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progressive-waves-art · 2 months

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Transitus Should Be Set In New England (Northeastern United States) - A List

By: A Midwestern American

It’s on my to-do list to spruce up the album’s wikipedia page and I’ll probably ask Arjen about location directly at some point for it. But for now, for fanfiction’s sake:

It is never explicitly stated where in the world the real-world portion of Transitus takes place. You can glean from basic context that it’s somewhere in the Global West but no real locations are stated by the lyrics, narration or liner notes.

I think the default is to assume it’s set in Great Britain, which is totally reasonable. Daniel’s family is consistently referred to as a “house,” hinting at noble status. The plot and setting are heavily inspired by that of Downton Abbey, right down to the uptown girl character dying horrifically and their racially discriminated servant spouse having a five-alarm crisis about it after the two were cut off financially from the uptown girl’s family.

That’s how I initially thought of it. Easy (not really), inconsequential Victorian setting.

But now, after a lot of research and writing and just sitting around and thinking about it, I have an alternate suggestion.

I think the story fits and would actually be more effective if it were set in New England, aka the farthest Northeast region of the United States. Specifically Connecticut but that’s not as relevant as it taking place in this region/country overall. I’ll go through the major arguments for this one by one, getting more plot-relevant as they go. Hopefully, given historical context and narrative themes, you’ll see my point here.

New England highlighted on a map of the U.S., comprising the states of Maine, Vermont, New Hampshire, Massachusetts, Connecticut and Rhode Island. The entire west side of the region borders New York State.

Enjoy. 🔥🇺🇸

1. Nationalities of Main Cast

The weakest point, but worth mentioning. Three of the six human characters in Transitus, a majority and the most of any Ayreon album, are played by American singers: Amanda Somerville, Cammie Beverly, and Dee Snider. Dee Snider being the most notable because his character is this staunch, traditionalist patriarch guy who’s on Daniel’s back about the Old Ways, and from there I think it’s safe to assume this guy’s family has been in the spot they’re in for more than a few generations.

I personally really like integrating certain non-personality-related traits from irl singers into their characters, and I think nationality applies to that nicely in this context. 19th century New England aristocrats were usually one of two categories: generationally wealthy European wannabes that take an insane amount of pride in their colonial ancestry, or “self-made” business tycoons that made ungodly amounts of money during the Second Industrial Revolution.

More on that second category in a second, but given the very, very limited information we get on Dee’s character, he gives me more of that high-and-mighty old money vibe.

Also, with almost zero canon evidence: I am completely glued to the idea that The Soprano, played by a very Dutch Dianne van Giersbergen, is the ghost of Daniel and Henry’s mother. Like I will die on this hill. Coincidentally, Connecticut, a state I picked from New England almost entirely at random, was first colonized by Dutch settlers, setting it apart from a few other Northeast states. If we’re keeping with the Nationality of the Parent Characters Carrying Through From Real Life theme, then that would create a very strong tie between Daniel’s family and their home state, further emphasizing the father's prioritizing of retaining status and “proper breeding.”

2. Weirdly Specific Combo of Architectural Styles

I genuinely cannot think of any other place where these three buildings could possibly exist in close proximity to each other, like-

Daniel’s family’s house (bottom right) is by far the strongest visual argument you can make for Transitus being set in Britain, like that is an 18th century English manor house through and through. Fair enough, but:

The East Coast US is a bunch of former colonies that were under British rule in the Georgian period (1714-1837), hence the name “New England.” A lot of the architecture from that time is reflective of this, especially in the older Northern colonies. Southern ones tend to follow the Greek Revival/Neoclassical styles more.

I’d believe the Britain argument here if it wasn’t for the other two houses’ whole situation. Too much US-adjacent design present in this specific region for you to go “yea but the mansion, though” at the mansion that could also exist in said specific region.

As much as I don’t like this as a design choice in the comic: Abby’s parent’s house (bottom left) is a frontier log cabin. These became very, very common during Westward expansion, fueled by the Homestead Act in 1862, the Manifest Destiny Doctrine present throughout the 19th century, the California Gold Rush in 1848, etc… The style wasn’t exclusive to the West though, and a bunch are still standing in the rural East Coast.

Cabins in Blue Ridge, Virginia and Hampton, Connecticut, respectively

As I said, I think it’s just a very odd choice. Among other reasons, the only part of this house that’s plot-essential is that it has a set of stairs for Lavinia to snap her neck on, and these things are pretty much always single floor structures.

Girl, where do those even lead to???

I dunno. I just don't like it, even if it supports my point. It should have been a little two-story rowhouse. Moving on.

These houses existed outside the US. It’s a plain, utilitarian style that shows up all over the place in Europe, even if they’re more synonymous and symbolic to America.

The main house, though, Daniel and Abby’s, narrows it down a bit more. It really reminds me of the Second Empire style, popular in the Northeast and Midwest regions at the time.

The John M. Davies house (Connecticut) and Terrace Hill (Iowa), both built in the mid-late 1860s.

Blocky base, mansard roof, giant statement piece (i.e. a tower) tacked on there somewhere.

The only issue with that guess is that it would make the house, at best, 25-30 years old. Second Empire was only a thing in the post-Civil War period, and the house is meant to be this ancient, haunted thing.

I had this idea for working around it a few months ago that it’s like…an older style that’s been updated in recent years? Say it’s originally a colonial era home (also plausible for New England) belonging to Daniel’s family. Makes sense, the base is still symmetrical and flat with two stories, steep roof, all that jazz.

Washington, Connecticut (ca. 1750) and Hingham, Massachusetts (1721)

They clearly don’t use it themselves so maybe they rent it out? Maybe that’s part of where their money comes from; tenant properties and such. Maybe, understandably, nobody wants to pay to live in it because it’s old and run down and has a cemetery for a front yard, so they gut it and renovate, slapping some new age architecture over the top to make it more appealing.

It doesn’t work but the house finds a use eventually. It’s still old as hell, still American, plus you get the bonus representations of traditionalist vs progressive styles being combined, like the two people that live there.

...get it

Anyways, again: these all exist within sprinting distance of each other. I’d love some other suggestions but the Northeast is the only spot I know all three of them can comfortably exist in.

3. Historical Implications - The American Civil War (1861-1865)

In January I finished this sort of…show bible for any and all Transitus HCs I had as an alternative to sending someone like 300 maxxed out rant-y text messages about it. Congratulations to @ay-miphae for somehow reading all of it.

Since it’s important to certain story elements, a section of the text is dedicated to a consolidated explanation of the American Civil War.

Kindly, a PDF of that section:

It’s deliberately written so someone with no prior knowledge of US history can follow it. That said, even if you are American and have the general gist of the war, I still think you should read it so you can really get where I’m coming from. It’s not something to be incorporated into a story lightly.

If you're not up for it, I at least think the intro paragraph speaks for itself in relation to my point:

The war ended about 20 years before the album takes place and you’d be hard pressed to say it fits with its story’s themes, far beyond the surface level of its very real effect on American race relations (that were much more intense than those of England at the time):

The hypocrisy of the Union, as if the majority of the North wasn’t still segregated and racist as hell long after slavery was abolished.

The tension not just regarding race but socioeconomic class in the war years. Of particular interest was the fact that wealthy men could pay their way out of conscription, often viewing the war as a mere inconvenience rather than the system-altering mess that it was for everyone else.

Death. Just completely unprecedented amounts of it and unnecessarily so.

Your pick of the million and one ways it could have affected Daniel and Abby’s parents, and even Henry depending on how old you picture him.

Et cetera. You want a way to push the “Two Worlds” motif? Set the story in a Northern state two decades after a war fought over whether millions of people got to be treated like human beings or not, so impactful that the two sides of it are still so clearly, ridiculously discernible and will stay this way for another century and a half after.

As far as the possibility of setting Transitus in the South goes, fascinating as that could be, the plot of Act II makes it impossible. Interracial marriage was either void or outright criminalized in every single Southern state, until the ruling of Loving v. Virginia deemed the policies unconstitutional in 1967. There is no room for conflict over Abby receiving inheritance money - she and Daniel would have been straight-up arrested once Henry found out about them.

