butterfly stuff. During the act she crashed to the stage. Bruni beats up Krug and gets 30 days. Emerging from jail he starts a new ballet, engages Perla and the two rise to fame.

Classification—One of Rupert Hughes’ problem plays—the problem of keeping thin.

Production Highlights—Colleen Moore’s characterization of the role of the little Italian girl. The crashing of Perla to the stage floor as a result of the villain weakening the wire which holds her.

Exploitation Angles—The title. The eat and grow thin or fat as you will theme offers a chance to tie up with the health department, Y. W. C. A. women’s walking clubs, etc.

—

Note: “Deals with the horror in which some folks hold plain good old fat.” There’s only so much I can assume about the movie’s treatment of weight gain and dieting, as it is lost, but from all the synopses I read, I gotta say as a plot device it doesn’t seem to make much sense? Like, obviously in the performing arts, the expectation to stay at one precise size is stricter than in other fields, but it seems like there is no real logic at play here? I’m glad this reviewer points out that it comes off as Rupert Hughes just hating fat people. Another reviewer mentions a noteworthy lack of satire in the film, and, from the details in the synopses, it seems like this plot would only really make sense if it were a satire or critique on diet culture.

Exhibitor’s Trade Review, February 1923

Look Your Best

Goldwyn Photoplay in six parts. Author and Director, Rupert Hughes. Cameraman, Norbert Brodin. Running time, seventy minutes.

CAST AND SYNOPSIS

Perla Quaranta, Colleen Moore; Carlo Bruni, Antonio Moreno; Pietro, Wm. Orlamond; Nella, Orpha Alba; Krug, Earl Metcalfe; Mrs. Blitz, Martha Mattox; Alberto Cabotto, Francis McDonald.

Perla Quaranta, an Italian girl, dances in the streets to the music of her father’s barrel organ. Her grace attracts Carlo Bruni, manager of a small theatrical troupe. He hires her to take the place of a dancer who has grown too fat through overindulgence in food. Perla makes good, but the temptation of plenty of pies, cakes and other pastry is too much for her, besides the fact that Bruni is also given to overeating, through which his figure suffers and his dancing powers are impaired. Perla begins to take on weight like her predecessor. A stage hand named Krug plays court to her but is repulsed. In revenge he tampers with a wire which upholds Perla while doing a butterfly act. The wire breaks and she is injured. Bruni suspects Krug and thrashes him. Bruni gets thirty days in jail for assault. Meanwhile Perla, during her convalescence, is almost won by a baker who describes the tempting pastries he makes. But Bruni serves his sentence, returns and he and Perla resolve to diet steadily and win fame as dancers. They do so and are married into the bargain.

Stout patrons who find it difficult to resist the lure of fattening foods may benefit by the moral pointed by this picture—that salvation is only to be found by exercise of will power and faithful dieting. And they, as well as those of slenderer build, will probably be amused by many of the farcical situations which result when hero and heroine yield to the temptation of rich victuals, suffer accordingly, but eventually conquer the hunger fiend and attain fame and marital happiness. Yet, “Look Your Best” cannot be listed as quite up to the high quality mark of Goldwyn productions. Its humor is a bit forced at times, the plot of exceedingly thin texture, and Mr. Rupert Hughes, who is responsible for both story and direction, did not improve matters by stretching out the film to its present length. The “diet and grow thin” theme is funny in spots but likely to weary the average spectator when spread beyond the five reel limit.

Points of Appeal.—The love interest is fairly well sustained. The revenge of Krug, the disappointed suitor, when he tampers with the wire on which Perla is performing and brings her crashing to the ground, provides a distinct thrill and the beating administered to him by Bruni is another realistic bit of work which balances the picture’s comedy trend. The ballet scene in the final reel is elaborately staged and very effective.

Cast.—Colleen Moore is bewitchingly pretty in the role of the Italian heroine and her performance is notable for its dash and ginger. Antonio Moreno furnishes an excellent character sketch of the redoubtable Carlo Bruni, who wins a desperate battle against encroaching fat and a wife whom he also initiates into the trick of waxing slender. Earl Metcalfe scores as the designing villain, Krug and the support is adequate.

Photography, Lighting, Direction.—Exteriors and interiors are well filmed, there are some artistic long shots and the lighting throughout is satisfactory. The continuity is even and tolerably fast action prevails.

Motion Picture Magazine, March 1923

Comments on Numerous Productions

LOOK YOUR BEST — GOLDWYN

Rupert Hughes gets off on a different tack in this, his latest expression. He makes a plea to be on the look-out for adipose tissue as a destroyer of beauty. And he argues his point thru a weirdly melodramatic story of a chorus girl who develops obesity and is discharged as a result. A slender girl is taken on and proves a sensation. Comes then a bit of Italian jealousy when a disappointed lover files the wires in the ballet number, causing the little “butterfly” to crash to the stage. Mr. Hughes’s satiric vein is missing here. In fact you wouldn’t recognize his style here at all. It’s breath-taking, now and then, but many of the scenes are clumsily executed and the characters are not deftly drawn. Colleen Moore succeeds in being genuine, as usual, in her portrayal of the ballet girl. And Tony Moreno is a satisfactory lover—of the hot Italian school.

---

Note: Interesting point here that there is a lack of “Hughes’ satiric vein.” I haven’t seen much of his work as of yet, so I don’t know what sort of satire would be typical of Hughes’ work. However the plot details laid out across various reviews and synopses don’t just strain credibility they tear it to shreds, UNLESS the whole thing was a satire on diet culture, but as far as I can tell, it’s just straight-up fatphobia.  A shame, for sure, because this sort of story told as a lampooning of diet culture honestly sounds pretty darn entertaining.

