Angela (2023)
#HugoPrata #IsisValverde #GabrielBragaNunes #AliceCarvalho #EmílioOrciolloNetto #GustavoMachado
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Jahr: 2023
Genre: Biografie / Krimi / Drama
Regie: Hugo Prata
Hauptrollen: Isis Valverde, Gabriel Braga Nunes, Alice Carvalho, Emílio Orciollo Netto, Gustavo Machado, Carolina Manica, Bianca Bin, Chris Couto, Helio Toste, Felipe Barros, Du Dibo, Ivan Arcuschin, André Kirmayr …
Filmbeschreibung: Nach einer turbulenten Scheidung und dem Verzicht auf das Sorgerecht für ihre drei Kinder lernt die…
Gabriel Braga reacts to possibly fighting ‘idol’ Patricio Pitbull, plans dual $1 million PFL paydays
Gabriel Braga has vibrant prepare for his 2024 season in the Professional Fighters League.
The unbeaten Brazilian possibility is set to rematch Jesus Pinedo on the 2023 PFL featherweight finals on Friday, and while he undoubtedly enjoys the truth that there’s $1 million on the line, he’s likewise eagerly anticipating perhaps dealing with Bellator king Patricio Pitbull
“Patricio is my idol,” Braga…
Jesus Pinedo stops Gabriel Alves Braga in the 3rd round! New PFL Featherweight champion!
PERRUUUUUUUUUUUUUUUUUUUUUUU!!!!!!!!!!!!!!!!!!
Peru has a major MMA champion and his name is Jesus Pinedo. Fun scrap between the two 145lbers. A battle of range between the extremely lanky Pinedo and the forward moving Braga. Braga found a lot of success early with leg kicks. By the 3rd, Pinedo's lead right leg was all types of bruised up. Still, Pinedo's length gave Braga big trouble as he was able to put together combos to go up, around, and underneath the guard of the Brazilian. The volume as Braga attempted to shell up was working for Pinedo, esp once he started pulling his leg out of kicking range.
The finishing sequence was initiated by Braga landing a kick to the outside of Pinedo's lead leg. Pinedo checked just enough of it to keep his ground and extend the exchange. Threw out a jab, baiting Braga and then landing a left hook inside of Braga's right hook from opposing southpaw positions. Then Pinedo follows with a flying knee that gets Braga to shell up against the fence. Pinedo unloads and the ref calls it. Early stoppage, esp after the way that ammy fight ended, but it is what it is.
https://www.mtmteatro.it/events/era-come-se-nessuno-avesse-visto/
«Va bene, adesso prendiamo e cominciamo a pensare, adesso ci mettiamo a riflettere sul fatto che ci stiamo raccogliendo tutti quanti noi che siamo qui, noi che qui ci siamo incontrati e qui ci siamo raccolti, noi che cominciamo a raccoglierci qui, e allora infatti raccogliamoci, allora, visto che veniamo qui per raccoglierci, e…
[ID: a composite of lineart drawings of various people. text in the bottom left says “girltember - I love you, girls with...” followed by a numbered list of twelve attributes. the drawings are numbered corresponding to the attribute list. end ID]
Idly thinking about the brilliance of TNG's Lower Decks, so please do bear with me for a little while here... The show's seventh season often gets a not entirely unjustified rap as being a piece of filler while various parts of the writer's room were off shepherding the launch of Voyager and the transition to film with Generations, but here at last the season manages to attain the lofty heights of exactly what we expect from the "final season" of a show like this, in a fashion far more satisfying than simple continuity references or closure to running plot threads could ever be.
What I mean is that it demonstrates the inherent perks of the writer's room as a model of television production, something that has kind of been lost in the age of streaming and micro-writer's rooms. There isn't enough space for someone like, say, Brannon Braga with his weird exploration of body horror and/or temporal fuckery, or Ronald D. Moore with his cynical realpolitik.
Lower Decks very much hinges on René Echevarria's proven talents as one of the strongest writers in the TNG stable when it comes to intimate, character-driven pieces. The pitch came from outside the writer's room, but that hints at the real function of the room as a machine, whereby an abstract idea is subjected to a very particular finesse that helps bring out particular facets of a given script.
Ironically, Echevarria's own Star Trek career is another instructive proof-of-concept in this regard. His first script was The Offspring, but it was given an extensive do-over by Michael Piller and Melinda Snodgrass to better fit the aesthetics of the show. And here, his talents have developed far enough that he's effectively put on the other end of the process.