In the North, laws like this were repealed during or before the 1880s, if a state had them at all. In Connecticut’s case there were no laws ever prohibiting interracial marriage, but starting in the 1840s you were required to disclose your race in order to obtain a marriage license, which could create its own conflict with the risk of Daniel and Abby being exposed. Regardless of legal allowance, the practice was heavily frowned upon wherever you went, and the majority of them are recorded as being ordained in black churches, since white ones would turn them away and be well within their rights to.

A helpful reminder. 🔗

4. Main Setting - The American Gilded Age (1877-1900)

This was the point in my amateur "research" for this setting that I completely dug my heels in.

I mentioned the two sides of the 19th Century New England aristocracy - The dynastic, nobility-adjacent old money crowd, and the new money industrialists that rose to power during and after the Civil War.

Hey look, another (shorter) helpful PDF summary of a historical period:

Emphasis on "the wealthy elite using underhanded, exploitative practices to get what they want with no real consequences for it."

Henry fits...so perfectly into the category of these "robber barons" for me. Even if he's from a traditional, generationally wealthy family, he seems like enough of a greedy little cheat that he would force his way into this new crowd even if he didn't need to. It adds a few extra layers to a fairly archetypal 19th-century douchebag.

Henry being one of these Gilded Age industrialists sets him up as his family's main provider, allowing him to exert even more control over Daniel's life. Old money families had a severe distaste for these people, matching with Henry's extreme desperation to uphold his status. Even outside of higher social circles, these guys were hated by the general public and that was a 100% valid opinion. If Henry is this much more elevated above other characters in terms of wealth and the way he amassed it, it might make the insane jump from "jealous, nosy prick" to "murders an entire lower-class family for personal profit" a little more believable.

And, the most obvious point, the whole idea of this era, that "cartoonishly evil class divide" supporting the Two Worlds narrative.

The difference between Daniel and Abby's situations made all the more drastic, given that Henry may very well be one of (if not the) wealthiest men in the world in this prospective version of the story.

The nature of their wealth puts Henry, and by proximity Daniel, far more in the public eye than any British aristocrat would be. Daniel feels even more pressured and uncertain about his choices, even outside his family's expectations of him. Henry isn't just threatened by monetary loss after Daniel's death but cutthroat social humiliation, given who Daniel's inheritance is being released to.

Daniel is divided even further between his father's quiet, "safe" traditionalist lifestyle and his brother's much more forthright and totalitarian approach to everything. Maybe even tension created between Henry and his father for it.

Again, the stark difference between the post-War North and South, not exactly plot relevant but present in the setting.

The fact that the prosperity of Daniel's family is much more directly a result of the suppression of the poor and working class, the very difficult-to-navigate, set-in-stone power dynamic it creates in Daniel and Abby's relationship and how they come to terms with it.

And a little more on the Making-Shit-Up side: I have a troubling amount of extra characters I've used to fill plot holes that bother me, most of them servants, and trust me. The whole mass immigration aspect of this period makes character-building way more exciting. This is when the US Melting Pot idea really started, and it allows for a lot of different types of people to believably exist in a relatively limited setting. Christ, I even kept Abraham as an Englishman like his respective singer and it still makes sense within the world.

It's just...perfect. Arjen really picked the absolute perfect decade to set this story in for the sake of a throwaway 2084 joke.

5. The American Dream and the Tragic Fantasy of the Middle Class

This one is purely thematic, related to a more general national ideal than any one era or location (though I think the Gilded Age's presence boosts its effect). Oversimplified to all hell:

America is a very individualist society. It was founded on the idea of personal freedom and making your own way in the world with minimal resistance (or support) from an executive power, say, the British Empire. If you work hard and persevere, you can carve out the life you want and enjoy it. On paper, anybody can be anything, free from the restrictions of a tyrannical government or lineage-obsessed nobles. It's the ideal system, that benefits everyone who really wants it to.

Except it's just...not.

This isn't some groundbreaking concept. The American Dream is hypocritical as fuck and most people have figured this out by now. Sure, you can be anything you want in this country, no mountain is too high. So long as you are white, male, Christian, able-bodied and minded, not an immigrant, etc., etc.

Surely it's equal. Surely there are no unfair headstarts for people born into wealth and privilege, just like in Britain, and surely they will not use that advantage to lord power over the less fortunate with minimal consequences because they *earned* it and the government has no right to take it away. And surely, the people who really did work independently for what they have are not in a far more precarious position, as just a little bad luck can send them spiraling with nothing to fall back on.

...

And now, a small summary:

Daniel and Abby come from complete opposite sides of the social ladder, but are able to look past those differences because they care about each other as people. They are ridiculed and ostracized but they persist in the name of the life they chose (bada bing bada boom direct album quote 💃), and after enough time (and some pure luck), they get the house and make it their own. A quiet and steady spot, a safe middle ground between their two worlds.

One bad day and all of it is gone. Literally burned to the ground, and with it the character that all but stood for prosperity, change for the better and genuine human kindness.

The situation is then made exponentially worse when Henry, rich white jackass incarnate, steps onto the scene and twists the horror of it all into something that will benefit him. Doing so, mind you, by stepping on the backs of some select members of the lower class and tricking one through false promises of a shared reward to turn against her own. He fiddles with and fuels that fire while all previously mentioned genuine-human-kindness character can do is watch, and only after death does he get his comeuppance for it.

I figured it all fit together pretty well.

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orlissa · 7 months

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The newest episode* of Getting Published Might Not Be So Hopeless After All

*As if there were earlier episodes

I finished a book the other day--it's a recent publication (came out last month), currently at 3,61 on Goodreads with nearly 6000 ratings

It's titled My Roommate Is a Vampire, and the title just about tells you everything that you need to know :D

But in a nutshell: after spending the last century or so in a magic induced coma, our vampire main guy has a deep seated desire to be able to blend in in the modern world, so he places an ad for an unsuspecting human roommate. Cassie (our main female/POV character) is a down-on-her-luck artist currently being evicted from her apartment, so she jumps on the opportunity. Time goes by, not so much stuff happens, and they fell for each other. The end.

Literally. There isn't much else that happens in the book.

That being said, the novel is not without its virtues. The start off situation is funny, especially since while Cassie doesn't know that she is moving in with a vampire, even with the guy's erratic, but heartfelt behavior, the audience does, so there are a bunch of endearingly hilarious situations. I honestly thought this setup would make a great sitcom. Plus all of the chapters start with either a letter/letters, chat messages, google searches, diary entries, etc., which was a narrative choice I really liked, especially since it allowed a glimpse into other characters' thoughts beyond Cassie.

The rest is under cut, because it got long

But holy crap, everything else in this novel was so underdeveloped I can't even express. It was like that author had this fun idea, but nothing beyond it, but was still determined to make it work. Like the publisher saw the opportunity in the setup, and had an editor work on it with the author, but then accidentally ended up publishing the original manuscript before the edits.

The author never took the effort to properly work on the lore. Basically the whole "presenting the lore" part is the two main characters watching Buffy, and the vampire guy (who is named Fredrick J. Fitzwilliam, btw) saying that yeah, the show got some things wrong, got other things right, and there are like 2 examples. We never actually learn how he, himself got turned (or how vampires get turned, for that matter). Also, there is his "mother" in the story - is she his maker? His actual mother? Both? We never learn!

Not to mention his whole backstory. At the point I have to compare it to All Souls, since we have a guy turned into a vampire hundreds (thousands) of years ago, when he was in his mid-thirties. In All Souls (okay, that's a bit longer story, I know, but still, it would take like, what, 5 pages?) we learn who Matthew was in his life, what he liked, what he did, we learn about his family, his tragedies, how he was turned, and, as a vampire, grew from an artisan into a de-facto nobleman. Fredrick, in contrast, started out from a humble home (we never explore how he ended up with upper class demeanor), and apparently did nothing until he was turned in his mid-thirties. Apparently he had no job, no family... And honestly, why wouldn't a guy in his mid-thirties be married in the 18t century? It's just such a lazy job, such lazy writing.

Also, there a scene (there are a bunch of scenes, really, but let me use this one as a example) where Cassie takes Fredrick to a party hosted by her best friend (she has a gay best friend, of course XD), and he prepares by memorizing a bunch of stuff about Taylor Swift, because he did his research, and apparently she is very popular in this age group.

