ApexNomad

I went with the Glinda the Good Witch package, which was $300. I almost booked through Vibee since I was staying at the Venetian, but their premium option would have put me in section 206 (Wicked Witch package), the closest centered tier. Having never been, I was worried about neck-craning that close, but honestly, it would have been fine. The best way I can describe the layout is like a Broadway theater: Sections 204–208 = orchestra Sections 305–307 = front mezzanine Sections 405–407 = balcony I was in section 306, and for me it was perfect. Being further back and in the center gave me a better view of the whole production without needing to rely on peripheral vision or turning my head too much. The far sides are closed off (smart move), since I don’t think those would have had the same effect. Premium packages, besides location, come with early access and food/beverage credit. There’s also a separate lounge for the VIP packages. There’s a merch store too. Drinks are served in souvenir cups. Truthfully, with the sections they make available, I don’t think there’s a bad seat in the house. It’s immersive no matter where you sit. I’m older and had worried about twisting and turning, but section 306 worked out great.

I think it’s fine to ask, especially if it’s important to you or high on your preference list. Just keep it simple: “I like hairy guys, do your current pics show how you look now?”

I saw The Wizard of Oz at the Sphere and absolutely loved it. It was a truly immersive, one-of-a-kind experience. The color. The sound. The crispness. A lot has been said about the number of cuts made to the film, and while that’s true, I didn’t think it affected the story at all. In fact, there were plenty of nice surprises (without giving anything away). The tornado sequence, especially, is jaw-dropping. This feels like the start of a new wave of cinematic storytelling. I can imagine so many modern films that have already pioneered themselves in the special effects space (Avatar, The Matrix, etc.) working brilliantly in this format.

Will do! I agree—the Met has been very intentional, for more than a decade now, about expanding opera’s reach, especially to younger audiences. They’ve done it through accessible pricing, cinematic broadcasts, educational programs, fresh and modern storytelling, and digital platforms that make the art form feel more approachable.

Sure. Lesson #1: Don’t spend four pages hyping a fantasy guy and then pass when the price tag is basically a rounding error. Lesson #2 will drop after I see The Wizard of Oz at the Sphere this afternoon. I’ve got Glinda the Good Witch VIP tickets. All courtesy of my passive income.

The only nonsense here is you walking away when the stars lined up perfectly in your favor. Can’t wait to see your next fantasy post.

$350 is the market in plenty of places (and below in the bigger ones), and it’s not “pricing out” when others are happily paying it. What doesn’t make sense is your approach: you spun up four pages of buildup, walked straight into the fantasy scenario everyone told you to hope for (myself telling you to avoid), and it actually works beautifully, and STILL you weren’t prepared to take it (not even the car detail). Even if it fell outside your budget (by how much by the way? $50? $100?), the whole setup screamed be ready to stretch for this one. This one is different. Instead, you tapped out. So when you say you “followed through,” what you really mean is you had a conversation and walked away. “I was serious, just not serious enough to pay the going rate.” That’s like saying you’re serious about buying a car, but your budget is $1,000. The conversation isn’t the follow-through, the booking is. A joke!

Four pages of advice, the dream scenario falls right into your lap, and you balk at $350? That’s a bargain compared to what guys charge in bigger cities. Why even approach him, let alone post, if you weren’t serious enough to follow through?

Michael Longfellow Is The Latest SNL Cast Member To Leave Ahead Of Season 51, And Fans Are Upset | Cinemablend WWW.CINEMABLEND.COM Another SNL cast member is gone...

Wow, that went from Stay please to eh, pack your bags real fast. 😂

Taylor Swift is rightly celebrated as an exceptional entertainer. Her music is not really my taste, but that’s irrelevant. What sets her apart, and what will ultimately be studied in legal and business programs, is her strategic handling of her recording rights. That I find most fascinating. Her tenacity in reclaiming her masters, and her bold decision to re-record her catalog, fundamentally shifted the balance of power between artists and labels. Having read a few of these recording contracts, it’s pretty extraordinary how she came out on top. From a contractual and commercial standpoint, the Taylor’s Version strategy was ingenious. By reissuing her work, she diluted the economic value of the original masters, redirected consumer demand, and reasserted control over her intellectual property. It is one of the most significant artist-driven maneuvers in modern music history. From what I understand, two albums from her original catalog remain unreleased as Taylor’s Version. Here, I would advance a simple proposition if I was advising her. If she were to release even one of those albums entirely free of charge, it would serve as the ultimate capstone to her strategy. The legal and business rationale is threefold: Equitable Consideration for Fans, Market Disruption as Leverage, and Reputation and Legacy. In law we often speak of “precedent.” This act would set one. It would transform her re-recording strategy from a defensive maneuver into an affirmative doctrine of artistic empowerment. It would establish her not merely as a beneficiary of fan loyalty, but as a steward of it, ensuring her legacy as both artist and advocate. Releasing one album free would not diminish her achievement; it would elevate it. It would be remembered as the moment when a world-class entertainer also demonstrated world-class magnanimity, cementing her reputation as the rare artist whose business acumen matched, and perhaps exceeded, her artistry.

He was one of your picks you didn’t want to see leave.

That’s going to vary a lot. “Too old” isn’t a number so much as it is about what you want out of the encounter. If the goal is penetrative sex, the body might set limits sooner. But if the goal is companionship, touch, conversation, or even one-way pleasure like a blowjob or massage, age really isn’t a disqualifier. It just depends on your objectives and what makes the experience meaningful for you.

Absolutely!!! Many thanks @Whitman! You bring so much joy and pleasure (literally) to my day. 😂😘

Just wow!

He’s very handsome. Looks very much like this guy (some of the same tattoos). https://rent.men/italianboyph

I love every actor in this video. This is hilarious. Sarah Sherman was great in this.

Incredible.

One of the best! A consummate professional.

A full weekend for $700? What year is this? 1995?

By that logic, we might have to stop trusting you too, Bozo the Clown.

I respect your take. For me, it’s the opposite. If the other person doesn’t finish, it feels like a performance, or just reinforces that this is a paid encounter. I know this topic has come up before, so I’m not trying to rehash old debates in a new thread. At its most basic, primal level, when I hire, it’s when I’m single and part of what I want is to see and feel another man climax. I miss it. That’s what makes the experience feel authentic and meaningful for me.

Ah! Got it. You’re always one step ahead of me my friend. Thank you! 😊

Sorry, I don’t understand. The third movie is coming out in theaters September 12.

I’d much rather be in the position of explaining love to a child than explaining hate. Explaining love is a gift. Explaining hate is a burden, and too much of Snoop’s own catalog has already glorified the latter.