I was wondering, in your biblical academic training, how much was the Criterion of Embarrassment presented? Perhaps it wasn’t addressed at all? Perhaps it questioned and dismissed?
Generally speaking the Criterion of Embarrassment is a tool to discern authenticity of New Testament accounts by what would have embarrassed or created difficulty for the early Church.
One example would be Jesus’ death: the absolute last thing any devout Jew of the early first century would expect of Messiah is that he'd be so easily capture, flogged, publically humiliated by being nailed to a cross and executed like a common criminal – all this after totally failing to deliver the Jews from Roman oppression.
Another example would be documenting that women were the first to discover the empty tomb and report back to male disciples who were hiding in fear (and for that matter women being described as leaders in the early Christian Church.) Perhaps another would be Jesus’ first attempt to heal a blind man seems at first to fail.
In context these things appear to work against the Gospel authors message in that Jesus was the Messiah, and yet the Gospels record it anyway.
I appreciate your comments and time. Thanks.
Disclaimer: I get that the Criterion of Embarrassment isn’t a mic drop, and can't tell us very much in a vacuum, and that it is just one method among many.
Everyone left very sweet and well meaning comments telling me to be careful and to relax a little before jumping into something. I honestly appreciate it. But I deleted the post when I realized I sounded like a twelve year old and maybe was moving too fast.
Luckily we were all wrong. We just celebrated one year and I’ve never been happier.
We have a home together. Today’s his one day off and like he does every Sunday, he woke me up with a hot latte in bed from our favorite place. I’ll go make him his fav Sunday breakfast in a second. We’ve never fought - we schedule time to talk about things we wanna talk about lol.
I don’t necessarily recommend moving as fast as we did but I knew that he was special and that we were special together. Thanks to everyone who tried to get my head on right!
ETA:
Omg thank you guys!! I was just feeling sappy and in love with my coffee in bed.
Thank you sooooo much to everyone sharing similar stories. I’ve loved reading all of them.
Edit; You guys oh my god. This posted exploded! You are all so freaking amazing! Thank you all for the silver and gold! I feel so welcomed. I really would like to show off more of this universe that I’ve made! Anyone know where I can post more about it? I really want you all to see! Thanks again! Love you all!
It all started when I was about 11 or 12. I was a nerdy preteen and use to spend all my money on action figures. Marvel, Dc, horror, Star Wars, gi joe, you name it. But my favorite were a series of figures called “Dc Universe Classics.” Those were the ones I bought most of. They were and still are some of the coolest figures I’ve ever owned. I had so many and would play with them all the time. I didn’t have a lot of friends, so being upstairs on my own with these figures was my life. They were my friends.
This all started when Iron man came out. I remember loving it, and hearing about the shared universe idea. I was excited. But deep down I wished that DC would do the same. One night while I was playing with my Batman and Robin figure, acting out an adventure. I got an idea. I ended their little story with what some would call a “post credit scene”. I was so excited that I had come up with that idea. The following weeks, I played other adventures with other Dc characters. Doing the same thing, ending their little adventures with teases for something bigger. Finally, during Christmas break. I brought all the members of the justice league together. With the new figures I got that Christmas I could make it a true adventure. I see scenes to music on my computer and iPod. I was so pleased with what I had created. I kept this process going for years. Literally.
I’m a huge film nerd and would take Inspiration from tv and movies. Mainly the MCU, and the ill fated DCEU. I had my own little world that I would plan and pick music and write small scripts. I was totally in control. I was like a director. And in my head the “fans” were always pleased.
I hit a few speed bumps and stopped for months, but would always pick right back up. Where I left off. I would plan little trailers based off real movie trailers. I went deep with it. I was in love with doing this. It was always on my mind, no matter what. This huge plan for a shared universe.
I did this for 10 years. Almost 11 now. It’s not like the MCU where it’s going to go on for 30 more years. My “Films” have an end. I’m planing on acting out the last one very soon. I’m honestly so sad. This has be
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And if it doesn't flush down every last particle, you make sure by pouring in water or flushing again?
It’s crazy how much has went wrong this season. This tournament has been a disaster. You had all season to prepare it. Embarrassment epic. Pure embarrassment.
I just don't feel like taking a risk by paying a premium for movies I've never seen and not sure I would like, even if the bonus features are awesome. Speaking of which, sometimes the bonuses play a bigger part in buying something than the movie itself for me.
The Prime Directive's 'Warp Drive' criterion is arbitrary and was chosen as retroactive history to justify the Vulcan choice to meddle in the affairs of humans.
Let's ignore the events of Star Trek: First Contact for a moment.
For one thing, it didn't happen that way the first time around (or maybe it did depending on exactly which time travel theory the episode/movie writer is subscribing to today,) but secondly and more importantly, history does not record those events. Until the year 2373 and a very lengthy debriefing by Temporal Investigations, everyone knew that Vulcans made contact with humans on their own, and there were no Borg on Earth at that time, and U.S.S. Enterprise NCC-1701-E was not present at those events, so that's what we're going with as history, because we are primarily concerned with intervening years.
But here's my question: why? Why would Vulcans contact Earth, at least longer than it took to get the state of affairs of the planet? Earth was a ruin in April of 2063. Lawless anarchy was the order of the day; Zefram Cochrane was just some random maverick scientist out in the middle of bumfuck egypt, in an anarchist hick camp in the sticks.
The Federal Government of the United States of America had collapsed. There was no law or order in sight, justice and peace flowed from the barrel of your own firearm. If it wasn't Star Trek the state of affairs as of the day before the day before First Contact Day would be more reminiscent of Fallout. Lily is worried about being attacked by an "Eastern Coalition," and we're allowed to believe this probably refers to Far Easterners like the Chinese, Russians and what-not.