Motion Picture Magazine, March 1923

Rupert Hughes went out to the Palm Springs on the edge of the desert to make the opening scenes of the film version of his novel “Souls for Sale.” It suddenly began to rain in the way rain comes down in the desert and the company was stuck there in idleness for a week. Claire Windsor, Richard Dix, Frank Mayo, Lew Cody and other well known actors will be in the cast. It has always been supposed that Maj. Hughes drew the heroine of his story to a certain extent from Claire Windsor, altho, of course, with liberal modifications. It almost went without saying that she would have the part when the story was screened.

The name of Maj, Hughes’ story, “The Bitterness of Sweets,” has been changed to “Look Your Best.” This was the picture in which Colleen Moore appeared as a dancer.

—

Note: Considering the extended timeline between the production and release of Look Your Best, the production of Souls for Sale (premiered March 1923, extant) commenced directly after LYB wrapped. So, Hughes’ second and third feature for Goldwyn premiered within a month of each other, with Souls for Sale being a larger production and more heavily marketed.  I’m wondering if holding off on the release of Look Your Best was due to a lack of faith in the final product and a desire not to prematurely tarnish the rep of a writer/director that Goldwyn had just signed on for a lot of pictures? That is, releasing it close to Souls for Sale seems like a smart call because Souls for Sale’s quality and higher box-office potential would likely minimize any doubts about Hughes’ abilities that might arise if his second film for Goldwyn was as underwhelming as reviewers and exhibitors portray it. Alternatively or additionally, maybe the studio deemed LYB a “programmer” after production wrapped and was simply waiting for a better time on their release schedule.

The Film Daily, 30 March 1923

Putting It Over

Here is how a brother exhibitor put his show over. Send along your ideas. Let the other fellow know how you cleaned up.

Fashion Pageant Staged

Toledo—Eddie Carrier, Goldwynner put over “Look Your Best” at the Pantheon exploitation campaign.

The outstanding feature was the presentation of a fashion pageant, which was staged in co-operation with the Thompson Hudson Co. department store. A number of manikins were brought to Toledo by Carrier. A runway was constructed out into the audience along which the beauties promenaded adorned with the seasons latest fads and fancies. The runway had special illumination and the spectacle was said the most elaborate ever staged.

—

Note: There are a number of news items about exploitation schemes for the film that tie in with other local businesses, but, humorously, the tie-ins are with department stores and have to do with fashion and cosmetics, when that seemingly has nothing to do with a movie about vaudeville performers and dieting!

Camera, 30 March 1923

THE SILENT TREND

Composite of Views, Previews, and Reviews of Motion Pictures.

“Look Your Best” and we did. The result: we saw a pretty fine Rupert Hughes photoplay, quite typical of that author’s best work for the screen. Many critics complain that this one is not up to the usual Hughes standard. It may not be, but, just the same, it is highly amusing and away above the average of other films of its class. The cast is especially attractive, Colleen Moore and Antonio Moreno dividing high honors with Earl Metcalf and Martha Mattox contributing excellent characterizations. The direction is undoubtedly devoid of any of the brilliance of finesse and could be improved upon easily, but the main idea of the story is registered successfully enough to make anyone remember it with pleasure. And, that’s a commendable lot for a motion picture to accomplish.

Motion Picture News, April 1923

Elaborate Style Show Put Over with “Look Your Best”

Toledo, Ohio.—The management of the Pantheon theatre, in conjunction with Goldwynner Eddie Carrier, put on an elaborate exploitation campaign on “Look Your Best,” the outstanding feature of which was a fashion pageant staged in co-operation with the Thompson-Hudson Company, a leading department store.

A bevy of beautiful mannequins was assembled, and a runway was built far out into the audience, on which they promenaded with the latest fashion creations. Special lighting and scenic effects were used and a musical score was provided for the occasion. The department store co-operated with a double-page ad, seven full window displays and 2,500 letters to its customers.

Moving Picture World, April 1923

“Look Your Best”

Rupert Hughes Has Created a Clever Comedy Drama Satire on Dieting 

Reviewed by Beatrice Barrett

A clever commingling of comedy, pathos and drama, with a thrill thrown in now and then and a subtle satire on dieting running all through is “Look Your Best,” a Goldwyn release.

It is the sort of light entertainment picture lovers like when they are just out for a good time and relaxation.

With the much discussed question of dieting as a background there will be many in the audience who will appreciate heartily the efforts of the people to diet and forego all the pleasures of eating, and the many times they yield to temptation.

An appealing strain of pathos is introduced in Perla, the Italian girl whose life is almost all work and no food, and her childish pleasure in her first nice clothes. Colleen Moore does well this wistful role. There is always a fascination about life back of the curtain and there are many scenes here of the rehearsals and scenes in the dressing rooms that will attract.

Very beautiful are the scenes of the Butterfly Girls with great gauze wings executing their dance and then suspended on wires flying through the air. The stage sets and the dance which Antonio Moreno and Colleen Moore do at the end of the picture is also very artistic and gives an air of a big production to what at times seems to be simply a comedy.

Rupert Hughes worked up through many laughs to the big thrill of the cut wire and has handled very well these scenes with the girl flying through the air coming right toward the camera—and all the while the audience knows the wire is going to break—and it does and there is a fall that will give them a shudder.

The plot is a gossamer one, and simply a thread which lightly holds together the events of the story—but in a picture of this character you don’t expect much plot. The audience will be chuckling and enjoying each new incident as it comes along.

Cast

Perla Moroni…Colleen Moore

Carlo Bruni…Antonio Moreno

Pietri…William Orlamond

Nella…Orpha Alba 

Krug…Earl Metcalf

Mrs. Blitz…Martha Maddox

Alberta Cobatto…Francis MacDonald 

Written and directed by Rupert Hughes.

6 reels. 

