Shailene Woodley fights against Food Deserts, Allegiant Special Features, Miles Teller's My Girl

Hollywood star Shailene Woodley joined lawmakers and digital retailers on Capitol Hill at a congressional briefing Tuesday in an effort to persuade the Obama administration to enact changes that would allow people to use food stamps online. The 24-year-old Snowden star said the issue is one that affects her own family and friends. “This issue stems beyond food. It is about social justice, equality amongst all,” Woodley wrote in an Instagram post. “Healthy food should NOT be a privilege. healthy food is a RIGHT. and it’s our job to hold our government accountable to offer access to healthy food in ALL communities.”

The lawmakers are attempting to combat so-called “food deserts;” according to the U.S. Department of Agriculture (USDA), 23 million Americans live in areas where there are no readily available opportunities to purchase healthy food. “A key step we can take to fight hunger, and combat food deserts is to make healthy, affordable good choices available to the greatest number of consumers,” Rep. Ryan said in a press statement. “I believe the federal government must advance to the level of today’s technology and allow for the easier use of EBT benefits through online portals.” Rep. Ryan also personally thanked Woodley for attending Tuesday’s briefing. Source: www.breitbart.com

The Divergent Series: Allegiant / 4K Ultra HD Review: Lionsgate truly pushed the envelope with this release of Allegiant creating I dare say one of the best audio mixes I have heard to date on a 4K disc. Back are the actors that the audiences fell in love with -- including Woodley, James, Watts, Ansel Elgort (The Fault In Our Stars), and Miles Teller (Fantastic Four). They all play their roles nicely, although Woodley seems a little more stiff and wooden in this installment than she had previously. To give the best possible video and audio presentation the Special Features are all contained on the Blu-ray disc in the set. Features include a Audio Commentary with Producers Douglas Wick and Lucy Fisher, Allegiant: Book to Film, Battle in the Bullfrog, Finding the Future: Effects and Technology, Characters in Conflict, The Next Chapter: Cast and Characters, and Building the Bureau. Source: flickdirect.com

Specifically, the story picks up after the genetically pure Beatrice Prior (Shailene Woodley) has defeated Jeanine Matthews, and freed a segregated Chicago population of faction controls while enjoying an ever-evolving romance with the genetically damaged Four (Theo James). However, the new leader Evelyn wants justice and power, but Beatrice and her pals want no part of her plans. They escape over a massive electrified wall surrounding the tattered Windy City and find a wasteland that looks like it was designed by Ridley Scott’s “The Martian” production team. The group eventually get to the Bureau of Genetic Welfare (built upon the ruins of Chicago’s O’Hare International Airport), and Beatrice agrees to help the leader of the bureau David (Jeff Daniels) explain the importance of genetic purity to the mysterious council.

What completely overshadows the burdening narrative is the wonderfully fun and futuristic technology injected into the world. The HD port spotlights such slick items as a plasma protection globe that envelopes and protects the body, three-dimensional surveillance station pods, a set of mini drones, a mile-high-tall camouflage wall... As far as performances, Shailene Woodley carries the emotional load while Miles Teller continues to annoy as Peter Hayes, an overtly sarcastic, greedy weasel, always ready to undermine his new friends.

I cannot in my wildest imagination understand why the characters, movie after movie, are stupid enough to constantly trust this clown and not simply beat him to an unrecognizable pulp. Part two of the book’s movie adaptation arrives next year around this time to cement Divergent as one of the most excruciating in the history of young adult, post-apocalyptic franchises.

I did enjoy 11 minutes with Alec Hammond (production designer) and Stefan Fangmeier (visual effects supervisor) on the magic behind the special effects and computer-generated effects that showcased the sci-fi technology such as the secrets of the bubble ship and plasma globes. Also worth a look is a 12-minute overview on digitally redesigning Chicago’s O’Hare International Airport starting from its current iteration and adding levels of futuristic design to create a sort of “hive of science and living,” according to the production staff. Source: www.washingtontimes.com

"I'm sick of being this way. I'm sick of doing bad things and liking it, and then wondering what is wrong with me?" - Peter Hayes in Allegiant (Deleted Scene).

