My Sister's Keeper #CameronDiaz #AlecBaldwin #JasonPatric #MovieReview
A sort of real-life #Gattaca meets #TheIsland/#PartsTheClonusHorror
When it comes to exposition, the only thing worse than narration is multiple narration — it makes the movie feel schizophrenic, and both the filmmakers and cast come across as incompetent; it’s bad enough when the protagonist is unable to emote and has to spell out everything he or she is thinking and feeling, but an entire ensamble?
The Desperate Hour Just the other day I was appalled at how…
Real talk Meredith was such a good villain I dunno how they’re gonna top that. Like there’s a trend lately of trying to make your audience sympathetic to the villain in some way, and I’m sure you could spin Solas in that way very easily. It’s not that I don’t think they CAN do it. It’s just that I’m tired of it.
And in Origins, our big bad was more Man vs Beast/Man vs Nature and it worked really well. Everyone talked about how nonsensical Corypheus felt in Inquisition, but I think he was supposed to be? Sort of a caricature of “evil bad guy monster” meant to distract you from Solas being Not Quite Right and Flemeths reappearance.
But MEREDITH—wow. She wasn’t LIKABLE you weren’t meant to feel for her. But she had motives that made sense for a human villain, not just “I crave power fr powers sake and I want the world to end for no reason.” The religious coding/fanaticism, social prejudice, the “separation of church and state” for lack of a better term—Meredith felt REAL. We all have known a conservative power that believed whole-heartedly that what they were doing was ensuring safety when in reality their own paranoia saw any opinion other than their own as a threat, and a risk to ORDER is a risk to peace. Meredith isn’t painted as sympathetic—she’s downright cruel if you play as a mage, and I believe I’ve heard it mentioned that da2 was written with a mage player in mind. She makes you hunt escaped mages, and if you refuse she threatens you with removing the safety net of your title, makes you do the rest of the quest through her assistant—a tranquil mage. Tranquility was her threat to the player, I firmly believe that.
Really though for me, it’s the pseudo-Christian themes that make Meredith so striking. She thinks of herself as a martyr, as this Joan of Arc “I do what no one else will do in the name of the maker and that in itself is a sacrifice.” But all of her sacrifices are other people and other people’s moral codes. There’s a line in Act 2 from Elthina when denouncing Sister Patrice : “Eternity is long enough that we need not rush to meet it. Andraste did not volunteer for the flame.” That I think applies well to Meredith.
I just don’t know how they’ll manage a villain that FRIGHTENS me like Meredith did.
1-2-3 Tarot: Answers in an Instant Donald Tyson
101 Tarot Spreads Sheilaa Hite
21 Ways to Read a Tarot Card Mary K. Greer
22 Paths of Inperfection Matt Laws
360 Degrees of Wisdom Lynda Hill
365 Tarot Activities Deanna Anderson
78 Degrees of Wisdom Rachel Pollack
90 Days to Learning the Tarot Lorri Gifford
A Guide To Mystic Faerie Tarot Barbara Moore
A Guide to Tarot and Relationships Dolores Fitchie & Andrea K. Molina
A Guide to the Nomadic Oracle Jon Mallek
A Keeper of Words Anna-Marie Ferguson
A Sephirothic Odyssey Harry Wendrich & Nicola Wendrich
A Wicked Pack of Cards Michael Dummett & Ronald Decker & Thierry Depaulis
A Year in the Wildwood Alison Cross
Absolute Beginner's Guide to Tarot Mark McElroy
Alchemy and the Tarot Robert M. Place
All Love Goes Before Me Stewart S. Warren
An Introduction to Transformative Tarot Counseling Katrina Wynne
Ancient Mysteries Tarot: Keys To Divination And Initiation Roger Calverley
Angel Readings for Beginners Elizabeth Foley
Animals Divine Companion Lisa Hunt
Best Tarot Practices Marcia Masino
Beyond the Celtic Cross Paul Hughes-Barlow & Catherine Chapman
Book of Thoth Aleister Crowley
Brotherhood Tarot Companion Patric Stillman aka Pipa Phalange
Buddha Tarot Companion Robert M. Place