Story

Perla, a half starved Italian girl, is engaged by Bruni to be one of his butterfly dancers because she is so thin. Krug, the wireman, becomes infatuated with Perla. She begins to get fat, and when she tires of Krug’s attentions he files the wire on which she hangs as a butterfly so Bruni will think she is too fat for the part and discharge her. Bruni used to be a beautiful dancer but through love of food grew too fat and could no longer dance. He and Perla both start to diet. He composes a beautiful dance for them and they are a great success. The story ends with their wedding—and the two still dieting.

—

Note: Now, this reviewer thinks the film is a satire of dieting?

Exhibitor’s Herald, 7 April 1923

COLLEEN MOORE IN

LOOK YOUR BEST

(GOLDWYN)

A cheerful little story of an Italian girl who becomes an actress and then has a hard time keeping her job because of overeating. An interesting picture of backstage life, and although not one of Rupert Hughes greatest plays, is quite satisfying. Author: Rupert Hughes; Continuity: Rupert Hughes; Director: Rupert Hughes. Length six reels.

There is just a little over an hour’s pleasant diversion in this latest Rupert Hughes-Goldwyn production. It is a quaint mixture of pathos, humor and drama. The humor borders on the slapstick, while the melodrama is the good old-fashioned “s-death” kind. However, there is the ever appealing Colleen Moore in it, as the interesting little toe dancer, and Antonio Moreno as a ballet master. Add to these William Orlamond, as Pietro; Orpha Alba, as Bella, his wife; Earl Matcalfe, as Krug, the villain; Martha Mattox, ad Mrs. Blitz; and Francis McDonald, as Cabotto, a suitor for Perla’s hand, and you have a cast capable of good things.

At the State-Lake theater, Chicago, where the picture followed the trained seals, it got a few laughs and held the attention of a vaudeville-loving audience. And you’ll certainly enjoy Colleen Moore more and more.

The story concerns Perla, a little New York girl of Italian parentage who goes into Bruni’s butterfly dance act in vaudeville and finds she must deny herself the sweets she loves in order to remain slender. The man who manipulates the wires, failing to win her love, plots to get her discharged for putting on too much flesh. He cuts the wire supporting her, but Bruni discovers his treachery and engages him in a fight, which lands both in jail, but on Bruni’s release Perla is waiting to reward him with her hand.

Screen Opinions, June 1923

“LOOK YOUR BEST”— [Class B] 65%

(Especially prepared for screen)

Story:—Romance of Little Italy, a Girl and a Theatrical Manager

VALUE

Photography—Very good—Norbert Brodin.

TYPE OF PICTURE—Entertaining. 

Moral Standard—Average.

Story—Good—Comedy-drama—Family. 

Stars—Good—Colleen Moore and Antonio Moreno.

Author—Good—Rupert Hughes. 

Direction—Good—Rupert Hughes.

Adaptation—Good—Rupert Hughes.

Technique—Good.

Spiritual Influence—Neutral. 

CAST

Perla Quaranti…Colleen Moore 

Carlo Bruni…Antonio Moreno 

Pietro…William Orlamond

Nella…Orpha Alba

Krug…Earl Metcalfe

Mrs. Blitz…Martha Mattox

Alberto Cabotto…Francis McDonald

June 1 to 15, 1923.

Producer—Goldwyn

Footage—6,000 ft.

Distributor—Goldwyn

Our Opinion 

MORAL O’THE PICTURE—If You Would Look Well, Mind Your Diet.

Not Particularly Artistic, but Makes Good Entertainment—Stars Do Well

Scenes in Little Italy, in which an Italian organ grinder and his wife are forced to serve a thirty-day sentence in jail following a knife and china shower, are fraught with comedy, and so also is the initiation of Perla, the pretty daughter, into the stage technique of playing butterfly and being hoisted on a wire to flutter her butterfly wings. Colleen Moore is charming in the role of Perla, and one of the notably good performances of the picture is done by Orpha Alba, who plays the role of Nella Quaranti, Perla’s mother, who, between laughter and tears, chastises her husband, Pietro, with the first article that comes to hand, no matter what the substance is, and then makes parting at the jail “such sweet sorrow.” William Orlamond is the type for Pietro, and Antonio Moreno, as Bruni, whose theatrical grace was spoiled by too much eating, is also very good. Earl Metcalfe, as Krug, elected to serve as Perla’s wire hoister, in love with her and reproachful when he failed to obtain kisses in return for the food that made Perla “not as thin as she used to was,” is all that the role requires—he does well. Francis McDonald is the baker joy and jealous lover, and looks and acts the part. The picture contains some attractive stage scenes with the butterfly girls flitting rapidly past the camera, and there is also an elaborately staged classic dance, supposed to take place in the greenwood, in which Colleen Moore is dressed as a white peacock, which is slain by the hunter, Antonio Moreno, and mourned by the wood nymphs. This is really a very enjoyable feature.

STORY OF THE PLAY

Perla Quaranti, a street dancer, finds herself alone when her father and mother are sentenced to thirty days in jail for fighting. She is offered a position by Carlo Bruni, an Italian theatrical manager, whose specialty is a group of butterfly girls. Perla, filling the place of a girl who got too stout to hoist, grasps good fortune by the neck and eats herself stout also on the bounty of one Krug, a wirehoister. Krug plays her false when he realizes that she loves Bruni instead of himself, and takes revenge by cutting the wire so that during the whirl of butterflies Perla falls to the stage and is injured. The story closes happily with Perla and her parents reunited, and Bruni her prospective husband.

PROGRAM COPY—”Look Your Best”—Colleen Moore and Antonio Moreno 

Perla Quaranti’s butterfly days ended with a bang when a jealous lover took revenge for lack of kisses. Don’t miss seeing Colleen Moore, Antonio Moreno and an excellent cast in “Look Your Best,” one of the funniest and most original of recent comedies.