The problem here is that, once again, the author didn't think it through. Reciting random facts is not just odd, but it's like the guy has zero frame of reference--but it's not just he doesn't have a frame of reference, it's that his frame of reference is drastically different. If I wrote it, it wouldn't be just reciting facts, and haha, it is funny, because Taylor is a big deal and I'm resonating with the audience. Instead, let's have Fredrick compare her to the great singers of his era. Like "I read about this lady, and I'd like to hear her sing--what do you mean it's all recorded? And what about live? In which establishment does she sing? In a stadium?!"

(And, yeah, btw, Frederick is said to have been in a coma for a hundred years, but that would mean that he went to sleep in the roaring twenties, and yet he acts Victorian/Regency period, which is, once again *just lazy, unrefined writing*)

The big conflict is supposed to be that Fredrick mother wants him to marry some vampire chick, and he is against it all. I have some many problems with how this plotline is excuted. Like 1, the vampire chick (called Esmeralda for some reason, which somehow sounds really tacky) is never seen in person. She is literally a non-character. Also, throughout the whole book she is super adamant about wanting to get married, then suddenly has a change of heart off screen in the last chapter. 2, Fredrick pulls himself together at some point to go and tell the families in person that he won't marry her, and... he gets taken hostage. And held for days. Which we never see, because he is not the POV character. There is zero tension, zero stakes (not even, you know, the kind you kill vampires with). Cassie figures out after some time that she is missing, she writes an e-mail to his mother that if they don't release him she'll expose vampires on TikTok (wheezing), and then Fredrick mother just backs down and releases him and HAPPY END! Honestly... that's the whol conflict. The sex scene is written with more details.

Talking about sex (because of course there is a lot of longing, and talk about erections, and then a long ass sex scenes, which I did not enjoy, because by then I was done with both characters): when Fredrick is released, he has wounds on his wrists after being tied up, and he is like "don't worry, it's just my heart doesn'T beat, so my blood doesn't flow *like that* so I heal slower :)

Like... okay, listen to me here... if his heart doesn't beat... and his blood doesn't really flow... you know what is highly unlikely to happen, right? RIGHT?!

So yeah, it could have been a good book, but it's just So Damn Badly Written from a technical point of view that I just can't. Nope. I can't.

But if this can get published, then who says I or you can't?

#orlissa reads #writing

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babyawacs · 2 years

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@slate @valaafshar #level #whatdidyousee #4questions #four #questio ns @nytimesarts @nytimesbooks https://twitter.com/ValaAfshar/status /1577096589872533504? smashwords.com/books/view/552210 whydo 18t h century paintings havesoamny squirrelsinthem and howdidthey trainthem thattheydontbite the painter Christian KISS paintings are the p layboymagazine of mankind from churches to privatiers itis full of clo ud-tittttts and female genitalia and nowyouwillnever see art in anyot her way everagain simpler: squirrels mightnotbe a squirrel consid er also turn the painting //// whatkind of apple did eve eat Christian KISS: if she existed and adam too itwould lack fifty othe r couples to formthe b a s i s of a somewhat survivable g e n e p o o l fifty +-afew arenecessary itis possible theydidnot exist. 2000mil es left,right, up,down they prayed to different gods atthetime when jemuslived. metaphores the communication of values towards a good b etter humanity timeless values should enable dont harm based ondogm a e v e r appletype: t e m p t in g supertempting. yummy. yu mmyto man a n d woman. appleofbackthen. and of choosing the lea st spoiled one too. apples. in gardens which other fruits ignored for an apple //// are plato aristotle socrates same person C hristian KISS: thisis a very very good question. the antique andits d eep foundations of philosophy the commonknowledgeis they b a s e o n e a c h o t h e r idonotknow noone does know youcannot know these things by what countless sources leftover youmay estimate by scientific method ///// whatdoesitmean dreaming being chased by an e lephant Christian KISS: why did elephants fasciante you the day before what doyu associate with elephants before daybefore wilderne ss x huge? cute x hute danger big danger and wilderness? x africa your subconscious s o r t s things fromthe d a y b e f o r e oftenand (!)unsorted things/ t rauma I am Christian KISS BabyAWACS – Raw Independent Sophisticati on #THINKTANK + #INTEL #HELLHOLE #BLOG https://www.BabyAWACS.com/ Inq [email protected] PHONE / FAX +493212 611 34 64 Helpful? Pay. Support . Donnate. paypal.me/ChristianKiss

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designobjectory · 3 years

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AN ENGLISH DELFTWARE BLUE AND WHITE MODEL OF A CAT CIRCA 1760

#delftware #ceramic #figurine #cat #18t century #rococo #english design

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anaratto · 3 years

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Edmund Kean as Sir Giles Overreach in a New Way To Pay Old Debts', circa 1816, (1948). Edmund Kean (4 November 1787 -15 May 1833) - celebrated British Shakespearean stage actor drove the play's reputation through the 19th century. Artist George Clint.

#Edmund Kean #Sir Giles Overreach #New Way To Pay Old Debts #play #shakespearean actor #18t century #acting #facial hair #men's fashion #costume #george clint #painting #actor

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sealers100 · 4 years

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A (brief) review of every Donald Sutherland movie (so far)

I’m not coping well with quarantine at all and no one else seems to be either (which makes me feel a bit better) So what started out of boredom back over christmas break has turned into a quest to find and watch every Donald Sutherland movie ever. Probably not my best idea since a lot of them are very old and hard to find and would need to be bought online (which isn't an option right now.) Don’t ask me why, this kinda just happened and I’m not gonna fight it. So stick around for an unprofessional review of a very professional actor’s long film career.

(if anyone has any suggestions or knows where to find more hmu)

M*A*S*H*

Ah talk about a movie that didn’t age well (but neither did Holiday Inn and we still watch that) I’m not here to bash on it for being problematic because apart from the way they treated Houlihan, I genuinely loved this movie. It had be rolling the whole time just like the show and I still catch myself whistling like Hawkeye all the time. Probably still like the show better and Alan Alda’s Hawkeye (sorry Donald) but its definitely been a go to when I’m having a rough day.

Kelly’s Heroes

I think this was the first movie of his I ever saw as a little girl and I remember being very confused. (since it didn’t match my dad’s military stories at all) so this ended up being the first one I went out of my way to hunt down and watch and sorry to Clint Eastwood but Donald stole this movie from literally everyone. He’s hilarious, he’s sexy, he steals the show and it’s definitely one of his more underrated movies (the movie itself is a bit long) which is a damn shame since he (literally) died filming this one. (if you don’t know the story, look it up its wild)

Alex in Wonderland

Wow, who knew he could be such a convincing asshole! At least he becomes aware of it by the end of the film but I just felt so lost by the end. Like ,what did I watch, what happens now? Not one of my favorites but definitely interesting and a sure product of the early 70s. Overall, he does have a lot of good scene (a scene with THE Federico Fellini) that are sometimes light-hearted, dumb, cute, irritating, and just...what? The relationship between him, his wife, and children is probably the only redeeming factor since its pretty accurate for how his actions strain his relationships. I am gonna be honest though, I only watched this one to see him as a long haired hippie 😂 (sorry).

Klute

Leave it to Jane Fonda to remind me why I’m bisexual (I wish she wasn’t always a prostitute) Although there was a lot more of her and a lot less of him, even though he is John Klute. I am an absolute sucker for those old black and white noir movies and this is no different. It leaves some feelings to be desired at times (Donald apparently felt the same way) but you can really tell there’s a fascinating chemistry between him and Jane (because there actually was) Overall the story was entertaining but the character’s themselves seemed somewhat drab. I wish we got to know more about them and had more scenes with more emotion apart from just the sex and love scenes. Oh well, it was still a pretty damn good movie and I’d definitely watch it again if I got the chance.

