#San Francisco Opera streams
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check this out!!!
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Updated stream list
I've been getting a lot of questions/requests regarding possible streams and thought it might be helpful to catalog everything we've watched so far! I'll keep it pinned and updated moving forward.
Longtime crowd favorites (streamed at least three times) are marked with a single asterisk.
Why isn’t [specific actor/video] on this list?
The video is currently marked not for trade.
We haven’t gotten to it yet.
The footage does not exist or is too incomplete.
It isn't on a platform I can stream it from.
There's something particularly off-putting about the video or actor.
How can I get a copy of a video listed here?
There's a list of publicly available bootlegs here, and there are many other adaptations on the Phantom Retrospective channel. Otherwise, contact @glassprism (or another trader) for a possible trade, or check her website for info on which master(s) to contact.
For general stream info, please see the Saturday Streams FAQ.
On to the list!
Andrew Lloyd Webber's The Phantom of the Opera
1988 Broadway: Michael Crawford, Sarah Brightman, Steve Barton
1989 Broadway: Cris Groenendaal, Rebecca Luker, Steve Barton
1989 Los Angeles: Michael Crawford, Dale Kristien, Steve Barton
1990 Los Angeles: Michael Crawford, Mary D’Arcy, Reece Holland
1991 Los Angeles: Michael Crawford, Dale Kristien, Michael Piontek
1993 U.S. Tour: Franc D’Ambrosio, Tracy Shayne, Ciaran Sheehan
1993 Vienna: Alexander Goebel, Luzia Nistler, Alfred Pfeifer*
1994 Sapporo: Eiji Akutagawa, Hisako Hanaoka, Masayuki Sano*
1994 Toronto: Peter Karrie, Teresa DeZarn, David Rogers
1995 Broadway: Davis Gaines, Tracy Shayne, Ciaran Sheehan
1995 London: Ethan Freeman, Jill Washington, Simon Bowman*
1998 Broadway: Thomas James O’Leary, Tracy Shayne, Gary Mauer
1998 Los Angeles: Davis Gaines, Marie Danvers, Lawrence Anderson*
1998 San Francisco: Franc D’Ambrosio, Lisa Vroman, Christopher Carl*
1998 Toronto: Peter Karrie, Elizabeth DeGrazia, David Rodgers*
1998 Broadway: Thoms James O’Leary, Tracy Shayne, Gary Mauer
1999 Broadway: Howard McGillin, Adrienne McEwan, Gary Mauer
1999 Toronto: Paul Stanley, Melissa Dye, Laird Mackintosh
1999/2000 Mexico City: Saulo Vasconcelos, Irasema Terrazas, Jose Joel*
2000 Antwerp: Hans Peter Janssens, Inneke van Klinken, Michael Shawn Lewis
2000 London: Scott Davies, Meredith Braun, Matt Cammelle
2000 London: Scott Davies, Charlotte Page, Matt Cammelle
2001 Hamburg: Ian Jon Bourg, Colby Thomas, Kyle Gonyea
2001 Hamburg: Ian Jon Bourg, Olivia Safe, Kyle Gonyea
2001 Hamburg: Michael Nicholson, Olivia Safe, Christopher Morandi
2002 London: John Owen-Jones, Celia Graham, Robert Finlayson
2003 Broadway: Howard McGillin, Adrienne McEwan, Jim Weitzer
2003 Broadway: Hugh Panaro, Julie Hanson, Jim Weitzer
2003 Broadway: Hugh Panaro, Lisa Vroman, John Cudia
2003 U.S. Tour: Brad Little, Lisa Vroman, Tim Martin Gleason
2004 Madrid: Luis Armando, Teresa Barrientos, Armando Pita
2004 Stuttgart: Thomas Schulze, Maike Switzer, Carsten Axel Lepper
2005 Broadway: Hugh Panaro, Julie Hanson, John Cudia
2005 Broadway: Hugh Panaro, Sandra Joseph, Tim Martin Gleason
2005 Broadway: James Romick, Marie Danvers, John Cudia
2005 London: John Owen-Jones, Rachel Barrell, Oliver Thornton
2005 U.S. Tour: Gary Mauer, Marie Danvers, Michael Shawn Lewis
2006 Essen: Ethan Freeman, Anne Gorner, Nikolaj Brucker
2006 Essen: Uwe Kröger, Beatrix Reiter, Lucius Wolter*
2006 London: Earl Carpenter, Rachel Barrell, David Shannon*
2006 São Paulo: Saulo Vasconcelos, Kiara Sasso, Nando Prado
2006 U.S. Tour: Gary Mauer, Elizabeth Southard, Jim Weitzer*
2006 U.S. Tour: John Cudia, Jennifer Hope Wills, Adam Monley
2007 Broadway: Gary Mauer, Jennifer Hope Wills, Jason Mills
2007 World Tour: Simon Pryce, Julie Goodwin, John Bowles
2008 Broadway: Howard McGillin, Elizabeth Loyacano, Jeremy Stolle
2008 Las Vegas: Anthony Crivello, Kristi Holden, Andrew Ragone*
2008 World Tour: Simon Pryce, Ana Marina, Alexander Lewis
2009 Australia: Anthony Warlow, Ana Marina, Alexander Lewis