—

Note: This is the only review that adds detail about Perla’s parents. Another reviewer complained that the bits with her parents were wholly superfluous. Other reviewers barely mention that they are even in the film!

Moving Picture World, 9  June 1923

Sells First Showing on the Type Argument

The Temple Theatre, Detroit, does not believe in too much splash, even for a world premier, and gets along very nicely with 100 by 3 for Look Your Best, using two cuts and six lines of snappy stuff about the nature of the play to back up the illustrations. Apparently these illustrations are from the plan book, and they have no strong illustrative value, but the upper one suggests the stage story, which this is, and the lower the growing weight of Colleen Moore, which is the essence of the plot. The selling value lies chiefly in the talk, and here this talk is a quiet little chat about the play with no particular stress, just an intimate tip-off on the nature of the play which is more convincing than a many-adjectived oration could possibly be. It is so good that it might have been put into larger type, even at the cost of one of the cuts. And make a note now that Look Your Best is going to make a wonderful peg for hook-up pages and style shows. Combine the two of them by starting early enough to get your plans all properly laid. There are a lot of similar co-operative angles, but these will be the best bets. -P. T. A.-

Poster blurb: Every day in every way she gets stouter and stouter—tempting food was her great weakness. Her job in the chorus was at stake but still she could not tear herself away fascinating fats—until the theatrical career of her partner was threatened and then, she made the grand sacrifice.

FUNNY? IT’S A SCREAM!

— Note: photo of the interior of the now demolished Temple Theatre, a popular vaudeville venue.

---

Exhibitor’s Trade Review, July 1923

SLOGAN BASIS OF MERCHANT TIE-UP

Madison, Wis.—A merchant tie-up on a “Look Your Best” Week was put across by Dr. Wm. E. Beecroft, manager of the Parkway Theatre, and Goldwynner W.D. Nealand, in connection with the screening of “Look Your Best.” Art Kniseley, advertising manager of the Burdick & Murray Department Store, went in heavily with the theatre management on this “Look Your Best” week.

He gave the picture a splendid window display, using the slogan “Look Your Best” as a sales aid for their clothing, millinery, hosiery and toilet articles. In addition to the window display, Mr. Kniseley ran a sixty-eight inch advertisement in both the State Journal and the Capitol Times, tieing up with “Look Your Best.”

---

Moving Picture World, September 1923

Consensus of Published Reviews

Look Your Best

(Colleen Moore—Goldwyn—6 reels)

M. P. W.—A clever commingling of comedy, pathos and drama, with a thrill thrown in now and then and a subtle satire on dieting. 

E. H.—Is a cheerful little story of backstage life. It was written and directed by Rupert Hughes, and although not his greatest play, will be found highly diverting as an hour’s entertainment.

N.—It will serve its purpose and is suitable for second-class downtown houses. 

T. R.—The “diet and grow thin” theme is funny in spots but likely to weary the average spectator.

---

Picture Play Magazine, October 1923

Keeping Nature’s Gifts 

[excerpt]

Colleen Moore’s diet depends upon whether she is putting on flesh for a picture or taking it off. She lived practically on lemon-juice for two weeks, losing ten pounds at the start of “Look Your Best.” For the last scenes she had to regain her avoirdupois, so she went to bed for a week, drank milk-two or three quarts a day and ate cakes and everything. 

—

Note: I hate this.

---

Exhibitor’s Herald, 24 November 1923

Goldwyn Cosmopolitan

Look Your Best, with Colleen Moore. —A very good picture that failed to score at all at the box office. I have played ten of these pictures, losing money on eight, breaking even on one, so I really will be glad when they are over with. The advertising matter is my greatest drawback, for I’m a little fellow and can’t afford an artist to make my lobby and have to use their stock stuff, which is bum considering the attractions they represent. Pretty enough, but do not run true with the films. Seven reels.—Hugh G. Martin, American theatre, Columbus, Ga.—General patronage.

Look Your Best, with Colleen Moore and Antonio Moreno.—Two dandy stars wasted in this. Rupert Hughes was unable to convince an audience of movie fans what he was driving at. Lacked interest all the way. Not worth bothering about.—Ben L. Morris, Temple theatre, Bellaire, Ohio.—General patronage.

---

Moving Picture World, December 1923

LOOK YOUR BEST. (6 reels). Star, Colleen Moore. A very ordinary picture that I played on a Saturday night and put in a strong line of fillers and in that way escaped censure. You can play this, but be careful of your accompanying selections and buy it right. Usual advertising brought good attendance. Draw health seekers and tourists. Dave Seymour, Pontiac Theatre Beautiful, Saranac Lake, New York.

LOOK YOUR BEST. (6 reels). Star cast. Nice little comedy-drama. Very light in construction. Seemed to please. Had fair attendance. Draw all classes in town of 1,000. Admission 15-25. Jack Kaplan, Rivoli Theatre (378 seats), South Fallsburg, New York.

---

Best Moving Pictures, 1922-1923

LOOK YOUR BEST. Produced and distributed by Goldwyn. Six reels. Released February 18, 1923. Cast: Colleen Moore and Antonio Moreno. Director, Rupert Hughes. Story of a chorus girl who tried to keep thin.

---

The Educational Screen, February 1924

THE THEATRICAL FIELD

LOOK YOUR BEST (Goldwyn)

Colleen Moore and Antonio Moreno demonstrate the tragic fact that life is very bitter to the lover of sweets when his job depends on his remaining thin. Fair entertainment, making no demands on either actors or audience.

---

Motion Picture Magazine, November 1924

Every Little Bit Helps—to Stardom

By HARRY CARR

[excerpt]

Eleanor Boardman came to the old Goldwyn lot and jumped at once into the top line by a tiny scene in Rupert Hughes’ The Bitterness of Sweets, in which she fainted in a theater box.

