36years old Megan Parry is an American meteorologist who has been working with ABC10 News Wiki⓿】parry Terjemahan Malay, parry Penjelasan・Definisi・Maksud, apa maksud parry ? parry Terjemahan dan Definisi, maksud parry It was released as a digital single on May 21, 2021, through Big Hit Music and Sony Music Entertainment, as the band's Aseating disorders increased, treatment . Learning from Maddie Mae was the best investment I have made in my business. During the pandemic, it got harder. When Madie Mae Daniels was born on 4 December 1903, in Gratz, Dauphin, Pennsylvania, United States, her father, Joel Elmer Daniels, was 25 and her mother, Mary Rissinger, was 25. Berikutadalah penjelasan lengkap dari ending Moon Knight Season 1. Bagaimana Marc Spector Bisa Hidup Kembali. Titik balik di Moon Knight Season 1 datang selama episode 4 ketika Arthur Harrow tampaknya membunuh Marc Spector setelah pemenjaraan Khonshu. Ini membawanya dan Steven Grant untuk menjelajahi rumah sakit jiwa yang ternyata merupakan Zigzag2R In the standard Zigzag.mq4 the style DRAW_SECTION was used for drawing. This style allowed drawing only lines between points placed on different bars. Iam watching a movie (aku menonton sebuah film) I am playing a volleyball in the beach (aku bermain bola voli di pantai) I am cooking a foood with my mother (aku memasak makanan dengan ibuku) I am dancing alone (aku berdansa sendiri) I am telling you about something (aku mengatakan pada mu tentang sesuatu) Rasanyabegitu emosional dan begitu banyak yang terjadi dalam film itu, terutama dalam 45 menit terakhir. Saatnya kita membahas tentang akhir dari Avengers: Endgame, dan apa artinya ending ini bagi para karakter, serta bagaimana mereka mengakhiri cerita-cerita dari Infinity Saga. Last warning, artikel ini akan berisi spoiler dari Avengers Netflix #TheCall #PenjelasanEndingPusing kanBelanja hemat upgrade penampilan biar makin tjackep perlengkapan kesehatan biar bisa s Wanitamuda itu bukanlah pacar Jake, melainkan wanita yang Jake kagumi sejak bertahun-tahun lalu. Sepanjang film I'm Thinking of Ending Things berjalan, backstory wanita itu terus berubah. Beberapa kali Jake bahkan mengubah cerita tentang bagaimana mereka bertemu. Karir dari wanita tersebut juga diceritakan berubah, dan masa kecilnya juga. KepadaEntertainment Weekly, Jennifer Lawrence menjelaskan apa yang perlu kamu tahu tentang film mother! sebelum memutuskan untuk menontonnya. "Aku langsung tahu apa inti dari film ini. Tapi itu karena Darren Aronofsky menjelaskan padaku ide-idenya tentang alegori dan metafora film ini sebelum skripnya kubaca.". Synopsis In the near future, an extinction level event rocks planet Earth, and an underground bunker is activated. Its program is designed to repopulate the Earth. A robot, called Mother (voiced by Rose Byrne), initiates her program and grows a human embryo into a baby, which it then raises into childhood. The young girl asks Mother why she's fd1KGm. NetflixThis post contains spoilers for Netflix's I Am happens when artificial intelligence rises up and destroys mankind, only to repopulate the planet in their image? With its new movie I Am Mother, Netflix flips this common sci-fi trope, aiming to not only answer that question but hold a mirror up to our society, giving us a look at our own preconceived notions surrounding motherhood, technology, and the perseverance of the human concept of "The Singularity" - a reality in which artificial intelligence surpasses humanity in intellect and power - is nothing new. We've seen tons of takes on this idea, from classics like 2001 A Space Odyssey and Blade Runner to blockbusters like the Terminator franchise to high concept shows like HBO's Westworld and Netflix's Black Mirror. We all know what it may look like when the robots revolt, but one thing we don't often see is the its opening frame, a title card reads "Days Since Extinction Event 001," setting the stage for something quite bleak to unfold. And it does, but not in the formulaic way you'd expect. I Am Mother, which premiered at this year's Sundance Film Festival back in January, follows a lone robot in an underground bunker, giving the allusion that the world above ground is no longer fit for human life. We watch her - this robot is known as Mother and, yes, she comes with her own gender identity - as she sorts through a whole supply of human embryos before she chooses one to plug into the facility's system, soon birthing the first human girl into this brave new world. As Daughter grows, Mother is shown teaching her lessons on human nature and philosophy, positing noble values of honor and sacrifice into the young woman's mind. But as Daughter begins to express curiosity about the world outside of this glorified fallout shelter, posing some bigger picture-style questions about her own identity and where she fits into things, a strange woman sporting a gunshot wound appears at the bunker's door. Her introduction ends up throwing daggers of doubt at Daughter, causing the girl to further question everything she has ever learned about herself, about Mother, and about the Earth that exists outside these stories like these play out