Miles Teller playing and singing "My Girl" (original by The Temptations).

The Neon Demon, Blondes Have More Fun, Lou Reed, Blonde Miles Teller

From the very beginning of Nicolas Winding Refn’s The Neon Demon, the protagonist, Jesse (Elle Fanning) is willing to sell herself to whoever’s buying. “I’m pretty, and I can make money off pretty,” she says baldly. Underage, on her own, fresh out of small-town America, and fixated on a modeling career in LA, she can’t afford to have scruples about who she works for, or how they present her for the camera. But one of the many fascinating, disturbing things about Refn’s film is just how suited Jesse is for soullessness. She starts off weak, but she’s never warm. She’s naïve, but she responds to predatory photographers and jealous models with what seems like an authentic eagerness to be exploited, if it gets her ahead.

Refn had his Neon Demon stars watch Russ Meyer’s infamous rock-star psychodrama Beyond The Valley Of The Dolls for inspiration, and that's no particular surprise: Neon Demon is lurid, lush, and overripe in the same sort of way, with a vulgar vapidity that's baffling and hypnotic at the same time. 

Fanning's performance gives Neon Demon a lot of its queasy power. Jesse is never a particularly sympathetic character, and by mid-film, she's thoroughly divorced herself from humanity. But Fanning gives her an elegance and a cool center that's separate from the icy scorn of the film's other career models. There's a surety to Fanning's portrayal that makes her immune to the petty envy other women focus on her, and that helps her rise above exploitative situations. Fanning makes being bought and sold as a product seem almost exalting, which makes it even clearer why the lesser success stories around her feel so hurt when they put themselves on the market and get rejected.  Source: www.theverge.com

"I'm not as helpless as I look," Jesse asserts. Under her natural blond curls and periwinkle peasant dresses, she understands that beauty is the promise of sex, and the promise of sex is power. Refn exuberantly extrapolates visually on two key transformative moments in Jesse's life and career – viewing an s&m/contortionist stage show, taking her first jaunt down the catwalk – and renders them explosively, vigorously symbolic, often abstract, occult and feminist. The director's approach is strange and original, and deeply personal, even when it's overtly cryptic. It's almost as if he's exploring the forbidden, irrational elements of his psyche, and compelling us to do the same. The film's core concept is rooted in longing – to touch what's on a screen or magazine page, to eliminate the competition with vicious territorialism. Source: www.mlive.com

The idea that ‘gender is a spectrum’ is supposed to set us free. But it is both illogical and politically troubling: since at least the 1960s, the word has taken on another meaning, allowing us to make a distinction between sex and gender. For feminists, this distinction has been important, because it enables us to acknowledge that some of the differences between women and men are traceable to biology, while others have their roots in environment, culture, upbringing and education – what feminists call ‘gendered socialisation’. At least, that is the role that the word gender traditionally performed in feminist theory. It used to be a basic, fundamental feminist idea that while sex referred to what is biological, in some sense ‘natural’, gender referred to what is socially constructed.

In reality, everybody is non-binary. We all actively participate in some gender norms, passively acquiesce with others, and positively rail against others still. So to call oneself non-binary is in fact to create a new false binary. It also often seems to involve, at least implicitly, placing oneself on the more complex and interesting side of that binary, enabling the non-binary person to claim to be both misunderstood and politically oppressed by the binary cisgender people. If gender identity is a spectrum, then we are all non-binary, because none of us inhabits the points represented by the ends of that spectrum. Every single one of us will exist at some unique point along that spectrum, determined by the individual and idiosyncratic nature of our own particular identity, and our own subjective experience of gender. Source: aeon.co