Chakra Wisdom Oracle Toolkit Tori Hartman
Choice Centered Relating and the Tarot Gail Fairfield
Chrysalis Tarot Holly Sierra & Toney Brooks
Complete Guide to Tarot Illuminati Kim Huggens
Confessions of a Tarot Reader Jane Stern
Conscious Channeling From the Akashic Rozàlia Horvàth Balàzsi
Creator's Tarot Nicole Richardson
Daily Spread Tarot & Oracle Journal Alyssa Montalbano
Dark Goddess Tarot Companion Ellen Lorenzi-Prince
Designing Your Own Tarot Spreads Teresa Michelsen
Destiny's Portal Barbara Moore
Deviant Moon Tarot Patrick Valenza
Discovering Runes Bob Oswald
Discovering Your Self Through the Tarot Rose Gwain
Easy Tarot Ciro Marchetti & Josephine Ellershaw
Easy Tarot Guide Marcia Masino
Easy Tarot Reading Josephine Ellershaw
Encyclopedia of Tarot Volume IV Stuart Kaplan & Jean Huets
Enochian Tarot Betty Schueler & Sally Ann Glassman & Gerald Schueler
Essence of the Tarot: Modern Reflections on Ancient Wisdom Megan Skinner
Explaining the Tarot Thierry Depaulis & Ross Caldwell & Marco Ponzi
Explore the Major Arcana Judyth Sult & Gordana Curgus
Exploring the Tarot Carl Japikse
Fortune Stellar Christiana Gaudet
Fortune's Lover: A Book of Tarot Poems Rachel Pollack
Going Beyond the Little White Book Liz Worth
Good Cat Spell Book Gillian Kemp
Guide to the Sacred Rose Tarot Johanna Gargiulo-Sherman
Heart of Tarot Amber K
Hieros Gamos: Benediction of the Tarot Stewart S. Warren
Holistic Tarot Benebell Wen
Integral Tarot: Decoding the Essence Suzanne Wagner
It's All in the Cards: Tarot Reading Made Easy John Mangiapane
Jung and Tarot Sallie Nichols
Kabbalistic Tarot Dovid Krafchow
Kaleidoscope Tarot Leisa ReFalo
Karmic Tarot William C. Lammey
Learning Tarot Reversals Joan Bunning
Learning the Tarot Joan Bunning
Light-Of-Day: Tarot & Dream Work - A Practical Guide Gigi Miner
Magic Words: A Dictionary Craig Conley
Meditations on the Tarot Anonymous
Messages from the Archetypes Toni Gilbert, RN, MA, HNC
Mirror of the Free Nicholas Swift
My Tarot Journal Katrina de Witt
Mystical Origins of the Tarot: From Ancient Roots to Modern Usage
The credits for Sam Wood’s IVY (1947, Criterion Channel) play over an image of an urn containing flowers. At their end, the urn becomes a skull. That sets the tone for this gothic noir set in Edwardian England (the original novel by Marie Belloc Lowndes took place in the 1920s). It’s a visually scrumptious film, with producer William Cameron Menzies, a frequent Wood collaborator, supervising production design and even some of the camera set-ups. Joan Fontaine, often in white, looks the perfect young innocent. But she’s actually an ambitious schemer. Having run through husband Richard Ney’s fortune and tired of doctor lover Patric Knowles, she comes up with a plan to rid herself of both so she can seduce wealthy businessman Herbert Marshall. In the 1940s, her evil was so shocking it cost the film at the box office. Today, it seems like fitting revenge for saddling her with three such unmagnetic leading men. Charles Bennett’s screenplay starts with Fontaine presented as a Gothic victim. She’s covered in shadows when she visits a fortune teller (Una O’Connor) whose spooky presence seems to terrorize her. But when O’Connor advises her to dump her lover because she’s about to meet a man who can solve her problems, Fontaine perks up, and you realize how amoral she is. The actress looks terrific and has some fascinating flirtation scenes, though when she’s being duplicitous, she strays into the Joan Crawford school of energetic overstatement. None of the men are a match for her, but the film has some intriguing character women who more than hold their own, including Lucille Watson as Knowles’ mother, Sara Allgood as his nurse and Rosalind Ivan as Fontaine’s maid, a woman who can find the laughs in a mourning scene. Russell Metty did the moody cinematography, Orry Kelly and Travis Banton created the costumes and composer Daniele Amfitheatrof pours on the harpsichord whenever Fontaine does something particularly evil.
