Tadpole is a 2002 American romantic comedy film directed by Gary Winick, written by Heather McGowan and Niels Mueller, starring Sigourney Weaver, Bebe Neuwirth, Aaron Stanford, John Ritter, Robert Iler, Kate Mara. Oscar Grubman is a 15-year-old boy, portrayed as mature beyond his years, traveling home from school for Thanksgiving, he speaks fluent French, quotes Voltaire and finds girls of his own age to be too shallow and superficial, as well as too inexperienced in life. When an attractive girl from his school, Miranda Spear, interested in him, approaches Oscar, he politely brushes her off. Oscar confides in his friend Charlie that he is in love with a mature woman and plans to win her heart during Thanksgiving break. Oscar arrives at the apartment of his father, Columbia University history professor and author, Stanley Grubman, stepmother, the passionate cardiologist, Eve; that evening, the Grubmans hold a party where Stanley introduces him to a girl of his age, but Oscar rebuffs her as well while staring at the object of his affection: his stepmother.
Oscar tries to open up to her. Stanley tells him to walk the girl home. Depressed from his failure with the older woman, Oscar gets drunk, he bumps into Eve's best friend, chiropractor Diane Lodder, who offers to take him to her own apartment seeing his current condition. Once there, Diane begins to massage they end up having sex. Oscar has an awkward encounter with Diane's boyfriend, Phil. Back at home, Oscar plans a surprise lunch for Eve but first Stanley inquires about where Oscar spent the night. Oscar makes up a story about meeting Miranda Spear from school, he brings lunch to Eve at her lab, where he opens up to her once more, pondering the use of the heart as a symbol for affection. Together they decide, their conversation is interrupted by a phone call from Stanley, who mentions that Diane will be joining them for dinner. Worried that Diane will tell Eve about their tryst, Oscar finds Diane at a tea room with several of her friends. All act as though they know about the previous evening, most of the women twice his age flirt with him.
Oscar makes Diane promise to keep last night a secret from Stanley and Eve. At dinner, Diane behaves coyly, she flirts with him in French. After she excuses herself from the table, Oscar follows to confront her, she kisses him while not being out of Stanley's view, after which Diane admits to Stanley and Eve that she and Oscar are lovers. The next day, Diane explains to Eve. Eve condemns her for seducing a mere 15-year-old, but Diane says many women would have done the same, including Eve; that day and Oscar play a tense round of tennis, lobbing insults at each other, ending up with Oscar getting hit in the head with a ball. Oscar explains to Eve that he only did what he did with Diane because he was drunk and she was wearing Eve's scarf. Eve understands that he is in love with her, they share a passionate kiss but Eve breaks away. At the end of Thanksgiving break and Stanley take Oscar to the train. Eve asks Oscar how his liver feels and he replies that it hurts, but is not broken, she tells him how much she loves his father.
On the train, Oscar meets up with Charlie, runs into Miranda. Miranda quotes Voltaire, "If we do not find something pleasant at least we will find something new," and looks longingly at Oscar. Charlie notices Oscar tells Charlie that Miranda smells nice. Charlie asks about Eve and Oscar states that his obsession with Eve was not as important as it seemed. Charlie doesn't understand his friend. Aaron Stanford as Oscar Grubman Sigourney Weaver as Eve Grubman John Ritter as Stanley Grubman Bebe Neuwirth as Diane Lodder Robert Iler as Charlie Kate Mara as Miranda Spear Adam LeFevre as Phil Peter Appel as Jimmy the Doorman Ron Rifkin as Professor Tisch Alicia Van Couvering as Daphe Tisch Paul Bulter as Professor Sherman Hope Chernov as Samantha Steadman John Feltch as Bob Spear Tadpole received positive reviews. Based on 105 reviews collected by the film review aggregator Rotten Tomatoes, 78% of critics gave the film a positive review. On a budget of $150,000, the film made $3,200,241 worldwide; the film raised 34 % in the second weekend.