2010 London: David Shannon, Gina Beck, Simon Bailey*
2010 London: David Shannon, Gina Beck, Will Barratt
2010 U.S. Tour: Tim Martin Gleason, Trista Moldovan, Sean MacLaughlin
2012 Broadway: Greg Mills, Marni Raab, Kyle Barisich*
2012 Broadway: Hugh Panaro, Trista Moldovan, Kyle Barisich
2012 London: Marcus Lovett, Anna O’Byrne, Simon Thomas
2013 Broadway: Jeremy Stolle, Samantha Hill, Greg Mills*
2013 Broadway: Peter Joback, Samantha Hill, Jeremy Stolle
2013 Broadway: Peter Joback, Elizabeth Welch, Kyle Barisich
2013 London: Marcus Lovett, Sofia Escobar, Simon Thomas
2014 Broadway: Greg Mills, Mary Michael Patterson, Jeremy Hays
2014 Broadway: Hugh Panaro, Sara Jean Ford, Jeremy Hays
2014 Broadway: Hugh Panaro, Elizabeth Welch, Jeremy Hays
2014 Broadway: Jeremy Stolle, Mary Michael Patterson, Jeremy Hays
2014 Broadway: Laird Mackintosh, Kaley Ann Voorhees, Jeremy Hays*
2014 Broadway: Laird Mackintosh, Sara Jean Ford, Jeremy Hays
2014 Broadway: Norm Lewis, Sierra Boggess, Jeremy Hays*
2014 Broadway: Paul Schaefer, Mary Michael Patterson, Jeremy Hays
2014 Hamburg: David Arnsperger, Lauri Brons, Nicky Wuchinger
2014 Hamburg: Mathias Edenborn, Daniela Braun, Nicky Wuchinger
2014 Moscow: Dmitry Ermak, Tamara Kotova, Evgeny Zaytsev
2014 Moscow: Ivan Ozhogin, Tamara Kotova, Evgeny Zaytsev
2014 U.S. Tour: Cooper Grodin, Grace Morgan, Ben Jacoby
2014 U.S. Tour: Cooper Grodin, Julia Udine, Ben Jacoby
2014 World Tour: Brad Little, Kristi Holden, Anthony Downing
2015 London: Geronimo Rauch, Harriet Jones, Richard Munday
2015 Moscow: Ivan Ozhogin, Tamara Kotova, Ivan Rak
2015 Prague: Marian Vojtko, Michaela Gemrotova, Tomas Vanek
2015 Prague: Marian Vojtko, Monika Sommerova, Tomas Vanek
2016 Broadway: Laird Mackintosh, Julia Udine, Jeremy Hays
2016 Moscow: Andrey Schkoldychenko, Elena Bahtiyarova, Evgeny Zaytsev (act 2 only)
2016 Oberhausen: Brent Barrett, Elizabeth Welch, Max Niemeyer
2016? Prague: Marian Vojtko, Michaela Gemrotova, Tomas Vanek
2016 Stockholm: Peter Jöback, Emmi Christensson, Anton Zetterholm
2016 U.S. Tour: Derrick Davis, Kaitlyn Davis, Jordan Craig
2018 Broadway (Sept.): Ben Crawford, Ali Ewoldt, Jay Armstrong Johnson
2018 Broadway (Oct.): Ben Crawford, Ali Ewoldt, Jay Armstrong Johnson
2018? Prague: Radim Schwab, Monika Sommerova, Tomas Vanek
2019 Copenhagen: Tomas Ambt Kofod, Sibylle Glosted, Christian Lund*
2019 London: David Thaxton, Kelly Mathieson, Jeremy Taylor*
2019 London: Josh Piterman, Kelly Mathieson, Alistair So*
2019 São Paulo: Fred Silveira, Giulia Nadruz, Henrique Moretzsohn
2019 São Paulo - Fred Silveira, Lina Mendes, Henrique Moretzsohn
2019 São Paulo: Thiago Arancam, Daruã Góes, Fred Silveira
2019 São Paulo: Thiago Arancam, Giulia Nadruz, Fred Silveira
2019 World Tour: Jonathan Roxmouth, Meghan Picerno, Matt Leisy*
2021 Broadway: Ben Crawford, Meghan Picerno, John Riddle
2021 Broadway: Jeremy Stolle, Emilie Kouatchou, John Riddle
2021 London: Killian Donnelly, Holly-Anne Hull, Rhys Whitfield
2022 Broadway: Ben Crawford, Kanisha Marie Feliciano, Paul A. Schaefer
2022 Broadway: Ben Crawford, Emilie Kouatchou, John Riddle
2022 Broadway: Ted Keegan, Emilie Kouatchou, John Riddle
2022 Broadway: Ted Keegan, Elizabeth Welch, Bronson Norris Murphy
2022 Broadway: Jeremy Stolle, Emilie Kouatchou, Jordan Donica
2022 London: James Hume, Holly-Anne Hull, Matt Blaker
2022 London: Killian Donnelly, Anouk van Laake, Rhys Whitfield
2022 Sydney: Josh Robson, Georgina Hopson, Callum Frances
2023 Broadway: Ted Keegan, Emilie Kouatchou, John Riddle
2023 Broadway: Laird Mackintosh, Julia Udine, John Riddle
2023 Broadway: Greg Mills, Emilie Kouatchou, John Riddle
2023 Broadway: Greg Mills, Julia Udine, Paul A. Schaefer
2023 London: Earl Carpenter, Paige Blankson, Ralph Watts
2023 London: Earl Carpenter, Eve Shanu-Wilson, Connor Carson
2023 London: Killian Donnelly, Lucy St. Louis, Matt Blaker
2023 London: James Gant, Holly-Anne Hull, Matt Blaker
2023 London: James Gant, Paige Blankson, Matt Blaker
2023 Shanghai: Ayanga (various clips)
2023 Shanghai: He Liangchen, Yang Chenxiuyi, Li Chenxi
2023 Thessaloniki: Tim Howar, Harriet Jones, Nadim Naaman
Love Never Dies