Third World, Now That We’ve Found Love -(12" single)
Sade, Hang On To Your Love-(12" single)
Slave, Shake It Up -(12" single)
Patrice Rushen, Forget Me Nots- (7" single)
Bee Gee’s, Jive Talkin’ - (7" single)
Dazz Band, Let It Whip - (7" single)
Billy Nomates, blue bones (deathwish-(LP cut}
Billy Squier, The Stroke - (7" single)
Nine inch Nails, Closer-(LP cut}
Vince Staples, NORF NORF-(LP cut}
Grace Jones, Walking In The Rain-(LP cut}
Appolonia 6, Sex Shooter-(12" 45RPM single)
SOS Band, Take Your Time - (7" single)
Heatwave, The Groove Line - (7" single)
Jay Z and Jermaine Dupre, Money Ain't A Thing-(LP cut}
David Bowie, Let’s Dance-(12" single)
Cheryl Lynn, Got To Be Real- (7" single)
Prince, I Wanna Be Your Lover- (7" single)
Pet Shop Boys, West End Girls-(12" single)
ZZ Top, Cheap Sunglasses-(LP cut}
Phil Collins & Phillip Bailey, Easy Lover-(12" single)
Cramps, What’s Inside A Girl-(12" single)
Cure, The Walk-(Mini LP cut}
Rob Base & DJ EZ ROCK, It Takes Two-(12" single)
Abbysinians, Declaration Of Rights-(LP cut}
Bobby Brown, My Perogative - (7" single)
Michael Jackson, Rock With You - (7" single)
G.Q., Boogie Oogie Oogie - (7" single)
Gap Band, Outstanding-(LP cut}
Isaac Hayes, Theme From Shaft - (7" single)
Time, 777-9311-(LP cut}
Tommy Tutone, Jenny (867-5309) - (7" single)
Bad Brains, Pay To Cum - (7" single)
Judas Priest, Metal Gods-(LP cut}
Clipse, When The Last Time-(12" single)
Amii Stewart, Knock On Wood-(12" single)
Ari Lennox, Pressure-(LP cut}
Orbital, w/ Jason Willliamson, Dirty Rat-(LP cut}
Orb, Little Fluffy Clouds-(12" single)
Moon Mullican,7 Nights To Rock-(LP cut}
Fun Boy Three, Our Lips Are Sealed (7" single)
GO-GO’s, We Got The Beat (7" single STIFF version)
Bush Tetras, Too Many Creeps - (7" single 99 records)
Dry Cleaning, Scratch Card Lanyard - (7" single)
Human League, The Sound Of The Crowd-(LP cut}
Everything But The Girl, Nothing Left To Lose-(LP cut}
Max Romeo, Blood Of The Prophet-(LP cut}
Average White Band, Pick Up The Pieces-(LP cut}
Police, Roxanne - (7" single)
Thin Lizzy, Angel From The Coast-(LP cut}
Stealers Wheel, Stuck In The Middle - (7" single)
Mos Def, Ms. Fat Booty-(12" single)
Haircut 100, Love Plus One - (7" single)
Plague Vendor,Break Dance On Broken Glass-(LP cut}
Cate le Bon,Moderation-(LP cut}
Culture, jah pretty face-(LP cut}
Herb Alpert, Rise-(12" single)
Tasting Notes
I was semi-prepared. I threw in some new records, brought my softside bag with more records in it, and showed up more or less on time. Elevator worked, so I rolled to the booth and set myself up. I usually start with something loud and declaratory, but this time I wanted to ease into the set with dynamics and subtlety. The "Joan Of Arc" 12" from Orchestral Manoeuvres in the Dark is usually slotted deeper in the set, but I liked hearing it front and center.
I goosed the tempo with the Kylie mashup, and followed that with Foxy, the Cuban-American soul disco band. The TK Records 45RPM 12" kicks so hard that Jules had to come up and turn the mains down because it was so loud in the front. It's hard to tell from the booth what the volume is in various parts of the space. Some places it's loud, and in other parts it's low. The booth is in a "dead" spot. It's not bad, it just takes tweaking. I'm there to cut through the noise, not to be noise.
Jules is back up during the Third World 12" to bring the volume up again. She asked me if different records sound different, or are recorded differently. It's a great question, one that I consider all the time during the acquisition phase. Some records jump off the turntable, and some records sound dead. I'm always on the hunt for 45RPM 12" cuts, but depending on when you play them, what records surround them in the set, how many people there are in the bar, and any number of other variances, things can fall flat. I've had things fall flat during some sets that were bangers in previous sets. And, a lot of it is timing – whoever is there listening, their energy also contributes to the vibe. I watch Tavis behind the bar; if I can get him moving, then I know I'm onto something.
Someone came to me early in the set to see what I was all about, and when I told him I only played vinyl, he said "Oh, you play '80s stuff." Which made me immediately put something from the '70s on, and follow it up with a contemporary track. Who says I don't take requests?