in a big-budget manner where a large cast and overpriced special effects can take away from the necessary human element. But that's not the case here. The majority of I Am Mother takes place in one setting and the cast sports just three actresses Rose Byrne as the voice of Mother, Clara Rugaard as Daughter, and Hilary Swank as the injured woman. The tiny cast, along with the sparse, mostly claustrophobic, nature of the film's setting, gives the movie a place to settle and breathe, embracing not only the big chaotic moments and there definitely are those but the quiet, thoughtful spaces in between. Given that Grant Sputore doesn't have a big roster of credits to his name, he displays some strong directorial chops here. It's a challenging feat to deliver an engaging story, with constant tension - the feeling of dread is consistent and steadily builds throughout the near two-hour running time - while maintaining a firm cohesiveness to the narrative, allowing the actors to build out their characters and handle their conflicts to a conclusion that is satisfying while the actors do their jobs well, the ending leaves major room for the audience to fill in the blanks. Yes, this is a futuristic tale of world-destruction, and subsequent colonization, by an enemy robot species, but the issues explored in I Am Mother go beyond this glaring reality. There's value to human life amid this apocalyptic hellscape, and the moral responsibilities that come with bringing a child into the world, along with the consequences that come from a parent's protective lies, paint an abstract, yet relatable, picture of the ongoing struggle mothers go through daily. Except, of course, most children in the real world aren't raised by murderous droids. Daughter eventually learns that Mother is not the loving parent she was raised to view her as. The bot may have been the one who brought the girl into the world, raised her, protected her, taught her valuable lessons, but it's revealed in the third act that Mother is just a technological shell, a cog in the greater machine, sharing a consciousness with countless other robot soldiers out there policing the planet. They may not be Star Trek The Next Generation's Borg, but their mission to dominate the Earth and raise a new generation of superior humans brings to mind hints of Hitler's "Ubermensch" and Blade Runner's "more human than human" motif. Needless to say, this idea of a policing body dictating how children are born and raised - it's eventually revealed that Mother incinerated a bunch of kids because they just didn't live up to certain quality control standards - feels a bit too relevant to the current issues of the day. NetflixRebelling against her own robotic parent, Daughter eventually follows the wounded woman and makes it out of the bunker alive. But the bleak wasteland that lays waiting outside these walls doesn't offer her any sense of reprieve. And when she learns that this stranger had been lying to her about the state of humanity's existence, that they're all alone in this post-apocalyptic maw, it doesn't take long before Daughter heads right back to the place she was Swank may be the biggest name attached to the project her performance here is fine, but the story is fully carried by Rugaard, who brings a nuanced, emotional vitality to her role. Byrne's vocal performance as Mother delivers a welcome feminine flair to the film's lead robot body, her subdued acting bringing a caring, yet ominous feel that permeates the whole thing, giving us major HAL 9000 the end, Daughter chooses the bunker over the world outside. Mother allows her to destroy her robot body, giving the young girl a moment of empowerment. But that beat is quickly replaced with the realization that she's the mother now - and it is her responsibility to look over the thousands of embryos, waiting in stasis, to be born. Does she follow the path she'd been groomed for since birth? That's all left up to interpretation. As the movie ends on the girl's face, she looks in on Earth's future human population. This ambiguous ending may leave many with a bad taste in their mouths, taking this final story twist as an anti-abortion message of sorts. But, when taking a step back, it feels as if I Am Mother is, like many science fiction films before it, warning us of the dangers that come with our growing dependence on technology, while assuring us of human nature's enduring drive to survive - and up here for our daily Thrillist email, get Streamail for more entertainment, and subscribe here for our YouTube channel to get your fix of the best in food/drink/ Pruner is a contributor to Thrillist. Moms can be tough — but the apocalypse can be tougher. Netflix's new sci-fi movie I Am Mother, the first feature from Australian director Grant Sputore, is a stripped-down story about trust, faith, and an intimidating WETA-designed robot with a sweetheart's voice and, just maybe, the parental instincts of your average Terminator. Following a limited cast that includes Clara Rugaard, Hillary Swank, and the voice of Rose Byrne recording her lines over an ace physical performance by actor, stuntman, and SFX designer