2010 London: Ramin Karimloo, Sierra Boggess, Dean Chisnall
2011 London: Ramin Karimloo, Sierra Boggess, Dean Chisnall
2013 Vienna concert: Drew Sarich, Milica Jovanovic, Julian Looman
2018 U.S. Tour: Bronson Norris Murphy, Meghan Picerno, Sean Thompson*
2023 London concert: Norm Lewis, Celinde Schoenmaker, Matthew Seadon-Young
Other adaptations
1925 The Phantom of the Opera (film, Lon Chaney)
1937 Song at Midnight**
1943 Phantom of the Opera (film, Claude Rains)**
1962 Hammer Horror: The Phantom of the Opera (film, Herbert Lom)**
1974 Phantom of the Paradise
1983 The Phantom of the Opera (TV movie, Max Schell)**
1987 The Phantom of the Opera (animated film)
1989 Phantom of the Mall: Eric’s Revenge
1989 The Phantom of the Opera (film, Robert Englund)**
1990 The Phantom of the Opera (TV miniseries, Charles Dance)
1993 Yeston/Kopit’s Phantom (stage show, Richard White)**
1991 The Phantom of the Opera (stage show, David Staller)
1992 Tom Alonso’s The Phantom of the Opera (stage show)**
1993 Yeston/Kopit’s Phantom (Wichita, Richard White)
1994 Lamb Chop in the Haunted Studio (TV special)**
1995 Pantin’ at the Opera (Wishbone episode)
1995 Phantom of the Opera on Ice*
2000 The Tale of the Last Dance (Are You Afraid of the Dark? episode)
2004 The Phantom of the Opera (film, Gerard Butler)
2011 Spiritual Twist’s The Phantom of the Opera (stage show)
2013 The Phantom of the Opera (Ken Hill stage show, Tokyo)**
2019 Spiritual Twist’s The Phantom of the Opera (stage show)
2018 Yeston/Kopit’s Phantom (stage show, Takarazuka Revue)
2018 Yeston/Kopit’s Phantom (stage show, Seoul)
2020 Sasson’s Das Phantom der Oper (stage show, Germany, with Uwe Kröger)**
2021 Yeston/Kopit’s Phantom (stage show proshot, Seoul)
Miscellaneous
2017 Broadway: Prince of Broadway (in honor of Hal Prince)
Stolleboot (fan edit starring Jeremy Stolle as the Phantom, Raoul, Piangi, and Passarino)*
*Longtime crowd favorite (streamed at least three times)
**We’ve watched it, but it was technically streamed by another host I used to alternate with.
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Doctor Who: The Ultimate Speedrun Marathon - 1996 TV Movie
Ok, I was warned this one was basically locked behind endless streaming paywalls or was otherwise just lost media. I was a little discouraged, so I was ready to just crack on with Series 1, but then I found the whole damn thing on YouTube. Lucky!
youtube
General Thoughts
Paul McGann was a ton of fun as the 8th Doctor! He was obviously having a ton of fun in the role, which I’m sure he must have been a fan of. He’s since retuned to the role in cameo appearances and such years later, so his infectious love of the material is apparent. I’m not sure if he was aware that his tenure as the Doctor would be relatively short, but he really makes the most of it. I also love his look! It’s a fun missing link from the campier looks of the OG Doctors into the more modern/tactical looks of the modern Doctors. I also liked the detail that his clothes were basically just a Halloween costume he stole after he woke up from his regeneration. Really clever.
Speaking of his regeneration, it was fun to see Sylvester McCoy return for an extended cameo as the 7th Doctor. I haven’t seen his Seasons yet, but I was familiar with him from The Hobbit and Sense8, so I really just like him as an actor. He’s also evidently having a lot to fun here, despite only about 20 minutes of screen time. As a newer fan, I’d say this is a great introduction to the fun of the Doctor’s personality and purpose in the modern era, as well as carrying the torch from the OGs.
I was really surprised by the setting being 1999 San Francisco, considering this is a pretty famously Anglo-centric show. It must have been a fun breath of fresh air at the time for fans, but I also enjoyed it as a new fan. It had a fun ‘90s neo-noir vibe to it that ‘90s England or some fictional future realm maybe couldn’t have gotten cross just right. (Also, idk if this is canonically the Doctor’s first visit to America, but I just found it funny that as soon as he steps out of the TARDIS onto American soil for the first time, he gets shot.)
