ellauri055.html on line 217: To celebrate the Second Millennium, "Saint Fiachra's Garden" opened in 1999 at the Irish National Stud and Gardens, Tully, County Kildare, Ireland, his nation of birth.
ellauri112.html on line 111: August Strindberg skrev pjäsen Erik XIV under några sommarveckor 1899. Skrev inga längre än vad Diablo Cody behövde att få till Tully. Strindberg hade hyrt en stuga i Furusund och där tog dramat form. Pjäsen Erik XIV fogar sig till två andra historiska pjäser skrivna strax innan: Folkungasagan och Gustav Vasa.
ellauri112.html on line 567: Kaikki onnelliset perheet on samanlaisia, mutta jokainen onneton on onneton omalla tavallaan (Anna Karenina). Vittu nyt läjähti naamaan tosi mätä tomaatti, amer "draamakomedia" Tully 2018. Se vaikutti niin sleazylta että piti lopettaa kazominen aika alkumetreillä. Alkoi kiinnostaa mikä mua siinä oikein vaivasi. Älähtikö koira, kalahtiko kalikka?
ellauri112.html on line 570: Tully delves into the modern parenthood experience with an admirably deft blend of humor and raw honesty, brought to life by an outstanding performance by Charlize Theron.
ellauri112.html on line 580: As a whole, Tully is a mildly pleasant and amiable film (with “mildly” being an important word here). Davis’ Tully is a catalog of truisms.
ellauri112.html on line 583: Maybe some new moms will see Tully and realize that they can and should ask for paid help, that they deserve it. They just have to happen to have the money.
ellauri112.html on line 589: Marlo disapproves at first thinking that she can’t ask for the help she needs. She gives in and allows their new night nanny, Tully, to do her job and is quite impressed with the results. Marlo feels more in control of her life, the kids seem happy, and she’s willing to grow in her marriage to Drew.
ellauri112.html on line 616: By avoiding clichés and crafting real personalities Tully becomes an enduring portrait of somepm, sanoo setämies. Yhden cliché on toisen oivallus. One man´s floor is another man´s ceiling, naisista puhumattakaan.
ellauri112.html on line 624: Tully es la tipica chica millennial. Ser madre no es tan facil en ese contexto social como lo pintan. Money does not make one happy, nor does a family.
ellauri112.html on line 632: What the FUCK? One has a beard the other not? Marlo and Tully are easier to mix up, and for good reason, see below [SPOILER WARNING]. They are like two Barbies, except one old and fat, the other young and skinny.
ellauri112.html on line 651: Marlo is not much to look at anymore compared to flat-tum Tully Theron actually fattened herself 50lb for the part). But she is another type of super-woman, who keeps schedules, diets, routines and even creativity as a staple of her family’s well being.
ellauri112.html on line 655: Critics have been throwing words like “fearless” around when describing Theron’s performance in Tully, because of the extra 50 pounds she carries, the lack of makeup on her face and the unflattering portrait of motherhood she paints. But that’s a backhanded compliment, isn’t it? “Fearless.” They only say “fearless” when they mean “ugly,” and it’s honest because she’s ugly. Iike I’ve said three or four times now, it’s really really honest.
ellauri112.html on line 671: There’s a long stretch in the middle where Tully appears drama-less, and you can't help but nervously wonder where it's all going. Well thats life in the 40´s.
ellauri112.html on line 676: Tully’s like a hip millennial Marry Poppins. It all seems too good to be true. Their deepening connection hints at something that’s either eerie or profoundly healing. Are they dykes?
ellauri112.html on line 678: Eipäs ollutkaan! tai oli Marlo kyllä bi (niinkuin käsineitokin, se trendaa nyt) muttei siitä ollut kymysys. Tully olikin Marlon aikaisempi mä. Se tuli halvemmaxi. Olixe eerie vai healing? Tästä käänteestä ei yhtään pidetty. The movie struggles some in its third act. Playing with the tricks of the mind, “Tully” feels more contrived than astute, having the skilled group of actors working hard to avoid further damage as the movie falters towards its clunky and surprisingly not-very-good conclusion.
ellauri112.html on line 682: Yet to hail the film as a feminist project is to value the representation of the structural co-option of maternity over its interrogation. Tully’s treatment of social reproduction is dangerously simplistic. Cody has spoken in interviews about how her own, financially easier, experience of parenting in L.A. inspired her to explore a narrative in which economic anxieties are combined with the other hardships of parenthood, yet here class and poverty are only fleeting concerns. The transactional system of care that governs child-rearing under capitalism is done away with via Tully’s otherworldliness. Until the revelation of her non-existence, the viewer, although encouraged to believe in her, is never asked to consider her financial reality, and the fact that the service is paid for by Marlo’s wealthy brother is a narrative convenience that reinforces its fairytale quality. Similarly, Tully’s whiteness allows the racial politics of care to be completely overlooked, and the repeated idea that it’s ‘unnatural’ for hired help to bond with your newborn is taken as a given, rather than seen as an impetus for a consideration of the social conditions that require mothers to make that choice.