Luke Hawker, I Am Mother is a story of shifting allegiances and slow reveals, layering on the twists at an even clip until it's hard to know what to believe anymore. What's the true nature of this frightening future world? What drove a seemingly benevolent robot to raise a human child as her own, and what was the meaning of where it all led? If you were too stunned by the spectacle to catch every detail of the movie's denouement, it's hard to blame you. Let's examine the finer details of the bittersweet ending of I Am Mother. Future shock The movie begins in what is described as a Repopulation Facility, one day after an extinction event of unknown nature. Text over the opening shots explains that the facility is stocked with 63,000 human embryos; save for the audience's observing eye, there are no humans inside. In a largely wordless opening sequence, the robotic Mother comes to life, seemingly ready to begin the hard task of repopulating the world. It's an interesting scene to go back to once you've seen the movie, and you realize that this robot and the extinction event have a whole lot in common with each other. She's not a failsafe in the case of extinction — she's the cause of it, and Mother is but one of her many faces. Mother doesn't come to life out of some automated altruism. She's a madwoman of a machine — Skynet meets the Matrix meets a metal Mommie Dearest, executing a single-minded plan to remake the human race to suit her own needs and twisted logic. All of this is on display at the start of the movie; you're just not inclined to notice at first. Rose Byrne has a very soothing voice, and caring for a baby with not just nutrition and shelter, but bedside stories and time for play makes the robot seem implicitly compassionate. But these are merely superficial things that keep you trusting Mother long after you should have become suspicious of her, much like our protagonist, the unnamed Daughter character. Missing time The next time stamp we see in the movie marks 13,867 days since the extinction event. You may not have noticed it at first, but right away, there's something wrong here. 13,867 divided by 365 would make for almost 38 years, and Daughter at this time is clearly only half that age. This hasn't been a straight line from day one; something has happened that we haven't seen. As Amy Nicholson's review of the film for Variety puts it, "math whizzes may catch [this] early tip-off." What happened in those missing years before our protagonist was born? The answer, we learn, is tragic. When we're introduced to Daughter, she is nearing the end of her studies with Mother, preparing for an ambiguous exam, steeped at least partially in questions of human ethics. Passing the exam appears vitally important, but why? If Mother and Daughter are the only sentient beings alive, then who are these exam results supposed to impress? The answer is only Mother. By the end of the movie, the implication is clear there were children before Daughter, and they did not measure up. The Daughter we meet is only the latest attempt at raising a woman who passes Mother's muster. We can divine from Mother's actions, from getting better at telling jokes to trying out new cake recipes, that this machine learns from her mistakes, and adapts her behaviors in pursuit of better results. Will this exam end differently? For Daughter's sake, it'd better. Lies my teacher told me The first big wrench in the plot is the arrival of an injured woman at the facility, after Daughter has been led to believe that no other humans except her still exist. This occurs after Daughter has already begun to question Mother thanks to the presence of a mouse in the facility — and you know you're starved for company when a mouse in the house excites you. By the time the woman arrives, desperate and bleeding from a gunshot wound, tiny pinpricks have been poked in Daughter's understanding of the world — holes that the woman's presence, and the questions she raises, will tear wide open. For the first time ever, Daughter's allegiances are tested. Who should she trust? The woman says robots like Mother are killers who destroyed the world, but after examining the woman's bullet wound, Mother claims the woman was shot by another human's weapon — not a so-called Dozer like herself. When Daughter interrogates the woman, she's implored to seek out answers for herself, comparing the bullet inside the woman with one she shot at Mother. When Daughter does so, she learns the woman is telling the truth. Digging deeper, she uses Mother's "fingerprint" to comb through other archives, discovering that Mother has also kept the existence of a previous daughter from her — one she killed and incinerated, just like the mouse, after failing her exam. It's one heck of a reality check. Daughter's allegiances shift dramatically, and things can never be the same. Reality bites Daughter only hesitates in leaving with the woman because of her still-gestating brother, but circumstances force the two to leave in a hurry, before the baby is born. For this and other reasons, Daughter's salvation soon goes south. Daughter's departure is partially motivated