Lady Ice

Basically Magnum before Magnum was even a thing. Now just because a movie is bad doesn’t mean it can’t be entertaining. I love the whole Miami Vice vibe I get from this and again, huge fan of private investigators, detectives and dirty schemes. His acting might not be exemplary but I don’t even care. The movie is fun and not every movie has to be deep and meaningful. Nothing wrong with just watching a movie for the hell of it. And that moustache, it’s my kryptonite. 😆

Don’t Look Now

If you haven’t seen this movie, stop reading my bs and go watch it right now. (its free on crackle) This is such a good movie I could make a whole post on it alone. Donald and Julie Christie (I’m still not over her either) put so much into every scene, giving us such a beautiful relationship that’s been fraught with tragedy. Every scene is beautiful and eerie and enchanting Iloveitsomuch!!! I don’t wanna spoil too much because the ending turns everything on its head. I’m not sure if this is meant to be a horror movie but it really walks that uncanny valley with the whole setting of Venice in it’s off season, the dark corridors, creepy premonitions. I will spoil this, I love how for once, the man is the psychic instead of the woman, which is a trope that waaaaaay over done. AND THE SCANDAL! Okay sex scenes in movie isn't exactly scandalous but this one was surprisingly realistic (no they didn’t actually have sex) so everyone in the 70s pitched a hissy fit over it and I can’t understand why. It’s by far the most realistic and beautiful sex scene I’ve ever watch, hats off to Donald and Julie. God Bless Nicholas Roeg for this masterpiece, aaaaahhh just go watch it its so good!

Fellini’s Casanova

Alright but bear with me on this. I think I had a religious experience while watching this movie. I was overly exhausted and had my eye on it for a while said ‘fuck it let’s watch something weird.’ This what actually started by quarantine marathon (how appropriate) and I can safely say, I think this is the most beautiful, most grotesque, most enchantingly beautiful and yet dark and bizarre movies I’ve ever seen. Donald makes such a convincing 18t century venetian lover and they really went all out with his appearance, acting and the scenery of the whole movie. Everyone in the film seems to genuinely enjoyed everything they’re doing (which says a lot they do some crazy shit in this one) and the whole time, everything is erriley whimsical, almost like a fever dream (which is what this film might have been I dunno). And the fact it spans the entirety of Casanova’s life, from his highest point to his absolute lowest decent into squalor just proves that Fellini holds nothing back AT ALL. Again, no spoilers (I don’t really think I can spoil this film) but there’s just copious amounts of sex and its just plain strange but if you find it in your heart to give it a try, please do. If you’re not sure about it that’s fine definitely not for everyone. However I highly recommend Fellini’s other works. (go watch La Strada)

Invasion of the Bodysnatchers

Hahaha oh man I can’t tell you how many times I’ve seen this movie. My friends and I in college had a horror movie night and this one seriously freaked out my roommate (i’m so sorry). I love me some sci-fi (I run a star trek blog) and this not only gave me lots of Donald but also Leonard Nimoy, (along with a very young Jeff Goldblum) so yes, this is now one of my favorite sci-fi movies (I did a film analysis on it too). I don’t recommend watching it in quarantine unless you’re into freaking yourself about a global pandemic. I will say, this movie is an anomaly since I think it might be the only movie that is not only better than its remake, but also better than the book (which I also read) This one gives us Donald (and his moustache) playing of all things, a health inspector (I’m dying) whos put into some creepy scenarios of apocalyptic proportions. This is one of those horror movies that’s fun without being funny. It’s got plenty of drama and awkwardness between to characters while also reaching it’s cult classic status. All the actors in this film manage to give such a convincing performance that you can’t help but feel like you’re right there with the characters, which makes for a fun and terrifying ride. 10/10 would scare my roommate again.

The Great Train Robbery

Donald Sutherland AND Sean Connery? Sounds like a great pair right? Well they are, sort of. Okay this movie looks like a typical british drama, buuuuut I’m not so sure about this one. Donald is pretty great in this one and so is Sean, but I’m just very confused if it’s trying to be serious or funny? The plot itself makes sense and its pretty good but the execution is just...what? Oh well, Donald and Sean make an entertaining pair with their odd “train heist” I felt this movie would have done much better if it went for either one side or the other instead of jumping all over the place, and it played out much more like a soap opera. It’s not bad though but its not a favorite of mine.

Bear Island

Okay I’ve been pretty nice so far, but this...the only real redeeming part of this movie is Donald and his beard. Which is such a shame because I feel like this could have been SUCH a good movie. The story itself is really good and enthralling but somebody somewhere dropped the ball. No, they didn’t drop it. They threw it off a cliff. Nothing about this movie makes sense, most everyone’s acting is subpar, and I don’t blame them because the script was probably the main offender of this film. Even Donald’s acting is uncharacteristically bad. I know shoot me, criticized his acting. It’s just so strange to see what could have easily been a fantastic film. Someone send this to Philip Kaufman and ask for a remake because this one needs it.

Ordinary People

Oh God, this movie. This movie means so much to me. Again, watched it with my roommate, we sobbed like children and its now a must see in our group. The fact that Donald wasn’t even nominated for an oscar for this film is a travesty. A story like this is something that in a way I’ve lived myself. Everyone’s acting in this film is superb and as someone who would know, yes, all of this is very really and very heart wrenching to watch. I don’t mean to get sappy or anything, but I have been Calvin Jarrett, I (and I’m sure others) have been that mediator who eventually is broken by the two fighting forces. Watching his eventual collapse is so surreal and wow this movie really broke me in some spots. Uhg god this movie, I wanna cry just thinking about it. I’d totally watch it but I’ll just spend the whole time wanting to hug him.

Eye of the Needle

If any of you know me personally, you’ll know I’m absolutely terrified of needles, so this might not have been the best movie for me to watch, but I had no idea what I was getting myself into. This whole movie is actually pretty fantastic. For once, Donald plays a bad guy, but you can almost root for him (if he wasn’t a nazi) I felt so conflicted because while yes I wanted him to take her away from her horrible husband, hes a damn dirty Nazi, and we don’t stan. Of course, Donald’s character is extremely charming but I’m left wondering if his character really did have feelings for Kate Nelligan. I have a feeling that I could really run with this story. This one is a thrilling story with a thick plot that tears its characters apart. I can’t help but love it.

Crackers

Fight me, I thought it was funny. Not really but this is one of those “entertaining but not really good” movies. Donald’s character is...well, he reminds me a lot of most of my exes. He’s just down on his luck, he’s not a bad guy. Yeah that sums up how I feel about his character. However, the movie overall is pretty damn funny. At least it knows it’s a comedy and it even has a sweet(ish) ending. I will say its not great, but there is a good scene with Donald falling flat on his ass which was so worth the whole rest of the movie. This one is still on my quarantine go to for when I just wanna forget about life for a while.

Rosary Murders

So this little gem I kinda just watched on a whim thinking it would be some campy horror movie that was very pro-catholic and woooweee was I wrong. I loved this movie so much I ended up watching it twice, two nights in a row. It really was a thrilling movie with a plot thicker than pea soup, all while throwing some (slight) shade at the catholic church. This movie goes less for the horror side of things and more for the shock and drama and it does it well. Not to mention he makes one hell of a cute priest. I loved the hell out of this one and I’m glad i decided on this one the other night. I might even watch it again who knows.

Pride and Prejudice

Everyone in this movie is neurotic as hell except for Donald Sutherland and Keira Knightly. Sorry I was never a huge Jane Austen fan but I admire her ability to write hell of a good slow burn and that exactly what this is. Hell most of you know what this movie is about so I’m not gonna talk about it too much. Its one of those movies everyone else seems to have seen and I haven’t so mom and I sat down and watched it together. She just laughed as I sat there yelling at the TV, waiting for an exasperated Donald to come on. His final scene though, so sweet. I did like how the movie showed a father daughter relationship that wasn’t toxic (not like the last one) but I was kinda over the whole song and dance after a while. I’m sure most people think its a really good movie but I just don’t get it.

The Hunger Games (All of them)

As I understand it, this movie actually means a lot to Donald, as it does to a lot of people, and that he really enjoyed working with Jennifer Lawrence, so that’s nice. Yes I’ve seen all three (four) movies, read all the books and I couldn’t think of anyone else to better play Katniss Everdeen’s antithesis than someone like Donald. I feel like this is one of those roles that was just made for him. He was such a scary and venomous villain that played so well off of the main protagonist. Uhg I really do love the Hunger Games Series, it was a huge part of my childhood, I just hate how the fans destroy people who love the main villain, like many fandoms do (looking at you star trek). I wish I could just enjoy these movies in peace without everyone being so polarized on them.

