Viraldice

Grey's Anatomy Season 16 Episode 11 kicked off with Meredith getting closer to the new Irish doctor her BFF Cristina sent for her. 

And it concluded with Meredith questioning her feelings for DeLuca. 

What went down in between? A whole lot of flirting, that's what!

Meredith and Cormac are both widows, and work very well together in a professional environment. 

When the patient they were operating started on started to deteriorate, Cormac went ahead with his plan of action, after Meredith's fell apart. 

But here's the good part about that. He didn't ridicule Meredith for getting it wrong. Instead, he cared more about the patient's wellbeing than getting praise from his peers. 

However, he noted that Cristina would have wanted all the praise and would have rubbed it in his face if the roles were reversed, ultimately calling her "an absolute nightmare."

This cause a problem with Meredith because Cristina is one of her best friends, so she was not about to let him trash talk her. 

Cormac later apologized to her and spoke about his deceased wife, and Meredith opened up about Derek. 

“It gets better. Not all the way better obviously but a little bit better,” she told him of the grieving process. 

There was an undeniable connection between them, but Meredith wanted to find DeLuca and get some closure ... or to restart their relationship. 

Mer told DeLuca she missed him. His response?

“I didn’t dump you, Meredith, so you don’t have to miss me,” he said.

But the pair worked together to save a dying patient at the close of the episode, confusing Meredith even more. Yup, there's a love triangle brewing and we are here for every single minute of it. 

Meanwhile, Maggie was cut up about the lawsuit for the wrongful death of her cousin, and she vowed she would not be returning to work. 

This did not sit well with Richard, who was worried about her wellbeing.

“If you quit now, you’ll be quitting on all those lives only you can save,” Webber said to his daughter.

Richard skipped work to try to get through to Maggie, but Catherine was not amused because she felt like he was lying to her. 

Catherine questioned his honesty and implied she was ready to end her marriage to him. 

“I think it’s time for us to have a much bigger conversation,” Catherine said. 

Is another Grey's romance about to die? It sure looks that way!

Which brings us to Amelia's baby drama. After months of teases, we finally know that Link might not be the father. 

He was shocked and saddened, but there was nothing he could do about it. He respected Amelia for coming clean. 

Now, we have a long wain in store to find out the truth. 

Grey's Anatomy continues Thursdays at 9/8c on ABC. 

A blackout in Khartoum motivates a group of elderly ex-filmmakers to recreate a scene from Billy Wilder’s Sunset Blvd. in which Gloria Swanson saunters down some stairs. Through a joyfulness rooted in profound affection and knowledge, Ibrahim, Suleiman, Manar and Eltayeb demonstrate what it means to have filmmaking running through your veins in Suhain Gasmelbari’s Talking About Trees.

Some context: after the Islamist government’s military coup of 1989 in Sudan, political restrictions led people to watch films at home, replacing the treasured cinema experience with a “new lover” (digital film). Decades later, enthusiasm for a potential rebirth of the physical, communal experience is clear, as some even admit to having never seen a film on the big screen.

The director focuses on four forcibly retired filmmakers bonded by their contagious passion for film and genuine friendship which endured decades of separation, struggle and exile. They aim to reopen an old cinema for a free screening, but National Security stands in their way.

The title was inspired by a poem by Bertolt Brecht, which explores the authority of dictatorship and how shifting the dialogue to monotonous topics emphasises that which cannot be spoken. Of course, films aren’t trees, but as films are often used to illustrate a nation’s culture and individuality, trees have symbolic importance for ethnicity and identity.

With glimpses into their timeworn idiosyncratic work, the film heavily implies an urgency for the return of cinema for our heroes. Their careers were ended, their talents wasted and their voices muted. This film reflects the lost opportunities of a country full of potential and many hungry for creative self-expression.

The combination of comical remarks, jokes and nostalgia – emerging from friends reminiscing about a simpler past – often conceals the seriousness of the issues explored, resulting in a bittersweet undertow that feels strangely relevant.

The post Talking About Trees appeared first on Little White Lies.

There are so many experiences that, as a young woman, you chalk up to experience. Creepy bosses and overfamiliar co-workers; pushy male classmates who will criticise you whether you sleep with them or not. We are instructed to be quiet, stoic, compliant, even in the face of sustained torment. Eliza Hittman’s heartbreaking Never Rarely Sometimes Always demonstrates these expectations and systems of oppression in unflinching detail.