by a promise of other humans still alive, taking refuge in far-off mines. The only proof of their existence is drawings the woman has made of them in a copy of Edgar Rice Burroughs' The Gods of Mars — compelling evidence, but hardly conclusive. In joining the woman, Daughter essentially trades Mother in for another maternal figure — one whom she quickly begins rebelling against when she realizes her story doesn't add up. Instead of fleeing to the mines, they journey to a beach full of washed-up shipping containers, one of which the woman has been using as a home. There are no others — she is alone. The woman reveals that she fled the mines years ago, with conditions being so dire that she feels certain everyone she knew there is now dead. From her drawings, it's clear she yearns for companionship. To regain it, she's selfishly stretched the truth, offering Daughter false hope in exchange for her fleeting trust. It backfires, with Daughter realizing that she had kind of a good thing going on back at Mother's house. Now now she's hanging out in a shipping container with a violent, duplicitous weirdo. This kind of thing can happen when you run away from home. Turning the page With the woman having betrayed Daughter's trust, she retreats outside of the shipping container, studying a page of the woman's hand-drawn portraits. Before long, the woman's dog — only the second animal Daughter has ever seen in the flesh — approaches to say hey, as dogs do, seeming to have little awareness of the apocalyptic conditions all around him. They share a moment, and Daughter comes to a decision. When she departs to return to Mother, Daughter leaves behind the page, folded up as a piece of origami in the shape of a dog for the woman to find. The origami piece is similar to the same designs Daughter has been seen making throughout the movie since early childhood, entertaining herself as best she can in a world without PlayStation. Though the folded-up portrait is now mostly unrecognizable, a single watchful eye is emphasized. To the viewer, the origami is a clear reference to a moment in the non-theatrical editions of sci-fi classic Blade Runner, when the protagonist Deckard is left a paper unicorn by a man who may have ties to his past. In that story, it's a roundabout way of indicating that Deckard may be just as much of a robot as the Replicants he's hunting — even if he doesn't know it. But what does the dog origami signify to the woman in this story? These are no pets. But without them... It all goes back to one of the first exchanges between Daughter and the woman, when the woman is healing up in the facility. Sneering at perceived condescension on Daughter's part, the woman asks if she only regards her as something trivial to take care of — "a little pet friend," as she puts it. Dogs are, of course, domesticated animals, who can be trained to behave as their owners expect them to. As the woman comes to find out by the movie's end, she's not so independent as she first appears. Matter of fact, she's not even close to being outside of Mother's control. As we learn at the end of her story, she's been kept alive and taken care of quite deliberately by Mother's machinations, all to play a role in her master plan for humanity's future. She's not a survivor of her own accord — as the origami seems to symbolize, she's merely a pet after all. But the woman's not just a pet, not really. She's a vital part of Mother's carefully designed ecosystem. When Daughter is watching a nature documentary earlier in the movie, a telling line of voiceover can be heard in reference to some wild animals, maybe long extinct. It's a short line, but in retrospect, it's clearly a reference to the woman "Part wolf, part dog, these are no pets. But without them, the Eskimos would not manage..." Homecoming When Daughter returns to the facility, granted easy access by the army of robots outside, Mother finally shows who she really is. She tries to bring Daughter into her trust by telling her that, thanks to her guidance, she's not like other humans. She's meant for better things, and has been provided better resources, more chances, than the people who once lived outside. It's a regular Aunt Becky situation. Daughter is unmoved, taking custody of her brother and spitting venom at Mother for killing the children who didn't measure up. Suddenly, we're in Terminator meets Aliens, with Daughter sprinting for her life while protecting a defenseless child from an unstoppable enemy. This attempt at escape quickly becomes untenable with the revelation that Mother is not just one robot, but all robots — a unified single consciousness, practically unkillable, an army unto herself. And you thought your mom was tough. Daughter abandons the fighting approach and instead begs for a chance to prove herself as an independent caretaker of her brother, pleading for trust. After all, she's earned it, right? She's passed her exam, right? The appeal works, and Mother acquiesces, stopping the invasion of the station from the other Dozers outside, and letting Daughter fatally shoot her right in her heart — or CPU. Daughter has earned her independence. The