Oh wow there’s definitely gonna be a part two but as of now, this is all I got. I’ve got a long way to go and (with the way things are looking here in the U.S.) I’ve got plenty of time to do so. I really do enjoy doing these kinds of things so if you want me to watch and ramble about any other movies (no, it doesn’t have to have Donald Sutherland) I’m gonna be in quarantine for a while, so let’s at least do something fun to pass the time. 😊

#Donald Sutherland #this brings me joy #Im gonna laugh if I actually watch all his movies #mash #hunger games #pride and prejudice #ordinary people #I'm not gonna tag every movie wed be here all day

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king-jpxo · 2 years

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The Influence of the 1760’s Gown - Research and Reflective Writing

During the Industrial Revolution, the gown was a prevalent item of clothing. Typically worn by ladies of the upper class, the 18th-century gown had a very particular shape. The petticoat was worn over a hoop to create a wider hip, making a ‘fan-shape'. The stomacher on the gown's bodice was often decorated with silks, showing a higher social class position. Modern influences from the 1760s gown can be seen in the Moschino Autumn 2020 collection (Marie Antoinette). Using the shape of the 18th-century gown but modernising the look by raising the hem, using fabrics such as denim and leather, and accessorising with thigh-high lace-up heeled boots.

As history has shown us, class and social hierarchy were defined by a persons clothing. Ladies who wore colourful, silk embroidered gowns had the money to have dresses made for them. Whereas a woman of the lower class would wear a simple, plain dress.

As seen on the mood board, ‘Influence of the Gown - 1760’ uses images from the Moschino Maria Antoinette collection and original 1760s gowns, this allows the viewer to compare the historic gown to the modern interpretation. The background is a screenshot of fabric from the mid to late 18th century to tie the theme together. The bright colours of the gowns indicate influences from the late baroque period. The final detailing of the mood board consisted of the title and effects. By using the cut-out lettering as the title is a homage to the drastic changes in the letterpress during the 18t-century. Using a spotlight effect was intentional to imitate a catwalk.

To begin, I was nervous about this project as I didn’t know much about the late 18th-century. However, once I started researching the topic, I found it very interesting how the different fabrics, colours, and designs showed the difference between social classes. This furthered my understanding of how the past has impacted the present. Although, having said that, it is much harder now to recognise social status and cliques due to the accessibility of clothing (fast fashion).

Personally, researching the topic before creating a mood board/collage works better for me as I’m able to understand the theme on a deeper level. I find that if I don’t research the topic beforehand then the final result isn’t as ‘on topic’ whereas if I did research beforehand then the majority of the topic will be tied together. So rather than just being visually pleasing, there is a story behind the project.

If I could change anything, I would include more examples of the 1760s gown with modern interpretations as I only compared the Moschino Marie Antoinette 2020 collection. By including other examples this would’ve further conveyed my past and present underlying theme.

Overall, I enjoyed this weeks lecture and personal research on the topic of the 1760s gown. It reinforced the idea of using the past as inspiration and incorporating and elevating those ideas to a modern standard. Moving forward I feel as though I could do a collage series on historical garments and the influences they have on modern fashion and how we interpret them now.

Bibliography

Majer, Michele. “1760-1769 | Fashion History Timeline.” Fashionhistory.fitnyc.edu, 30 June 2021, https://fashionhistory.fitnyc.edu/1760-1769/

Museum, Victoria and Albert. “Gown | Unknown | V&a Explore the Collections.” Victoria and Albert Museum: Explore the Collections, 16 2006, collections.vam.ac.uk/item/O127162/gown-unknown/

VOGUE Runway. “Moschino Fall 2020 Ready-To-Wear Fashion Show.” Vogue, 20 Feb. 2020, www.vogue.com/fashion-shows/fall-2020-ready-to-wear/moschino/slideshow/collection#1

#uswfashionpromo #uswfashion #uni #student #fashion #fashionstudent #tumblr #blog #uswfad #study #1760 Gown #1760 #gown #research

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elderlyinstruments · 6 years

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A cool mid-century instrument, this Martin 0-18T Tenor Guitar (1962) has a great sound, and is ready to plug and play. Hear in the hands of Steve Olson in our one-minute video, then head over and see every detail with our 360 viewer: https://goo.gl/o4unkK

#Martin #Tenor #Acoustic #Guitar #Vintage #Guitars #Video #Demo #Elderly.com

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tuseriesdetv · 3 years

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Guía de series: Estrenos y regresos de mayo 2021

No creemos que os haya dado tiempo a ver todo lo que queríais ver en abril. Pero, lo sentimos mucho, se os van a acumular muchas más series con los estrenos de este mes. Aunque esta vez no son tantas.

¡Feliz mayo!

Leyenda:

Verde: series nuevas.

Negro: regresos de otras series.

Naranja: miniseries o series documentales.

Amarillo: tv movies, documentales, especiales o pilotos.

Morado: season finales.

Púrpura: midseason finales.

Calendario de series

2 de mayo:

Pose (3T y última) en FX

Legends of Tomorrow (6T) en The CW

The Girlfriend Experience (3T) en Starz

Ghostwriter (1bT) en Apple TV+

Line of Duty (6T finale) en BBC One

4 de mayo:

Selena: The Series (2T y última completa) en Netflix

Star Wars: The Bad Batch (1T) en Disney+

Young Rock (1T finale) en NBC

5 de mayo:

Bloods (1T) en Sky One

The Sons of Sam: A Descent into Darkness en Netflix

6 de mayo:

Girls5eva (1T completa) en Peacock

Mom (series finale) en CBS

7 de mayo:

Jupiter's Legacy (1T completa), Girl From Nowhere (2T completa) y Monster en Netflix

Dynasty (4T) en The CW

Mythic Quest (2T) en Apple TV+

Shrill (3T y última completa) en Hulu

El niño de Medellín en Prime Video

Magnum P.I. (3T finale) en CBS

8 de mayo: Murder, They Hope en Gold

9 de mayo:

The Pursuit of Love en BBC One

When Calls the Heart (8T finale) en Hallmark

10 de mayo: The Crime of the Century en HBO

11 de mayo: Mayans MC (3T finale) en FX

12 de mayo:

The Upshaws (1T completa), El baile de los 41 y Oxygen en Netflix

The Hills: New Beginnings (2T) en MTV

13 de mayo:

Castlevania (4T y última completa) en Netflix

Hacks (1T) en HBO Max

Young Sheldon (4T finale), Mom (series finale) y B Positive (1T finale) en CBS

14 de mayo:

Halston, Love, Death + Robots (2T completa), Haunted (3T completa), The Woman in the Window y I Am All Girls en Netflix

High School Musical: The Musical: The Series (2T) en Disney+

The Underground Railroad (1T completa) y LOL: Si te ríes, pierdes (1T completa) en Prime Video

Trying (2T) en Apple TV+

Domina (1T completa) en Sky Atlantic

Reyes de la noche (1T completa) en Movistar+

Pride en FX

Blue Bloods (11T finale) en CBS

16 de mayo:

Run The World (1T) en Starz

Good Witch (7T) en Hallmark

NCIS: New Orleans (series finale) en CBS

Family Guy (19T finale) y The Great North (1T finale) en FOX

The Nevers (1T finale) en HBO

City on a Hill (2T finale) en Showtime

Zoey's Extraordinary Playlist (2T finale) en NBC

The Rookie (3T finale) en ABC

17 de mayo:

The Neighborhood (3T finale), Bob Hearts Abishola (2T finale) y Bull (5T finale) en CBS

Breeders (2T finale) en FX

18 de mayo:

Superman & Lois (vuelve) en The CW

The Resident (4T finale) y Prodigal Son (2T finale) en FOX

Kenan (1T finale) en NBC

Black-ish (7T finale), Mixed-ish (2T finale) y Big Sky (1T finale) en ABC

19 de mayo:

¿Quién mató a Sara? (2T completa) en Netflix

SEAL Team (4T finale) y SWAT (4T finale) en CBS

The Goldbergs (8T finale), Home Economics (1T finale), The Conners (3T finale) y Call Your Mother (1T finale) en ABC

20 de mayo:

Special (2T y última completa) en Netflix

Last Man Standing (series finale) en FOX

21 de mayo:

Jurassic Park: Camp Cretaceous (3T completa), El vecino (2T y última completa) y Army of the Dead en Netflix

M.O.D.O.K. (1T) en Hulu

Solos (1T completa) y P!NK: All I Know So Far en Prime Video

Pride en FX

23 de mayo:

In Treatment (4T) en HBO

Master of None: Moments in Love (3T completa) en Netflix

The Chi (4T), Black Monday (3T) y Flatbush Misdemeanors (1T) en Showtime

Duncanville (2T) en FOX

The Equalizer (1T finale), NCIS: LA (12T finale) y NCIS: New Orleans (series finale) en CBS

