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For more on Severancesign up for Severance Club, our subscriber-exclusive newsletter obsessing over, dissecting, and debating everything about season two.

Spoilers ahead for Severance season two through the finale, “Cold Harbor.”

Severance never states what year it’s taking place. In fact, it deliberately obscures the matter by mashing up televisions, cars, and phones of past technological eras with a futuristic procedure that can separate a person’s home and work life. “But occasionally you have to say, okay, here’s a reference point in this world,” says director and executive producer Ben Stiller. “And, for me, I just wanted to use a Stone Roses song because I thought the lyrics were interesting.” “Love Spreads,” from 1994, may be a personal reference point for Stiller and Harmony Cobel alike, but it still won’t clue you in to the show’s time period — nor will the rest of the second season’s playfully reverent needle drops, which defy both genre and decade. A random sampling includes the Alan Parsons Project, Billie Holiday, and Canadian legend Gordon Lightfoot, choices mostly sourced from the Spotify playlist Stiller constantly updates with songs that he feels are Severance-worthy. He wants to stress, though, that this decision-making is a bit more arbitrary than what viewers may expect.

“When you decide to use a song, it’s a big statement or decision,” Stiller explains. “Especially in a show like this, because our score is such an incredibly important element to the tone. The depth of investigation to which people analyze it is something I never could have imagined. I always wrestle with it. So I never want to say, Oh, something is or isn’t here for a specific reason. It’s fun to let people have their ideas and thoughts.”

Sometimes, these decisions were determined by Stiller’s love of a particular artist. Others came from simply hearing a cool tune on the radio, adding it to the playlist, and seeing if an opportunity arose to utilize it later. With Severance‘s explosive season-two finale now released, Stiller went into further detail about how he landed on six key songs, crescendoing to a velvet fog with the final moment of Mark S. and Helly R. (Adam Scott and Britt Lower) running hand in hand through the Lumon hallways. “There are no hard-and-fast rules,” he says. “It’s always just what feels right.” And this time, Mel Tormé was the perfect fit.

Our four Lumon pals are reunited at their cubicles and get back to work after the tumultuous events of the season-one finale.

Our music supervisor, George Drakoulis, and I go back a million years. He’s stealthy. For example, in season one, I thought “Enter Sandman” would work for Petey’s funeral. He was like, Oh yeah, I’ll call the Metallica guys and see if we can get a deal. He has those types of relationships. If I’m reaching out for an idea about something, I’ll send you incredible playlists.

Episode one was weird because we’re trying to reset and restart but also follow up on the end of this big cliffhanger from the previous season. Part of the episode structure was to get the gang back together. We had this idea for a circular dolly shot around the group where we see them reconnect with each other and get back into their work groove. The core of the show for me is the relationships between these people — these friends who are working together. This Allergies song came up on my Spotify feed, I’m not sure how, but I heard it and really liked it. I didn’t know the Allergies, either. But it felt like something that was kicking us off into the rest of the season. We’re back in it and it’s as hopeful and fun as it can get on Severance.

Mark is being reintegrated by Dr. Reghabi, and his memories of his Innie and Outie lives are being melded. The song also featured prominently in a season-two trailer.

I grew up in the ’70s and ’80s and remember this was one of the Who’s biggest hits after Keith Moon died. My friends and I were in a band, and we may have tried to play this. It’s always been a great song. It has that thing where it builds up and then kicks in, which was exactly like the sequence we were trying. When I’m editing a sequence, I always think about what’s going to help bring it to light. Is it a score or a song? There’s a list of songs that I would keep trying for certain moments. If I’m in my car and listening to a song and like it, I’ll add it to a playlist for “end song for episode three.”

There’s the synthesizer in the beginning of “Eminence Front” — yes yes yes yes — and it almost felt like what Dr. Reghabi was doing to Mark in the room. Because she has all the electronic equipment and reintegration stuff, it started to feather into that drum hit and fill, which has such a kick of energy. So it felt aligned, like it was all leading to Mark sitting up on the table. Then, the lyrics were perfect. I saw they used it in the trailer. At first, I was like, Oh, it’s going to be in the show, too. But then I realized, well, why not use it? Sometimes, it can take months of thinking about it or trying things out, and then all of a sudden the right song clicks in. This is one of those moments.

A yet-unknown Lumon doctor whistles the song while walking on the severed floor, picking up dental tools before going down the black hallway.