In the UK, we’re lucky to still have healthcare which is free at the point of use and provides safe birth and termination options for those who need them. Things aren’t so simple in the US, where access to abortion is determined by state law, and as such subject to different rules and regulations. Seventeen-year-old Autumn Callaghan (Sidney Flanigan) realises this following her unplanned pregnancy. Her options in rural Pennsylvania are limited and require parental consent. Worried about how her family will react, she confides in her cousin Skylar (Talia Ryder) and the two set off on a journey to New York to get Autumn the help she needs.

Hittman’s work as a filmmaker is always understated, remarkable in its precision and honesty in dealing with serious issues. Her previous feature, Beach Rats, depicted internalised homophobia with a similar acuteness, and Never Rarely Sometimes Always nails the troubling reality of reproductive rights in America today, highlighting how few options are available to vulnerable women. There’s a sense of dread which haunts the film as its teenage protagonists attempt to navigate the complex healthcare system while also dealing with predatory men. But there’s not an ounce of melodrama to be found.

There’s light, too: Hittman emphasises the bond between Autumn and Skylar, demonstrating how female friendship is essential when faced with a situation as hopeless and unfair as this. Autumn’s journey is short relative to those made by countless teenage girls every day around the world; even then, millions more are forced into unsafe abortions or attempts to self-terminate, which can be fatal to the woman. One only hopes that the people with the power to change things for the better will see this film and take note.

The post Never Rarely Sometimes Always – first look review appeared first on Little White Lies.

Meri Brown either hates being a member of the Sister Wives cast...

... loves to stir up speculation on social media...

... or perhaps some combination of both these things.

What else is there to think about the veteran TLC personality after she posted the above photo on Instagram this week -- and included with it yet another mysterious caption.

This has become a common practice for Meri, who simply never seems happy with her life as one of Kody Brown's four Sister Wives.

We can't say we blame her for feeling this way,

We're just curious if she'll ever do anything about it.

Back in September, Brown wrote about one should never "allow yourself to be used" and added that one ought to love, of course, but never "allow your heart to be abused."

Does that sound like a woman content in her marriage?

Meri, of course, sort of split from Kody years ago, only to end up a humiliating catfishing scandal that partly contributed to her returning to the controversial relationship.

She has since talked about a "new beginning" with Kody, only to continually fuel speculation that she may leave the marriage by sharing content such as her most recent Instagram post.

"I am me. I'm comfortable with who I am and what I do," wrote Meri to open this new, lengthy caption, continuing as follows:

"I focus on what I have and what I'm doing and don't get wrapped up in what the other person is doing, or how successful the other business owner is."

Sounds like a smart philosophy, and not necessarily reflective of someone dissatisfied with her ongoing lot in life.

But then Meri continued...

I distance myself from toxicity, and draw closer to positivity. I create a safe and positive physical space to be surrounded by.

I enjoy being with the people who enjoy being with me. I want people in my life who want to share and occupy the same space, and cherish the good times with them.

This seems especially notable right now because Meri did NOT spend her birthday with any Sister Wives.

Moreover, all the Sister Wives appeared to totally snub and ignore her on that occasion.

Sounds like some serious toxicity, doesn't it?

To conclude her intriguing message, Meri looked toward her future and cited her past and, once again, came across like a person in search for meaning:

I leave myself open to the possibility of love, growth, change, improvement, challenge, and all the things that will lead me to become a better woman, a kinder person, in a more positive headspace, and able to conquer challenges and realize my dreams.

I look forward to what's ahead, leave the past in the past, and enjoy the here and now. This is what matters. This is my vision.

So, to recap:

Meri is open to the possibility of love, which makes it appear as if she doesn't feel that emotion right now with Kody.

And she seeking a "more positive headspace."

And she wants to leave "the past in the past."

We're not crazy, right? Meri Brown is absolutely gonna leave Sister Wives, isn't she?

As the Sundance Film Festival starts to wind down for another year, the dust on a feeding frenzy has begun to settle in Park City. The press may be in town on purely critical grounds, but the industry types have come to Utah with checkbooks in hand, keen to snatch up the year’s next big sleeper hit.