The following songs were included in the film. Charles Trenet - "Ménilmontant" John M. Davis - "The Revenger's Waltz" Adam Cohen - "She" Micheline Van Hautem - "Deux fois" Naresh Solal - "Moonlit Temple" King Lear Jet - "Ammo" The Creatures of the Golden Dawn - "Hemlock Row" John M. Davis - "Waltz in C-sharp minor, Op. 64, No. 2" John M. Davis - "Waltz in A minor, Op. 34, No. 2" John M. Davis - "Nocturne in E-flat major, Op. 9, No. 2" Everything but the Girl - "The Only Living Boy in New York" David Bowie - "Changes" Adam Cohen - "Couche-moi sur tes lèvres" Roger Dodger Tadpole on IMDb Tadpole at Box Office Mojo Tadpole at Rotten Tomatoes
Los Angeles Times
The Los Angeles Times is a daily newspaper, published in Los Angeles, since 1881. It has the fourth-largest circulation among United States newspapers, is the largest U. S. newspaper not headquartered on the East Coast. The paper is known for its coverage of issues salient to the U. S. West Coast, such as immigration trends and natural disasters, it has won more than 40 Pulitzer Prizes for its coverage of other issues. As of June 18, 2018, ownership of the paper is controlled by Patrick Soon-Shiong, the executive editor is Norman Pearlstine. In the nineteenth century, the paper was known for its civic boosterism and opposition to unions, the latter of which led to the bombing of its headquarters in 1910; the paper's profile grew in the 1960s under publisher Otis Chandler, who adopted a more national focus. In recent decades, the paper's readership has declined and it has been beset by a series of ownership changes, staff reductions, other controversies. In January 2018, the paper's staff voted to unionize, in July 2018 the paper moved out of its historic downtown headquarters to a facility near Los Angeles International Airport.
The Times was first published on December 4, 1881, as the Los Angeles Daily Times under the direction of Nathan Cole Jr. and Thomas Gardiner. It was first printed at the Mirror printing plant, owned by Jesse Yarnell and T. J. Caystile. Unable to pay the printing bill and Gardiner turned the paper over to the Mirror Company. In the meantime, S. J. Mathes had joined the firm, it was at his insistence that the Times continued publication. In July 1882, Harrison Gray Otis moved from Santa Barbara to become the paper's editor. Otis made the Times a financial success. Historian Kevin Starr wrote that Otis was a businessman "capable of manipulating the entire apparatus of politics and public opinion for his own enrichment". Otis's editorial policy was based on civic boosterism, extolling the virtues of Los Angeles and promoting its growth. Toward those ends, the paper supported efforts to expand the city's water supply by acquiring the rights to the water supply of the distant Owens Valley; the efforts of the Times to fight local unions led to the October 1, 1910 bombing of its headquarters, killing twenty-one people.
Two union leaders and Joseph McNamara, were charged. The American Federation of Labor hired noted trial attorney Clarence Darrow to represent the brothers, who pleaded guilty. Otis fastened a bronze eagle on top of a high frieze of the new Times headquarters building designed by Gordon Kaufmann, proclaiming anew the credo written by his wife, Eliza: "Stand Fast, Stand Firm, Stand Sure, Stand True." Upon Otis's death in 1917, his son-in-law, Harry Chandler, took control as publisher of the Times. Harry Chandler was succeeded in 1944 by his son, Norman Chandler, who ran the paper during the rapid growth of post-war Los Angeles. Norman's wife, Dorothy Buffum Chandler, became active in civic affairs and led the effort to build the Los Angeles Music Center, whose main concert hall was named the Dorothy Chandler Pavilion in her honor. Family members are buried at the Hollywood Forever Cemetery near Paramount Studios; the site includes a memorial to the Times Building bombing victims. The fourth generation of family publishers, Otis Chandler, held that position from 1960 to 1980.
Otis Chandler sought legitimacy and recognition for his family's paper forgotten in the power centers of the Northeastern United States due to its geographic and cultural distance. He sought to remake the paper in the model of the nation's most respected newspapers, notably The New York Times and The Washington Post. Believing that the newsroom was "the heartbeat of the business", Otis Chandler increased the size and pay of the reporting staff and expanded its national and international reporting. In 1962, the paper joined with The Washington Post to form the Los Angeles Times–Washington Post News Service to syndicate articles from both papers for other news organizations, he toned down the unyielding conservatism that had characterized the paper over the years, adopting a much more centrist editorial stance. During the 1960s, the paper won four Pulitzer Prizes, more than its previous nine decades combined. Writing in 2013 about the pattern of newspaper ownership by founding families, Times reporter Michael Hiltzik said that: The first generations bought or founded their local paper for profits and social and political influence.