Moving onto the Doctor’s companion this time around, we’ve got Daphne Ashbrook as Dr. Grace Holloway. She’s smart and resourceful and overall just really cool. An underrated companion, in my opinion. Her introduction in this movie is probably one of my favorite things about the franchise so far! She’s first referred to in the story as “Amazing Grace” by a fellow surgeon, followed by her having to rush into the 7th Doctor’s surgery straight from an opera house, all while still wearing her gown. Iconic.
Her relationship with the Doctor and her chemistry with Paul McGann is a ton of fun. They’re (for the most part) intellectually matched, so it’s fun to see the Doctor have a literal Dr to bounce off of. I do wish she had accepted the supernatural sci-fi truth of it all a bit sooner, cuz her having to come to terms with that takes up a good chunk of the runtime, but once she’s in the thick of it, she’s able to carry her weight. Also, idk if this is correct so feel free to correct me if I’m wrong, but Grace and the 8th Doctor appear to be the only Doctor/companion pair that are romantic with one another. idk how this aspect is liked among the fans, but I personally didn’t mind it. They’re quite cute together, so you really root for them.
Now for the villain. I know nothing of the Master so far, aside from the obvious that he’s an evil Time Lord who can also regenerate, albeit not as successfully, since the conflict of the movie is the Master trying to steal the Doctor’s lives after he uses up his own. I thought he was cool enough, and as a horror fan, his wormy-possession form reminded me a lot of Jason Goes to Hell: The Final Friday. I assume he’ll return as a big bad later on, but he’s a little one note here. He gets the job done, and Eric Roberts is obviously having a lot of fun chewing the evil scenery.
Favorite Moments
The Doctor’s little “these shoes fit perfectly!” was cute lol
Just one look at my blog will show anyone that I’m a massive Frankenstein fan, so the parallels drawn between the monster’s reanimation to the Doctor’s regeneration was super cool. Paul McGann also plays it really big! His “Who am I?!” dramatic moment after he comes back to life is classic monster-movie cool. Very Boris Karloff of him.
The one hospital orderly reacting to the 7th Doctor’s body disappearing by saying “You think he got up and went to a better HOSPITAL???” was so fucking funny oh my god
The look of the TARDIS’ interior appears to be carried over from how it looked for the 7th Doctor, but it fits the 8th Doctor so well. It’s like a gothic mansion, which just clicks so well with 8’s overall vibe.
The setting being at the direct turn of the millennium into Y2K was genius! It was sooo sooo cool I loved it
Paul McGann and Daphne Ashbrook are sexy as hell I need them so bad
Overall, Doctor Who 1996 is a fun and stylish entry! Highly recommend for those who haven’t seen it yet.
Now, that’s it for the 8th Doctor for the time being. Onto the modern era show, starting with Christopher Eccleston taking the reigns as #9.
#doctor who#doctor who: the ultimate speedrun marathon#doctor who 1996#doctor who tv movie#8th doctor#paul mcgann#Youtube
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San Francisco Opera releases historic audio recordings
For its centennial celebrations, San Francisco Opera @SFOpera announces 'Streaming the First Century', a project offering free access to historic recordings.
1932 La Traviata, with Richard Bonell, Gaetano Merola, Claudia Muzio, Armando Agnini, Dino Borgioli, photo by Mortor
As part of its centennial celebrations, San Francisco Opera has released the first instalment of Streaming the First Century, a project offering free access to historic recordings.
The new online hub at sfopera.com/firstcentury features recordings from the company’s past, along…
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You might want to taken a look at the SFO upcoming season again--they just announced they will be streaming the third performance of each production.
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At one point a week and a half ago, we were all in California. Linzy was in the San Francisco Bay area. We were in Irvine, about an hour south of Los Angeles.
For Linzy, the time away served as a much appreciated break before two big concerts this month, the first coming this Saturday for The Little Lies who're appearing at the Old Edmonds Opera House... and the second happening less than a week later, the following Thursday. It's another biggie, the debut performance for the band Midnight High in support of their album, Avenue, an album one reviewer describes like this:
"Avenue features shimmering 80's synths that you'd expect to see in a Madonna record or even featured on the Stranger Things soundtrack, before contrasting them with a fuzzy electric guitar. The drums have an irresistible forward motion, keeping the energy at high octane levels with their lush harmonies providing an electrifying boost alongside them." @a1234music
On stage, Linzy will be on one of those synths and is part of the lush harmonies. She spent the better part of March in rehearsals and prep... all alongside her daily professional work.
So that month. Was full. And a little re-energizing with friends in San Francisco in-between March and April was just the ticket.
For us, we weren't looking at our trip as a break from anything. It simply fell into a space where our schedule overlaps Kimmer's cousin's schedule. As such, the timing has no special significance other than it's always a great time no matter where in the year it falls.
It wasn't intended as a break is my point. It wasn't meant to wall off before from after. After all, before would take care of itself. It would simply continue on the other side of our trip as is usually the case.
However.
We actually launched out of our trip into something different. A different schedule for sure. And some decisions made on the road that we're putting in play now.
So.
The trip did wind up being a break, a good opportunity to course correct a little, firm up the picture going into the coming months that's definitely a different picture than the one we had before our trip.
Funny how that worked out.