—

Note: Given what I noted earlier about the release dates of LYB and Souls for Sale, finding out that a bit role in LYB (here referred to by its working title) led to Eleanor Boardman’s starring role in the latter film is fascinating. Boardman likely filmed her single scene in LYB months before production started on Souls for Sale, which she is the star of. But, because the release of LYB was delayed, Boardman had a bit role and a starring role on screens within a month of each other!

#Look Your Best #The Bitterness of Sweets #lost film #silent comedy #silent era #silent film #silent movies #1920s #1922 #1923 #Rupert Hughes #Colleen Moore #antonio moreno #eleanor boardman #classic movies #classic film #american film #movie magazine #film magazine #Souls for Sale #ruth st. denis #film history #lost but not forgotten

[glitterandmoondustofficial]

Side To Side

Chapter 218: Manicure

Characters: Ruby, Law

Rating: Teen

Warnings: Language, lingerie mention

Notes: a short chapter, but I really do enjoy their banter over the phone 😌

~~~~~~

Ruby felt the sunlight on her face as she woke up in her big bed. She opened her eyes and sat up. She looked to her side and stared at the empty space. She rubbed Law’s spot and sighed pitifully. She collapsed back on the bed and let out a very long and loud whine.

She had a huge pout on her face and her brows were furrowed. She wanted Law! She demanded his cuddles!

“Ugh!” She huffed. “This is bullshit! Stupid island with a stupid disease that only stupid Law can cure. Hmph!” She kicked her legs for a moment before huffing again. She grumbled and cursed under her breath as she got out of bed. She may have been a little grumpy this morning.

She had a lot of fun yesterday. She went wine tasting and cheese tasting and honey tasting with her amazing friends. She got a little drunk and walked home with Ikkaku’s hand in hers while Jean Bart made sure she didn’t stumble drunkenly into the sea. It was so much fun and made her forget how much she missed Law.

But she still woke up to her empty bed.

She could already hear everyone telling her to just sleep in the crew quarters so she wouldn’t be lonely but she’d still miss Law like the corny, romantic princess she was. Whether she slept in the crew quarters or by herself in her bedroom, Law still wasn’t on the ship. He was off being a doctor or a hero or a savior or something other than her deadly pirate captain.

She huffed once again as she walked into the bathroom to brush her teeth. She did her usual morning routine before getting dressed in a lazy pair of skinny jeans and a red tank top. She threw her hair up in a ponytail and shook her head.

She scratched her neck and then looked at her nails. She frowned at her chipped nail polish. She needed to get a manicure. She’ll go ask Ethan if there was a salon where she could get some cute acrylics. She did like clicking her nails when she wore the fake ones. Not to mention, Law liked when she scratched his head with them, even if he would never admit it out loud.

It was decided, then. She knew what she was going to be doing with her day.

She walked out of her room and towards the kitchen where it was already getting rowdy.

Ikkaku saw her across the hall and walked over to her.

“You look good this morning! No hangover?”

“No,” Ruby laughed. “I didn’t drink that much. I’m no lightweight, anyway.”

Ikkaku giggled. “I guess you’re right.”

They walked into the kitchen and sat at a table while Clione made breakfast. She could smell the sausage, crumpets, and eggs and it made her stomach rumble in happiness. She could practically taste it smothered in that dandelion honey she bought yesterday. Her cheeks flushed in happiness and she laid her head on Ikkaku’s shoulder.

She wouldn’t let her loneliness get the best of her, not when she had a happy life to live with her nakama.

~~~~~~

“Soooo where did you come from?” Eve-ya asked Law as he was drinking his shitty coffee in the break room. Law raised his brow at her. She gave him a toothy grin and he rolled his eyes.

“The Grand Line.”

It was Eve-ya’s turn to roll her eyes. “No shit. I meant what island.”

“Doesn’t matter. I’m from the Grand Line now,” he said shortly. He sipped his god awful coffee in irritation.

“So, you just…are on the Grand Line?” She asked with suspicion in her tone.

“The word you’re looking for is “sailing.””

She narrowed her eyes. “So, what? Are you a pirate or something?”

Law shrugged. “Maybe I am. Either way there’s nothing you can do about it.”

Eve-ya looked taken aback. “Why do you say that? I could report you to-”

“To the marines who have been so helpful in curing this disease? They’ve given you support and supplies and military doctors, right?” He looked down at her dangerously. “I can always leave, if my help isn’t needed. I have people who would rather me be with them instead of quarantined with you all.”

Eve-ya cleared her throat. “No, you’re right. You’re here to help, unlike anyone else.” She sighed. “The people you have waiting for you, is the person who gives you the coffee beans one of them?”

Law finished his coffee with a grunt. “Yes,” he answered simply, trying not to let his mind wander to his girlfriend who he missed more than he cared to admit. She was drunk and happy last night. If he had been there he would’ve complained about her hanging off him but he would accept her kisses and slurred “I love you’s.” They would’ve cuddled all night and he would’ve woken up to her snoring and sleeping hard.

He was bitter about it.

But he’s going to do what he said he was going to do. He’s so close he could taste it. It wouldn’t be much longer and he would be able to cure this disease. These people would have their cure and the materials for a vaccine.

Then he could leave this island. He hoped that he would be able to leave this island without anyone noticing who he was or what he was doing, but he wasn’t stupid. That Ethan-ya bastard probably told everyone what was going on. You know, while he flirted with Ruby like she was single and interested.

Law frowned at himself. Why did he have to keep thinking about that? He had no reason to be this jealous. Ruby was willing to go to Dressrosa by herself for his sake. She was so willing to do whatever it took to protect him and the crew. Law had absolutely no reason to be this bothered by some random person flirting with Ruby because he knew that she would be waiting for him with a wide grin and a kiss.