Their children enjoyed both profits and influence, but as the families grew larger, the generations found that only one or two branches got the power, everyone else got a share of the money. The coupon-clipping branches realized that they could make more money investing in something other than newspapers. Under their pressure the companies split apart, or disappeared. That's the pattern followed over more than a century by the Los Angeles Times under the Chandler family; the paper's early history and subsequent transformation was chronicled in an unauthorized history Thinking Big, was one of four organizations profiled by David Halberstam in The Powers That Be. It has been the whole or partial subject of nearly thirty dissertations in communications or social science in the past four decades; the Los Angeles Times began a decline with Los Angeles itself with the decline in military production at the end of the Cold War. It faced hiring freezes in 1991-1992. Another major decision at the same time was to cut the range of circulation.
They cut circulation in California's Central Valley, Nevada and the San Diego ed
Swimfan known as Fanatica, is a 2002 American teen psychological thriller film directed by John Polson and written by Charles Bohl and Phillip Schneider. The film stars Jesse Bradford, Erika Christensen, Shiri Appleby. Ben Cronin is a star swimmer of his high school's swim team, his coach informs him. Ben and his girlfriend Amy discuss their future plans. Amy wants to attend school in Rhode Island but explains she will go to school in California to stay close to Ben; the next day, Ben gives her a ride home as an apology. He realizes that Madison left her notebook in his car; the notebook is filled with music notes, Ben spots his initials written inside a staff. When he returns the notebook, he meets Christopher. Madison appears stressed and explains she has not eaten, so Ben offers to take her to dinner. At dinner, Ben tells Madison about his girlfriend, but Madison does not appear too bothered and explains that she has a boy waiting for her in New York City. Ben shares some of his past with Madison.
Although Ben tries to end the date, Madison convinces him to go to the pool. Her aggressive flirtation lures Ben in, despite his initial hesitancy, the two have sex. Both agree not to discuss their encounter; the next night, Ben goes to a party at Amy's house. Amy introduces Ben to her new friend; the two pretend to have not met one another. Shortly after, Madison obsesses over Ben—she stops by his house to meet his mom and bombards Ben with e-mails and instant messages. Ben demands her to leave him alone. Ben's lying eats at him, before he confesses, Madison tells Amy first. Madison dates Josh. Right before their biggest swim competition, Ben is disqualified for having steroids in his urine. Ben suspects Madison had Josh set him up. Ben confronts Josh about the drug test. Days Madison accidentally calls Josh by Ben's name while they are kissing in a car. Josh realizes that Madison's obsession with Ben tells her off. Ben tries to tell Amy everything; the next day, Ben goes to the pool. The police suspect.
To prove his innocence, Ben breaks into Madison's room to find evidence. He discovers a bottle of steroids and a creepy shrine of his personal belongings she has been secretly stashing. Christopher warns Ben of a similar case regarding a man named Jake Donnelly; when Ben visits Jake in the hospital, a nurse tells him that Jake's girlfriend Madison survived the crash. Madison steals his car, she follows Amy home from school and runs Amy off the road, again Ben is framed for the crime. That night at the hospital, Ben and a few friends record as Madison confesses her crime and intentions, resulting in Madison's arrest, she escapes custody by shooting the two policemen escorting her. She forcibly takes Amy to the school's swimming pool; as Ben watches, Madison throws a chairbound Amy into the pool. Madison attacks them with the handle of a pool cleaner, Ben grabs one end, pulling her into the pool; as Madison does not know how to swim, she drowns while Ben frees Amy from her handcuffs and carries her out of the pool.
Ben resuscitates Amy via mouth-to-mouth. At a swim meet, Ben is a spectator, he goes outside to his car, where he and Amy drive away. Jesse Bradford as Ben Cronin Erika Christensen as Madison Bell Shiri Appleby as Amy Miller Kate Burton as Carla Cronin Clayne Crawford as Josh Jason Ritter as Randy Kia Joy Goodwin as Rene Dan Hedaya as Coach Simkins Michael Higgins as Mr. Tillman Nick Sandow as Detective John Zabel Pamela Isaacs as Mrs. Egan Phyllis Somerville as Aunt Gretchen Christopher Monroe Mann as Jake Donnelly Patricia Rae as Jake's nurse Swimfan was distributed by 20th Century Fox in most countries, but Icon Film Distribution distributed it in the United Kingdom; the worldwide box office gross was $34.4 million. Rotten Tomatoes, a review aggregator, reports that 14% of 91 surveyed critics gave the film a positive review; the consensus is, "A Fatal Attraction rip-off, Swimfan is a predictable, mediocre thriller." Peter Bradshaw gave the film two stars out of five, calling it a "teen Fatal Attraction with an unappetising extra helping of Scream" and saying it lacks "the sardonic wit that parts of the script had seemed to promise".