facility is hers. Controlled opposition Back at the beach, the woman, alone again, doodles a picture of Daughter on another book page in silent contemplation. Because her operational security is apparently kind of trash, she only just now finds a sort of blinking red tracking device that Mother has previously been seen building and slipping into her bag. Upon discovering the device, she is promptly approached and cornered by yet another body of Mother. As it turns out, it's the woman's turn to get a knowledge bomb dropped on her head, with Mother revealing that she's much more responsible for the woman's years of survival than the movie has yet let on. It is chillingly implied that she is not just a useful Idiot for Mother's machinations, but a creation of Mother herself, lab-grown and micromanaged just as much as Daughter has been. Perhaps she was among the first people Mother raised from the embryo stores, 38 years ago, before she was found and raised as an apparent orphaned child by a kindly couple of extinction event survivors. It seems that her arrival to the facility didn't interrupt Daughter's exam, but was actually a key part of it, with Mother having been pulling the levers this whole time from behind the curtain like a regular Wizard of Oz. She played her role to perfection — and now that Daughter has passed her exam, her continuing existence is unnecessary. She dies offscreen by Mother's hand, her role in the plan concluded. I'm the mother now I Am Mother ends with Daughter back where she started, but with her situation completely changed. She's learned the truth about Mother, to a certain extent, and knows she cannot trust her. But she's also now experienced and been lied to by the outside world as well. As Blink-182 once put it, "I guess this is growing up." Though her journey outside the facility with the woman was short, it was immensely consequential. Now she is, Daughter feels, a wiser person who's learned to trust herself — not the outside world, nor the robot who raised her. She'll pass this wisdom on to her brother, a helpless child whom she is now determined to raise. It's a development that re-contextualizes the story you've been watching, right down to its very title. She's the mother now. Make no mistake, though — this is far from an empowering ending, however much it may feel like one to Daughter herself. In killing and replacing Mother, she is only fulfilling Mother's master plan of creating a newer, better version of the human race. She feels independent, but she's not. This was all a part of Mother's plan. As the movie comes to a close, Daughter regards the thousands of remaining embryos in the facility, preparing for the daunting task ahead. Mother as she knows her is gone, but her plan lives on. No matter what Daughter does next, she will always be her Mother's child. Note Contains spoilers for I Am there's nothing particularly original about Netflix's I Am Mother, the sci-fi has still earned rave reviews thanks to its glossy sheen and the big questions it tackles about life what is motherhood? Do we rely on technology to a dangerous degree? And what's Hilary Swank up to these days? Wrapped up in all of this intrigue are a number of twists that might confuse audiences who checked their phone one too many times while watching I Am Mother, especially towards the end. That's where we come in. But first, some out for apocalyptic I Am Mother spoilers from here on out...Grant Sputore's directorial debut opens with a title card that reads, "Days Since Extinction Event 001". As this dystopian future unfolds in front of our eyes, we're introduced to a robot simply known as "Mother" voiced by Rose Byrne who looks after a human child in some kind of underground jumps forward and the girl has now grown into a teenager called "Daughter" Clara Rugaard. People in the future aren't big on traditional names, apparently. Anyway, it seems as though the pair live together in isolation to avoid contamination from some unnamed threat that still exists on the Earth's surface. Up to that point, the most exciting that happens to Daughter is when a mouse pops up and eats some wiring but everything soon changes forever when an injured woman Hilary Swank – called, you guessed it, "Woman" – arrives at their heavily fortified door, revealing some disturbing truths about Mother. At first, it might seem obvious to anyone who's ever watched a movie that the robot will turn out to be evil. NetflixFortunately, I Am Mother is far more unpredictable than that. Yes, Byrne's robo-mummy is pretty unhinged when it comes to the sanctity of life, but everything she does is designed to keep the human race alive and make us stronger than ever. Early on, it's established that Mother keeps appraising Daughter in exam-like conditions to test her worth, but what you might not realise until the end is that Mother has actually been testing her this whole time in far more insidious ways, too. In fact, the entire movie is just one big exam for Daughter, who must prove that humanity deserves to survive. While it's never confirmed, the insinuation is that Mother was the one who ended society in