EXCLUSIVE I discovered my husband's affairs as he lay dying of cancer. After he slipped away, I called one of his lovers who said something that turned my rage into floods of tears
A green-eyed gentleman was gazing at her across the room.
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Daily Mail
a day ago
- Daily Mail
EXCLUSIVE I discovered my husband's affairs as he lay dying of cancer. After he slipped away, I called one of his lovers who said something that turned my rage into floods of tears
Kerstin Pilz was eyeing up the canapés at a book launch when her attention was caught by something far more intriguing. A green-eyed gentleman was gazing at her across the room.
The Review Geek
2 days ago
- The Review Geek
Our Movie – K-drama Episode 10 Recap & Review
Episode 10 Episode 10 of Our Movie begins with Je-ha once again reimagining a scene from the remake. Seo-yeong claims he had better choose her as she will be the one who stays by his side. It cuts to Je-ha being alone, presumably after Da-eum's death. At present, Da-eum gives her monologue on why the film is important to her. It starts snowing and they wrap up for the day. This leads to everyone discussing and gossiping about this revelation. Agent Go believes the movie is going to blow up and tries to get Seo-yeong to leave but she refuses. Dr Kim confides in Je-ha that Da-eum's condition has gotten worse and she has been hiding it. Cheol-min's clique worries about their fate should Da-eum die in the middle of the shoot. AD Hong finds Jun-byoung crying as he feels that he has failed Da-eum as a manager. The location has been snowed in by the next morning and Je-ha announces a break. Da-eum blames herself but he promises that they will finish the film. Investor Han wants to replace Je-ha and shows up with Director Park. Some crew members have already leaked Da-eum's illness to the internet and Je-ha is under fire for using her. Han threatens to pull the funding but even Seung-won hesitates to bring the sleazy Park aboard. Reporter Noh lurks around for more gossip and refuses to remove Seo-yeong's name from his articles. Upset, Agent Go breaks his camera. Cheol-min quits, refusing to use Da-eum or his colleagues for the sake of a film. As everyone leaves the location, most of the crew quits. Je-ha drinks with Seung-won who feels sorry but doesn't understand Je-ha's motives. Je-ha reveals that all of Du-young's films have been written by Eun-ae, his mother and he wants to expose the truth. Seung-won is upset as this will ruin Je-ha. Back in the city, Jae-in regrets her harsh words to Da-eum. Director Park wants Agent Go's help in kicking Je-ha out from the film. Cheol-min's latest director badmouths Da-eum and he shuts him down. But he doesn't answer Je-ha's calls. The only ones who remain are AD Hong, Jun-byoung and Gyu-young who hang out in Da-eum's hospital room. Je-ha tries to take out a loan to finish the film. He then visits Da-eum and they talk about how they both gave each other strength. In a nearby restaurant, Gyu-young, Hong and Jun-byoung have dinner. Hong is writing a screenplay and Jun-byoung is in awe. He keeps flirting with her and Gyu-young runs off. Je-ha and Da-eum watch a movie by Du-young and find a teary-eyed Jin-yeo in the theater as well. He finally tells Da-eum Jin-yeo's story. Flashbacks show that Jin-yeo and Eun-ae are friends. Jin-yeo knows that Du-young is stealing his wife's scripts. She pushes Eun-ae to ask for credit for 'Love in White' but Du-young refuses. Jin-yeo threatens to expose him and he creates rumours of their affair. Jin-yeo doesn't want to work with him anymore but Eun-ae begs her to act in 'Love in White' for her sake. She also requests Jin-yeo to tell Je-ha the truth when it is time. At present, Je-ha tells Da-eum that he has finally understood Eun-ae's 'Love in White'. They end up talking about their first impressions of each other and banter. They also thank each other for helping each other change for the better. At lunch, Da-eum eats with Seo-yeong while Je-ha goes around town, appealing to all the crew members. He promises Cheol-min that he is ready to be responsible for every crew member. Seung-won is at a loss on how to bring back the investors. Je-ha tells him to use him and the producer begrudgingly calls Reporter Noh When Je-ha gets back to the hospital, Da-eum is in the middle of a seizure. Dr Lee wonders if it is enough for Je-ha to leave her. They talk about loving those who are bound to leave them behind. Je-ha confesses that he will never forget his mother, and won't forget Da-eum either. Seeing his sincerity, Dr Lee begs him