Owelia Week, Day 3

‘Please page Dr. Shepherd.’ the boy was crying over, really scared. He was holding a little girl hard. Owen felt really weird that he used the word ‘page’. He must be like 14 years old? He doesnt know, it just feel weird. The boy ask again, but very careful to not scared the little girl and everybody knew that they should call social service. But Owen decided to gave the boy a shot. Their parents were on a OR right now. He deserved a shot.

‘Ok kiddo. I will page her, but you need to tell me what to tell her.’

‘Tell her that Mason is asking for her, that my parents are hurt and that I am alone with Georgia, page 911.’ he says, with a shaky voice, clearly trying to hold his feelings.

‘I doubt that she will answer, I mean, its a tumor. No way that she will get of that surgery because of 2 kids, we should call social service right now.’ Edwards says. But Owen decided to page anyway. The boy was scared and wasnt fair to him.

Amelia took less than 2 minutes. After the page, she took less than 2 minutes. No one believed. Once the boy see her, he cried relieved, and run to her with the baby girl.

‘Amelia’ he mumbled, while she put him closer, telling him that everything was going to be fine and asking about his sisters.

‘Georgia is sick, thats why she was with us. The girls are with Violet. Amelia, I am scared.’

‘I know Mase, calm down, you are coming home with me ok? You need to sleep and eat something, I will call Violet and they will inform us about your parents, everything is going to be fine.’ She said, hugging the little boy and picking up the babe girl, that screamed in joy once that she saw who was it. 

‘MIAAAA I miss you’ the girl wrapped her little arms on Amelia’s hair and snugged. She was already sleeping and the boy looked relieved. Both of his parents were on surgery, but he seems fine.

‘I was afraid that they would just call child service and I didnt get to talk with you. And they took away Georgia and..’

‘Hey, if that happened I would find both of you and bring you back, lets go home, you look exausted.’

Owen was amazed. Amelia just ask them to call if something happens and took the children, like they were her own.

The next couple days he didnt even get to see Amelia, so he decided to get at the house to see how she was doing.

Mason open up the door all cover up in floor.

‘Oh, hey Owen right? We are baking a cake, come in.’ Mason said, he obviously were having a lot of fun.

‘Hey Amelia’ Owen said looking at Amelia that was decorating a cake with the babe girl. Man, he wants that woman’s babies.

‘Hi Owen, would you like to join us?’

They have the best time, almost feel like family time as Amelia taking care of the kids and tell them stories and put them to bed. 

She finally sit on the couch with Owen, as he asks

‘Do you want? Babies I mean.’

‘I love kids, I want all the types of kids Owen. I though that was obvious.’

‘But do you want them with me?’ He was scared. She could tell. He was terrified that she doesnt want his kids.

‘I want anything with you Owen.’ Amelia said, while puting her head on his neck, and hugging him tight.

He felt relieved, he found his family on her, and he couldnt be more amazed by that woman. His true love.


Mad Max (2015) dir. George Miller 

Have you ever watched, listened, or witnessed something that is so incredible, so awesome (in the traditional sense of the word), and so insane that no amount of wordplay could ever hope to capture its brilliance? 

That’s essentially how I feel about Mad Max Fury Road, the fourth film in George Miller’s Australian dystopian action film series. All of the elements from previous Mad Max films are there: the endless desert, the psychotic gangs that rule the wasteland, tricked-out cars that shouldn’t function, and the titular character’s single-minded quest to survive at all costs while still trying to do the right thing. One of the main differences here, however, is that it seems as though George Miller and co. now have all the money they could ever ask for to fully realize Miller’s insane vision, and holy shit did they succeed in that endeavor. 

To put it briefly, the entire film is nearly one long sustained “car” chase that only rarely takes a few moments to breathe (or, as is most often the case, to dump water on an overtaxed engine). There is no piddling around to set up the universe of the film other than quick news snippets as Miller brings us into the world. Within 30 seconds, we’ve got all that we need to situate us into the action, and then film puts the pedal to the metal. If you’ve seen any of the trailers to this film, you’ll more than likely have noticed the giant sandstorm/fire tornado that engulfs what seems to be the entire desert. Whereas most films would use such a bombastic set piece for their climax, the sandstorm here occurs within the first 20 minutes of the film, and it is far from being the most impressive action scene in the film. 