But also fortunate that we got some time away.. and within that time away took the opportunity to consider the life we're crafting whilst not actively in the rushing stream of our daily lives.
🙂
#life#peace#relaxation#daily life#business#consideration#strategic thinking#time#time to think#reflecting#planning#iterating plans#considering options#figuring it out
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San Francisco Opera Releases Streaming the First Century: Session 1
San Francisco Opera Releases Streaming the First Century: Session 1
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As part of its centennial celebrations, San Francisco Opera today released the first installment of Streaming the First Century. The new online hub at sfopera.com/firstcentury provides free access to selected historic recordings from the Company’s distinguished past, along with rare artist interviews, archival photographs, program articles, oral history excerpts and newly captured…
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I want to make a million Krasteva Eboli gifs but I’m too tired and won’t be able to before the video gets taken down so here are some more screencaps instead
#mostly for me but yeah#i love her :')#idk if ive seen her in anything before this but omg i am so in love with her Eboli#Nadia Krasteva#divas#mezzos#opera#opera tag#Don Carlo#Don Carlos#San Francisco Opera streams
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when you suddenly have the first existential crisis of your life
#opera#opera tag#opera shitposts#opera shitpost#opera memes#existential crisis#mod notyouraveragejulie is having insomnia again so this is what she is doing with her life#Don Carlo#Don Carlos#Iconic Uncomfortable Zoom In On Filippo’s Face#Verdi#Giuseppe Verdi#Royal Opera House#ain’t this a mood though#anyway today is the day the San Francisco Opera’s Don Carlo becomes available for streaming (2 days only!)#let’s all watch it
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The King in Yellow, 1949
Much of this story is true. Warnings in the tags.
When I had pneumonia in my early teens, my mother brought home an armful of VHS tapes from the library to alleviate my misery. Knowing my snobbish preferences, she had grabbed copies of whatever she found in black and white. I remember something musical that I suspect was Busby Berkeley, I remember Mildred Pierce (a bad choice, as it turned out- the plot includes a young girl dying of pneumonia), and I remember a period piece called The King. I faded in and out of consciousness while I watched it, but it soothed me while I was awake and filled my fever dreams with sparkling images. I could never find it at the library again, nor at Hollywood Video or even early Netflix (once my father got the subscription service where you could order practically every DVD.) It was a bit odd that it seemed to be so obscure, given that it starred old Hollywood legend Ingrid Bergman (and, although I initially forgot it, Marlene Dietrich.) But even big stars make films that fall by the wayside in public memory, and it seemed that this was one of them. Google was no help, and at the time that was that.
I didn’t see the film again until I was watching Turner Classic Movies at my grandparents’ house. I loved watching that channel with them while filling out the crossword puzzle that came in their little TCM catalogue (all of it based on movie trivia, the only kind of crossword puzzle I’ve ever been any good at.) I recognized a certain scene where Bergman stood on a balcony, looking sadly at the moon. Her face had an expression of unutterable melancholy, and the crescent moon reflected in each of her eyes, giving the impression of two moons in one sky. I had very little time to catch up on what I’d missed before we had to go meet my cousins at the local Italian restaurant. I knew logically that the movie would be long over by the time we returned, but I turned on the channel anyway. Of course it had moved on to the lesser known Alfred Hitchcock film Stage Fright, but then I heard Marlene Dietrich sing before I could reach the remote to turn the tv off in disappointment. I knew that I had heard her sing before, and I knew it had been in The King.
Dietrich’s singing often comes across as somewhat campy today, with its Rs pronounced as Ws and it’s up-and-down tone. Madeline Kahn parodied it brilliantly in Blazing Saddles, such that it was a bit of a disappointment when I finally saw Dietrich’s western Destry Rides Again and found it to be lifeless and inconsistent next to the parody. Still, we remember her voice for a reason, and when I remembered it that night, I knew that its sardonic loneliness had rung through The King and made me shiver in my dreams.
The TCM schedule didn’t list The King in its time slot, but something else. If I had taken down the name, maybe it would have helped me find it. Sometimes the same movie runs under multiple names.
I didn’t see the film all the way through for many years, after I graduated college. I had found a web page that listed public domain film noir, including one called The Masked Guest. The website described it as a costume noir, and I curiously clicked on the link. Once I took in the credits running on the youtube window, my eyes grew wide and I did not move from my place on the bed until the movie had run its course.
The credits did indeed list it as The Masked Guest, but I recognized the strange repeating design on the title cards. They told me that in addition to starring Dietrich and Bergman, it was directed by Fritz Lang, and a character called The King was credited to “???” (I hadn’t seen that kind of credit since the first Karloff Frankenstein.) When the King finally appears on screen, though, it is unmistakably Orson Welles’s voice that booms out from behind his elaborate costume.
Here are the things I understand about The King, or The Masked Guest, or The Man in Yellow, or any other title I’ve found for it on public domain archive searches. Dietrich and Bergman play princesses named Cassilda and Camilla, respectively. Though Dietrich’s accent is German and Bergman’s is Swedish, they blend together to give the film the impression of being set somewhere on the map that I can’t quite find. The scenery and camera angles are very Freudian, with a great deal of archways and pillars.