Lou Reed can express the dark side of life in songs like Sally Can’t Dance, he can then reflect on a friendship in Billy and he can also be the most sarcastic of them all with songs like N.Y. Stars. N.Y. Stars is a nod to being bored with everything and everyone. The lack of depth in others has proven a way to be successful, but don’t buy into it. Listen to what Lou is saying here - don’t sell yourself short and don’t fucking dumb yourself down to please others. If you have to do that to keep people around, then please let them go and strike out on your own. Sally Can’t Dance is a proper Rock & Roll record, what came after this was a record of feedback and beautiful noise. Source: www.jukebox86.wordpress.com

Recorded at a Sydney, Australia show on November 21, 1974, Blondes Have More Fun is a bootleg LP that came out on various underground labels in the '70s. Blondes Have More Fun was reissued by Wizardo Records a few years later. Whether Lou Reed is turning his attention to solo favorites like "Walk on the Wild Side," "Vicious," and "Sally Can't Dance," or Velvet Underground classics such as "I'm Waiting for the Man" and "Heroin," Blondes Have More Fun is an LP that collectors made a point of searching for in the '70s. –AllMusic Review by Alex Henderson

Lou Reed's quixotic/demonic relationship to sex was clearly intense. The psychology of genre was everything [for him]. No one understood Lou's ability to make those close to him feel terrible better than the special targets of his inner rage, his parents, Sidney and Toby. Lou dramatized what was in the 1950s suburban America his father's benevolent dominance into Machavellian tyranny, and viewed his mother as the victim when this was not the case at all. The fact is Sidney and Toby Reed adored and enjoyed each other. After twenty years of marriage, they were still crazy about each other. Lou would claim in Coney Island Baby that he wanted to play football for the coach, "the straightest dude I ever knew." –"Transformer: The Complete Lou Reed Story" (2014) by Victor Bockris

Suddenly Lou Reed looked like a concentration camp victim, his other-worldliness exaggerated by a brutal crop of his curly locks, first dyed black then with World War One iron crosses branded into the side and finally bleached blonde. Reed introduced an R&B feel to the September 1974’s ‘Sally Can’t Dance’ album. Dismissed at first as flimsy, it’s now another fascinating piece of the Reed jigsaw with zombie ballad ‘Ennui’ and nasty ‘Kill Your Sons’ shining as twisted mini-masterpieces beneath the unsympathetically overcooked production. “I’m told that I’m a parody of myself but who better to parody?” he said. “I can do Lou Reed better than most people and a lot of people try.” Source: www.clashmusic.com

When many think of actor Miles Teller, they think of films such as The Spectacular Now and Fantastic Four. The first thing that comes to mind isn't necessarily how much he changes up his look. However, that's exactly what he did. Miles Teller's blonde hair at the 2016 ESPY Awards was totally unexpected. The typically brunette star has never been seen as anything but his seemingly natural darker hue, so there's got to be a reason for Teller's massive change. He is currently filming Granite Mountain, a film about the 19 firemen who lost their lives in the Yarnell Hill fire of 2013.

In The Spectacular Now, Miles Teller deserved a Best Actor nomination for taking what could have been a standard rogue on a journey of self-improvement and imbuing him with raw humanity and a sense of humor so unforced that his line readings feel improvised. Shailene Woodley completely matches him while finding a rhythm all her own. Source: carnnivorousstudios.com

Miles Teller is set to play Brendan McDonough, the lone survivor of the crew. As it turns out, McDonough is blonde. As Granite Mountain is set to depict real events, it makes sense that Teller would want to make his depiction of McDonough as authentic as possible. Dying his hair blonde is a natural step toward giving McDonough the depiction he deserves. Say hello to blonde Miles Teller, everyone. I doubt he'll be around for too terribly long. Source: www.bustle.com

Miles Teller (blonde version) with girlfriend Keleigh Sperry on 4th of July 2016.