to finish the movie for Da-eum's sake; it is the only way they can help her dream come true. At the end of Our Movie Episode 10, a sad Dr Lee Da-eum discharges her and Je-ha brings her to his family home. Most of the crew members, like Cheol-min, are back and she is touched. She runs out crying and confides in Je-ha that she is not ready to die. He tears up as he hugs her. It cuts to their tree that we see at the beginning of the show. The Episode Review Our Movie Episode 10 brings back the same philosophical musings on loving a dying person and the moral dilemma of casting a terminally ill patient in a movie about a terminally ill patient. While we had mostly seen Je-ha and Da-eum's take on this ethical discourse, this chapter gives us multiple perspectives from the selfish Investor Han to Jun-byoung who worries about Da-eum rather than the movie. Cheol-min speaks for most as he brings up another angle – the risk that applies to the crew's livelihood should Da-eum die and shut down the movie. This major conflict is also purely resolved courtesy of that impressive character development that Je-ha has gotten. He starts out as a selfish and stubborn man who only cares about himself, then the movie, then Da-eum and finally the crew members. But we still cannot get over the major blunder that was Namkoong Min's acting in the first 8 episodes. Je-ha isn't robotic and stoic anymore but his quiet internal conflict and moping are still very him. He is playful, he genuinely smiles, he is animated in his conversations and he cries. All of this makes him relatable, even though he is still quite reserved and closed off. This just proves that Namkoong could have acted the same way in the beginning when Je-ha was going through his artistic slump. Previous Episode Next Episode Expect A Full Season Write-Up When This Season Concludes!
The Guardian
2 days ago
- The Guardian
Irvine Welsh: ‘I'm often astounded that any relationships take place these days'
I was born in the great port of Leith. Stories are in my blood; listening to them, telling them. My family were typical of many in the area, moving from tenement to council scheme, increasingly further down the Forth estuary. I was brought up in a close community. I left school with practically no qualifications. I tended towards the interesting kids, the troublemakers. All my own fault. I was always encouraged to be more scholarly by my parents, who valued education. But I left school and became an apprentice technician, doing a City & Guilds course. I hated it. I was always a writer: I just didn't know it. I cite being crap at everything else in evidence. It's why I've never stopped writing stories about my youth and my go-to gang of characters from Trainspotting. Their reaction to events and changes in the world helps inform my own. They've been given substance by people I've met down the decades, from Leith pubs to Ibiza clubs. But I have never seen myself as an author. If I wrote purely for publication, and let it become a franchise, it would just be another job, albeit an enjoyable one, and better than digging coal. But I never wanted it to be that. As far as I'm concerned, I'm a writer. I de facto retired from the world of work over 30 years ago, packing in my day job at the council to pursue my hobbies of writing and music. If I had the inclination for franchise building, I would have released my books sequentially, in a temporal order, following the characters' lives. If I wanted to chase literary prizes, I'd have written the kind of novels expected to appeal to the people who judge such affairs. Basically, I wait until something inspiring emerges – theme, event, character or storyline – to act as a catalyst and pique my interest in finally writing up my notes, sketches and stories to publishable standard. Skagboys was the first thing I wrote, appearing on my Amstrad word processor as the opening sections of Trainspotting. The resulting book was way too long, so I threw away that first part, opting to take the reader right into the drug-addled world of Renton, Sick Boy, Spud and co, all the way back in 1993. When I got older and more reflective, I thought I'd revisit how the protagonists got into the state they did before Trainspotting: I'd write about the Thatcherite destruction of the traditional working class. So Skagboys (2012) revisited old territory. But in the meantime, I had leapt ahead almost a decade into those characters' lives with Porno (2002). I saw that book as being about the increasing commodification of sex, as we moved into the internet age. Way further down the line, Dead Men's Trousers (2018) was inspired by my experiments with the drug DMT, and the even more astonishing phenomenon of Hibs winning the Scottish Cup. And now I'm back with those characters again. Men in Love, taking place directly after Trainspotting, opens on a junk-sick Renton sweating in an Amsterdam hotel room with his bag of cash, with Sick Boy ferreting around London on the perma-hustle, Spud and Second Prize back in Leith, trying to avoid heroin and alcohol – the drugs that chose them – and Begbie a guest of HMP Saughton. As the title suggests, Men in Love is mainly about that time in life when men (generally in their mid-20s) start taking the quest for romance more seriously. Sign up to Bookmarks Discover new books and learn more about your favourite authors with our expert reviews, interviews and news stories. Literary delights delivered direct to you after newsletter promotion Novels, no matter how well researched, composed or projected, are always – whether you like it or not – at least tangentially about you. Writing Men in Love made me realise that, when I stop running away from it, I've usually enjoyed love unquestioningly, without feeling the need to analyse or even understand it. The checklists of dating apps, articles, self-help books, the inventories of salient points of attraction, ideal types and red flags always seemed to me a boring, algorithmic and reductive response to a very human, mystical phenomenon. Much of what I've learned about love has been experiential, not observational, about not being gun-shy and diving in when the opportunity presented itself. And yes, some romantic sensibilities have been augmented by the imagination and insight of various novelists, from Jane Austen to James Kelman. Looking back now, it strikes me that your mid-20s is a strange time to be embarking on serious romance. Linked to traditional modes of commerce, procreation and survival, we remain culturally bound by such influences, driven to 'settle down'. Once ossified in our social structure, such imperatives are now fading, and perhaps it's about time. For men in their mid-20s, the influence of your partner suddenly becomes greater than that of your peers. It also seems that, in an atomised, narcissistic society, we are left less equipped than ever to meet our bonding needs. The nurturing 'village' of old is replaced by the shouty swamp of the online experience, where people are compelled to create ludicrous personas that they can't live up to in reality. No wonder so many people can no longer be bothered with the whole business. I'm often astounded that any relationships take place at all. Men in Love is my attempt to look at where men go wrong (and maybe sometimes right) in our efforts to subjugate our own pulsating needs to do daft, fabulous things like watch sport, get drunk and obsess about obscure musical offerings, for the greater good of romance, commerce, status, procreation, sex, and yes, L-O-V-E; whatever the motives for joining together with someone are. I think it is as much – probably more – a book for women, who acutely understand the nutters they went out with in their 'bad boy phase', as it is for such men (and I still count myself as only a semi-reformed version of that breed) to understand themselves. It's a crazy, romantic, joyous journey through our higher aspirations, and the inherently ridiculous mortal stupidity and selfishness that constantly undermines them. Things have changed since I wrote Trainspotting. The working class (like the middle class and the government) no longer have any money, trades or careers; just a patchwork quilt of precarious, low-paid jobs waiting to be destroyed by AI. Some deal drugs. This is usually not really for profit, but youths – like the preening oligarchs who dominate the world – need compelling drama. They engage in meaningless turf wars, constantly in search of their own dopamine hits to distract from the uselessness society has pushed them into; an existence of eating rubbish and watching crap on screens, bloating into obesity as their mental health crumbles. The working class are no longer represented by any political party. They have no voice: nobody will write about them, make films about them, far less advocate for them. They are expected to die quietly. Why publish Men in Love at this time? I think we need love more than ever. Loads of it. Orwell wrote: 'If there is hope, it lies with the proles.' I think now, if there is hope, it lies with the lovers. Men in Love by Irvine Welsh is published by Jonathan Cape on 24 July. To support the Guardian order your copy at Delivery charges may apply.