Variety described it as a "chiller resolutely without chills, in which the pool water always seems heated. And inasmuch as the pic never owns up to its own trashiness, it's not enjoyable camp—like Mary Lambert's recent The In Crowd—even though there's about as much underage drinking, heavy petting and full-on sex as you can imagine this side of a surprising PG-13 rating." Swimfan on IMDb Swimfan at AllMovie Swimfan at Rotten Tomatoes Swimfan at Box Office Mojo
British Film Institute
The British Film Institute is a film and charitable organisation which promotes and preserves filmmaking and television in the United Kingdom. It was established by Royal Charter to: Encourage the development of the arts of film and the moving image throughout the United Kingdom, to promote their use as a record of contemporary life and manners, to promote education about film and the moving image and their impact on society, to promote access to and appreciation of the widest possible range of British and world cinema and to establish, care for and develop collections reflecting the moving image history and heritage of the United Kingdom; the BFI maintains the world's largest film archive, the BFI National Archive called National Film Library, National Film Archive, National Film and Television Archive. The archive contains more than 50,000 fiction films, over 100,000 non-fiction titles, around 625,000 television programmes; the majority of the collection is British material but it features internationally significant holdings from around the world.
The Archive collects films which feature key British actors and the work of British directors. The BFI runs the BFI Southbank and London IMAX cinema, both located on the south bank of the River Thames in London; the IMAX has the largest cinema screen in the UK and shows popular recent releases and short films showcasing its technology, which includes 3D screenings and 11,600 watts of digital surround sound. BFI Southbank shows films from all over the world critically acclaimed historical & specialised films that may not otherwise get a cinema showing; the BFI distributes archival and cultural cinema to other venues – each year to more than 800 venues all across the UK, as well as to a substantial number of overseas venues. The BFI offers a range of education initiatives, in particular to support the teaching of film and media studies in schools. In late 2012, the BFI received money from the Department For Education to create the BFI Film Academy Network; the BFI runs the annual London Film Festival along with BFI Flare: London LGBT Film Festival and the youth-orientated Future Film Festival.
The BFI publishes the monthly Sound magazine as well as films on Blu-ray, DVD and books. It runs the BFI National Library, maintains the BFI Film & TV Database and Summary of Information on Film and Television, which are databases of credits and other information about film and television productions. SIFT has a collection of about 7 million still frames from television; the BFI has co-produced a number of television series featuring footage from the BFI National Archive, in partnership with the BBC, including The Lost World of Mitchell & Kenyon, The Lost World of Friese-Greene, The Lost World of Tibet. The institute was founded in 1933. Despite its foundation resulting from a recommendation in a report on Film in National Life, at that time the institute was a private company, though it has received public money throughout its history—from the Privy Council and Treasury until 1965 and the various culture departments since then; the institute was restructured following the Radcliffe Report of 1948 which recommended that it should concentrate on developing the appreciation of filmic art, rather than creating film itself.
Thus control of educational film production passed to the National Committee for Visual Aids in Education and the British Film Academy assumed control for promoting production. From 1952–2000, the BFI provided funding for new and experimental filmmakers via the BFI Production Board; the institute received a Royal Charter in 1983. This was updated in 2000, in the same year the newly established UK Film Council took responsibility for providing the BFI's annual grant-in-aid; as an independent registered charity, the BFI is regulated by the Charity Commission and the Privy Council. In 1988, the BFI opened the London Museum of the Moving Image on the South Bank. MOMI was acclaimed internationally and set new standards for education through entertainment, but subsequently it did not receive the high levels of continuing investment that might have enabled it to keep pace with technological developments and ever-rising audience expectations; the Museum was "temporarily" closed in 1999. This did not happen, MOMI's closure became permanent in 2002 when it was decided to redevelop the South Bank site.
