Cute Reaction Quotes

Righty ho, biker boss,” I muttered quickly and Shy’s eyes narrowed. “Don’t be fuckin’ cute and, honest to God, if you lick your lip, I’ll lose my mind. Next time you lick your lip you do it when we are nowhere near a public place and I can let loose the reaction I’ve had half a million fuckin’ times over four fuckin’ years every time I’ve seen you do it.

She wore glasses, and I was a sucker for a girl in corrective eyewear. Since I was ugly it was probably some sort of subconscious reaction in the hope that I might have a chance with a cute girl who couldn't see very

Face your true self. Your reaction when facing any animal is much more likely to be 'Ahh, cute!' than 'Yum, dinner!

It was a rather cute reaction, but as I wasn’t a part of any of that, I didn't give a damn.

If one wishes to elicit a reaction from the elusive species known as 'reservus quietgirlius,' one must poke.

But that’s the thing you’re not getting, Kelsey. He reacted without thinking, and his reaction was to not trust me. I was about to tell him that I loved him. That he makes me so incredibly happy and every day I’m grateful to wake up in his arms.” Tears flow down my cheeks. “But to him, I’m something he’s willing to throw away over an assumption. Do you see the problem?

Oh? Now tell me your gut reaction to the following words. Colonial. Dellahay. Wood. Patio. Five Pieces. Sun resistant, wind resistant, Judgment Day resistant. Amazing value at just $299. And consider the Dellahay motto neatly inscribed on their cute little tags: 'Patio furniture isn't furniture. It's a state of mind.' " Dad smiled, putting his arm around me as he pushed me gently toward Garden. "I'll give you ten thousand dollars if you can tell me what that means.

People with an entertaining rigid structure are brought up in environments in which the parents are uncomfortable with expressing feelings. This is not to say that the parents do not care, but they do not express feelings like affection, warmth, and caring or feel comfortable with expressing such feelings (Keleman). The experience within the family is not one of intimacy and true interchange of feeling. To contend with the situation, the child may learn to draw out the parents by being cute, entertaining, or charming. Although being charming is something most children do naturally to some extent, the difference in the case of people with an entertaining rigid structure is that this becomes the primary mode of relating. Furthermore, the entertaining rigid structure pattern is reinforced as the parents respond primarily to the child's charm, rather than to their own feelings. Therefore, such children effectively learn that they will not get the reaction they crave without using that behavior. At the same time, these children are also developing or have developed a discomfort with intimacy that is similar to that of their parents. As a result, people with an entertaining rigid structure as adults act out this pattern in which they are energized or emotionally fed by being able to cause another person to be attracted to them, but they become anxious if the person becomes too close or expresses "real" feeling. Love is what they are really craving, and they think they are getting it, but are not. In other words, they have mistaken the energy of attraction for love.

We don’t want half-truths, misinformation and a cute, dumbed down description of reality using cringy words. We want words we have never heard before. Give us cerebral explosions. Give us words that trigger nuclear reactions in the darkest places of our unconscious. We want the laser light of knowledge that removes all confusion, illusion and delusion. We welcome and embrace the pain of transcending our conditioned minds.

And then there was the illogical art of female friendship itself, the way it seemed to demand an ability to both keep and reveal secrets using precise timing. Whenever she moved to a new town, girls would take her aside at Sunday school and breathlessly confide their crushes on certain boys. She listened to these confessions, faithfully promising she would never tell. And she didn’t. Which was all wrong because it turned out she was supposed to tell. Her job as confidante was to break that confidence by telling Boy X that Girl Y thought he was cute, thus initiating a chain reaction of interest between the two parties. “Why don’t you just tell him yourself?” she’d say to these would-be friends. “He’s right there.” The girls would draw back in horror.

You worry too much about other people. Was I a really horrible child?” “Not at all,” I say. “You were very cute. You had big blue eyes and little blond braids.” “According to the stories I whined a lot.” “It wasn’t whining,” I say. “You had a sensitive nervous system. You had an enhanced reaction to reality.” “In other words, I whined a lot.” “You wanted the world to be better than it was,” I say. “No, that was you. You wanted that. I just wanted it to be better than it was for me.” I sidestep that. “You were very affectionate,” I say. “You appreciated things. You appreciated them more than other people. You practically went into trances of rapture.” “But I’m all right now,” she says. “Thank God for pharmaceuticals.” “Yes,” I say. “You’re all right now.