Keleigh Sperry (Photo Session for One.1 - Models Management)

"Kissing was permissible as a hint at “the sexual act” that could not be directly represented; in the movies, thanks to the enhancements of lighting, makeup, close-up and decoupage, it was an even broader and more suggestive hint than it was onstage."  –A.O. Scott (The New York Times)

Miles Teller: Anti-Establishment Flavor Characters, "Allegiant" in Blu-Ray

Before long, Aimee (Shailene Woodley) loosens up, drinks all day long out of a flask like Sutter (Miles Teller) and even makes sexual demands on him. She also insists that he find out what has happened to his absent father, about whom his mother (Jennifer Jason Leigh) refuses to speak. Eventually, Sutter does just that and, contrary to the soothing stories he has told himself about his father, discovers the older man (Kyle Chandler) to be something of a womanizing barfly. The film and Tharp’s novel each has its attractions. Tharp’s Sutter offers various pointed remarks about the absurdities of contemporary American suburban life. One feels a certain affection for the narrator and his generally well-intentioned actions, many of which go awry. The novel even has a certain genial anti-establishment flavor to it. The film version of The Spectacular Now is an improvement upon the book in some ways, a falling off in others. Source: www.wsws.org

College students with an absent father are more likely to engage in casual sex, according to new research published in the journal Evolutionary Psychological Science. The study, conducted by Catherine Salmon of the University of Redlands along with her colleagues John M. Townsend and Jessica Hehman, examined the relationship between a father’s absence and the sexual behavior of college students. “There is a large amount of literature on life history strategy and psychosocial acceleration theory that suggests a strong impact of father absence on female sexual strategies and some evidence, from this new study and a few others, that it also impacts male sexual behavior,” Salmon told PsyPost. The earlier the students were no longer living with their biological father, the greater the number of one-night stands. 

This was true for both men and women. “Thus, father absence was a clear predictor of short-term reproductive decisions that affected both males and females, rather than a specific effect on females,” the researcher noted. According to life history theory, early life experiences can shape an individual’s expectations about the nature of other people, relationships, and life in general. Those faced with high stress, scarce resources, and insensitive parenting in early life develop a “fast life” strategy that typically includes “insecure attachment, early maturation, early sexual activity, and an emphasis on short-term mating.” Source: www.psypost.org

Just Jared: -What was your audition process like for Divergent?

Miles Teller: -I didn’t have to audition. The director saw Shailene Woodley and I in The Spectacular Now, and said, “Hey, would you be interested in this?” I originally auditioned for Four and that didn’t work out. And they’re like, “We think you would make a good villain. Would you want to play the role of Peter?” I said “Yeah, sure.” I didn’t know much about him. Once I was cast and people were talking about it online, I read the book after. I didn’t know that Peter was so hated.

Just Jared: -But he does have a soft spot for Tris…

Miles: -He saves her life. I think in the third book, I think he’s going to come around even more.

Miles Teller: -You read the book I think because it gives you more information about someone, which I want. But at the same time, I read about two-thirds of The Spectacular Now and then I think I just stopped because the more they were talking about this kid, that’s not how I was playing him. I didn’t want to get too invested in.

Allegiant Blu-Ray / Digital HD special features:

Audio Commentary with Producers Douglas Wick and Lucy Fisher

Six Featurettes: “Allegiant: Book to Film,” “Battle in the Bullfrog: The Stunts and Choreography Behind This Thrilling Sequence,” “Finding the Future: Effects & Technology,” “Characters in Conflict: The Motivations Behind the Film’s Antagonists,” “The Next Chapter: Cast & Characters, Building the Bureau”

Allegiant DVD special features:

Audio Commentary with producers Douglas Wick and Lucy Fisher

Two Featurettes: “Allegiant: Book to Film,” “Battle in the Bullfrog: The Stunts and Choreography Behind This Thrilling Sequence”