This redevelopment was itself further delayed. The BFI is managed on a day-to-day basis by its chief executive, Amanda Nevill. Supreme decision-making authority rests with a board of up to 14 governors; the current chair is Josh Berger, who took up the post in February 2016. He succeeded Greg Dyke, who took office on 1 March 2008. Dyke succeeded the late Anthony Minghella, chair from 2003 until 31 December 2007; the chair of the board is appointed by the BFI's own Board of Governors but requires the consent of the Secretary of State for Culture and Sport. Other Governors are co-opted by existing board members; the BFI operates with three sources of income. The largest is public money allocated by the Department for Culture and Sport. In 2011–12, this funding amounted to £20m; the second largest source is commercial activity such as receipts from ticket sales at BFI Southbank or the BFI London IMAX theatre, sales of DVDs, etc. Thirdly and sponsorship of around £5m
National Library of Poland
The National Library of Poland is the central Polish library, subject directly to the Ministry of Culture and National Heritage of the Republic of Poland. The library collects books, journals and audiovisual publications published in the territory of Poland, as well as Polonica published abroad, it is the most important humanities research library, the main archive of Polish writing and the state centre of bibliographic information about books. It plays a significant role as a research facility and is an important methodological center for other Polish libraries; the National Library receives a copy of every book published in Poland as legal deposit. The Jagiellonian Library is the only other library in Poland to have a national library status. There are three general sections: The Library The Bibliographic Institute of the National Library The Book and Readership Institute The National Library's history has origins in the 18th century including items from the collections of John III Sobieski which were obtained from his grand daughter Maria Karolina Sobieska, Duchess of Bouillon.
However, the Załuski collection was confiscated by troops of Russian tsarina Catherine II in the aftermath of the second Partition of Poland and sent to Saint Petersburg, where the books formed the mass of the Imperial Public Library on its formation in 1795. Parts of the collection were damaged or destroyed as they were mishandled while being removed from the library and transported to Russia, many were stolen. According to the historian Joachim Lelewel, the Zaluskis' books, "could be bought at Grodno by the basket"; because of that, when Poland regained her independence in 1918, there was no central institution to serve in the capacity of a national library. On 24 February 1928, by the decree of president Ignacy Mościcki, the National Library was created in its modern form, it was opened in 1930 and had 200 thousand volumes. Its first Director General was Stefan Demby, succeeded in 1934 by Stefan Vrtel-Wierczyński; the collections of the library were extended. For instance, in 1932 president Mościcki donated all of the books and manuscripts from the Wilanów Palace Museum to the library, some 40 thousand volumes and 20 thousand pictures from the collection of Stanisław Kostka Potocki.
The National Library lacked a seat of its own. Because of that, the collections had to be accommodated in several places; the main reading room was located in the newly built library building of the Warsaw School of Economics. In 1935 the Potocki Palace in Warsaw became home for the special collections. A new, purpose-built building for the library was planned in what is now the Pole Mokotowskie, in a planned monumental "Government District". However, its construction was hampered by the outbreak of World War II. Before World War II, the library collections consisted of: 6.5 million books and journals from 19th and 20th centuries 3,000 early prints 2,200 incunables 52,000 manuscripts maps and musicIn 1940 the Nazi occupants changed the National Library into Municipal Library of Warsaw and divided it as follows: Department of Books for Germans Restricted Department, containing books that were not available to readers All special collections from various Warsaw offices and institutions In 1944 the special collections were set ablaze by the Nazi occupants as a part of repressions after the Warsaw Uprising.
80,000 early printed books, including priceless 16th-18th century Polonica, 26,000 manuscripts, 2,500 incunables, 100,000 drawings and engravings, 50,000 pieces of sheet music and theatre materials were destroyed. It is estimated that out of over 6 million volumes in Warsaw's major libraries in 1939, 3.6 million volumes were lost during World War II, a large part of them belonging to the National Library. Today the collections of the National Library are one of the largest in the country. Among 7,900,000 volumes held in the library are 160,000 objects printed before 1801, over 26,000 manuscripts, over 114,000 music prints and 400,000 drawings; the library collections include photographs and other iconographic documents, more than 101,000 atlases and maps, over 2,000,000 ephemera, as well as over 2,000,000 books and about 800,000 copies of journals from 19th to 21st centuries. Notable items in the collection include 151 leaves of the Codex Suprasliensis, inscribed in UNESCO's Memory of the World Programme Register in 2007 in recognition for its supranational and supraregional significance.
In 2012 the library signed an agreement to add 1.3 million Polish library records to WorldCat. List of libraries damaged during the World War II Digital Library of the National Library of Poland National Library website Polona - National Digital Library A Commonwealth of Diverse Cultures
13 Going on 30
13 Going on 30 is a 2004 American fantasy romantic comedy film written by Josh Goldsmith and Cathy Yuspa and directed by Gary Winick. Starring Jennifer Garner, the film was produced by Revolution Studios for Columbia Pictures, was released on April 23, 2004, it follows a 13-year-old girl. During her birthday party, she is humiliated by wishes that she was 30 years old; when she does emerge, she finds herself five days shy of her 30th birthday, uncertain how she got there. The film received positive reviews from critics, with many praising Garner's performance and its nostalgic environment, it was praised for its humorous plot and self-empowering message. The film was a commercial success, earning $22 million in its first week and grossing over $96 million, becoming one of the year's biggest-selling DVD rental titles, its soundtrack features songs spanning from the 1980s to the 2000s, with a range of hits from famous recording artists such as Talking Heads, Billy Joel, Michael Jackson, Pat Benatar and Whitney Houston.