Law sighed and placed his coffee mug in the sink. He rinsed it out and set it aside to dry. He looked at Eve-ya. “Why did you want to know about where the coffee comes from?”

“Just curious.” She shrugged. “I didn’t think pirate crews had a coffee farmer as part of the roster.”

“She’s a gardener. It’s more than just coffee.” He started to walk out of the room. “Let’s go. This thing is almost over.”

Eve-ya stopped short, like she was stunned. “How…how do you know?” She asked with a shaky voice.

Law stopped and smirked at her. “Because I’m the best damn doctor on The Grand Line.”

~~~~~~

Ruby walked into her bedroom with multiple shopping bags. After she found Ethan and asked where a salon was, she decided to have fun and shop. Ethan volunteered to show her around the shopping area after she got her nails done. Ruby agreed because Ikkaku was right, she could always use more friends.

She placed the bags on the table and looked at her freshly manicured red tipped nails. They were amazing. They made her giddy. She loved pampering herself like this. All the shopping she did made her temporarily forget her loneliness

After Ethan had left her for the day, Ruby went back to the shops for one more item. She found the cutest lingerie boutique. She decided she would pick out an alluring gift for her boyfriend. She knew how much he loved her in only lace and ribbons and she found the perfect lilac colored ensemble for him.

She giggled happily as she skipped over to the den den mushi, ready to call him and wish him goodnight. It rang a couple times as she sat on the bed with a smile. After a few moments it clicked and a tired “hello” answered the email.

“Hey, mo chuisle, you sound tired.”

“I am,” he croaked.

“I won’t keep you long, then. I’m sure you’re itching to lay in bed with your eyes closed all night.”

Law scoffed. “How was your day?” He asked her.

“Good! I got my nails done and went shopping.”

“Alone and without my wallet? Intriguing.”

Ruby laughed. “Well, I wasn’t alone. Ethan showed me around again,” she said. “I know you hate him, but he’s been nice to me.”

“I don’t hate him,” Law argued and Ruby smiled. “He’s just…too friendly.”

Ruby giggled and she heard him scoff again. “Well, that’s fair, I suppose. I guess I’m not used to people being nice to me like this, seeing my favorite person in the world is an asshole.”

“That’s rude to say about Ikkaku.”

Ruby snorted. “Funny.” She laid in bed and smiled up at the ceiling. “I bought something for you.”

“Oh? A book?”

Ruby giggled. “Nope! Something better.”

“Coins?”

Ruby grinned stupidly. “It’s lacy.”

“…lacy? Why would you- oh. Oh, I see. That’s good, then. I look forward to it.”

Ruby laughed. “You’re so cute. I’m going to absolutely have my way with you when you come home.”

Law cleared his throat. “Don't be so loud,” he said in a hushed tone.

“Are you embarrassed?” She teased.

“No,” he said. “You just need to control yourself.”

Ruby grinned. “Alright, I’ll quit teasing you.” She sighed happily. “Tell me about your day. Did that Eve chick help out?”

“Ah, yeah. She was useful.” He said. “To be honest, babe, I’m not really interested in talking about my day. Why don’t you just tell me everything you did today instead?”

“Oh? Miss my voice or something?”

Law was quiet for a few moments. “Yeah,” he said so quietly she almost missed it. “I miss you.”

Ruby smiled and felt tears form in her eyes. For the first time in her life someone missed her. She cleared her throat so he didn’t think she started to cry. “Okay, be prepared, I did a lot of shopping.”

“Lay it on me.”

Ruby started to tell him about her day. They talked until late and Ruby didn’t want to hang up. But she did. She wished him good night and got ready to sleep. She crawled back into her empty bed and stared at the ceiling.

Not much longer. Soon, this will all be over with.

#op fanfic #one piece #trafalgar law #lawxoc #law x oc #one piece fanfiction #side to side #sela ruby #Ruby Sela #short chapter but a chapter nonetheless

[omagazineparis]

Ce qu’il faut retenir des septennats de François Mitterrand quant aux droits des femmes

En ce 10 mai 2021, quarantième anniversaire de la prise de fonction du premier président socialiste François Mitterrand, il est temps de revenir sur les mesures phares qui ont marqué ses deux septennats. En effet, sous François Mitterrand de nombreux droits des femmes ont vu le jour. Troisième président français de la V ème République, François Mitterrand a aboli la peine de mort en 1981 et instauré la cinquième semaine de congés payés. Ce président a aussi établi les 39 heures de travail par semaine en 1982. Connu pour ses mesures tendant à faciliter la vie ouvrière, François Mitterrand s'est aussi investi dans les causes féminines et celles touchant à l’orientation sexuelle. Durant son second septennat, il a d'ailleurs nommé Édith Cresson au rôle de première ministre, en mai 1991. C'est la première femme qui a accédé à cette fonction. La création de la Journée de la femme  Le 20 janvier 1982, le Conseil des Ministre a officialisé l’instauration de la journée de la femme. Elle est depuis célébrée le 8 mars. Cette proposition venait d’Yvette Roudy, ministre des droits de la femme. À l’occasion de cette première célébration, le président avait fait une déclaration où il soumet l’hypothèse de créer une loi anti-sexiste. « Ceux qui se sont battus pour les libertés, les républicains, les démocrates, les socialistes, savent que la liberté de chacun s’arrête là où commence celle d’autrui : c’est ce qu’on appelle la tolérance. Au nom de cette tolérance, nous nous sommes dotés, dans notre pays, d’une loi antiraciste. Pourquoi n’y aurait-il pas, et cela sera proposé, une loi antisexiste ? Il ne faut pas faire ou exagérer la comparaison. Mais enfin, si elle sert à permettre à des associations régulièrement déclarées et qui ont cet objectif dans leurs statuts, de se constituer en cas de provocation à la discrimination, d’injures, diffamations, de refus du droit d’une personne ou d’un groupe en raison de leur sexe. Cette proposition de loi pour ce projet de loi verra le jour. » Ce discours a annoncé la ligne gouvernementale que le président a adopté pour les femmes et la prise de plusieurs mesures. Ces dernières seront en effet mises en place progressivement sous son gouvernement. À lire également : L’interdiction du certificat de virginité validée par les députés Les lois marquantes pour les droits des femmes sous les septennats de François Mitterrand Avril 1982 Le mois suivant son annonce, il instaure un projet de loi sur la présence égale des hommes et des femmes au statut de fonctionnaire. Cette loi doit faciliter l’accès des femmes dans ce domaine. Décembre 1982, une loi pour l'avortement L’interruption volontaire de grossesse (IVG) est désormais remboursée et prise en charge par l'État. Les femmes peuvent alors prétendre à des soins et se rendre dans des lieux médicaux sans se soucier des frais. 