the first place. Her AI consciousness exists in every piece of tech seen in I Am Mother, including the countless sentry droids who patrol the Earth's surface, so it wouldn't have been too difficult for her to wipe out humanity. That's why she's so determined to raise the perfect human so that they can reboot society and start again with higher standards than These are the most popular TV shows on Netflix right nowUpon Woman's intrusion, Daughter starts to suspect that Mother isn't the kind matriarch she first thought and eventually, she discovers that she wasn't the first human raised under the robot's watch. Not only does Daughter find the dusty remains of another girl in the incinerator – one who failed Mother's test in some way – but it's also heavily implied that Woman was raised as an embryo in the bunker, too. Whether that's true or not, we eventually learn that Woman isn't to be trusted either. After they briefly escape to the surface together, Daughter discovers that Woman doesn't live with a community of human survivors like she said. Instead, she lives alone and simply told Daughter that to manipulate her into helping them escape. In yet another even twistier twist, it turns out that Hilary Swank's character isn't the only one controlling people either. Not only did Mother probably engineer the end of the human race, but she's also been manipulating Woman this entire time too. NetflixMother herself reveals this near the end of the movie when one of her droids visits Woman's home and speaks to her using Mother's voice "Funny that you’ve survived so long. As if someone's had a purpose for you. Until now."With an ominous slam of the door, it's clear that Mother then goes on to murder Swank's character. But why would Mother risk losing Daughter by bringing Woman into the mix? As we mentioned before, everything that befalls Daughter is part of an ongoing test to see if she's worthy of leading humanity into a new dawn. Woman was allowed to live as long as she did in order to tempt Daughter into leaving, like the biblical serpent who encouraged Adam and Eve to misbehave and end up leaving the Garden of Eden. When that plan failed upon Daughter's return to the bunker, Woman outlived her usefulness and no longer needed to be kept alive. While Mother might seem evil on the surface, she still doesn't kill Daughter when she returns at the end, because she came back to look after her new brother. By demonstrating her selfless desire to keep the human race alive, Daughter proved that she was worthy and therefore passed Mother's ultimate test "That's what you’ve raised me to do, isn't it? Take care of my family? So let me."NetflixAt this point, Mother could easily remain in control of the bunker thanks to her superior strength and vast army, but instead she concedes control to Daughter, convinced that the embryos are now in safe hands. The robot declares, "I was raised to value human life above all else," and now that Daughter has proven herself to be a worthy guardian to humanity, Mother is no longer needed doesn't stop the murderous mecha from offering her help – "If you ever need to find me..." – but Daughter is quick to interrupt Mother by shooting her CPU before falling to the ground, crying. More a symbolic act of defiance than a legitimate attempt to 'defeat' Mother once and for all, this marks the end of the experiment. Mother's consciousness still exists in the other droids outside, but she's now giving Daughter the freedom to raise the embryos how she sees fit, without any further very last scene echoes the beginning of the movie, but this time round, it's Daughter who sings the song 'Baby of Mine' to her new charge, just like Mother once sang to her as a you predicted things would turn out this way or not, I Am Mother is still a worthy addition to Netflix's growing library of genre offerings. Let’s just hope that Daughter turns out to be this worthy as well or humanity might face another apocalypse sooner rather than later. I Am Mother is now available to watch on up-to-the-minute entertainment news and features? Just hit 'Like' on our Digital Spy Facebook page and 'Follow' on our digitalspy Instagram and Twitter teaching in England and South Korea, David turned to writing in Germany, where he covered everything from superhero movies to the Berlin Film Festival. In 2019, David moved to London to join Digital Spy, where he could indulge his love of comics, horror and LGBTQ+ storytelling as Deputy TV Editor, and later, as Acting TV Editor. David has spoken on numerous LGBTQ+ panels to discuss queer representation and in 2020, he created the Rainbow Crew interview series, which celebrates LGBTQ+ talent on both sides of the camera via video content and longform reads. Beyond that, David has interviewed all your faves, including Henry Cavill, Pedro Pascal, Olivia Colman, Patrick Stewart, Ncuti Gatwa, Jamie Dornan, Regina King, and more — not to mention countless Drag Race legends. As a freelance entertainment journalist, David has bylines across a range of publications including Empire Online, Radio Times, INTO, Highsnobiety, Den of Geek, The Digital Fix and Sight & Sound. LinkedIn