The biggest-ticket buy of the festival comes from the folks at Neon, currently riding high on the overlap between the waves of praise for Parasite and the waves of anticipation for Portrait of a Lady on Fire.

They plunked down a $17.5 million chunk of change for Palm Springs, a Groundhog Day riff produced by the Lonely Island boys, in which Andy Samberg and Cristin Milioti get trapped in a time-loop together. (The exact price tag included an additional sixty-nine cents, presumably so that they could break the record previously set with the purchase of Birth of a Nation, and cue up thousands of jokes involving the word “nice.”)

The other headline-grabbing acquisition came from Disney’s recently de-Foxed studio branch Searchlight Pictures, which ponied up a hefty $12 million for The Nighthouse. The film joins Rebecca Hall as a widow gradually discovering the dark secrets her deceased husband left behind, and Disney knows full well that no genre translates small budgets to big box-office returns as reliably as horror.

After slinging the most cash during last year’s festival (and taking serious fiscal hits on releases like Late Night and Brittany Runs a Marathon), Amazon returned undeterred. They doubled up with deals for Herself, in which a single mother conquers her own homelessness by building a new one from scratch, as well as Uncle Frank, Alan Ball’s period piece about an older gay man contending with the death of his brother. (Ball’s film also drew a steep $12 million sum.)

Sony Pictures Classics was even busier, snatching up three of the somewhat lower-profile titles. The first was The Father, a character piece in which Anthony Hopkins portrays a man slowly succumbing to dementia. Then came documentary The Truffle Hunters, a peek into the clandestine world of Italy’s most prestigious white truffle harvesters. Last up was I Carry You With Me, a drama revolving around an aspiring Mexican chef who crosses the border in pursuit of success.

In the wild world of streaming, the commotion was no less hectic. Netflix came to the festival with a stable of films already secured – the Taylor Swift documentary Miss Americana, Dee Rees‘ new feature The Last Thing He Wanted, to name only a couple – and plucked two more from the lineup. The Walter Mercado bio-doc Mucho Mucho Amor and the timely refugee thriller His House will both appear online later this year

Meanwhile, Apple had their own gambit to attend to. They teamed with A24 to come up with the $12 million that got them the rights to Boys State, the most high-cost documentary buy in the festival’s history. The film tracks a daring social experiment in which one thousand 17-year-old boys from across Texas formed an independent colony with its own government – the think pieces write themselves.

A few major titles remain to-be-claimed (looking at you, Miranda July‘s Kajillionaire), but the avalanche of deals at this year’s Sundance promise a lively movie calendar for the rest of 2020. Expect to see these titles filling out the dog days of summer, the antidote to blockbuster programming in July and August.

The post Which movies sold big at this year’s Sundance Film Festival? appeared first on Little White Lies.

A tempestuous character with a distinct sensibility, photographer Jim Marshall successfully encapsulated 1960s and ’70s America in his photography. Not only did he allow us entry into this transformative and tumultuous period in American history, he also laid bare his soul in his work.

In Show Me The picture: The Story of Jim Marshall, director Alfred George Bailey paints an even-handed portrait of a coarse yet sensitive man. Bailey pays particular attention to Marshall’s uncanny ability to capture his subjects – namely musicians such as Bob Dylan, the Rolling Stones, Jefferson Airplane and Janis Joplin – with striking candidness.

In a cafe in New York City’s West Village, Dylan is pictured with a distinct calmness about him, coffee resting atop a table as his wife sits across from him. There is a vulnerability and at-ease-ness about Dylan in Marshall’s images. Given Dylan’s reputation as a deeply private person, it’s telling that he appears completely relaxed in Marshall’s presence. This unobtrusive artistry extends throughout Marshall’s remarkable body of work; his pictures are evocative in the truest sense of the word.

Yet this is not a sentimental or romantic biography, as Bailey makes a point of foregrounding Marshall’s volatile nature, destructive drug habit and brushes with the law. Marshall may be the photographic father of a zeitgeist but he is also flawed and complicated (the film implies this may be symptomatic of a troubled childhood, but passes no judgement). There is a poignant irony about a man attuned to the emotions of his subjects but not necessarily his own.

The post Show Me The Picture: The Story of Jim Marshall appeared first on Little White Lies.