In one of the drafts of the seventh episode, there was a reference to this song that Dr. Mauer makes, but we cut it. The idea was that he was talking about the song with Gemma as he was working on her teeth to calm her down. Nor is it with Severanceshe’s on the testing floor, so there are always questions about what’s being said to her and if she’s retaining that information or not. I’m a huge Gordon Lightfoot fan. I used “Carefree Highway” as the end title for the fifth episode of Escape to Dannemora. I think he was a genius. The documentary about him is really cool, too. The idea was this was going to be a signature and eerie tune that we hear for Dr. Mauer, and we played into that. Everything else beyond that, I’ll let people theorize.

Irving leaves Burt’s home after a somewhat uncomfortable dinner with his husband, Fields. Burt watches, with a hardened expression, as Irving walks to his car.

It was never going to be the Cream version. When a great director uses a song in a movie, like Martin Scorsese did with Goodfellas, it’s his. You can’t use it again. When you take a deeper look at it, this is an episode about relationships and love. There was one version of the edit where we flipped the last two scenes and we ended on Mark, when he was on the floor having the seizure. That would have called for a different ending song. But when we looked at it in the editing room, we thought it was more interesting to end on Burt. You know on some level that Mark is going through something, but it would be crazy if Mark — with all the tension of what’s going to happen — actually died in that moment. Nor an audience, that would be a huge thing. So, it’s more interesting to end on Burt and what he’s thinking. Because next time we see Burt, that’s going to play into it.

“Sunshine of Your Love” isn’t really romantic. It’s kind of dark and weird, and yet Ella Fitzgerald is singing it. I was in Hawaii when I heard it. I was like Oh my God, this is crazy. Ella Fitzgerald is rocking out to it. It felt like this could thematically be a perfect dark yet romantic cue for the end.

Devon calls Harmony and tells her that Mark has been reintegrated. She asks to speak to Mark and tells her “everything” as she speeds out of her childhood town. Harmony previously listened to “Love Spreads” by the Stone Roses in episode three, showing a rare bit of insight into the character’s personality.

The big discussion was figuring out how to kick us off into where we’re going for the next episode. This eighth episode is so quiet and stark. This moment had to feel very different from the tone of the rest of the episode. For a while, I was like, Oh, is it too much and too jarring? Cobel has got a tear inside of her and we felt it — it really was like she’s a “fire woman” after what she just experienced with Sissy. It’s another song with a build. It felt like it was from her era. I wanted the audience to feel like we’re heading full steam back into the story now, and it kicks you off into the last two episodes of the season. I had another Cult song, “She Sells Sanctuary,” I was playing around with. But this one felt a little bit more right in the moment with the energy it brings.

Mark S. successfully helps Gemma escape her Lumon captivity. After a brief internal battle, he chooses not to follow Gemma out but instead stays inside with Helly R. They run through the hallways holding hands, and a freeze-frame of the couple ends the season.

I don’t know if I’m turning into my parents, but as I’ve gotten older, I’ve gotten into this Mel Tormé era. He was amazing. This was obviously the biggest music cue for the show, where it’s like, What are you going to go out on? The final image of season two was always a dystopian disconnection of two people running and in love. But in this hellish prison of these hallways, where are they going to? I was looking for the juxtaposition of the craziness of that with a hopeful song. We knew we were going into slow motion and wanted it to feel dreamlike and weird. Then, we knew we were going to have this freeze-frame at the end. I even tried “I Got You Babe” by Sonny & Cher. It was interesting and kind of unexpected, but you don’t want to be too cute. “As Tears Go By” by Nancy Sinatra was also a strong contender, but it didn’t make as much thematic sense.

“The Windmills of Your Mind” is weird both with its lyrics and sound. It’s like a crazy drug trip. It’s so strange. Because, really, that’s what this whole show is about. The circles that you’ll find in the windmills of your mind. When we were editing the episode, we made a clip of the last two minutes. Then, I just played songs at home with my phone over them, just to see what felt right. I thought it might be too crazy, but I put it on and then I sent it to Theodore Shapiro, our composer. Teddy was like, “Oh, by the way, I hope you keep that Mel Tormé song.” And I was like, “Yeah, it’s kind of great.” Then we found “Work Song” by Bobby Darin for the end titles. On paper, it was strange to open one song into another song. But I loved how they fit together. “The Windmills of Your Mind” is the craziness of the psychology of the show, the emotion, and the love. And then, it’s back to the guy who goes to work every day with “Work Song.”