I got more contemporary artists mixed in tonight: Billy Nomates, Orbital, Ari Lennox. And I like to throw reggae records into the flow freestanding, and not in blocks of reggae records. They have such a great sound for sound systems. Tailor made for it. I could never cut it as a genre DJ. It just doesn't interest me. I love music in its totality. And the things I don't love? I just leave them out.
My methodology, such as it is, is half improv, half improbability. I don't just play what I like, but I like what I play. I play music I can respond to. I feel at home in the Spacebar, so I play music that you would hear if I were playing music for a party in my home. I'm not there to be the show, but to play my part in the show. I didn't play the Bad Brains, Judas Priest and the Clipse to show how smart I am, I played it because I thought it would sound good. And it did. And it helped the rest of the set gel. I was having a hard time finding my footing early on. It wasn't bad, I just felt tentative, sticking with things I knew. I don't construct set lists beforehand, although I do choose records for the crate that I think will work, and build it up from there. It is a limitation, but limitations are not a bad thing. I am employed to construct a vibe, and while I am averse to taking requests, I do like it when people ask for things like Prince. That got them the long version of Appolonia 6, and later on, the first Prince record I ever bought, "I Wanna Be Your Lover." I heard that on the radio in 1978, and instantly became a fan of the man. DJ IGA says that "Sex Shooter" is the hallmark Mossback record.
The three crowds that rotated through the bar this night were odd. I guess I was spoiled by the Rollergirls showing up the previous two Saturdays I played. Those folks bring an energy to the proceedings!
I was trying to get to 2 a.m., but I fell short and ended the night on the Herb Alpert, "Rise" 12" I got out of the used bins at the Record Exchange. Cheap. I was struck again at the marriage of that jam that Diddy looped for B.I.G. It's genius. And something to aspire to. There's a lot out there, if you are open to hearing it.
The next Third Space Saturday is 16 September 2023. Going to continue reading "Last Night A DJ Saved My Life" by Bill Brewster and Frank Broughton. It's very inspiring. And digging, forever digging. Perhaps a little thinning and reorganizing. And, listening. Always listening.
Looks: Long black hair, usually loose or in a messy up do. Dark brown eyes to match her dark hair. Pale skin, sparse freckles, curvy with some muscle from working around “the site”, she is 19
Faceclaim: Jennifer Connelly
Imagine Jennifer has brown eyes
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Style: 1 | 2 | 3 | 4
Saying: “Thus it is with proud silly people, who think themselves above everyone else, and are too proud to ask or take advice.” Jacob and Wilhelm Grimm
Name: Dylan Morgan
AKA: Dingus (by Jay), the other twin, Gareth’s cousin
Born: October 31st, 1967 (19 in 1986)
Birthplace: Queensland, Australia
Sex: Male
Height: 5’9” (180cm)
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Looks: Short, curly dark brown hair. Bright blue eyes. Tanned skin- he’s outside more than Jay is- with a calloused hands with some muscle. Crooked, yet sly looking grin.
Faceclaim: Jason Patric
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Style: 1 | 2 | 3 | 4
Saying: “You see now what has happened on account of your not listening to my counsel.” Jacob and Wilhelm Grimm
La Berlinale débute ce jeudi et se déroulera jusqu’au dimanche 26 février. Rendez-vous à partir de jeudi sur notre page dédiée pour suivre en direct notre couverture de cette édition !