Despite reveling in the cacophonous action that takes a majority of the screen time, Mad Max Fury Road still manages to develop its two main characters Max (Tom Hardy) and Furiosa (Charlize Theron) and their relationship, which evolves so effortlessly and natural throughout the film. I seriously cannot recommend enough that you see this film in theaters on the biggest screen possible, and I am honestly not sure if there is/will be any other action film this year to compete with it. Fast & Furious needs to take some notes because Mad Max Fury Road just rewrote the book on how to do vehicular action. 

“Without opening your door,
you can open your heart to the world.
Without looking out your window,
you can see the essence of the Tao.
The more you know,
the less you understand.

The Master arrives without leaving,
sees the light without looking,
achieves without doing a thing.”

— The Tao Te Ching


The Secret of Kells (2009) dir. Tomm Moore & Nora Twomey

Written by Mason

I have always been a huge fan of animated films, thanks in part to my voracious consumption of Cartoon Network and Nickelodeon during my childhood. Lately, I’ve grown a little bored, however, with the current landscape of animated films. It’s not that films such as Big Hero 6 or How to Train Your Dragon are “bad” per se, it’s just that they are all starting to look the same to me. Most animated films these days tend to be created entirely with CG, and while CG has certainly allowed more animated films to be made, I don’t find myself as visually enchanted by them as I used to be. Fortunately, this film, Tomm Moore & Nora Twomey’s dazzling little film about the origins of Ireland’s greatest national treasure, reminds me of the visual splendor that animated films are capable of.

To reflect the actual Book of Kells immense beauty, the directors of this film spared no expense in recreating the majesty of that book’s illuminated pages, creating one gorgeous image after another, and often dramatically changing colors to situate us in new locales. From wonderful arrays of greens found in the forest, to the deep blacks and blues found in Abbot Cellach’s chambers, and to the fiery reds and blacks that characterize the invading vikings, at no point does this film ever become “boring,” at least visually. Some viewers might bemoan the film for not focusing very much on its narrative, but fortunately (or unfortunately if you’re like me) it doesn’t outstay its welcome, lasting only 75 minutes. If you’re a fan of animated films, if you like to be overwhelmed with jaw-droppingly beautiful images, I cannot recommend this movie enough.

Here’s IMDB’s plot synopsis:

A young boy in a remote medieval outpost under siege from barbarian raids is beckoned to adventure when a celebrated master illuminator arrives with an ancient book, brimming with secret wisdom and powers.

Here also is the film’s trailer, in case you need a little more convincing:

As always, you can find more posts on film, art, and all things visual on our website


La Belle et la bête (1946) dir. Jean Cocteau

Written by Mason

I’m currently taking a class on French Fairy Tales at my university, and we recently watched this adaptation of the classic story from French director Jean Cocteau. Out of every fairy tale we’ve read in that class, La Belle et la bête is by far my favorite, but even that couldn’t get me too excited for a 1946 black-and-white adaptation of it. However, it didn’t take the film very long to pique my interest, and I soon found myself enraptured by Cocteau’s beautiful, sumptuous imagery.

Every single frame of this film seems to be immaculately composed, as if Cocteau was attempting to take the perfect photograph (and what is a film but a series of quickly changing photographs?). Playing with shadows, light, slow-motion, and a healthy dosage of surrealist imagery, Cocteau creates a film that works for both children and adults. Children will find that the film sticks fairly close with the original tale while adding a Gaston-esque romantic subplot (sorry Disney fans, Gaston himself is wholly a Disney creation), and adults will marvel at the exquisite images on display.

If you interested in checking it out, here’s a fairly new trailer from Criterion that’ll give you a good idea as to what the film is like. 

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