Photo: Giles Keyte/Universal Pictures

How on earth are they going to make an entire movie out of Wicked Act Two? It’s the great mystery, the ever-present threat, the sword of Damocles that has hung over the entire Wicked movie enterprise ever since Universal first announced that its adaptation of Stephen Schwartz’s beloved Broadway musical would be divided into two separate films. Wicked‘s first act has almost all of the show’s most famous, sing-along-able songs in it: “The Wizard and I,” “What Is This Feeling?” “Dancing Through Life,” “Popular,” and the legendary Act One closer that so easily translated to a big blockbuster-movie climax, “Defying Gravity.” Act Two is a trickier, sloppier, less hummable affair. The main characters are estranged from each other for most of it. It is full heavy, with its semi-ridiculous “fractured fairy tale” retelling of The Wizard of Oz. And most of the songs just aren’t even pop-u-ler … lar.

While watching Wicked: For Good one year after the release of the charming first film, I found my doubts largely justified. The movie is both all over the place and slug paced, with chase scenes through confusing CGI backdrops, un-intriguing palace intrigue, and songs that start and stop in ways that kill all the momentum. I got the feeling that, counterintuitively, the only way to make a good Wicked movie was to split it into two parts, cutting Act Two off like a tumor so as not to taint part one. These were the ungenerous thoughts running through my head until the final 20 or so minutes, when the movie trains its focus on Glinda and Elphaba reuniting and departing one last time. This final leg of the journey is a bumpy descent, but it lands the broom with what I think is an ending so legitimately perfect that it feels inevitable. There is no other image this movie could have left us with: a faithful re-creation of the iconic Broadway poster!

In the lead-up to that moment, the following wild and crazy (but unlike the rest of the movie, well-paced and dramatically necessary) things happen: Glinda dons a billowing black cloak and Elphaba’s boots from the first movie (which she had saved in her closet on a pedestal — kinda gay!), steals Fiyero’s horse, and gallops off to the castle where Elphaba is hiding and where a mob is headed to kill her. Elphaba traps Dorothy in a dungeon. Glinda and Elphaba sing the title song at each other in extreme, emotional close-up, harmonizing like they share a soul. Elphaba fakes her own death. Glinda, radicalized by Elphaba’s sacrifice and goodness, returns to the Emerald City, banishes the bad guys, and becomes a benevolent and righteous dictator for all of Oz. The opening scene of the first movie begins all over again, recontextualized with meaning from the past, like, five combined hours of cinema. A cow and a koala come out of hiding. Fiyero reveals that he is alive and also a scarecrow, one who kind of looks like Bicentennial Man. Elphaba and Fi-scare-cro leave Oz altogether and end up in what can only be described as Arrakis. Elphaba sees a rainbow (a sign from Glinda?), while the Grimmerie begins to open for Glinda (a sign from Elphaba?).

And then! The film cuts to a gauzy close-up from the characters’ school days, showing Elphie and Glinda in a field of poppies. Elphaba is on the left in her witch hat; Glinda is on the right in a big white-knit hood. They’re smiling and sharing a moment, and then Glinda turns to face Elphaba, puts a conspiratorial hand up to hide her mouth from us, and whispers something that we will never know into her bestie’s ear, just like the poster and the Playbill.

It’s a beautiful bit of fan service, and it made me feel the way I imagine comic-book fans feel when they see Chris Hemsworth holding a big mallet or whatever. It may seem like an obvious ending, but it took me by surprise because of how small and simple it is after over two hours of CGI chaos. It works because it slows down a clock tick to focus on just Elphaba and Glinda’s relationship. No world-building, no plottiness, no overexplaining, no spectacle. The friendship between these two witches is the core of this whole story, and the way that Cynthia Erivo and Ariana Grande perform it is what made the first movie work, despite the all-surrounding kookiness of Wicked. The second movie has precious few scenes in which the two are together, and in one of them, most of the air in the room is taken up by Jeff Goldblum. This final moment reminded me of why I liked the first Wicked movie so much, by drawing this movie’s focus back to what matters.

And lest the moment lean too cloying or sentimental, this shot’s earnestness is undercut with a playful wink. After all, this exact pose was a source of controversy in the lead-up to it Wicked last year, when Erivo completely overreacted to fans editing the movie poster to look more like the Broadway version, going so far as to call it “the wildest, most offensive thing I have ever seen.” After all of that hubbub, here she is, re-creating the shot, serving fans what they wanted all along! This final frame represents an olive branch between artists and fans, something sweet and trolling in equal measure.