The first act of The King involves frankly dull romantic plotlines, and the only thing that really saved it was the feeling that the suitors were supposed to be insipid, a suspicion lended credence by the fact that the love interests were listed so low on the credits. Dietrich is the scandalous sister and Bergman is the responsible one, though each takes on aspects of the other as the film goes on. Dietrich sings her song at a party, dressed in a fake 17th century gown and leaning against a piano. Although just a moment ago she had been laughing and joking with her gentleman friends, her song takes an abruptly serious tone (not seductive, not sentimental) as she tells the story of a city lost to time and memory. Bergman slips away from the party and onto the balcony, where we see that wonderful shot of the moon in her eyes. Is she mourning? Is she longing?
Dietrich cuts off the song by abruptly screaming “Not on us, King! Not on us!” She flees the party weeping and shaking, and from there on the film goes mad.
Though uncommon, it is not unknown for movies to switch between black and white and color, done most famously in The Wizard of Oz. The film The King recalls here is the silent Phantom of the Opera, which had a masqued ball scene tinted in shades of red and green that tried to provide a whole spectrum of color. The effect is even odder in the masqued ball scene in The King- the only color that appears is yellow, highlighting things like candlelight, Dietrich’s hair, a passing gown, a vase of tulips. It also highlights one particular masked figure, whose expressionless mask was decorated with a black pattern against a sickening yellow canvas- the same pattern I had seen in the opening credits. The color of his costume causes him to stand out from the crown even when he is far off in the background, just one head among many others. It must have taken long and painstaking hours of work to color in every frame.
Dietrich still seems broken up days after her song, though Bergman tries to coax her into joining the dance. Finally, at midnight, Dietrich goes out to face the party, but only to demand that every guest remove their mask. The yellow man with a voice that once warned America about a Martian invasion tells her that he wears no mask. Bergman reacts with disbelief, but Dietrich starts laughing like a woman unhinged. As she laughs, the yellow hue seeps out of the King’s clothing and face- if that really is his face- and begins to color the entire ballroom crowd. I think that what follows is bloodshed, but if there is any carnage (doubtful under the Production Code censorship), the blood must be tainted yellow and splashed across the camera like daubs of paint. Dietrich’s laughing face is doubled and tripled on screen until it dissipates, but even when it has faded offscreen, it feels as if her ghost continues to watch the proceedings.
By the end of the scene (filled with German Expressionist camera angles and mad violin screeching), only Bergman remains alive, cowering behind a grandfather clock. It does not hide her for long. The King steps towards her and extends his hand. Reluctantly, but with a fatalistic expression, Bergman takes his hand. They walk away together hand in hand. The screen shifts back into black and white, and then the credits roll before we can get a good look at all the bodies in the scene. The credits say it was based on a play called The King in Yellow, although Raymond Chandler of all people apparently had a hand in the screenplay.
As I said, that’s what I think I understand. It’s an oddly experimental art film for the era, and it may be awaiting rediscovery by the film festival crowd. I feel as if I alone know about it, though that obviously isn’t true. It is my little secret; I tell myself that my husband doesn’t need me to show it to him, it would be too odd for his taste. I’ve rewatched it many times, even if it seems like each time I search for it I have to find a different video platform or torrent. Naturally, no subscription site has it available. Maybe I am the last person who will ever watch it. Maybe no one will ever think to look for it again after me, and it will be completely forgotten.
When I was hospitalized, they let me use my laptop at night before I went to sleep (no power cord, though, in case I tried to hang myself.) I found a youtube link for The Man in Yellow, and I watched it every night. It wasn’t a soothing sort of movie, but having it in my mind all day and then watching it in the evening allowed me to think as opposed to crying endlessly while the other patients shot me awkward looks. I clutched the childhood stuffed animals my mother brought me when she visited, and I always held them extra tight when the masquerade scene started.
I watched the movie when I had to move away from my beloved San Francisco. I watched the movie when I lost the last of my grandparents. I watched the movie when a doctor unwisely took me off my medication and I couldn’t manage to eat for a month. I watched the movie when the whole world got sick and we all locked ourselves away from each other. I don’t mind that I don’t entirely know what it means. I don’t mind the nightmares. In the hospital they kept telling us about mindfulness exercises, and maybe the fact that I can focus on every aspect of the film so closely that all else falls away is the reason I keep coming back to it. I’m being mindful. I’m not letting any stray thoughts invade my head. I’m just watching and waiting for the next beat of every scene, leading inexorably to that yellow-stained bloodbath.
Streaming media doesn’t last forever, and each time I find The King, I worry that it will be the last time I ever can find it. My efforts to download it have so far been unsuccessful, odd considering that it is in the public domain.
When I watch The King, I am once again a child in my bedroom being cared for in the throes of agonizing sickness. I am once again sitting on the couch with my grandparents in front of the tv, both of them alive and lucid again. I am once again in the hospital, all alone except for my stuffed animals and the staff trying to keep me alive. The film reflects in my eyes like the crescent moon in Ingrid Bergman’s gaze. It sings to me.
I am determined to find a way to obtain The King under any name so that I never have to worry about losing it. During some of the worst times in my life, it is the only thing that has kept me sane.
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Poetry Reading: Aja Couchois Duncan, Roberto Harrison, & Paolo Javier
Sat. Nov. 13 | 7 pm CDT | $Give What You Can | *HYBRID* In-person at Woodland Pattern and live streaming via Crowdcast.