Alice's Cutie Code TM Version 2.1 - Colour Expansion Pack (aka Because this stuff won’t stop being confusing and my friends are mean edition) From Red to Green, with all the colours in between (wait, okay, that rhymes, but green to red makes more sense. Dang.) From Green to Red, with all the colours in between Friend Sampling Group: Fennie, Casey, Logan, Aisha and Jocelyn Green  Friends’ Reaction: Induces a minimum amount of warm and fuzzies. If you don’t say “aw”, you’re “dead inside”  My Reaction: Sort of agree with friends minus the “dead inside” but because that’s a really awful thing to say. Puppies are a good example. So is Walter Bishop. Green-Yellow  Friends’ Reaction: A noticeable step up from Green warm and fuzzies. Transitioning from cute to slightly attractive. Acceptable crush material. “Kissing.”  My Reaction: A good dance song. Inspirational nature photos. Stuff that makes me laugh. Pairing: Madison and Allen from splash Yellow  Friends’ Reaction: Something that makes you super happy but you don’t know why. “Really pretty, but not too pretty.” Acceptable dating material. People you’d want to “bang on sight.”  My Reaction: Love songs for sure! Cookies for some reason or a really good meal. Makes me feel like it’s possible to hold sunshine, I think. Character: Maxon from the selection series. Music: Carly Rae Jepsen Yellow-Orange  Friends’ Reaction: (When asked for non-sexual examples, no one had an answer. From an objective perspective, *pushes up glasses* this is the breaking point. Answers definitely skew toward romantic or sexual after this.)  My Reaction: Something that really gets me in my feels. Also art – oil paintings of landscapes in particular. (What is with me and scenery? Maybe I should take an art class) Character: Dean Winchester. Model: Liu Wren. Orange  Friends’ Reaction: “So pretty it makes you jealous. Or gay.”  “Definitely agree about the gay part. No homo, though. There’s just some really hot dudes out there.”(Feenie’s side-eye was so intense while the others were answering this part LOLOLOLOLOL.) A really good first date with someone you’d want to see again.  My Reaction: People I would consider very beautiful. A near-perfect season finale. I’ve also cried at this level, which was interesting. o Possible tie-in to romantic feels? Not sure yet. Orange-Red  Friends’ Reaction: “When lust and love collide.” “That Japanese saying ‘koi no yokan.’ It’s kind of like love at first sight but not really. You meet someone and you know you two have a future, like someday you’ll fall in love. Just not right now.” (<-- I like this answer best, yes.) “If I really, really like a girl and I’m interested in her as a person, guess. I’d be cool if she liked the same games as me so we could play together.”  My Reaction: Something that gives me chills or has that time-stopping factor. Lots of staring. An extremely well-decorated room. Singers who have really good voices and can hit and hold superb high notes, like Whitney Houston. Model: Jasmine Tooke. Paring: Abbie and Ichabod from Sleepy Hollow o Romantic thoughts? Someday my prince (or princess, because who am I kidding?) will come? Red (aka the most controversial code)  Friends’ Reaction: “Panty-dropping levels” (<-- wtf Casey???).  “Naked girls.” ”Ryan. And ripped dudes who like to cook topless.”  “K-pop and anime girls.” (<-- Dear. God. The whole table went silent after he said that. Jocelyn was SO UNCOMFORTABLE but tried to hide it OMG it was bad. Fennie literally tried to slap some sense into him.)  My Reaction: Uncontrollable staring. Urge to touch is strong, which I must fight because not everyone is cool with that. There may even be slack-jawed drooling involved. I think that’s what would happen. I’ve never seen or experienced anything that I would give Red to.

In Tokyo, ramen is a playground for the culinary imagination. As long as the dish contains thin wheat noodles, it's ramen. In fact, there's a literal ramen playground called Tokyo Ramen Street in the basement of Tokyo Station, with eight top-rated ramen shops sharing one corridor. We stopped by one evening after a day of riding around on the Shinkansen. After drooling over the photos at establishments such as Junk Garage, which serves oily, brothless noodles hidden under a towering slag heap of toppings, we settled on Ramen Honda based on its short line and the fact that its ramen seemed to be topped with a massive pile of scallions. However, anything in Tokyo that appears to be topped with scallions is actually topped with something much better. You'll meet this delectable dopplegänger soon, and in mass quantities. The Internet is littered with dozens if not hundreds of exclamation point-bedecked ramen blogs (Rameniac, GO RAMEN!, Ramen Adventures, Ramenate!) in English, Japanese, and probably Serbian, Hindi, and Xhosa. In Tokyo, you'll find hot and cold ramen; Thai green curry ramen; diet ramen and ramen with pork broth so thick you could sculpt with it; Italian-inspired tomato ramen; and Hokkaido-style miso ramen. You'll find ramen chains and fiercely individual holes-in-the-wall. Right now, somewhere in the world, someone is having a meet-cute with her first bowl of ramen. As she fills up on pork and noodles and seaweed and bamboo shoots, she thinks, we were meant to be together, and she is embarrassed at her atavistic reaction to a simple bowl of soup.