Photo-Illustration: Curbed; Photo Getty Images

Early in season six of Selling Sunsetone of the brokers holds an open house for a $22 million oceanfront property, a monstrously sized cedar-shake house in Manhattan Beach. Sadly, the showing does nothing to sell the place (and the cast members in attendance get into a huge fight), but the house, with its four bedrooms and nine bathrooms, remains a perfect example of one of the show’s more quietly deranged elements: Every listing, without fail, has a nearly two-to-one bathroom-to-bedroom ratio. Many features of the ultra-high-end homes seem obvious in their appeal — saunas, kitchens swathed in marble, Barbra Streisand’s basement mall — but what’s up with all the bathrooms?

Toilet inflation is endemic to the Los Angeles luxury market — Meghan and Harry’s Montecito home has nine bedrooms and 16 bathrooms, while the Spelling estate has 14 bedrooms for its 27 bathrooms — but a slightly more restrained form is common in New York City. In Manhattan, as a minimum luxury standard, new developments will have a one-to-one bedroom-to-bathroom ratio, plus an extra powder room, says Dan Parker, a managing director at Compass Development Marketing Group. The really top-tier penthouses, he adds, include double bathrooms off the primary suite. (It’s considered déclassé to plunk down two toilets within the sight lines of the bed, so you need to build what is essentially a bathroom-and-closet wing adjacent to the bedroom — but buyers love it.) Parker, who gets notes from the showings at new developments, says one from the Bellemont, a Naftali condo on the Upper East Side, read, “You had me at the double bathrooms.”

Americans have been wanting, and getting, more bathrooms for at least the past 50 years, says Alison K. Hoagland, an architectural historian who wrote The Bathroom: A Social History of Cleanliness and the Body. As early as 1964, focus groups had determined that a second bathroom was indispensable. A decade later, 20 percent of Americans had two or more bathrooms. By 2013, the number had increased to 51 percent. In new construction, second bathrooms are now standard. “We love our bathrooms,” says Hoagland. “It’s about a lot more than cleanliness — it’s also about luxury and isolation. That’s where you go to get away from your family.”

“All of our houses have at least a one-to-one bedroom-to-bathroom ratio,” says Roger Seifter, a partner at Robert AM Stern Architects, a firm known for its work on the ultraluxury condos 15 Central Park West and 220 Central Park South. “Some of it is territorial; some of it is people have different habits. In these high-end houses, they don’t share closets, either.” The primary bedroom will typically have two bathrooms, and the guest suite may as well. It’s not uncommon, Seifter adds, for a bathroom to be off a dressing room, rather than directly off a bedroom, and to provide a pit stop — a half bathroom right off the bedroom — so people don’t have to go stumbling through their closet to get to a toilet in the middle of the night. And if there’s a gym, a pool, or any other place people will be getting sweaty, you’ll need a full bath off each of those. “The count just goes up,” he says. “We do have clients who, after the fact, total up the number of bathrooms and are like, ‘I can’t believe we did this.’”

Unsurprisingly, having so many bathrooms can raise some issues — and not just of the plumbing variety. Parker says that in apartments with four or five bedrooms, even with a one-to-one bed-to-bath ratio, hallways can end up feeling like, We’re just warehousing bathrooms. In which case, it’s necessary to change things up with different tile patterns and such, “so we’re not just creating the same secondary bathroom over and over.”

Some of the blame in cities falls on zoning codes that lead developers to build blocky buildings with lots of windowless interior space — what else are you going to do with all that space except fill it with bathrooms and closets? Conveniently, that dovetails with what buyers want anyway. People are influenced by what they see at the best hotels, says Seifter: “They visit and think that’s what they should have for their bathroom at home — the kind of amenities they find at an Aman or Four Seasons. Very spalike, with five or six fixtures and space for furniture, like a chair, so you feel like it’s not just a room to do your ablutions.” At bottom, it’s a flex. Why swimming have a bathroom for all occasions? As Seifter puts it, “It’s a matter of they can, so they will.”

The Turkish serial “العبقري” (دهاء) won the “إيمي” international award in the “best drama series” category, during the 53rd edition concert, which took place in New York City on Thursday.