If the release of Terry Gilliam’s long delayed and much ballyhooed fantasy satire The Man Who Killed Don Quixote proves anything, it’s that not all long delayed, much ballyhooed passion projects need come to fruition. The fates tried to stop the director from making this film for nearly 30 years, throwing down a gauntlet of natural disasters, bad luck and budget shortfalls that eventually halted each attempt at production. Maybe Gilliam should have listened.

But the director persisted, and finally in June of 2017 his opus was in the can thanks to the participation of influential creative benefactors like Adam Driver. Despite such a long gestation period, the end result feels like it’s been created on the fly using a hodgepodge of meta-commentaries that strip Miguel de Cervantes’ original text of its true mania. Gilliam instead embraces one of the laziest forms of filmmaking; the hackneyed subpar Fellini homage.

In the opening scene, a pouty, entitled commercials director named Toby (Driver) admits that forcing his entire crew to relocate to Spain in order to shoot a more authentic advertising spin on Don Quixote might have been a bad idea. The firm’s overbearing Boss (Stellan Skarsgård) doesn’t much care though; there’s a Russian oligarch with a vodka company who needs wooing.

All seems lost until Toby happens upon a pirated DVD of his old student film, which was filmed in the same area nearly a decade before. Seeing images of the black-and-white art film about an ill-fated, mentally ill, self-described knight errant inspires this young man to stray from the corporate assignment and investigate the ghosts of his creative past.

The Man Who Killed Don Quixote makes certain that this journey into the abyss of memory and regret will be, well, quixotic. Upon entering the mountainside town he so fondly put to celluloid, Toby quickly discovers that his presence permanently altered the course of many lives, including the cobbler Javier (Jonathan Pryce) who now actually believes he’s the Man of la Mancha.

Gilliam’s ramshackle, uneven adventure narrative pushes Driver’s cocky Hollywood asshole through a strainer of amateur surrealism and political symbolism just to humble his ego. Jumping from one loosely connected confrontation to the next, Toby follows Javier down a black hole of rambling monologues and unthinking chest thumping, all in the name of chivalry.

What’s most surprising about The Man Who Killed Don Quixote is its lack of ambition. Gilliam has always been an envelope pusher with films like Time Bandits, Brazil and 12 Monkeys, but here he’s operating on autopilot. The bloated runtime and redundant nature of most dramatic scenes makes for a tiresome, exhausting experience.

The film culminates with an extended costume party sequence set inside a castle owned by Putin’s kindred spirit, a Russian fascist who just wants to watch the world squirm. Journeymen by trade, Toby and Javier appear sympathetic by comparison, but to what end? Gilliam pigeonholes them as conduits for a world (and artistic medium) that leads only toward madness, but the worthy kind. It’s such a limiting and strangely banal perspective for a filmmaker who for so long has been lauded for his limitless imagination.

The post The Man Who Killed Don Quixote appeared first on Little White Lies.

Science says that humans are at their most miserable at exactly 47.2 years old. Does anyone want to provide anecdotal evidence in the comment section? (The Guardian)

A very interesting new take on the Marshmallow Test: it might not be about delayed gratification, but about being social. (Ars Technica)

Annie Murphy Is Letting Go of Schitt's. EW, DAVID. (Marie Claire)

Great news for those who couldn't catch Hamilton in the theater (that would be like, 99.99% of people, yes?). The movie will feature the original Broadway cast! (Full Circle)

When I was a kid, I was obsessed with Old Country Buffet. Particularly those triangle-shaped fried pieces of "fish". And the self-soft-serve ice cream. Oh god, I want some right now. Here is an article about the economics of all-you-can-eat buffets. (The Hustle)

Though Terminator: Dark Fate received very good reviews, the worldwide box office wasn't great ($260 million), so a sequel to the planned trilogy is not looking promising. And you know what? Linda Hamilton says she'd be "quite happy" never to do another damn one of those films. We don't really need anymore Terminator films, either, but where the hell else do we get to see Linda Hamilton? (THR)

Billy Porter says that the Kardashians are "so kind & down-to-earth", and I dunno about that. I mean, I'm sure they're kind to him. (Celebitchy)

Why the media is so polarized -- and how it polarizes us. (Vox)