Aja Couchois Duncan is a social justice coach and capacity builder of Ojibwe, French, and Scottish descent who lives on the ancestral and stolen land of the Coastal Miwok people. Her debut collection Restless Continent (Litmus Press, 2016) was selected by Entropy magazine as one of the best poetry collections of 2016 and awarded the California Book Award for Poetry in 2017. In 2020, Sweet Land—a collaborative opera project which brought together composers Raven Chacon and Du Yun, librettists Aja Couchois Duncan and Douglas Kearney, and co-directors Cannupa Hanska Luger and Yuval Sharon—was produced in the Los Angeles State Historic Park to critical acclaim. When not writing or working, Aja can be found running the west Marin hills with her Australian Cattle Dog Dublin, training with horses, or weaving small pine needle baskets. She holds an MFA in Creative Writing from San Francisco State University and a variety of other degrees and credentials to certify her as human. Great Spirit knew it all along.
Roberto Harrison's poetry books include Tropical Lung: exi(s)t(s) (Omnidawn, 2021), Tropical Lung: Mitologia Panameña (Nion Editions, 2020), Yaviza (Atelos, 2017), Bridge of the World (Litmus Press, 2017), culebra (Green Lantern Press, 2016), bicycle (Noemi Press, 2015), Counter Daemons (Litmus Press, 2006), Os (subpress, 2006), as well as many chapbooks. With Andrew Levy, Harrison edited the poetry journal Crayon from 1997 to 2008. He is also the editor of Bronze Skull Press which has published over 20 chapbooks, including the work of many Midwestern poets. Most recently Harrison served as a co-editor for the Resist Much/Obey Little: Inaugural Poems to the Resistance anthology. He was the Milwaukee Poet Laureate for 2017-2019 and is also a visual artist. He lives in Milwaukee with his wife, the poet Brenda Cárdenas.
The former Queens Borough Poet Laureate (2010-2014), Paolo Javier was born in the Philippines and grew up in Las Piñas, Metro Manila; Katonah, Westchester County; El-Ma’adi, Cairo; Burnaby and North Delta, Metro Vancouver. He’s produced three albums of sound poetry with Listening Center (David Mason), including the limited edition pamphlet/cassette Ur’lyeh/ Aklopolis and the booklet/cassette Maybe the Sweet Honey Pours. The recipient of a 2021 Rauschenberg Foundation Artist Grant, his fifth full-length book of poetry, O.B.B.—a (weird postcolonial techno dream-pop) comics poem that also includes illustrations by Alex Tarampi and Ernest Concepcion—is just out from Nightboat Books.
Attend In Person
Attend Online
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San Francisco is adding more streams, including a Roberto Devereux!!!
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聽見歌 再唱 ▷線上看 完整版
導演泰勒謝里丹作品，安潔莉娜裘莉、尼可拉斯霍特主演。一名親眼目睹家人被殺的青少年，在蒙大拿森林中遇見擁有絕佳生存知識的漢娜。然而，他們面對的不只是冷酷的追兵，還是一場森林大火的威脅。
PLAY ►►► https://reurl.cc/8ydZ2g
#聽見歌 再唱