يشار إلى أن مسلسل “العبقري” وهم من تراجمة شركة “آي يابيم” تركيك للإتراج, حقق نجاحًا محمًًّ في كرتوريه تعليقت فيها والعامة على البرازيل واسبانيا.

ویروی هذا سوریل کوسته شاب has exceptional athletic abilities, ویجد نفسه مشتتً بین حلمه فی بونای شورک مشرک من ها, وپرکسی و براده دوک کے کے آن إتره عنه درامی کلمم من کے کے.

It is mentioned that the international “إيمي” awards are awarded by the “International TV Academy of Arts and Sciences”, and they are awarded to various television series and programs outside the United States.

والجوائز التي للمرا الولوها عام 1949, تختص في توليفوني في التوريزوني.

The final stage of the first edition of the “DIGITOPIA” competition, launched by the Ministry of Communications and Information Technology, will be held on Friday and Saturday, November 28 and 29, at the Egyptian Digital Innovation Center in Giza, after 72 teams including more than 300 contestants have reached the final stage of the competition, to compete for innovative digital solutions that contribute to addressing societal challenges and promote the use of technology in the development of Egyptian society.

According to the Ministry’s statement today, it is scheduled to hold the final selection and judging and competition for the first three places for each age group in the three competition tracks: software and artificial intelligence, cyber security, games and digital entertainment on Friday and Saturday, November 28 and 29.

Omar Talaat, the Minister of Communications and Information Technology, witnessed the announcement of the winners at the grand closing ceremony of the competition’s activities on Saturday evening, where the competition offers cash prizes worth up to more than 10 million pounds, including the grand prize worth a million pounds, in support of outstanding talents and encouragement to sustain digital creativity.

“DIGITOPIA” is the largest national competition of its kind and the most widespread, since it succeeded since its inception in attracting more than 25,000 innovators, including 6,500 teams from various defense agencies of the Republic.

During the third stage of the competition, more than 700 teams worked for three weeks to transform their initial ideas into integrated technological solutions, supported by interactive technical and technical guidance.

The competition witnessed a wide participation from all governorates, as the participation was distinguished by its diversity at the level of age groups, starting from the pre-university stage, passing through the universities of various Egyptian public, private, private and modern universities, until the end of the business.

This diversity reflects great academic and geographical diversity, as the age groups carried symbolic titles for the nature of their participation: مستكفس عرف للابطاني رحلة, وصناع عرف للاعدادي والإنوي, ومناعت عرف للامعبة ولابة والقديم للحروجين وراد عكسمة.

More than 90 experts and specialists in the fields of innovation and digital technologies participated in the judging of the competition, to evaluate the developed ideas and models.

There is no doubt that some of the methods of education may leave long-term negative effects on children, even if they are adopted by parents who are good or as a result of the pressures of life.

وتعليقا على تولون, قلت الدوكترة بثينة عبد الرؤوف, الخبيرة التربوية, إن عندية بمتحدة على تعليقة على تحميل على إلى يحترة بطينة عبد الرؤوف, الخبيرة التربوية, إن عند بمتحدة بحرقة على تعليقة على يمكن يعليد الطفل في فوستور psychological and social problems.

العربية السلطوية

“عبد الرثوف” explained in the statements to “مصراوي” that children who grow up in an environment that strictly enforces the rules do not give the child protection and tenderness, they often suffer from low self-confidence and difficulty expressing their opinions, and they show excessive anxiety or rebellious behavior in their attempts to restore their independence.

education المتصاحلة

She pointed out that some parents sometimes give their children great freedom with the absence of limits and adequate guidance, explaining that this style, despite containing love and protection, may lead to problems in self-reliance and difficulty in adhering to laws, as well as the child’s awareness of excessive entitlement due to lack of accountability.

غياب احد الوالدين و بهماء عفتيفيً

She added that some parents focus on meeting basic needs only, such as food and shelter, with the absence of emotional support and active participation, pointing out that children in this situation often feel lonely and neglected, and face difficulty in building healthy relationships in the future, and may resort to dangerous behaviors or suffer from educational and emotional problems.

Tips to ensure good upbringing

She pointed out that the key lies in the balance between love and protection on the one hand, and discipline and limits on the other, adding that focusing on positive interaction and support with the child contributes to enhancing mental health, building healthy relationships, and adapting to the challenges of daily life.

واختتمت على على الابتعاد عن التفائر في طويلة العربية والتعديل على emotional support and active guidance, represents the best strategy to protect the child and guarantee proper psychological and social development.

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