A few weeks ago, Jason came back from a reporting trip to Barbados and made a comment about how some Bajans thought he was from the Caribbean, because his accent changed when he was there. This was fascinating to me. The ensuing discussion made me realise that all of us had shifted our accents at various times, which got me thinking about all the unconscious ways in which we code switch, alternating between different identities.
The MAX rumbles through the opening shot of James Sweeney's new Portland-set psychological dramedy, Twinless. The train clears to reveal an empty restaurant. It's quiet, but forebodingly quiet- almost peaceful. Soon, the city swells into a bustling yet pointedly isolating backdrop for this black comedy about two grieving young men who bond in a support group for those who have lost a twin. This tranquility won't last.
I felt like I was asking her if she wanted to make out. The Big Lebowski-the 1998 Coen-brothers movie about bowling, pot, and mistaken identity-is one of my favorites, and I was nervous about introducing it to her. I like to use Lebowski quotes as a way to assert myself while, like Jeff Bridges's character, "the Dude," not taking things too seriously.
working as the library manager at the International Center of Photography, overseeing projects for Dashwood, and producing zines through her publishing house, Matarile Ediciones. Spending her days poring over others' work, some titles have shaped her idea of what makes a photo book truly remarkable - from Carmen Winant's My Birth, with its tactile documentation of women in labour, to Nobuyoshi Araki's Winter Journey, which sequences his wife's final days in hospital and their honeymoon in a moving, elegiac rhythm.
Every week in my psychology practice, I meet people from around the world who share stories marked by loss, hope, fear, love, displacement, and resilience. Listening to them has deepened my understanding of how culture and tradition influence identity, relationships, and a sense of belonging. Yet I also see how these very foundations can be used to justify war, leaving individuals and families caught in an impossible dilemma: whether to uphold
After turning heads with his breakout presentation at NADA Miami last winter, Lee Moriarty is stepping back into the spotlight with Balance, his first solo exhibition. Opening September 27 at Night Gallery in Los Angeles and curated by Adam Abdalla, the show marks a striking debut that blurs the lines between performance art, wrestling culture, and personal identity. Through eight new works, Moriarty shifts focus away from the spectacle of the ring and toward the quieter, more vulnerable realities of the luchadores who inhabit it.
When I was a teenager in the 1980s, I had a lot of favourite items of clothing: scrunchy turquoise cargo trousers with an elasticated waistband, grey suede pixie boots, a skimpy beach T-shirt with the word Hawaii written on it (a place I have never visited), a Cyndi Lauper-inspired ra-ra skirt with ruffles in pink, white and, yes, turquoise. But there were so many objects of desire that I was not permitted to acquire: crinkle-effect stilettos, a Frankie Say Relax T-shirt, jelly shoes, drainpipe jeans, a matador hat like the ones Mel & Kim wore Also out of my reach for most of my teens was the thing I wanted most: the effect of a whole outfit.
"Precipice Don't lose your footing The wall might be a floor" I type this list into my Notes app as I visit Lily Wong's studio. In her work, she plays with the tenses and outlines of narrative. There is a flexibility here. A reliable narrator is not to be found. The older you get, the less sure you are of your fixed personhood. How open can you leave a story?
Michael emphasized that the government's primary responsibility is to care for its citizens, arguing that migration should benefit those already living in the country. He expressed concerns that unchecked mass migration does not meet this criterion, pointing out how his journey as a legal immigrant from Canada shapes his views on immigration policy.
"Are we here or not? If we are, where and if not, where have we gone? If we exist, for whom and when? Sir... were we ever there, or never at all?" This powerful dialogue from 'Haider' captures the existential questions surrounding the identity and presence of Kashmiris amid conflict.
The sense that we are a solid entity, an unchanging entity that exists someplace in our body and takes ownership of our body, and even ownership of our brain rather than being identical to our brain, that is where the illusion lies.
"We work so hard for something that is so fleeting. The feeling of winning-it just doesn't last that long. When I sit back at the end of the year and reflect on things, I have a deep sense of gratitude, but it just doesn't satisfy."