Meanwhile, the final movie in the Divergent Series (title Ascendant) will hit theaters next summer. A synopsis reads: “In this third exciting film in The Divergent Series, Tris and Four lead a team of rebels in a daring escape over the city wall—into a strange new world where they face a threat more dangerous than they ever imagined. Together, Tris and Four wage a furious battle for survival, fighting not only for their factions and loved ones, but for the future of an entire city in this dynamic, action-packed adventure.” Source: www.hypable.com

"Divergent," "Insurgent" and "Allegiant" book author Veronica Roth recently opened up about Tris Prior (Shailene Woodley) and Peter Hayes' (Miles Teller) relationship in one of the books' deleted scenes. In an interview with Entertainment Weekly, Roth explained that "Strike First, Strike Hard" was deleted from "Allegiant" because it slowed down the pace of the story. According to Roth, "Strike First, Strike Hard" was supposed to also show Peter's vulnerable side. In the books, as well as the first two movies, Peter was depicted as Tris' nemesis. However, Peter later on teamed up with Tris and Four, and they escaped the Erudite compound together." It showed some of Peter's vulnerability as well as how much Tris has changed since he first tormented her in this dormitory," Roth said. Source: www.designntrend.com

Hero Complex: -I understand that the filming of “Insurgent” and “Fantastic Four” overlapped? How was it jumping between being the unlikable antagonist in one story to the hero of another?

Miles Teller: -It was difficult. It was harder than I thought it was going to be. I thought I would just be able to go to “Insurgent” and just be able to fall right back into Peter, but it was tough. I don’t walk around as Peter. I don’t carry myself in that way, so you have to kind of re-remember what you’re doing. I was pretty unsure of myself, actually, for a little bit, because you’re just not sure if what you’re doing is keeping the integrity of the character from what you were doing on the last film. And I saw it and I felt like I was pretty happy with some of the stuff I was able to do.

Hero Complex: -Many of the antagonists in “Insurgent” have more clear motivations that drive their actions, like what they think is best for society, or a longstanding rivalry. What do you see as Peter’s motivation?

Miles Teller: -I think it wavers. It wavers all the time, as it goes in life. It’s not like these people are his friends. He doesn’t know any of them, so he’s kind of figuring them out, and his biggest motivation is to survive. A lot of the people from the first movie died, so the fact that he didn’t means that he’s pretty smart and he’s cunning. He’s a pretty shifty character, but I think he’s really just looking out for himself. As the story progresses, and as Peter evolves, you find out that… he’s grown up by the end of “Allegiant.” Peter’s grown up, and he’s not happy with the kind of the person he was for a while. You’re just dealing with somebody who’s [still] kind of figuring out who they are.

In the span of a few years, Teller has gone from a browbeaten drummer in Whiplash to the lean Reed Richards in Fantastic Four. Now, he steps all the way into the spotlight, with a suitably with a ripped physique. Teller’s latest artistic undertaking centers on the storied career and tumultuous life of five-time lightweight boxing champion Vinny “the Pazmanian Devil” Pazienza. Pazienza suffered a devastating car accident that nearly left him paralyzed. Immobilized with a huge, cumbersome brace designed to help him heal two broken vertebrae, Pazienza was faced with a grueling recovery just to move and walk again—let alone reclaim a shadow of his former championship ability.

As with Paz's road to recovery, the stakes for Teller in Bleed for This are high and margin for error is slim. Martin Scorsese, who originally envisioned the project, is on as executive producer. Meanwhile, Teller's career is reaching a new height. In his October 2015 Men's Fitness cover story, Teller detailed how he trained and to get into peak athletic shape for his role. “Honestly, when I read the script,” Teller said in his profile, “I was like, ‘This is going to be really great for someone else.’ It was this masculine, macho story about this world champion boxer. I don’t think after people saw Whiplash or That Awkward Moment they thought of me and said, ‘This dude is a badass fucking boxer.’” Source: www.mensfitness.com

Miles Teller "Bleed for This" Trailer, "I Want Your Love" video

In Bleed for This, Miles Teller stars as Vinny Pazienza in one of sport’s greatest comeback stories: the true-life tale of how the Rhode Island brawler tragically lost almost everything just as he reached the pinnacle of his profession and how he defied medical science and common sense to return to the ring and win another championship belt. Aaron Eckhart costars as renowned boxing trainer Kevin Rooney and Katey Sagal and Ciaran Hinds play Paz’s understandably concerned parents.