Additionally, the soundtrack charted inside the top 50 on the US Billboard 200 chart. Garner's acting earned her nominations from both the MTV Movie Awards and the Teen Choice Awards, the film was re-released in DVD in 2006 as "Fun and Flirty Edition", on Blu-Ray in 2009. On May 26, 1987, Jenna Rink, a gawky girl, yearns to be popular, but the only way she can get the ruling clique—the "Six Chicks", led by mean girl Lucy "Tom-Tom" Wyman—to attend her upcoming 13th-birthday party is by doing their homework. Jenna's best friend, the geeky boy Matty Flamhaff, arrives early to the party to give her two presents: a bright pink, dream dollhouse that he built himself and a packet of glittery "magic wishing dust", which he sprinkles on the dollhouse roof; the Six Chicks show up with the cutest boys in class and trick the naive Jenna into playing "seven minutes in heaven". While Jenna waits, blindfolded, in a closet, thinking a popular boy she has a crush on is about to enter, the Six Chicks vanish with all the boys, half the food and Jenna's completed homework.
It is Matt who walks to Jenna's horror. She locks herself in the closet and cries, wishing to be 30; the next morning, Jenna awakens in a gleaming Fifth Avenue apartment. Jenna's wish has come true: It is now 2004, Jenna, at first utterly baffled by the handsome hunk in her shower, realizes she has magically turned 30 overnight, with no idea of what happened in the intervening 17 years. Jenna discovers that she works for Poise, her favorite fashion magazine. Tough-as-nails Lucy is her co-editor and best friend, but the magazine itself is in serious trouble, having been scooped by a rival magazine named Sparkle so that the editor-in-chief believes someone inside Poise is tipping them off. Jenna, freaking out like the frightened teen, wants only to find Matty, she gets his address and races down to Greenwich Village where the now-grown Matt is a struggling photographer. To her confusion, he is distant and cold, cannot fill Jenna in on much of her missing past, because she became a hot propular girl and head of the "Six now seven Chicks", never spoke to Matt again.
She became Prom Queen—and Lucy, her only friend, is the original "Tom-Tom" after plastic surgery. While delighting in her freedom and great clothes, Jenna stumbles through a grown-up world, learning enough of life to advise other 13-year-olds whom she prefers to hang with, but her emerging past reveals she was nothing like the sweet, shy girl she had been the day before: this grown-up Jenna stole ideas, refused to speak to her parents, has office sex with the husband of a co-worker. After Jenna overhears her supposed best friend Lucy badmouthing her, in a plan to save the magazine behind her back, she decides to fix the sins of the past she cannot remember, she returns to weeps in the same basement closet. Her parents find her there, they reunite, she gets back in touch with Matt, gingerly apologizes and hires him to do the photography on her own new plans for Poise, a huge break for him. Though Matt has a fiancée in Chicago, eager for him to move there and Matt begin to fall for each other. Everyone loves Matt's photos and Jenna's new plans to save the magazine, but when Sparkle shows up yet again with this exact material, including Matt's own photographs, with Lucy as their new head, Poise folds.
Outraged, Jenna confronts Lucy for stealing, but Lucy scornfully tells her that Jenna was the one sabotaging her own magazine all along. Matt, wounded by what he thought was Jenna's betrayal, is getting married the next day. Jenna rushes out to the leafy suburb on his wedding day, hoping to persuade Matt that she was not the bad person she had seemed to be and that he would marry her if he could see who she was, but Matt in his tuxedo, says the hands of time cannot be turned back. Matt walks to the closet and pulls out the pink dollhouse he made for Jenna on her 13th birthday and kept for the 17 years. In tears, Jenna asks if he could give the homemade dollhouse back to her, which convinces Matt to sadly confess that he had always secretly loved her when she stopped being his friend. While the wedding begins in the background, Jenna looks at the dollhouse and, seeing a young Matt and herself inside, she begins to cry; as she cries specks of Matt's old dust from the dollhouse begin to whirl up around h