Rose Byrne is set to star in a 1980s TV show about aerobics and is that perfect or is that perfect? I can already picture her in spandex and leg warmers. But also, do I need to subscribe to Disney+? (Dlisted)

The Desire for Friendship Runs Deeper in Primates Than We Thought. (Literary Hub)

Brad Pitt and Jennifer Aniston use the same stylists, which is interesting because he was such a babe when those two were together and then turned into a bit of a slob after their divorce, no? I think Brad chameleons himself to whomever he's dating, and style-wise, I think Jen is the best choice. (Lainey Gossip)

Welp: The Last Time Democracy Almost Died. (The New Yorker)

Welp, the second: America's Radioactive Secret. (Rolling Stone)

Welp, the third: The Secret History of Facial Recognition. (Wired)

As someone who remembers very, very little of her childhood, this was a fascinating read for me: How Much Of Your Childhood Are You Supposed To Remember? (MEL Magazine)

I'm just going to leave this link to a graphic of Perceived Aggressiveness Of Presidential Candidate Supporters right here. (Online Harassment Data)

Mainstream Media Are Obsessed With Comparing Bernie to Trump. (Jacobin)

Can you believe January is almost over? In 2020 time flies and a day lasts 300 years. Registration for Cannonball Read 12 ends tomorrow. Reading, reviewing and talking about books is a great way to de-stress from all of *waves arms around* this, and you can help raise money to fight cancer. (Cannonball Read 12)

Love her:

View this post on Instagram

When your husband tells you "I appreciate you" but the toilet paper roll is always empty when you sit down to take a shit

A post shared by Ali Wong (@aliwong) on Jan 24, 2020 at 10:44am PST

Shots have been fired. Sebastian Stan -- known best to Marvel fans as Bucky Barnes, aka Winter Soldier, aka Steve Rogers/Captain America's best friend -- posted a story to his Instagram that indicated he was less than enthused about how things turned out for his character and, in particular, what wound up happening to Steve and Bucky's friendship.

But, let's start at the very beginning, as I've always heard that's a good place to start. Over on Twitter, the official UK and Ireland account for Marvel Entertainment posted an image of Steve and Bucky circa their days as soldiers in World War II. The caption read: "Together until the end of the line."

Someone replied to the tweet and sounded bitter about the "bad, inconsistent" writing for Steve. If you recall, Avengers: Endgame left Bucky hanging in the present while Steve left both him, Sam Wilson, and the rest of the Avengers to live out the rest of his days in the past with his old sweetheart Peggy Carter. So, it was more like "together until the end of the lie," according to the reply.

Sebastian Stan quietly posted a screenshot of the exchange to his Instagram, adding the wide-eyed, shock-faced emoji. Though he didn't add any further comments, fans took it to mean that he agreed with the response and that he also believed Steve left Bucky hanging.

In an interesting turn of events, John Boyega tweeted in support of Stan, welcoming him to the club of voicing displeasure with a character's arc with a cackling Palpatine gif. (Boyega had previously been dragged for expressing distaste for Finn's storyline in Star Wars: The Last Jedi.) Check out Boyega's tweet below!

Welcome Mr Stan ! Welcome. pic.twitter.com/iuhHD2bbnR

— John Boyega (@JohnBoyega) January 30, 2020

I guess it is time to talk about the Wuhan coronavirus that is killing people in China while making appearances in the United States (here in Ohio) and other parts of the world. There are a lot of misconceptions out there about the virus, the deadly nature of it, and how exactly it travels from person to person.

First of all, the coronavirus has nothing to do with Corona beer, although a friend of mine did overhear a person refusing to drink it during the scare. Again, OHIO. Lots of people are taking crazy precautions like that, including a person that ended up on Reddit's r/savedyouaclick.

Will wearing water jugs on your heads combat coronavirus? | The U.S. Centers for Disease Control and Prevention doesn't recommend wearing plastic bottles on your head to prevent coronavirus infection. from r/savedyouaclick

I'm sure they thought that a face mask was a good way to avoid germs, so a plastic bottle must be ten times better but nope. Newsflash: Putting plastic on your face will keep you from getting the coronavirus only if you die of suffocation first. So avoid using garbage bags, shopping bags, Ziploc bags, and any other plastic in place of a paper face mask.