In the exclusive trailer above, Pazienza works overtime to drop those last few pounds in order to make weight for a 1988 title bout against Roger Mayweather, and thanks to Paz’s male thong at the press conference, it’s clear that Teller (Whiplash) put in the necessary gym work to convincingly portray a boxer.  “I’m not done,” Teller says. “I got more in me.” His return to the ring includes some bloody brawls that made Rocky Balboa fights seem tame, but no one who ever got in the ring with Pazienza after his accident wanted it more than he did. Directed by Ben Younger (Boiler Room) and executive produced by Martin Scorsese, Bleed for This opens in limited release on Nov. 4 before going wide on Nov. 23. Source: www.ew.com

“It takes a long time to transform your body,” Teller told Us. “I thought that you start doing some crunches, you get abs. It’s like no, man, you gotta totally change your body’s chemistry… but I always love when actors do an accent or change their bodyweight so I was excited for the opportunity." Someone who wasn’t exactly stoked about his new diet and exercise regimen was his girlfriend, Keleigh Sperry. “He was ripped and shriveled, but he was also boring. He wouldn’t drink,” Sperry told Us, laughing. “One time, I came home and I was in the middle of my training…and there’s french fries — she had just ordered this burger or something. And I got so pissed off!” Teller told Us. “I was like, ‘Baby, you cannot be eating this crap in front of me! It’s torture!’” Source: www.usmagazine.com

A video featuring pictures and stills of Miles Teller and his co-stars. Soundtrack: "I Want Your Love" & "Bad Valentine" by Transvision Vamp, "Heartbreaker" by Elvis Presley, "Won't Ever Let You Down" by Wilco, "Take Em or Leave Em" by Amy Lavere, "Baby Be Mine" by The Jelly Beans, "Poor, poor, pitiful me" by Warren Zevon, "I'm Gonna Knock on Your Door" by Eddie Hodges and "It's so Easy to Fall in Love" by Buddy Holly.

"American Honey" (Shia Labeouf), "That Awkward Moment" (Miles Teller)

Andrea Arnold’s first US feature, American Honey (2016), a meandering road trip film about a ragtag crew of traveling teens selling magazine subscriptions. Centering all of this is a quiet, but impressively commanding performance from Sasha Lane as Star, who manages a complex emotional range as a young woman with nothing to lose, tagging alone mostly due to an attraction and fascination with Shia LaBeouf’s showboating lead ‘salesman.’ They have a believable chemistry together, and LaBeouf’s frequent rages gives the intense performer a believable palette, even if his presence automatically marks the film as a target for easy derision. Source: www.ioncinema.com

Shia Labeouf: "I come from hippies. My generation will actually be the first generation that is tamer than the one that came before it, and it will probably be poorer; less fun and less money. It's ridiculous. In my parents' generation, rebellion was pop culture. It's not anymore."