The Simpsons (32T finale) y Bob's Burgers (11T finale) en FOX

24 de mayo:

All Rise (2T finale) en CBS

Debris (1T finale) en NBC

9-1-1 (4T finale) y 9-1-1: Lone Star (2T finale) en FOX

Black Lightning (series finale) en The CW

25 de mayo:

Mr. Inbetween (3T y última) en FX

NCIS (18T finale), FBI (3T finale) y FBI: Most Wanted (2T finale) en CBS

This Is Us (5T finale) en NBC

26 de mayo:

Il Divin Codino y Ghost Lab en Netflix

The Bold Type (5T y última) en Freeform

Chicago Fire (9T finale), Chicago Med (6T finale) y Chicago PD (8T finale) en NBC

SEAL Team (4T finale) y SWAT (4T finale) en CBS

27 de mayo:

Eden (1T completa) y Blue Miracle en Netflix

The Beast Must Die (1T) en BritBox

28 de mayo:

The Kominsky Method (3T y última completa) y Lucifer (5bT completa) en Netflix

Panic (1T completa) y Parot (1T completa) en Prime Video

The Mighty Ducks: Game Changers (1T finale) en Disney+

Cruella en Disney+

29 de mayo: Oslo en HBO

30 de mayo: Mare of Easttown (1T finale) en HBO

31 de mayo: Housebroken (1T) y Duncanville (cambio de día) en FOX

Estrenos de series

Bloods (Sky One)

Comedia sobre dos paramédicos del servicio de ambulancias del sur de Londres que tendrán que lidiar con las llamadas y los momentos incómodos pero también con su propio compañero. Protagonizada por Samson Kayo (Timewasters, Truth Seekers) y Jane Harrocks (Absolutely Fabulous) junto a Julian Barratt (Truth Seekers, Flowers), Adrian Scarborough (Miranda, Gavin & Stacey), Aasiya Shah (Raised by Wolves, Unforgotten), Sam Campbell, Lucy Punch (A Series of Unfortunate Events, Motherland) y Kevin Garry (Famalam).

Creada por Kayo (Famalam, Sliced). Seis episodios.

Estreno: 10 de marzo

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Girls5eva (Peacock)

Comedia sobre un grupo musical femenino de los 90 con un solo éxito que se reúne para intentarlo de nuevo después de que la estrella joven del momento versione su canción. Protagonizada por Sara Bareilles (Little Voice), Renée Elise Goldsberry (Hamilton, Zoey's Extraordinary Playlist), Busy Philipps (Cougar Town, Dawson's Creek), Paula Pell (A.P. Bio, Love) y Ashley Park (Tales of the City, Emily in Paris).

Escrita por Meredith Scardino (Unbreakable Kimmy Schmidt, Saturday Night Live) y producida por Tina Fey (30 Rock, Unbreakable Kimmy Schmidt). Ocho episodios.

Estreno: 6 de mayo

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Jupiter's Legacy (Netflix)

La primera generación de superhéroes recibió sus poderes en los años 30, y ha protegido al mundo durante casi un siglo. Ahora son ancianos guardianes, y sus hijos intentan estar a la altura de las expectativas. Protagonizada por Josh Duhamel (Las Vegas, 11.22.63), Leslie Bibb (Popular, American Housewife), Ben Daniels (The Exorcist, Flesh and Bone), Matt Lanter (Timeless, Heroes), Andrew Horton (How to Talk to Girls at Parties), Elena Kampouris (Sacred Lies, American Odyssey), Ian Quinlan (Gotham, The Long Road Home), Mike Wade (SEAL Team) y Tenika Davis (Incorporated).

Adaptación del cómic de Mark Millar. Escrita y dirigida por Steven S. DeKnight (Daredevil, Buffy the Vampire Slayer). Ocho episodios.

Estreno: 7 de mayo

Estreno en España: 7 de mayo en Netflix España

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The Pursuit of Love (BBC One)

Sigue las aventuras y desventuras de la carismática y valiente Linda Radlett (Lily James; Downton Abbey, Mamma Mia! Here We Go Again) y su prima y mejor amiga Fanny Logan (Emily Beecham; Into the Badlands, The Village) entre la Primera y la Segunda Guerra Mundial. Consumidas por su deseo de encontrar el amor y casarse, las dos chicas buscan al esposo ideal poniendo su amistad a prueba. Completan el cast Dominic West (The Wire, The Affair), Dolly Wells (Doll & Em, Blunt Talk), Andrew Scott (Fleabag, Sherlock), Emily Mortimer (Doll & Em, The Newsroom), Beattie Edmondson (Josh), Assaad Bouab (Call my agent, Messiah), Shazad Latif (Penny Dreadful, Star Trek: Discovery) y Freddie Fox (The Crown, Cucumber).

Adaptación de la novela de Nancy Mitford (1945). Escrita y dirigida por Emily Mortimer (Doll & Em). Tres episodios.

Estreno: 9 de mayo

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The Upshaws (Netflix)

Comedia multicámara centrada en una familia afroamericana de clase trabajadora de Indianapolis. El padre de familia, Bennie Upshaw (Mike Epps; Survivor's Remorse, The Hangover), es un mecánico encantador y bienintencionado que intenta mantener y cuidar a su familia y también tolerar a su sarcástica cuñada (Wanda Sykes; Black-ish, The New Adventures of Old Christine), todo ello sin el necesario manual del éxito. Con Kim Fields (Living Single, Facts of Life), Page Kennedy (Backstrom, Desperate Housewives), Diamond Lyons, Khali Spraggins, Jermelle Simon, Gabrielle Dennis (Rosewood, Luke Cage) y Journey Christine.

Creada, escrita y producida por Sykes (Last Comic Standing, The Wanda Sykes Show) y Regina Hicks (Insecure, The Mayor). Diez episodios.

Estreno: 12 de mayo

Estreno en España: 12 de mayo en Netflix España

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Hacks (HBO Max)

Comedia en la que Deborah Vance (Jean Smart; Watchmen, Samantha Who?), una diva de la comedia de Las Vegas, se ve obligada a contratar y convertirse en la mentora de Ava (Hannah Einbinder), una guionista marginada de veinticinco años que se cree con derecho a todo. Con Carl Clemons-Hopkins (Chicago Med, The Chi), Kaitlin Olson (It's Always Sunny in Philadelphia, The Mick), Christopher McDonald (Thelma & Louise), Paul W. Downs (Broad City, Rough Night), Mark Indelicato (Ugly Betty), Poppy Liu (Better Call Saul), Johnny Sibilly (Pose), Rose Abdoo (Gilmore Girls, Parenthood) y Meg Stalter.

Creada y escrita por Paul W. Downs, Lucia Aniello y Jen Statsky, guionistas de Broad City. Producida por Michael Schur (Parks and Recreation, The Good Place). Diez episodios.

Estreno: 13 de mayo

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Halston (Netflix)

Limited series sobre el legendario diseñador de moda Roy Halston Frowick (Ewan McGregor; Moulin Rouge, Trainspotting), que construyó un imperio en los años 70 y 80 en Nueva York hasta que tuvo que luchar por controlar su propio nombre. Con Krysta Rodriguez (Smash, Trial & Error), Rebecca Dayan, Bill Pullman (The Sinner, Casper), Gian Franco Rodriguez, David Pittu (Damages, The Plot Against America), Sullivan Jones (The Looming Tower, The Gilded Age), Rory Culkin (Castle Rock, City on a Hill), Kelly Bishop (Gilmore Girls, Bunheads) y Vera Farmiga (Bates Motel, Up in the Air) dando vida a la actriz Liza Minnelli, la diseñadora de joyas y modelo Elsa Peretti, el filántropo David Mahoney, el modelo Victor Hugo, el ilustrador de moda Joe Eula, el asistente de ventas Ed Austin, el director Joel Schumacher, la publicista de moda Eleanor Lambert y la diseñadora Adele Simpson.

Creada, dirigida y producida por Daniel Minahan (True Blood, Game of Thrones) y escrita y producida por Sharr White (The Affair, Genera+ion). Producen Ryan Murphy (Feud, American Crime Story), Ian Brennan (Hollywood, Glee) y Ewan McGregor. Cinco episodios.