Another thing, you can't get it from eating Chinese food in Ohio unless someone travels to Wuhan Province, catches the SARS-like disease, tricks the people at the airport checking all inbound flights from China for symptoms, goes into the restaurant, and then sneezes right on your sweet n' sour chicken.

Also, being around people of Chinese descent that have never been outside of America will not make you sick, so don't be racist.

Hazmat suits, while likely a great way to avoid catching anything, are difficult to drive in and make you that person at work that takes off all of their clothes to pee. You don't want that, do you?

Some people might think that spraying your nostrils closed with hairspray will stop the virus but I am here to tell you that breathing through your mouth? USES THE SAME TUBES AND LUNGS AS THE NOSE. I know, it is shocking.

You're probably thinking, "Jodi, I bet people that work as costumed team mascots and cartoon characters are safe in their deathtrap outfits." WRONG. More than one person uses those outfits! Do you think they hose down the inside after they slide out of Winnie the Pooh's pantsless legs like a wet fart from between slick cheeks?

NO, THEY DON'T. They just pray to the House of Mouse and exit before handing over the costume made of 20 percent foam, 10 percent polyester, and 70 percent gooch sweat, hoping for the best. So don't steal any costumes, okay?

Seriously, though. As of this writing, 170 people lost their lives to the virus. At least 124 recovered from the illness and 7,700 are reported as infected. This has people climbing the walls and freaking out about possibly contracting the virus.

Meanwhile, the 2019-2020 flu season, a disease with a vaccine you can get at your local pharmacy for little to no money that will lessen symptoms or help you fight off the illness entirely, has claimed the lives of 8,200 people while 140,000 people went to the hospital for it.

The bottom line is this: wash your hands, get your flu shot, and don't travel to the quarantined areas of China. And for the love of Jebus, don't wrap your face in Saran Wrap and expect to avoid winning a Darwin Award, kids.

Yes I'm in denial that The Good Place is ending. Forever. Tonight. I'm not ready, and perhaps you're not either. Don't worry, Dan will have the full recap for you tomorrow, so please hold off on spoilers in the comments until then.

Ok, so first off, you're going to need this song right now:

This is the song they played for us on the last day of 8th grade and as such, it's the song I associate with endings, probably for the rest of my life because it's been well over 20 years now.

Are you ready? This is how William Jackson Harper, who plays Chidi, describes The Good Place ending to People.com:

"There was a lot of weird crying," Jackson Harper told PEOPLE at the Television Critics Association winter press tour. "For most of us, this is our most high-profile job, our most consistent job of our careers. To land on a show with such good people, and with such kind people, and such talented people, such smart people -- it's hard to say goodbye to that just because not every job is that."

I know weird crying well. In fact, it's the only kind I do so I fully expect to shed some weird tears tonight.

Anyway--Jason Mendoza is my favorite character to come out of television in a very long time, and I'm going to miss him something fierce. I'm not ready to say goodbye to him, but when are we ever ready to say goodbye? (I'm pretty sure they're going to tackle that on the finale tonight due to the invention of the door to the end of the afterlife in the last episode, and now the feelings of unpreparedness are starting all over again.)

At least we have my 8th-grade graduation song to cry to. Good luck with your emotions tonight, y'all.

Amy Roloff is clearly very happy to no longer be living with Matt Roloff.

That seems silly to say, of course, because the married couple divorced years ago and each side has moved on completely, with Amy even now engaged to Chris Marek.

But this opening does allow for a perfect segue to say the following:

It appears as though Amy Roloff isn't all that happy to be living far away from Matt Roloff.

The reality stars came to an agreement a few months ago in which Amy sold a majority of her land on the family farm to her ex-husband, most notably the plot on which her home had sat for many years.

This meant that Amy walked away with a decent chunk of change... but also that she had to walk away.

She had to find a new place to live.

How exciting, right?

Yes, to a certain extent.

But also how bittersweet, you know?

In a new Instagram Story video, Amy talked candidly this week about how she'll feel the loss of the Roloff farmhouse when she finally, completely moves out of it... which she is set to do very soon, once all her boxes are fully packed.

“Do you hear it?” Amy asks in this social clip, explaining in further detail:

“It’s late January, and yes -- those are frogs singing. I’m gonna miss this sound. I’m at the farmhouse late, still packing away!