But hold on, most of the Enterprise crew she had seen were, or were most-easily presumed to be, various flavors of caucasian and african/african-american descended humans. The only asian she had seen was Alyssa Ogawa, a Japanese woman. Everyone was speaking English. The most foreign voice she would have heard was that of Jean-Luc Picard, a Frenchman who frankly speaks English like he was educated in London.
Does that mix really sound like a bunch of people who represent Moscow and Beijing?
Sounds more like the kind of mix you might find from the urban eastern seaboard of the United States; New York, Boston, Washington DC. Lily was afraid that Bozeman was being forcibly reintegrated into some kind of forming successor state to the United States.
Bozeman, Montana, as of April 2063 was
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Ayyyyyy, I'm tryin' to watch a movie here, y'all mind not crashing the servers or whatever?
https://letterboxd.com/chrissweet1967/list/complete-list-of-films-coming-to-the-criterion-1/
$, Richard Brooks, 1971
3:10 to Yuma, Delmer Daves, 1957
The Adventures of Baron Munchausen, Terry Gilliam, 1988
The Anderson Tapes, Sidney Lumet, 1971
Angels in the Outfield, Clarence Brown, 1951
Arabian Nights, Pier Paolo Pasolini, 1974
Art School Confidential, Terry Zwigoff, 2006
Blackboard Jungle, Richard Brooks, 1955
Bob & Carol & Ted & Alice, Paul Mazursky, 1969
The Cabinet of Dr. Caligari, Robert Wiene, 1920
Cactus Flower, Gene Saks, 1969
Caniba, Lucien Castaing-Taylor and Véréna Paravel, 2017
The Canterbury Tales, Pier Paolo Pasolini, 1972
Counterfeit Kunkoo, Reema Sengupta, 2018
Cover Girl, Charles Vidor, 1944
Crumb, Terry Zwigoff, 1995
The Cruz Brothers and Miss Malloy, Kathleen Collins, 1980
A Dandy in Aspic, Anthony Mann, 1968
The Daytrippers, Greg Mottola, 1996
The Deadly Affair, Sidney Lumet, 1967
The Decameron, Pier Paolo Pasolini, 1971
Destiny, Fritz Lang, 1921
Directed by Andrei Tarkovsky, Michal Leszczylowski, 1988
Dr. Mabuse the Gambler, Fritz Lang, 1922
Dr. Strangelove, or: How I Learned to Stop Worrying and Love the Bomb, Stanley Kubrick, 1964
Edge of the City, Martin Ritt, 1957
Fail Safe, Sidney Lumet, 1964
Fly Away Home, Carroll Ballard, 1996
The French Lieutenant’s Woman, Karel Reisz, 1981
The Getaway, Sam Peckinpah, 1972
Ghost World, Terry Zwigoff, 2001
Gilda, Charles Vidor, 1946
The Hands of Orlac, Robert Wiene, 1924
The Hunger, Tony Scott, 1983
The Girl on the Train, André Téchiné, 2009**
The Golem, Carl Boese and Paul Wegener, 1920
In Cold Blood, Richard Brooks, 1967
Kill the Umpire, Lloyd Bacon, 1950
The Lady from Shanghai, Orson Welles, 1947
The Last Picture Show, Peter Bogdanovich, 1971
Leviathan, Lucien Castaing-Taylor and Véréna Paravel, 2012**
Losing Ground, Kathleen Collins, 1982
Mackenna’s Gold, J. Lee Thompson, 1969
Metropolis, Fritz Lang, 1927
Mississippi Mermaid, François Truffaut, 1969
Nosferatu, F. W. Murnau, 1922
Nostalghia, Andrei Tarkovsky, 1983
Of Time and the City, Terence Davies, 2008**
On My Way, Emmanuelle Bercot, 2013**
On the Waterfront, Elia Kazan, 1954
Only Angels Have Wings, Howard Hawks, 1939
Orlando, Sally Potter, 1992
The Out-of-Towners, Arthur Hiller, 1970
Paper Moon, Peter Bogdanovich, 1973
The Passenger, Michelangelo Antonioni, 1975**
A Patch of Blue, Guy Green, 1965
Repulsion, R
Just wondering which type of films you guys like the best. I wanna hear you be as specific as possible! (e.g. instead of just saying comedies, do you prefer screwball comedies? Ealing comedies?). Film movements such as Poetic Realism or Japanese New Wave, etc. count as well.
My personal favorite is classic period Film Noir (roughly 1941-1959).
> The most controversial film of the 1970s was banned across the world for its deliriously overheated, shockingly blasphemous tale of sexual frenzy and demonic possession in a seventeenth-century French convent. Based on Aldous Huxley’s novel “The Devils of Loudun” and John Whiting’s play “The Devils,” Ken Russell’s X-rated spectacle of the depraved stars Vanessa Redgrave as a hunchbacked nun whose lust for priest Father Grandier (Oliver Reed) sets off a perverse witch hunt and unleashes an orgy of sadomasochistic sacrilege.
To my knowledge the film has never been made widely available to buy in the United States. There was a DVD release that was planned but canceled in 2008. In 2010 the film was available to buy on Itunes for 3 days before being taken down. Shudder had a censored version of the film on their service for a few months in 2017, and Filmstruck had the censored version for a few months in 2018. I do not know when exactly it was added to the Criterion Channel, but I would not wait on this if you are interested in classic horror.