Estreno: 14 de mayo

Estreno en España: 14 de mayo en Netflix España

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The Underground Railroad (Prime Video)

Antes de la Guerra de Secesión, Cora (Thuso Mbedu, Shuga), una esclava de una plantación de algodón de Georgia, decide huir con su nuevo compañero (Aaron Piere; Krypton, Britannia) en un mítico tren subterráneo del que él le ha hablado. Según los rumores, este tren transportaría esclavos por el país. Mientras la persigue un cazarrecompensas (Joel Edgerton; The Great Gatsby, Zero Dark Thirty), Cora descubrirá que el tren no es una leyenda ni una metáfora, sino que existe y viaja por una gran red viaria secreta en una realidad alternativa, y luchará por el legado de su madre. Con Chase W. Dillon (The First Wives Club), Amber Gray (Escape at Dannemora), Jim Klock (Cloak & Dagger, Green Book), Fred Hechinger (Eighth Grade, Alex Strangelove), William Jackson Harper (The Good Place, Midsommar), Sheila Atim (Harlots, The Feed), Peter De Jersey (Broadchurch, Warrior Nun), Chukwudi Iwuji (The Split, Designated Survivor), Damon Herriman (Mr. Inbetween, Justified), Lily Rabe (American Horror Story, Tell Me Your Secrets), Irone Singleton (The Walking Dead), Kraig Dane, Mychal-Bella Bowman, Marcus Gladney, Jr. (City on a Hill), Will Poulter (The Maze Runner, Midsommar) y Peter Mullan (Mum, Top of the Lake).

Adaptación de la novela de Colson Whitehead (2016). Escrita y dirigida por Barry Jenkins (Moonlight, If Beale Street Could Talk). Diez episodios.

Estreno: 14 de mayo

Estreno en España: 14 de mayo en Prime Video España

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Domina (Sky Atlantic)

Drama que mostrará las luchas de poder de la Antigua Roma desde otro punto de vista, siguiendo la vida de Livia Drusila (Kasia Smutniak; Loro, Dolce Fine Giornata), la tercera esposa del primer emperador César Augusto y la madre del futuro emperador Tiberio. Completan el reparto Liam Cunningham (Game of Thrones, The Hot Zone), Isabella Rossellini (Blue Velvet, Death Becomes Her), Matthew McNulty (Misfits, The Terror), Christine Bottomley (The End of the F***ing World, Back to Life), Colette Tchantcho (The Witcher), Ben Batt (Scott & Bailey, Jamestown), Enzo Cilenti (Game of Thrones, Luther), Claire Forlani (Meet Joe Black, The Shadow Dancer), Alex Lanipekun (Homeland, Riviera), Tom Glynn-Carney (The Last Post, Dunkirk) y Nadia Parkes (The Spanish Princess).

Creada y escrita por Simon Burke (Fortitude, Strike Back) y dirigida por Claire McCarthy (Ophelia, The Luminaries). Ocho episodios.

Estreno: 14 de mayo

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Run The World (Starz)

Comedia que sigue a un grupo de amigas negras que viven y trabajan en Harlem y luchan por dominar el mundo. Protagonizada por Amber Stevens West (The Carmichael Show, Greek), Andrea Bordeaux (NCIS: LA), Bresha Webb (Marlon, Grey's Anatomy), Corbin Reid (How to Get Away with Murder, Valor), Stephen Bishop (Imposters, Being Mary Jane), Tosin Morohunfola (Black Lightning, The Chi), Erika Alexander (Black Lightning, Bosch), Nick Sagar (Queen of the South, Shadowhunters) y Jay Walker.

Creada y escrita por Leigh Davenport (Boomerang) y Yvette Lee Bowser (Dear White People). Ocho episodios.

Estreno: 16 de mayo

Estreno en España: 16 de mayo en Starzplay España

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Solos (Prime Video)

Antología que recorre el pasado y el presente y explora qué significa ser humano centrándose en cada episodio en un personaje en un entorno distinto. Con Morgan Freeman (Million Dollar Baby, The Shawshank Redemption), Anne Hathaway (Les Misérables, Brokeback Mountain), Helen Mirren (The Queen, Gosford Park), Uzo Aduba (Orange Is the New Black, Mrs. America), Nicole Beharie (Sleepy Hollow, Little Fires Everywhere), Anthony Mackie (The Falcon and the Winter Soldier, Altered Carbon), Dan Stevens (Downton Abbey, Legion) y Constance Wu (Fresh Off the Boat, Crazy Rich Asians).

Creada y producida por David Weil (Hunters). Siete episodios.

Estreno: 21 de mayo

Flatbush Misdemeanors (Showtime)

Comedia que sigue a Kevin (Kevin Iso) y Dan (Dan Perlman), dos amigos de toda la vida que luchan por prosperar, adaptarse, abrirse y conectar con otras personas en Flatbush, Brooklyn. Con Hassan Johnson (The Wire, For Life), Kareem Green (It's Showtime at the Apollo) y Kristin Dodson.

Creada, escrita, producida y protagonizada por Kevin Iso y Dan Perlman y basada en su webserie homónima de 2017.

Estreno: 23 de mayo

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The Beast Must Die (BritBox)

Frances Cairnes (Cush Jumbo; The Good Fight, The Good Wife), una madre que perdió a su hijo de seis años, busca venganza. Quiere matar al hombre al que cree responsable del atropello y posterior fuga (Jared Harris; Chernobyl, Mad Men), y para ello se infiltra en su vida y en su casa. El conflictivo pero brillante detective Strangeways (Billy Howle; Glue, MotherFatherSon) deberá descoser esta red de tragedia y encontrar el camino hacia la justicia. Completan el reparto Geraldine James (Utopia, Back to Life), Nathaniel Parker (Merlin, La templanza), Maeve Dermody (Marcella, Carnival Row), Mia Tomlinson (The Lost Pirate Kingdom) y Barney Sayburn.

Basada en la novela de Nicholas Blake (1938) y dirigida por Dome Karukoski (Tolkien, Tom of Finland).

Estreno: 27 de mayo

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Panic (Prime Video)

Cada verano, varios estudiantes graduados de un pequeño pueblo de Texas compiten en una serie de retos de un juego no autorizado para ganar mucho dinero y poder escapar de allí. Pero este año las reglas han cambiado, la cantidad de dinero es mucho mayor y el juego es mucho más peligroso. Con Olivia Welch (Unbelievable, Modern Family), Mike Faist (West Side Story), Ray Nicholson (Mayans MC), Enrique Murciano (Bloodline, Without a Trace), Camron Jones (The Purge, Elephant Department), Jessica Sula (Skins, Scream), Kerri Medders (Alexa & Katie, SEAL Team), Bonnie Bedelia (Parenthood, Designated Survivor), Moira Kelly (One Tree Hill, The West Wing), Nancy McKeon (The Facts of Life, The Division), Rachel Bay Jones (Dear Evan Hansen, God Friended Me) y Bryce Cass (13 Reasons Why).

Creada, escrita y producida por Lauren Oliver, es una adaptación de su propia novela (2014). Diez episodios.

Estreno: 28 de mayo

Estreno en España: 28 de mayo en Prime Video España

Housebroken (FOX)

Comedia de animación protagonizada por un grupo de animales de un vecindario que explora la disfunción y la neurosis humana. Con las voces de Lisa Kudrow (Friends, Web Therapy), Clea DuVall (Veep, Carnivàle), Nat Faxon (Blaze and the Monster Machines, Friends From College), Tony Hale (Veep, Arrested Development), Sharon Horgan (Catastrophe, Disenchantment), Will Forte (The Last Man on Earth, Saturday Night Live), Jason Mantzoukas (Big Mouth, The League), Sam Richardson (Veep, The Office), Bresha Webb (Marlon, Grey's Anatomy) y Greta Lee (Russian Doll, Inside Amy Schumer).

Escrita por DuVall (The Intervention), Jennifer Crittenden (Seinfeld, Veep) y Gabrielle Allan (Scrubs, Veep) y producida por Horgan (Catastrophe, Divorce).