13 Juillet 1983 : la Loi Roudy Elle vise l’égalité professionnelle homme-femme. 23 décembre 1985 Loi n°85-1372 reconnaît l’égalité des époux dans les régimes matrimoniaux. Elle instaure la parité des parents dans la gestion des biens des enfants mineurs. Dès lors, les divorces sont plus faciles. 5 septembre 1990  La cour de Cassation reconnaît pour la première fois le viol conjugal. Par conséquent, les femmes peuvent désormais porter plainte lorsqu'elles subissent des violences. 27 janvier 1993 L’auto-avortement n’est plus un délit, les sanctions sont donc retirées. Grâce à cette loi, les femmes peuvent avorter de manière plus sécurisée. Ainsi, grâce à l'application de ces diverses mesures et projets de lois, la condition des femmes a pu évoluer. Malgré les nombreuses controverses à son sujet, François Mitterrand reste un homme politique engagé. Les nombreuses mesures prises pour les causes féminines et sociales font de lui un président marquant et historique. Par ailleurs, les nombreux reportages sur sa vie et sa politique diffusés à l’occasion du quarantième anniversaire de sa mort en témoignent. Read the full article

[liskadaebabbit]

Trapped as Feenix! Alternate Ending The Leaper Takes a Day Off! Quaranti...

#youtube

[garythingsworld]

[valgasnewsthings]

Care for spine. Exercises are for the spine is Golden fish is a quaranty for good health.

 Japan s scientist Niches  offered this exercise. Am doing her for year. Am feeling better, and health improved. That gymnastic cure scoliosis and correcting spine curvature as removing over loading for vertebra nerves, normalizing work for blood, digestive, nerve system, improving work for heart, liver, kidneys, bowel, skin, and head brain. Therefore,  this gymnastic calls A gymnastic for health.

1. Lie on the flat  surface, both hands are on the floor, face up,    pulling for body along, legs are pressed to the floor, heels separate to hips width, toes pulled to the head. Calculate till ten, pull alternately in different sides, as vertebra stretching, as with an all corpus pull up to right, at the same time a heel with left leg slightly moving to itself to the front, after repeat this exercise to opposite side.

2. Lie on the flat surface with face up, or down, a how is comfortable for you, hands behind head, locked fingers in a fourth or fifth neck vertebra, legs tied. Toes pull to the head, in such position vibrate all body, imitating fish move, taking from water , and doing this exercise for 1-2 min for morning and evening.

Home doctor comments: If share right, thus in complex Katsuzo , are of 6 rules for health A Golden fish is calling second from data exercises, as a calling golden middle for all complex. And exercise helping correcting  offsetting for individual vertebras,   which is happening in everybody within a day. And fight vertebra curvature in common, as curing scoliosis, coordinating sympathetic and parasympathetic nerve system, blood circulation processes normalizing and bowel peristaltic, manual help in radiculitis, osteochondoris, if theirs doing for 1-2 min/day, results will be an awesome. 

https://dynamotickets.ru/en/gimnastika-yaponca-nishi-sistema-zdorovya-kacudzo-nishi-kompleks.html

from Valga s health news,gardening,and cooking ,and beauty . https://ift.tt/fGKAW1E via https://ift.tt/WjwQAe3

[profoundlyscreechingcowboy]

[ruouxachtaycom]

[snitchesusa]

Someone Told on later years adult family home in bremerton

Someone Told on later years adult family home in bremerton

"The owner Tammy Young is allowing people to visit inside the home giving tours of the home people in and out all the time we have 6 residents and 3 employees and she is allowing family members to visit she is putting all of us at risk she is not flowing the 14 day quarantie rule she is putting everyone in that adult family home at risk" – Anonymous The aforementioned complaint was filed in…

View On WordPress

[valiantranchcreatorsuitcase]

Hồng Kong the place where the World goes faster

[fromirelandtokorea]

Entertainment For Isolation:

I know these times are difficult and some of us are finding it increasingly difficult to find entertainment for these long days. In order to help with that I’ve put together a list of different YouTube channels to help you focus on Korea and Korean language to help educate and entertain you for these uncertain days. I’ll be posting more lists and links like this in the next few days and might make some challenges or competitions to lift your spirits!!!

Please note I will also be posting new lessons daily on my blog surrounding Korean language and culture!!!

YouTubers: Kimi - A Korean countryside girl who lives off the land and shows us traditional food and treats she makes herself! Just watching these videos is engaging and relaxing at the same time!

Megan Bowen - Megan Bowen is an American woman who shows her life in Korea as well as giving us a peek into her life as a married woman in a foreign country! She has super helpful tips and facts on life in Korea, I highly recommend her videos!

Edward Avila - Edward Avila is a beauty YouTuber based in Korea, who uses a lot of Korean in his videos which can help those of us who are learning, you can also learn about the newest Korean fashion, hair and makeup trends from Edward as he always looks fantastic. He collabs with Korean celebrities and his friends and makes funny content which can also be educational!