ellauri112.html on line 684: Marlo, already a mother of two, begins the film heavily, outrageously pregnant: we learn, in rapid succession, that this third pregnancy was unwanted, that her husband does little of the domestic labour, and that her “shitty” upbringing is the reason she’s so committed to her nuclear family unit. Postnatal depression, never named, haunts the narrative: her wealthy brother offers to pay for a night nanny to avoid, in his words, the advent of another “bad time” like the one that followed the birth of her son, Jonah. When the nanny arrives – described by more than one reviewer as a “millennial Mary Poppins” – the panacea seems to be working. Not only does she look after the baby at night but she also operates as a kind of empathy machine, listening to Marlo’s problems, sharing sangria in the garden, and baking the Minions cupcakes that Marlo herself never has the time to make. The postnatal depression, it seems, disperses; Jonah – who has “emotional problems” – finds a place at a school more suited to his needs, family dinners get increasingly wholesome, and Marlo does a passable Stevie Nicks impression at a child’s birthday party. And then comes the twist: after a bender in Brooklyn with Tully, a sleep-deprived Marlo, drunk at the wheel, drives her car off a bridge and ends up in hospital, and we realise there was nobody else in the car. Her maiden name, we learn, was Tully.
ellauri112.html on line 706: The 26-year-old nanny’s name is Tully (played by Mackenzie Davis of “Halt and Catch Fire” fame), and she’s a free spirit, albeit one with a serious work ethic. Tully instantly takes over the house, manages Marlo’s baby effortlessly, and starts taking care of mom too. Not only does she give her the precious “alone time” she desperately needs and craves, but Tully ends up becoming a sort of therapist to her, along with a best friend, muse, and a regular shoulder to cry on.
ellauri112.html on line 708: Tully seems too good to be true when she quickly organizes the home, cleans it from top to bottom, and finds a place for all the errant toys too. She even makes cupcakes for Marlo to take to Jonah’s school as a peace offering. Ultimately, Tully becomes the ‘spouse’ Marlo really needs, and they even have a simpatico banter together, quipping back and forth in sharp, pithy dialogue, the only way Cody can write for her characters.
ellauri112.html on line 710: In Tully, Marlo starts to see the kind of caretaker she wants to have, and their bondage becomes what keeps her going. As much as Tully turns into a super nanny, the real job she does is help return Marlo to a functioning hole person. With the aid of Tully, Marlo gets her love life back again, gets it each day, and kicks the postpartum depression to the curb. Should kick Drew there too maybe. Tully she cant kick without kicking herself in the ass.
ellauri112.html on line 712: The night they go out starts with an amusing drive at the sound of Cindy Lauper, but becomes severely toxic when they arrive at an underground club and the drunk Marlo jumps in sync with clangorous heavy-metal rhythms and then endures pain due to engorged breasts. However, that pain was infinitesimal when compared to the afflicting news that Tully is quitting.
ellauri112.html on line 716: Filmin sanoma taisi sitten olla että älä tee lisää lapsia enää kun olet tollanen vanha kasa. Jos on ihan pakko tee ne Tullynä. Theronin omat lapset on adaptoituja. Raskaus oli pelkkää teatteria.
ellauri112.html on line 718: Tully takes care of the baby with effortless technique, letting Marlo know she can also help with anything else around the house, even tips for re-starting Marlo and Drew’s sex life. She spouts hip, up to date trends and the kind of facts fresh college kids throw around. But it’s not a feel-good narrative. Through Tully Marlo is looking back at an earlier age, when life was simpler, breezier. We soon realize Tully isn’t teaching Marlo anything, she’s reminding her of the past. In one scene the two decide to sneak out to a bar, but the moment isn’t just fun, it’s also melancholic. Marlo warns Tully that your 20’s are great, but then “your 30’s come around the corner like a big dumpster truck.”
ellauri112.html on line 724: "Tully," is a dramedy you'll love so much that you'll want to rewind and watch it all over again. Rewind? What a retro notion.
ellauri112.html on line 726: Ei katottu kun alkua. Kai se pitäs kazoo edes loppuun asti. Se oli kyllä vitun sleazy, barf bagit on hyvä olla varalla. Tully is different; The film is challenging.
ellauri112.html on line 728: The film’s strength – for its first two thirds – is the relationship between the two women at the heart of the narrative. We learn through a clumsy coincidence at the beginning of the film that Marlo is bisexual; as her intimacy with Tully expands to fill the vacuum of her absentee marriage, it becomes a tender eroticism. This is mediated, always, through other bodies: as Tully cradles the baby who has just finished feeding, she talks about how the ‘molecules’ of the child still exist within the mother; later, in a bar toilet, she gently wets a paper towel and uses it to draw the milk out of Marlo’s swollen breasts. In a pivotal scene, Marlo sits behind Tully and instructs her on what to do to arouse her sleep-befuddled husband. This moment can be read as emblematic of the film’s mistreatment of the queer intimacy it establishes. Coming after a discussion of sexual history and sexual fantasy, Marlo reveals to Tully that she has a waitress’s uniform that she’s never used, bought to surprise her husband. As Tully puts the outfit on, which fits her pre-natal body in a way it wouldn’t Marlo, the moment of sexual possibility between the women is subsumed into heteronormative, ageist fantasy: Tully’s young, and therefore fantasy-appropriate, body is used as bait to ‘recharge’ the masculine battery.
ellauri112.html on line 730: The revelation that Tully is a version of Marlo’s former self removes the possibility of a different life she represented. “I love us,” Marlo’s husband says to her, as she lies in her hospital bed. “I love us too,” she replies. This collective noun is the acceptance of the status quo, just as Tully’s last speech, in which she tells Marlo she should embrace her dull life – “being boring means you’re doing it right” – is an endorsement of the sacrifices society requires of her. The final scene, in which Marlo’s husband helps her make the packed lunches, is bathed in a saccharine glow: learn to love your claustrophobia, it tells women. The nuclear family is the only one worth having.
xxx/ellauri229.html on line 486: Tully in the Tully_(2018_film)" title="Tully (2018 film)">film of the same name
xxx/ellauri306.html on line 232: soodan (vedetön natriumkarbonaatti) valmistamiseksi Tullyn laakson eteläpäähän
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