Finding Female Friends Over 50 Can Be Hard These Women Figured It Out
By Rozette Rago
Dale Pollekoff, 71, moved to Los Angeles after a long career in graphic design in Washington, D.C. As a single woman with no children, she felt drawn to the city’s weather and the less conservative ideas of varied lifestyles. “I feel more like I can be me here,” she said.
But soon after her move in 2000, she ran into the challenge of meeting people to explore her new home with. “When you’re middle-aged, you make friends in your job,” Pollekoff said. “After that, it’s very, very hard.”
In 2015, after failed attempts to find a group focused on female friendships, Pollekoff decided to start her own group, called Finding Female Friends Past Fifty on Meetup, a site where people can make online groups to meet up in real life.
After just a couple of weeks, the group amassed around 200 members. And it just kept growing. Today, the group has more than 800 members.
“There were a lot of groups that were focused on a particular activity, and there were meetups that were generalized for those in their 20s, 30s and 40s, but there was nothing for older women,” Pollekoff said. “And I didn’t want men.”
Many studies have concluded that friendships are vital to a person’s well-being, and this is especially true for older women. A study by the Industrial Psychiatry Journal published in Psychology showed a significant relationship between depression and loneliness in older people.
It suggested that “female friendships can be the key to happiness in older women, but they’re not often treated as such.” It’s not emphasized as much as exercising or eating well, but it’s just as important, according to the study.
The first meetup Pollekoff organized was a happy hour event at a bar in Century City. Around 20 women showed up and, in her eyes, it was a huge success. “Everybody had a fabulous time and everybody got along,” she said.
The group’s most frequent activity? Art gallery visits. On a recent gloomy Sunday afternoon in December, the women gathered to go to an Ai Weiwei exhibit at the Marciano Art Foundation.
After a few hours at the museum, the women drove to a nearby Korean barbecue restaurant. Members introduced themselves to one another while waiting for their meals. They discussed their lives, the things that keep them busy, the choices of some to marry or stay single and to have children or not.
“You’re not looking over the horizon for the next best thing. So there’s no jealousy or competition. The struggle is over; you come to terms with who you are because there’s no alternative. Acceptance is all that’s left.” Pollekoff wrote in an email a few days after the meeting.
皆在促成人們在現實中互動或聚會的網站Meetup成立於2002年，該社交平台名稱的中文意思為「聚會」、「聯誼」，例如blogger meetup為 部落客聚會，而若將此字拆開則成為動詞片語meet up，具同樣意思片語還有get together，join up等等。
至於末段片語come to terms with在中文意為「接受或遭遇不好事物」，除此之外還有「達成協議、妥協」之意。另外，首段片語feel drawn to意指「被…吸引、對…著迷」，例如I feel myself drawn to this person.（我被這個人吸引了。）其中drawn可用attracted代替。
Mary Poppins: The Peculiar Challenge of Animating Her World
By Charles Solomon
“Mary Poppins” was the first film director Rob Marshall saw as a boy, so when Disney approached him about directing a sequel, the prospect was exciting – and intimidating.
“It was daunting because the film means so much to me,” Marshall said in a recent interview. “But I felt, if anyone’s going to do a sequel, I would like it to be me, so I could protect the spirit of the first film.
I asked myself what would I want to see in a sequel. I knew I’d want an animation/live-action sequence: It’s in the DNA of ‘Mary Poppins.’ And I felt it was vital to hold on to the classic hand-drawn animation from the first film.”
Although Marshall has won many awards for direction and choreography for feature films and television specials, he had never worked in animation. He built a team under the leadership of veteran Disney/Pixar writer Jim Capobianco. Working with a small group of artists in the Bay Area, Capobianco prepared preliminary storyboards for the sequence.
He presented them to Marshall, writers David Magee and John DeLuca, composer Marc Shaiman and others in the Hyperion Bungalow, a relic of the 1930s Disney studio that had been moved to company’s Burbank headquarters. As everyone wanted to recapture the feeling of the original film, it felt right to begin planning the sequence using actual drawings rather than computer images.
“We pulled together a storyboard – pinning sheets of paper onto corkboards, the old Disney way,” Capobianco said. “We met in the bungalow and pitched the boards using an umbrella as a pointer.
Rob would say, ‘I love that idea, but we need a little more time.’ Marc would get on the piano and rewrite the music; we’d redraw stuff and re-pin it. I felt as close as I could get to being with Walt and the Sherman Brothers making the original ‘Mary Poppins.’“
Combining the media was a technique Walt Disney used when he first came to national prominence in the mid-1920s with his short “Alice” comedies, which placed a live-action little girl within an animated setting.
Although film technology has advanced enormously since then, the crew of the new film, “Mary Poppins Returns,” still faced problems integrating the media seamlessly.
The animators strive to create convincing performances for their characters – who have to react to the live actors’ actions. For example, engineering a scene so an actor and an animated character touch requires almost microscopic precision: If anything is out of place, the drawn and live elements will seem to slide over each other, spoiling the illusion that they’re sharing a space.