Paul McCartney makes lovely boutique tapes, resolute upon being as inconsequential as the Carpenters which in itself may be as much a reaction to John's opposite excesses as a simple case of vacuity. You could hardly call him burnt out--Band on the Run was, in its rather vapid way, a masterful album. Muzak's finest hour. Of course he is about as committed to the notion of subject matter as Hanna-Barbera, and his cuteness can be incredibly annoying at times.

But now, after the news of Barthelme’s death, this simple fact of presence or absence, which I had begun to recognize in a small way already, now became the single most important supplemental piece of information I felt I could know about a writer: more important than his age when he wrote a particular work, or his nationality, his sex (forgive the pronoun), political leanings, even whether he did or did not have, in someone’s opinion, any talent. Is he alive or dead? — just tell me that. The intellectual surface we offer to the dead has undergone a subtle change of texture and chemistry; a thousand particulars of delight and fellow-feeling and forbearance begin reformulating themselves the moment they cross the bar. The living are always potentially thinking about and doing just what we are doing: being pulled through a touchless car wash, watching a pony chew a carrot, noticing that orange scaffolding has gone up around some prominent church. The conclusions they draw we know to be conclusions drawn from how things are now. Indeed, for me, as a beginning novelist, all other living writers form a control group for whom the world is a placebo. The dead can be helpful, needless to say, but we can only guess sloppily about how they would react to this emergent particle of time, which is all the time we have. And when we do guess, we are unfair to them. Even when, as with Barthelme, the dead have died unexpectedly and relatively young, we give them their moment of solemnity and then quickly begin patronizing them biographically, talking about how they “delighted in” x or “poked fun at” y — phrases that by their very singsong cuteness betray how alien and childlike the shades now are to us. Posthumously their motives become ludicrously simple, their delights primitive and unvarying: all their emotions wear stage makeup, and we almost never flip their books across the room out of impatience with something they’ve said. We can’t really understand them anymore. Readers of the living are always, whether they know it or not, to some degree seeing the work through the living writer’s own eyes; feeling for him when he flubs, folding into their reactions to his early work constant subauditional speculations as to whether the writer himself would at this moment wince or nod with approval at some passage in it. But the dead can’t suffer embarrassment by some admission or mistake they have made. We sense this imperviousness and adjust our sympathies accordingly. Yet in other ways the dead gain by death. The level of autobiographical fidelity in their work is somehow less important, or, rather, extreme fidelity does not seem to harm, as it does with the living, our appreciation for the work. The living are “just” writing about their own lives; the dead are writing about their irretrievable lives, wow wow wow. Egotism, monomania, the delusional traits of Blake or Smart or that guy who painted the electrically schizophrenic cats are all engaging qualities in the dead.

I took another blank cookie and got my icing ready. KISS - no reaction - ME - he trembled - YOU - he stopped, curious - FOOL. And then he was kissing me. His lips were soft and full and warm, and I felt the squish of his coat, and he pressed to the side of me.

A couple of weeks before, while going over a Variety list of the most popular songs of 1935 and earlier, to use for the picture’s sound track – which was going to consist only of vintage recording played not as score but as source music – my eye stopped on a .933 standard, words by E.Y. (“Yip”) Harburg (with producer Billy Rose), music by Harold Arlen, the team responsible for “Over the Rainbow”, among many notable others, together and separately. Legend had it that the fabulous Ms. Dorothy Parker contributed a couple of lines. There were just two words that popped out at me from the title of the Arlen-Harburg song, “It’s Only a Paper Moon”. Not only did the sentiment of the song encapsulate metaphorically the main relationship in our story – Say, it’s only a paper moon Sailing over a cardboard sea But it wouldn’t be make-believe If you believed in me – the last two words of the title also seemed to me a damn good movie title. Alvin and Polly agreed, but when I tried to take it to Frank Yablans, he wasn’t at all impressed and asked me what it meant. I tried to explain. He said that he didn’t “want us to have our first argument,” so why didn’t we table this conversation until the movie was finished? Peter Bart called after a while to remind me that, after all, the title Addie Pray was associated with a bestselling novel. I asked how many copies it had sold in hardcover. Peter said over a hundred thousand. That was a lot of books but not a lot of moviegoers. I made that point a bit sarcastically and Peter laughed dryly. The next day I called Orson Welles in Rome, where he was editing a film. It was a bad connection so we had to speak slowly and yell: “Orson! What do you think of this title?!” I paused a beat or two, then said very clearly, slowly and with no particular emphasis or inflection: “Paper …Moon!” There was a silence for several moments, and then Orson said, loudly, “That title is so good, you don’t even need to make the picture! Just release the title! Armed with that reaction, I called Alvin and said, “You remember those cardboard crescent moons they have at amusement parks – you sit in the moon and have a picture taken?” (Polly had an antique photo of her parents in one of them.) We already had an amusement park sequence in the script so, I continued to Alvin, “Let’s add a scene with one of those moons, then we can call the damn picture Paper Moon!” And this led eventually to a part of the ending, in which we used the photo Addie had taken of herself as a parting gift to Moze – alone in the moon because he was too busy with Trixie to sit with his daughter – that she leaves on the truck seat when he drops her off at her aunt’s house. … After the huge popular success of the picture – four Oscar nominations (for Tatum, Madeline Kahn, the script, the sound) and Tatum won Best Supporting Actress (though she was the lead) – the studio proposed that we do a sequel, using the second half of the novel, keeping Tatum and casting Mae West as the old lady; they suggested we call the new film Harvest Moon. I declined. Later, a television series was proposed, and although I didn’t want to be involved (Alvin Sargent became story editor), I agreed to approve the final casting, which ended up being Jodie Foster and Chris Connolly, both also blondes. When Frank Yablans double-checked about my involvement, I passed again, saying I didn’t think the show would work in color – too cute – and suggested they title the series The Adventures of Addie Pray. But Frank said, “Are you kidding!? We’re calling it Paper Moon - that’s a million-dollar title!” The series ran thirteen episodes.