And it works. The script is beautifully constructed, with so many clever bits that invite the audience to become an active participant in the very procedure of watching Star Trek. The Alaska/Canada screw-up from Lavelle and Ben, the decision to cut away from the transport of Joret Dal and only show the hint of a Cardassian uniform, and of course the central set piece of the intercut poker games. (Here, for the visual triumphs, we should also commend director Gabrielle Beaumount.)
The episode derives its power from the audience's understanding that there were 165 episodes before this one, with their own rhythms and cadences. It disrupts it, but ultimately, in Worf's mutual connection with the lower decks personnel at the very end, collapses the narrative back into its familiar form. Of course, like all good narrative collapses, it comes at a cost, namely that of Ensign Sito.
It's brutal, and soul-crushing, to have spent so much time with this character only to have her swept away by the vicissitudes of fate, but it never feels cynical.
(In fact, one of the more bitterly memorable moments in watching the episode with my parents tonight - who had not seen the episode, or at least not recently - was my mother worriedly voicing her suspicions that Sito was not slated for a happy ending, and my father noting how bleak it would be for them to bring back this character to tell such a story. Crucially, he did not say this to disapprove, and I think it speaks volumes to how much Echevarria's script relies on the audience applying the televisual grammar of Star Trek to the episode.)
I'll admit I haven't seen any of the more modern Trek shows beyond Season 2 of Discovery - not out of conscious choice, mind you, I just have only so many hours of the day to watch Star Trek - but I can absolutely understand why this was the episode that got to pretty much single-handedly inspire the concept of an entire show, even if only in spirit.
For a show that can often feel rather formulaic - which isn't a problem, because the formula is a very, very good one that leads to some fantastic episodes - Lower Decks is proof that TNG wasn't *entirely* content to just coast by and rest on its laurels. It would have been justified to do so, but it still threw in the odd stylistic leap here and there.
And in so doing, it inadvertently prefigures more experimental modern television techniques - and contrasting against some of the more frustrating tendencies of the streaming era - all amidst a genuinely heartfelt and moving story. With all due respect to The Pegasus, Parallels and All Good Things, for me I think Lower Decks has now emerged as the champion of Season 7.
On this anniversary of a film that I wanted to hate but immediately fell in love with, I want to take a moment and wax poetic about the Kelvin Timeline. There was a lot of consternation then (and probably with some fans still) about there seeming to be differences to the timeline BEFORE the Narada incursion; the Kelvin had 800 people on board in a time a decade before the Constitution Class which only had 200 people on board under Pike. Things like this.
Now, do I know it's because JJ Abrams did no thave the encyclopedic knowledge of Trek I do and just thought George Kirk saving 800 lives sounds a lot cooler than a hundred? Sure. But...
There's no way in Star Trek to make a single incursion in a timeline. Think about this: Nero goes back, changes how the Enterprise will interact with the galaxy three decades later. So now, does the Enterprise go back in time and work with Gary 7 in 1968? Does Captain Christopher encourage his son to grow up and lead a Saturn mission? Do they go back to San Francisco in 1986 and invent transparent aluminum? Later on, does Sisko go replace Gabriel Bell?
(On a side note: I thought this would be the plot of Picard S2. The altered timeline kept the Bell Riots from being affected by Sisko and causing a closed temporal loop...why else put it in California in 2024 and talk about Sanctuary districts?)
We know there are other changes to the prime timeline caused by time travelers because Strange New Worlds tells us so; but THOSE changes aren't necessarily reflected in the Kelvin timeline. The Eugenics Wars are delayed almost half a century in the Prime Timeline now (possibly early on; even in TWOK Khan says he was from 200 years earlier...in a film that takes place in 2285)...but in STID Khan is from 300 years earlier, so still in the late 20th Century roughly.
Basically, once a temporal incursion hits a timeline, it doesn't just change those specific events; it alters any OTHER temporal incursions that were otherwise caused by that future. Brannon Braga said as much about ENT, that the incursion from the Borg in FC affected how Cochrane did things, and potentially changed whether the history we see on that show is exactly what preceded TOS.
I suppose I'm just saying that Star Trek is a big ball of wibbly-wobbly, timey-wimey stuff...and I think that's ok. Just gives me more trivia to memorize.
Congratulations, KING, TOMMIE, CRIS! Your characters have been accepted into WorldBurn. To proceed, please check out and complete our checklist and send in your character blog as soon as you can. Welcome!
King with Felix José Ruiz Secada (Gabriel Luna, Underboss, The Cartel)
Tommie with Nina Orlov (Florence Pugh, Chef/Thief, The Brotherhood), Aline Silva (Alice Braga, Corporate Security Professional, Law Enforcement)
Cris with Lilia Noailles (Vanessa Kirby, Deal Broker, The Syndicate)