When Star (Sasha Lane) meets a gaggle of similarly disaffected young misfits at the aforementioned Walmart, she’s immediately drawn to their smirkingly charismatic leader Jake (Shia LaBeouf, sporting his own ratty braid and facial piercings), a kind of enigmatic Pied Piper for the douche-bro generation. Despite the apparent stunt casting of LaBeouf — who easily delivers his best performance here, bleeding the eccentricities of his own celebrity persona into the character to fascinating, oddly moving effect — the film never slips away from Star’s evolving point of view, or Lane’s electric presence. Source: variety.com

That Awkward Moment plays with the cliché of pricks being princes in need of a princess. The movie is going for a kind of Taming of the Douche. Miles Teller plays the most maladroit of the three characters. He softens the misogyny by treating it as something less galling. When a gentleman comes on to the friend (Mackenzie Davis) his character will spend the rest of the movie secretly sleeping with, he says, “You can tame her with tequila and compliments.” Teller is also unusual looking yet happens to be a better, handsomer actor who can give the offensiveness a psychological changeup. Rogen and Hill project. Teller performs. Source: grantland.com

Miles Teller is glad he didn't end up like Shia LaBeouf. "People tell me I've had a quick ascension into this business. But for me, when I was in college, I was looking at Shia LaBeouf," the 27-year-old actor told the Salt Lake Tribune. "I used to say that I needed to get a 'Disturbia' and then I'll be in the biz and I'll kind of be 'the other Shia' - the next guy. But I'm glad it went the way it's went. I've been able to work on some studio films and some really good independent films."

Teller once again insisted that he makes no money doing indies. Teller is determined to build a strong movie-making resume, he explained. "At the end of the day, I just feel like I want to be a step ahead of... not the critics, the perception. I have a pretty wide taste," the "Whiplash" star said. Source: www.designntrend.com

Tom Gormican: -I feel like that’s just been ingrained in our American, Teddy Rooseveltian mindset, where you’re not supposed to talk about your emotions. Maybe it’s a product of our English heritage or something, but it has made it’s way into popular culture. What I wanted to do was a romantic comedy where the guys are actually normal dudes, and they have conversations about what to do in their relationships with women, especially when they really like them. It vibes like this intentional jack-assery by these guys, and I just wanted it to be about guys who are making bad decisions because they're not fully adults yet.

AIC: I think the big reveal here in "That Awkward Moment" is that men are just as susceptible to emotional attachment as women, whether they admit it or not. That’s something of a revelation in the movie world. Was that one of the things you dug about the film was that it revealed that horribly kept secret?

Miles Teller: I think that guys will appreciate it. In your 20s, really this movie is a heightened focus on the moment that’s between college and when you get married, and it’s that time is one of self discovery. If you don’t have kids and you don’t have a wife, these are really times when you can put yourself first. And you do see these guys struggling with that, with not wanting to necessarily be occupied with a relationship. But when your heart is leading you in a certain way, you can't fight it. I know I’ve had experiences where I was fighting it because I knew the girl was really right for me. I knew she might be the one that I really end up with. So, I think you see three guys grappling with that. Source: www.aintitcool.com

Miles Teller: "I still have feelings for all of my ex-girlfriends. In different parts of my life, I would miss that person. There's something that drew me to that person, and I shared something with them."

An emerging body of research has recently demonstrated that romantic-partner ideals are important within established romantic relationships. For example, romantic partners who idealize one another are less likely to break up, and participants report greater satisfaction with their present relationship to the extent that their partner matches their ideals. Although the present report casts some doubt on the notion that mate preferences serve the function of mate selection, this extant research on ideals suggests that mate preferences may instead serve the function of mate retention. Although this selection/retention distinction is surely not a strict dichotomy, it allows for the possibility that at moments of deliberative choice during the course of one’s relationship (e.g., whether to marry one’s partner), an individual might compare his or her partner to a set of ideal preferences and decide whether or not the relationship is worth continuing. First, studies that have examined the role of partner ideals in established romantic relationships typically assess participants’ ideals after they are already in a relationship. Although it would certainly be difficult to assess ideals before participants meet a long-term romantic partner, such a procedure would avoid the problem of participants’ ideals becoming “contaminated” by the characteristics of a current partner. In fact, one recent study indeed found that participants changed their ideals such that they placed more importance on the positive characteristics of their current romantic partner, even after dating for only a few months. Source: faculty.wcas.northwestern.edu