Asian Boss - Although this channel has lots of content about lots of Asian countries, you can find lots about Korea, whether it’s about heart warming stories or issues in Korea, they never cease to amaze me with their fascinating content. 

PONY Syndrome - A kickass Korean beauty YouTuber, who recently collaborated with Morphe, shows us her interpretation of Korean style and makeup with a special twist and never stops providing us with beautiful looks and calming entertainment

SweetAndTastyTV - Mina, an American born Korean woman, shows us her favourite places in Korea, as well as teaching the Korean language and giving us a few laughs a long the way! This woman was my first ever source for learning Korean and I will always recommend and adore her!

ReacThing - Korean’s in their 30′s and occasionally a sweet grandmother react to different content from around the globe, teach us the language through their content, make us laugh and give us an insight into the Korean way and mindset, these videos never fail to make me laugh

With that I bid y’all a farewell till the next post, stay safe, stay away from the immuno-suppressed, the elderly and those with underlying health conditions, 

Love, Caitlín

“together we can make a difference, if we stay apart”

#asia #south east asia #south korea #korean #korea #langblr #studyblr #advice #isolation #coronavirus #corona #covid #covid19 #quaranti #lockdown #entertainment #boredom #mental health #academia #culture #history #economics #politics #world history #korean langblr #korean studyblr #linguistics

[musicisthelife]

#dance #music #happy #reaction #party #mrw #yes #reactions #disco #mask #coronavirus #snake #quaranti

[omagazineparis]

Ce qu’il faut retenir des septennats de François Mitterrand quant aux droits des femmes

En ce 10 mai 2021, quarantième anniversaire de la prise de fonction du premier président socialiste François Mitterrand, il est temps de revenir sur les mesures phares qui ont marqué ses deux septennats. En effet, sous François Mitterrand de nombreux droits des femmes ont vu le jour. Troisième président français de la V ème République, François Mitterrand a aboli la peine de mort en 1981 et instauré la cinquième semaine de congés payés. Ce président a aussi établi les 39 heures de travail par semaine en 1982. Connu pour ses mesures tendant à faciliter la vie ouvrière, François Mitterrand s'est aussi investi dans les causes féminines et celles touchant à l’orientation sexuelle. Durant son second septennat, il a d'ailleurs nommé Édith Cresson au rôle de première ministre, en mai 1991. C'est la première femme qui a accédé à cette fonction. La création de la Journée de la femme  Le 20 janvier 1982, le Conseil des Ministre a officialisé l’instauration de la journée de la femme. Elle est depuis célébrée le 8 mars. Cette proposition venait d’Yvette Roudy, ministre des droits de la femme. À l’occasion de cette première célébration, le président avait fait une déclaration où il soumet l’hypothèse de créer une loi anti-sexiste. « Ceux qui se sont battus pour les libertés, les républicains, les démocrates, les socialistes, savent que la liberté de chacun s’arrête là où commence celle d’autrui : c’est ce qu’on appelle la tolérance. Au nom de cette tolérance, nous nous sommes dotés, dans notre pays, d’une loi antiraciste. Pourquoi n’y aurait-il pas, et cela sera proposé, une loi antisexiste ? Il ne faut pas faire ou exagérer la comparaison. Mais enfin, si elle sert à permettre à des associations régulièrement déclarées et qui ont cet objectif dans leurs statuts, de se constituer en cas de provocation à la discrimination, d’injures, diffamations, de refus du droit d’une personne ou d’un groupe en raison de leur sexe. Cette proposition de loi pour ce projet de loi verra le jour. » Ce discours a annoncé la ligne gouvernementale que le président a adopté pour les femmes et la prise de plusieurs mesures. Ces dernières seront en effet mises en place progressivement sous son gouvernement. À lire également : L’interdiction du certificat de virginité validée par les députés Les lois marquantes pour les droits des femmes sous les septennats de François Mitterrand Avril 1982 Le mois suivant son annonce, il instaure un projet de loi sur la présence égale des hommes et des femmes au statut de fonctionnaire. Cette loi doit faciliter l’accès des femmes dans ce domaine. Décembre 1982, une loi pour l'avortement L’interruption volontaire de grossesse (IVG) est désormais remboursée et prise en charge par l'État. Les femmes peuvent alors prétendre à des soins et se rendre dans des lieux médicaux sans se soucier des frais. 13 Juillet 1983 : la Loi Roudy Elle vise l’égalité professionnelle homme-femme. 23 décembre 1985 Loi n°85-1372 reconnaît l’égalité des époux dans les régimes matrimoniaux. Elle instaure la parité des parents dans la gestion des biens des enfants mineurs. Dès lors, les divorces sont plus faciles. 5 septembre 1990  La cour de Cassation reconnaît pour la première fois le viol conjugal. Par conséquent, les femmes peuvent désormais porter plainte lorsqu'elles subissent des violences. 27 janvier 1993 L’auto-avortement n’est plus un délit, les sanctions sont donc retirées. Grâce à cette loi, les femmes peuvent avorter de manière plus sécurisée. Ainsi, grâce à l'application de ces diverses mesures et projets de lois, la condition des femmes a pu évoluer. Malgré les nombreuses controverses à son sujet, François Mitterrand reste un homme politique engagé. Les nombreuses mesures prises pour les causes féminines et sociales font de lui un président marquant et historique. Par ailleurs, les nombreux reportages sur sa vie et sa politique diffusés à l’occasion du quarantième anniversaire de sa mort en témoignent. Read the full article

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#BY TIM MCKEOUGH #Real Estate #Real Estate and Housing (Residential) #Gardens and Gardening #Quaranti