"I just had to come out here and just … wow. Hear this sound again. I mean … ugh. I’m gonna miss it.”

This isn't the first time Amy has confessed that the move hasn't been so easy on her.

Yes, the new house in Hillsboro has five bedrooms and four bathrooms and it takes up an area of 3,767 square feet. But it's also not on the property that she's called home for decades.

"A new house is something both Felix and I are adjusting to," Amy wrote of herself and her dog in late December, adding at the time:

"Getting to know a smaller backyard, which is nice, living in a neighborhood, that’s pretty cool too, meeting some of the neighbors and working on making the house a home...

"Let’s face it, the farm will always be the farm, no comparison, but a new house in a new neighborhood will have its own adventure and it will take time to get use to it and 2020 will be another interesting year."

And Amy will of course have both Felix and Marek by her side throughout this adjustment.

Roloff bought the home back in November, but has been going back and forth since then between moving in completely and getting everything totally out of her former residence.

It now sounds as if the time may be near for Amy to be off the farm 100 percent.

And she's doing all she can to be ready for that moment.

"This sound is beautiful to me. I’m going to miss it. That’s it. Nature’s symphony," Amy added of the animal noises she was listening to in her latest video.

As for what will happen to Amy's farmhouse? Matt was actually just asked that question.

“Now that Amy has moved, who will live in the big house?” an Instagram user asked the patriarch this week, to which he replied:

"Amy hasn’t quite gotten completely moved out yet. After she does we will figure out a plan.”

If you woke up in a cold sweat last night, with a singular thought pulsing through your skull meat: Is Gerard Butler OK? You're not alone. I had that same thought, too. Looks like they're at it again.

Friends, it's a question I ask myself frequently, and not just when their night terrors wake me up. Why? Why not! I like Gerard Butler! I think PS I Love You is very dumb, but very good. Den of Thieves is unintentionally hilarious. The Has Fallen series is one of the best ones we have going right now and one day I'll write about the perfect cross-over movie idea I have for it called Hummingbird Has Fallen which will also be the official sequel to the greatest movie of all time, Con Air. So naturally I am curious whether or not Gerard is doing OK at any given moment. He's a national treasure.

It gives me no happiness to deliver sad news to you that he is not doing OK, so I won't do it. Want to know why? I think he's OK at the moment!

How do I know this? Well, it's based on the lack of news surrounding him, and the minimal social media posts he's made.

For example:

#DollyPartonChallenge meets real life and workin 9 to 5 in the movies. You're a legend, @DollyParton. pic.twitter.com/4mP6hcUCQ4

— Gerard Butler (@GerardButler) January 25, 2020

That's a playful post, right? No admissions of anguish or anything? Looks like he's doing OK!

Then there's this Instagram post.

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Riding into the weekend. #FestinaAlwaysFits #WearAWatch @festina.watches

A post shared by Gerard Butler (@gerardbutler) on Jan 17, 2020 at 6:58pm PST

He looks OK there, too, doesn't he?

Friends, I'm happy to say that it is my official opinion that Gerard Butler is in fact, OK, right now. I'll be sure to update you if this status changes in the near future.

If you're like me and are in withdrawal after The Circle finale (and have checked in to make sure Joey and Shooby were still friends), fear not because Netflix's Love is Blind is here to fill that void. The reality show does seem to function a lot like The Circle, but with romantic relationships. Is love really blind? That's a very loaded question, but Love is Blind is determined for its contestants to find out.

In the first trailer for the reality show, an equal amount of women and men enter secluded rooms to chat up a potential significant other. They'll go on dates and get to know each other, but the only catch is that they can't talk face-to-face at all, so they'll quite literally be falling in love with the other person's personality, gasp! It's only after they're engaged that they'll get to finally see each other.

Since I'm personally over The Bachelor, this looks right up my alley. Getting to know people without having met them face-to-face is a huge part of our social media culture at this point. However, while The Circle contestants at least used profile pics (even if some of them were cat fishing), the Love is Blind contestants are going in with zero information.

Watch the Love is Blind trailer below!

The Netflix series will be hosted by Nick and Vanessa Lachey, whom I forgot actually existed. Again, like The Circle, Love is Blind will air four episodes every week for three weeks beginning February 13. Right before Valentine's Day, how fitting.