COMPÉTITION
Films datés :
08/03 : ‘Music’ d’Angela Schanelec
12/04 : ‘Suzume’ de Makoto Shinkai
19/04 : ‘Sur l’Adamant’ de Nicolas Philibert
03/05 : ‘Disco Boy’ de Giacomo Abbruzzese
06/09 : ‘Le Ciel Rouge’ de Christian Petzold
06/09 : ‘Le Grand Chariot’ de Phillipe Garrel
11/10 : ‘Mal Viver’ de João Canijo
13/12 : ‘The Survival of Kindness’ de Rolf de Heer
13/12 : ‘Nos vies d’avant’ de Celine Song
14/02/24 : ‘20 000 espèces d’abeilles’ d’Estibaliz Urresola Solaguren
Films non datés :
‘Someday We’ll Tell Each Other Everything’ d’Emily Atef
‘Manodrome’ de John Trengove
‘Ingeborg Bachmann – Journey into the Desert’ de Margarethe Von Trotta
‘BlackBerry’ de Matt Johnson
‘Till the End of the Night’ de Christoph Hochhäusler
‘The Shadowless Tower’ de Zhang Lu
‘Limbo’ d’Ivan Sen
‘Art College 1994’ de Liu Jian
‘Tótem’ de Lila Avilés
ENCOUNTERS
Films datés :
11/10 : ‘Viver Mal’ de João Canijo
17/04/24 : ‘White Plastic Sky’ de Tibor Bánóczki et Sarolta Szabó
Films non datés :
‘In Water’ de Hong Sang-soo
‘Orlando, ma biographie politique’ de Paul B. Preciado
‘The Adults’ de Dustin Guy Defa
‘The Echo’ de Tatiana Huezo
‘The Klezmer Project’ de Leandro Koch et Paloma Schachmann
‘Here’ de Bas Devos
‘In the Blind Spot’ d’Ayse Polat
‘The Cage Is Looking for a Bird’ de Malinka Mustaeva
‘Mon pire ennemi’ de Mehran Tamadon
‘Family Time’ de Tia Kuovo
‘The Walls of Bergamo’ de Stefano Savona
‘Samsara’ de Lois Patiño
‘Eastern Front’ de Vitaly Mansky et Yevhen Titarenko
‘Absence’ de Wu Lang
PANORAMA
Films datés :
28/06 : ‘Passages’ d’Ira Sachs
28/06 : ‘La Sirène’ de Spidah Farsi
05/07 : ‘Au cimetière de la pellicule’ de Thierno Souleymane Diallo
16/08 : ‘La Bête dans la jungle’ de Patric Chiha
23/08 : ‘Reality’ de Tina Satter
20/09 : ‘Silver Haze’ de Sacha Polak (DVD)
18/10 : ‘A l’intérieur’ de Vasilis Katsoupis
25/10 : ‘Sisi & I’ de Frauke Finsterwalder
29/11 : ‘Kokomo City’ de D. Smith
Films non datés :
‘Perpetrator’ de Jennifer Reeder
‘Adversaire’ de Milad Alami
‘After’ d’Anthony Lapia
‘All the Colours of the World Are Between Black and White’ de Babatunde Apalowo
‘Al Murhagoon’ d’Amr Gamal
‘Ambush’ de Chhatrapal Ninawe
‘And, Towards Happy Alleys’ de Sreemoyee Singh
‘El Castillo’ de Martin Benchimoi
‘Do You Love Me?’ de Tonia Noyabrova
‘Drifter’ de Hannes Hirsch
‘The Eternal Memory’ de Maite Alberdi
‘Femme’ de Sam H. Freeman et Ng Choon Pin
‘Green Night’ de Han Shuai
‘Hello Darkness’ de Soda Jerk
‘Heroic’ de David Zonana
‘Joan Baez I Am a Noise’ de Karen O’Connor, Miri Navasky et Maeve O’Boyle
‘Matria’ d’Álvaro Gago
‘Property’ de Daniel Bandeira
‘Sages-femmes’ de Léa Fehner
‘Sira’ d’Apolline Traoré
‘Stams’ de Bernhard Braunstein
‘Stille Liv’ de Malene Choi
‘Transfarina’ de Joris Lachaise
‘The Teachers’ de Loungeİlker Çatak
‘Under the Sky of Damascus’ de Heba Khaled, Talal Derki et Ali Wajeeh
BERLIN SPECIALS
Films datés :
31/03 : ‘Kill Bok-soon’ de Byun Sung-hyun (Netflix)
07/04 : ‘Du tennis à la prison : l’histoire de Boris Becker Pt. 1’ d’Alex Gibney (AppleTV+)
07/06 : ‘Dernière nuit à Milan’ d’Andrea Di Stefano
26/07 : ‘La Main’ de Danny Philippou et Michael Philippou
Films non datés :
‘Infinity Pool’ de Brandon Cronenberg
‘Laggiù qualcuno mi ama’ de Mario Martone
‘She Came to Me’ de Rebecca Miller
‘Superpower’ de Sean Penn et Aaron Kaufman
‘Golda’ de Guy Nattiv
‘Kiss the Future’ de Nenad Cicin-Sain
‘Loriots große Trickfilmrevue’ de Peter Geyer et Loriot
‘#Manhole’ de Kazuyoshi Kumakiri
‘Ming On’ de Soi Cheang
‘Seneca’ de Robert Schwentke
‘Sonne und Beton’ de David Wnendt
‘Der vermessene Mensch’ de Lars Kraume
A&B