Estreno: 31 de mayo

#series tv #television

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muabandatdongnai · 4 years

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#MuabannhadatDongNai #NhadatCafeland source https://nhadat.cafeland.vn/dat-thanh-pho-san-bay-quoc-te-long-thanh-chi-490tr-15-chi-vang-1440149.html

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gojohnetta · 5 years

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18th Century inspired hair made out of sheet music! – Ayşe Betül Köker – #18t… https://ift.tt/2SyQbKe

#IFTTT #WordPress

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afishtrap · 7 years

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Tugh Temuiir's appearance in the newly fashioned imperial costume took place at the Kuizhangge, a new government organ that functioned somewhat like a private library. Several scholarly studies of the Kuizhangge provide us with a rich picture of its history and organization; research by Chiang I-han, Fu Shen, Marsha Weidner [Haufler], and Kanda Kiichiro has resulted in the partial reconstruction of the art collection stored there.6 These researchers' inventories consist of both surviving artworks bearing Tugh Temiir's seals and/or inscriptions by Kuizhangge personnel, as well as paintings associated with the Kuizhangge only in textual sources. Poetic inscriptions for particular paintings in his collection appear in Yuan collectanea (wenji) under titles that explicitly state that they were written at Tugh Temiir's command (yingzhi). These surviving poems contain rich iconographic readings of the paintings and point to the essential functions of collecting and "enjoying" art at Tugh Temiur's court; however, no extended analysis of the paintings or inscriptions has been published. This article aims to fill that gap.

Ankeney Weitz, Art and Politics at the Mongol Court of China: Tugh Temür's Collection of Chinese Paintings, Artibus Asiae, Vol. 64, No. 2 (2004), pp. 243-280.

Art historians have generally taken a somewhat narrow view of the Kuizhangge, seeing it simply as a center for the promotion of Chinese art and culture at the Mongol court. In recent literature, the Kuizhangge has been depicted as a latter-day equivalent of Song Emperor Huizong's (I082-II35) famous art studio and library, the Xuanhedian.7 Indeed, allusions to Emperor Huizong and his art pepper the documentary history of the Kuizhangge, and the fourteenth-century scholars intentionally invoked Huizong as an imperial model in order to position the viewing of paintings as a leisure activity, a diversion from the more serious business of collating thejingshi dadian, an 880-volume tome documenting the administrative acts of the previous Yuan emperors.8

Nonetheless, these same scholars functioned in an environment of political instability. Mid-Yuan court politics were plagued with factional tensions between groups of bureaucrats (of all ethnicities - Chinese, Mongolian, and various Central Asian groups), "usually in alliance with groups of imperial [Mongol] princes. "9 During Tugh Temiir's reign, two senior officials, the Qipchaq El Temtir (d. I333) and his ally Bayan of the Merkid tribe (d. 1340), deftly manipulated the frictions between the various groups, thereby weakening the factions' power and increasing their own dominance. By arrogating most of the power in their own hands, the two turned Tugh Temiir into a figurehead, an imperial symbol whose integrity needed to be manifest to keep the empire intact.10 The loyal officials of the Kuizhangge were called upon to create an image of imperial legitimacy, a service they performed through cultural endeavors, including the appreciation of paintings.

[...]

The coup d'etat and civil war that brought Tugh Temtir to the throne in 1328 had a direct bearing on the construction and development of his imperialp ersona.1T2 he seeds of the conflict originated in the 1307 succession struggle between Khubilai Khan's (Shizu, r. I260-1I294) two great-grandsons, Khaishan (Wuzong, r. I307-I31I, Tugh Temiir's father) and Ayurbarwada (Renzong, r. 1311-1320, his uncle). The ultimate selection of Khaishan, "a military hero from the steppes ... [who] behaved like a nomadic chieftain,"13ca me with the proviso that his younger brother,A yurbarwada,b e designated heir apparent. Thus, upon the death of Khaishani n 1311A, yurbarwadap eaceablya scendedt he throne. The agreement of I307, however, had not clearly specified the line of succession after Ayurbarwada, and soon several contenders and their supporters began maneuvering for position.

For the next twelve years Ayurbarwada and his descendents ruled the country, and they successfully removed Khaishan's sons - Khoshila (Mingzong, r. I329) and his younger brother Tugh Temtir - from the political scene by banishing them to distant corners of the empire. In 1316, Khoshila was exiled to the southwestern hinterlands in Yunnan Province; however, he managed to escape to the northern steppe where he lived as a political refugee at the court of the Chaghatai Khanate. Five years later, the reigning emperor sent Tugh Temiir to Hainan, a subtropical island off the southern coast of China. From these remote outposts, they witnessed the murder of Ayurbarwada's son (Shidebala, Yingzong, r. 132I-I323) by a disgruntled group of Central Asian aristocrats and Mongol princes. His successor, Yesun Temiir (r. 1323-1328) attempted to appease his imperial relatives by bestowing gifts and land. He also recalled Tugh Temtir from Hainan.

[...]

In 1328, Yesun Temiir died, and El Temiir staged the coup that successfully installed Tugh Temuir on the throne. This audacious move touched off a short, but bitter, civil war that effectively consolidated E1Tl emtir's power.15A s E1Tl emuir'sp uppet, Tugh Temiir "controlled"t he seals of the imperial office; however, his older brother, Khoshila, still held a competing claim to the throne. Seeking to avoid a direct confrontation with Khoshila, Tugh Temiir abdicated in his brother's favor in the second month of I329, an act that later served as an example of Tugh Temiir's Confucian piety.

Six months later, in the eighth month of I329, the two long-estranged brothers met in Inner Mongolia and held a great banquet to celebrate the occasion. Four days later, Khoshila was dead. The official annals cite unnatural events as the cause of his demise, and most historians have presumed that El Temiir poisoned him. For his part, Tugh Temiir wasted no time in ascending the throne once more, and his sponsors (El Temiir and Bayan) never bothered to call the traditional assembly of Mongol princes (khuriltai) to decide the rightful succession.16 El Temiir's military successes had made this fundamental Mongolian institution obsolete.

Tugh Temiir's climb to the throne over his brother's dead body and without princely sanction was untenable in both the Chinese Confucian tradition of statecraft and in the Mongolian military-political order.17 Power struggles plagued his reign; his supporters uncovered eight plots on his life led by rival factions in the imperial family. Langlois contends that Tugh Temiir's urgent need of the "veneer of legitimacy" was answered by El Temiir's creation of an ambitious campaign to endow Tugh Temuir with a new persona: enlightened Confucian sage ruler.18T his choice was almost inevitable, since not only had El Temiir thrown in his lot with a large "Confucian" bureaucratic faction in order to win its support for the coup, but Tugh Temiir's own residence in southern China had instilled in him Chinese cultural habits (later encouraged by his wife and mother-in-law) and Confucian ideals of statecraft. The use of Confucianv alues by the "restoration"f action both elicited the continued support of the bureaucracya nd provided Tugh Temiir's court with useful symbolic tools. For instance, in a series of memorials his officials drew attention to his earlier abdication in Khoshila's favor as proof of his familial loyalty and brotherly humility.19 In studying these texts, Langlois argues that the invocation of Confucian vocabulary and institutions at Tugh Temiir's court was largely propaganda designed to legitimate the emperor's authority.20

[...]

Yu Ji, a major figure in the Kuizhangge, elaborated on the emperor's edict, announcing that the Kuizhangge scholars should:

provide explanations about the learnsa nd the ways of rkeiansgosn, s the for prosperity and failure, for attainment and loss, so that [these things] could serve as admonishments [for the emperor] .27 [Text B ]

The Kuizhangge scholars churned out reams of Confucian materials - edicts written on behalf of the emperor, memorials, translations, records, and poems - designed in large part to convince the bureaucracy of the legitimacy of the imperial succession.28

To disseminate the carefully constructed imperial image, the Kuizhangge hired stone carvers to engrave the most important documents on steles; for instance, officials snatched up ink rubbings of Yu Ji's laudatory "Record of the Kuizhangge, " said to be written out by Tugh Temiir himself.29 The recipients of the officially printed Kuizhangge "propaganda" consisted of members of the court, as well as the greater bureaucracy. In a number of public documents circulating during and after Tugh Temiir's reign, Chinese officials represented the emperor's cultural leanings as a sign of his sage administration. 30U nofficial rumorsa bout the emperor'sa ctivities in the Kuizhangge also spreadt he desired representation of Tugh Temiir as a morally righteous ruler.31

#mongols #yuan dynasty #china #art #archaeology #research #jstor #east asia

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