Andrei always thought there was a fundamental eeriness to names. If a name had an adorable ring to it, like Bonnie or Milo, it was cute to say and hard to be angry at a Bonnie for long. People treated others the way their names sounded. If someone’s name was common, people would mostly see neutral characters—shy, kind, or good-natured. If one’s name was unusual, people had lazier associations and treated them as either a spectacle or an artist. If their name was a title commanding presence, the world’s reaction to them, however subtle, would naturally endow them with a confidence as easily handed to them as their name.

KAREN O: I was at the tipping point, you know? NICK ZINNER: Initially my reaction was go go go go go. I’m a Sagittarius—momentum, movement, traveling, being busy, that’s my natural habitat. It’s what I like doing best. Whereas once things started to accelerate and get crazy, that’s when she first started to buckle. It affected her physically, emotionally, in every single way. She is Sagittarius/Scorpio cusp. So with her there’s this kind of push-pull. JON SPENCER: We used to call them the “Maybe Maybe Maybes.” That was the joke. Once when we were in England, they came to us in a dressing room and said—somebody had a cold or something—and said, “Would it be okay if we didn’t play tonight?” I didn’t know what to say. How do you respond to that? I think I may have said, “Well, yes, I don’t care.” It just seemed so weird that they were asking permission and I couldn’t believe that they would even do that. When we started with Pussy Galore, it was always incredibly hard early on, and a lot of it was just miserable, but you got to play. You know—no money, terrible food, sleeping on people’s floors, playing the worst shitholes around; you could feel like crap but you’d still play. So that was a little weird but also cute, I guess.

casting a light right on her face and she looks like a fucking angel. I don’t even know if people should use the words fucking and angel in the same thought structure, but shit. She really looks like a fucking angel with her blonde hair and big eyes. I’m not even sure what color her eyes are because it’s dark and I didn’t really pay attention when we were in Sky’s bedroom, but whatever color they are, it’s my new favorite color. “You’re very charismatic,” she says. Jesus. Her voice completely slays me. “Thanks. You’re pretty cute yourself.” “I didn’t say you were cute, Daniel. I said you were charismatic. There’s a difference.” “Not much of one,” I say. “You like Italian?” She frowns and pulls back a few inches like I just insulted her. “Why would you ask me that?” Her reaction confuses me. I have no idea how that comment could have offended her. “Uh, have you never been asked out on a date before?” The scowl disappears

I’m pretty sure you were holding my hand,” He reminded her, causing a warmth to spread instantly to her cheeks. “And I got hot last night. And yeah, ok, so I was watching you sleep but that’s just cause I woke up and you were right there looking so cute.” Julie gaped at him for a moment just taking in how completely not embarrassed he seemed to be after saying something so blatantly embarrassing. “You can’t just say things like that,” She sputtered, letting out a frustrated huff of air when his smile only grew bigger as he took in her flustered reaction. “Why not?” He asked teasingly. “It’s true.” “Ugggh,” She groaned, burying her face in her hands briefly before dropping them back to her lap. “You’re still impossible.” Luke was fully grinning now. He reached out to toy with one of her curls for a moment before tucking it gently behind her ear. “Yeah, well, you’re still cute so I guess that makes us even.