Bleeped swear words! Culture shock! Sequels! Guy in suit: youtube.com

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Next. No. I can’t help you with that. Next. My frustratingly monotone voice and complete inability to feign even the vaguest interest in your problems could rival that of an airport employee, and yet I was hired to be the person you have to deal with when you’re in your most frazzled state. Next. If you leave this office satisfied with the visit, I have not done my job correctly. No, you will leave here registered for a 9am applied physics class even though you’re an English major. Next. Hold on, I have to type everything with one finger. This could take a while. No, that’s a Tuesday/Thursday class. I need a Monday/Wednesday. No, don’t look at anything with a Friday class. Because I want to sleep! Jeez, mom. I’m in college. Let me decided how to organize my life. No, keep looking through the course catalog with me! I can’t do it alone, mommy. I haven’t made a single independent decision in my whole life. That’s why I’m dropping my perfectly awesome Musical History of Funk class that everyone says is the best thing ever because you went on RateMyProfessor and decided you didn’t like the look of the professor’s “do-rag.” Fine, I’ll take another class about early British literature, mother. Just please stop calling every hat a black person wears a “do-rag.” Nothing. I didn’t say anything. What the f*ck is a “bursar”? Hell, I don’t even know what a registrar is. I don’t think these are real words! Do these words exist outside of college administrations? I don’t think so. Can you please just help me find out why there is a hold on my account? Why not? Right, right. The bursar, I get it. I’m going to spend the whole day running from one mildew-scented office to another until some old lady employee finally takes pity on me and offers to figure everything out for me. Unfortunately, she won’t know how to work any of the computers, so I’m not going to be able to register for classes until all of the good ones are taken. Sh*t. I’m pretty sure this is how people end up majoring in East Asian Studies. How was I supposed to know that you had to apply for this class at the end of last semester? Oh, it says so in the course catalog in underlined bold? Still. Can’t you just sign me up and then I’ll figure something out with the teacher? That works for some people, right? What about screen printing? Can I take that? Awesome. No, what’s an “Add/Drop form”? Oh. I don’t have that. No, I don’t have my academic advisor’s written approval. Did I need that? You’d think from my complete incompetence that I’m a freshman, but I’m actually a junior. I just don’t know anything. Do you have the forms I need here so I can fill them out without having to come back? No? Ok, what and where is the “student center”? Cool. I’ll be back here 9 times in the next 2 days and then I’ll forget everything before registration time next semester. What do you mean I’m not allowed to take fewer than four classes? That History of Funk class I’m taking is suuuper hard. I’ve systematically signed up for only the easiest classes this college has to offer, but even that is too much for me. I’m going to beg and plead the matter until I get bored and give up. This is the most work I’ll put in all semester. Please? I can’t take classes that start before 1pm or overlap with any meals, including my 4pm Dunch. Ok, fine. What about screen printing? Can I take that? Ugh, it’s 3 hours on Fridays? Whatever. I’ll just stay in this weird Asian art class. Fuck. Written 2010-10-20 18:00:00 by Susanna Wolff 2 likes

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Made in Dagenham — Film Review By Ray Bennett, September 11, 2010 07:29 ET “Made in Dagenham” Bottom Line: Rousing true tale of a group of English women who fought for the right for equal pay. TORONTO — The real-life tale of a group of female machinists who took on the Ford Motor Co. in England and earned equal pay for women gets a rousing and entertaining telling in Nigel Cole’s crowd-pleasing “Made in Dagenham.” Sally Field won an Oscar in 1979 playing a reluctant union activist in Martin Ritt’s “Norma Rae,” and history might repeat itself with Sally Hawkins as Rita O’Grady, the leader of 187 women who went on strike against the auto giant during the late 1960s. Like Cole’s “Calendar Girls,” it’s a story about no-nonsense women doing their bit for the right cause, and, especially in these tough economic times, it should strike a rich seam of rewards from audiences everywhere. Period authenticity is nailed within the film’s sunny design and sharply drawn characters, with the U.K.’s class structure and male-oriented industries depicted without fuss. It was a simple fact that women were required to do the same work as men but for far less pay. When the machinists at Ford’s huge plant in Dagenham, near London, objected to being classified as nonskilled workers in order to keep their wages down, they not only objected but also took action with game-changing impact. Hawkins plays one of the “girls” whose husband, Eddie (Daniel Mays), also works at the plant. When shop steward Connie (Geraldine James) finds taking care of her war-wounded husband (Roger Lloyd-Pack) too much, she is glad to hand things over to Rita. Bob Hoskins plays a wise old union hand whose affection for the hard-working women in his family drives him to support the women’s struggle. Kenneth Cranham is the plant’s union chief, who usually is willing to get into bed with management so long as peace is maintained. Andrea Riseborough and Jaime Winstone are among the feistier women at the plant, and Rosamund Pike plays a posh, educated woman whose marriage to a Ford executive (Rupert Graves) has turned her into a reluctant housewife but not made her lose her drive. Miranda Richardson has a rare old time as the redheaded and fiercely political Barbara Castle, the Labour minister in charge of employment who rebelled against not only Ford but also her own Prime Minister Harold Wilson (John Sessions). Screenwriter William Ivory gives just enough backstory to provide heft for the characters, and Cole draws sprightly performances from the cast without making the women into caricatures. Hopkins plays in a minor key satisfyingly, and Hawkins is as upbeat as she was in “Happy-Go-Lucky” but with a wariness and steeliness that should win over those who were put off with the chatter of the teacher she played in that film. Andrew McAlpine’s production design and John de Borman’s cinematography combine to depict the era without resorting to cliche, and David Arnold provides an apt score that never tries to milk the situation. Venue: Toronto International Film Festival (Sony Pictures Classics) Production: Number 9 Films Cast: Sally Hawkins, Bob Hoskins, Andrea Riseborough, Geraldine James, Rosamund Pike, Miranda Richardson Director: Nigel Cole Screenwriter: William Ivory Producer: Stephen Wooley, Elizabeth Karlsen Director of photography: John de Borman Production designer: Andrew McAlpine Music: David Arnold Costume designer: Louise Stjernsward Editor: Michael Parker No rating, running time 113 minutes

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