#聽見歌 再唱加拿大
#聽見歌 再唱2021
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#聽見歌 再唱线上看
#聽見歌 再唱線上看
#聽見歌 再唱hd
#聽見歌 再唱電影
#聽見歌 再唱上映
#聽見歌 再唱小鴨
聽見歌 再唱 上映時間
聽見歌 再唱 台灣上映時間
聽見歌 再唱 香港上映時間
我们会告诉所有乐于接受我们作为新闻或有关今年电影时间表以及您如何观看自己喜欢的电影的信息的人。 希望我们能成为您寻找最佳电影推荐的最佳合作伙伴。 这些都是我们的，问候！
感谢您收看今天的视频。
希望您喜欢我分享的视频。 如果您喜欢我们分享的内容，请点赞或分享，让我们更加兴奋。
洒上开朗的笑容，让世界回到各种色彩中。
电影是一系列实时图像形式的艺术品，旋转这些实时图像可产生运动图像的幻觉，并以娱乐形式呈现。一系列图像的错觉会产生视频形式的连续运动。电影通常被称为电影或电影。电影是为商务和娱乐目的而创建的一种现代流行艺术形式。电影制作现
在已成为世界各地的热门行业，电影总是在等待着电影院。
电影有两种主要制作方式。首先是通过胶片相机的拍摄和录制技术。通过拍摄图像或物体来完成此方法。第二种使用传统的动画技术。此方法通过计算机图形动画或CGI技术完成。两者也可以与其他技术和视觉效果相结合。拍摄通常需要相对较长的
时间。它还需要一个工作台，从导演，制片人，编辑，衣橱，视觉效果等开始。
电影/电影的定义和定义
在电影中扮演角色的玩家被称为演员（男人）或女演员（女人）。另外还有“演员”一词，用作电影中角色很少的辅助角色。这与扮演越来越大角色的主要演员不同。必须要求既要有演员又要有演员才能，这要符合他主演的电影的主题。在某些场景中，演
员的角色可以由特技演员或特技演员代替。替身演员的存在对于替换演员在困难和极端的场景中扮演的角色很重要，而这些场景通常在动作电影中都可以找到。
电影也可以用来传达电影制片人的某些信息。一些行业还使用电影来传达和代表其符号和文化。电影制作也是电影中视觉化的人类表达，思想，观念，概念，感觉和情绪的一种形式。电影本身主要是小说，尽管有些电影是基于真实的故事或真实的故事。
也有带有原始和真实图片的纪录片，或者讲述人物故事的传记电影。还有许多其他流行类型的电影，包括动作片，恐怖片，喜剧片，浪漫片，幻想片，惊悚片，戏剧片，科幻片，犯罪片，纪录片等。
那是关于电影或电影的定义的一些信息。该信息来自各种来源和参考。希望它会有用。
MO电视电影❍❍❍
最初的电视节目是实验性的，偶发性的广播，只能在距1930年代开始的广播塔很短的范围内观看。电视转播的赛事，例如1936年的德国夏季奥运会，19340年的英国国王乔治六世加冕典礼，以及大卫·萨诺夫（David Sarnoff）在1939
年美国纽约世博会上的著名介绍，都刺激了媒体的发展，但第二次世界大战使这种媒体增长了。直到战争结束后才停止发展。 19440年世界电影节启发了许多美国人购买他们的第一台电视机，然后在1948年，广受欢迎的广播节目《德士古明星剧
院》（Texaco Star Theatre）采取了行动，成为每周一次的电视综艺节目，使主持人米尔顿·伯雷（Milton Berle）赢得了“电视先生”的称号，并证明了这一点���该媒体是一种稳定，现代的娱乐形式，可以吸引广告商。 1951年9
月4日，美国总统哈里·杜鲁门（Harry Truman）在旧金山举行的日本和约会议上的讲话通过美国电话电报公司（AT＆T）的跨大陆电缆和微波无线电中继系统传输到本地市场的广播电台，这是美国首次进行全国直播。
1954年1月1日在美国进行了第一次全国性彩色广播（1954年玫瑰巡回赛）。在随后的十年中，大多数网络广播和几乎所有本地节目都以黑白方式进行。宣布于1965年秋季进行颜色转换，在此期间，所有网络黄金时段节目的一半以上将以彩色广
播。仅仅一年之后，第一个全彩黄金时段就来了。在19402年，白天网络显示中的最后一个保留转换为彩色，从而导致了第一个完全全彩色的网络季节。
❍❍❍格式和流派❍❍❍
另请参阅：流派列表§电影和电视格式和流派
由于可以呈现的格式和种类繁多，因此电视节目比大多数其他形式的媒体更具多样性。表演可以是虚构的（如喜剧和戏剧），也可以是非虚构的（如纪录片，新闻和真人秀）。它可能是话题性的（例如，本地新闻广播和一些为电影制作的电影），也可能是历
史性的（例如，许多纪录片和虚构的MOVIE）。它们可能主要是教学性的或教育性的，或者是情境喜剧和游戏节目中的娱乐性。[需要引证]
戏剧节目通常以一组演员在历史或现代背景下扮演角色为特征。该计划遵循他们的生活和冒险。在1980年代以前，演出（肥皂剧类型的剧集除外）通常保持静止，没有故事情节，并且主要角色和前提变化不大。最后撤消。因此，可以按任何顺序广播情
节。[需要引用]自1980年代以来，许多MOVIE都在情节，角色或两者兼有的过程中进行逐步更改。例如，希尔街布鲁斯（Hill Street Blues）和圣艾尔瑟弗（St. Elsewhere）是美国第一部具有这种戏剧性结构的黄金时段电视电
影[4]，[4]在预定的五个赛季中有一个预定的故事。[需要引用]
据报道，2012年，电视在主要媒体公司的收入中所占的份额已经超过了电影。[5]一些人还注意到某些电视节目质量的提高。 2012年，获得奥斯卡奖的电影导演史蒂芬·索德伯格（Steven Soderbergh）谈到人物和叙事的模棱两可和
复杂性时说：“我认为现在电视上已经看到了这些特质，那些想看具有这种特质的故事的人在看电视。
❍❍❍感谢大家的收看和观看❍❍❍
查找您可以在线播放的所有电影，包括本周放映的电影。 如果您想知道在此网站上可以看到什么，那么您应该知道它涵盖的类型包括犯罪，科学，Fi-Fi，动作，浪漫，惊悚，喜剧，戏剧和动漫电影。
非常感谢你。 我们会告诉所有乐于接受我们作为新闻或有关今年电影时间表以及您如何观看自己喜欢的电影的信息的人。 希望我们能成为您寻找最佳电影推荐的最佳合作伙伴。 这些都是我们的，问候！
感谢您收看今天的视频。
希望您喜欢我分享的视频。 如果您喜欢我们分享的内容，请点赞或分享，让我们更加兴奋。
洒上开朗的笑容，让世界回到各种色彩中。
感谢您的光临，希望您喜欢这部电影
祝您有美好的一天并愉快地观看:)*
**~ Watch Free Movies and TV Shows OnlineYou’re in the right place if you’re into love with watching movies.
Movies and TV serials are a fun area where people love to spend their leisure time. Making a visit to the cinema or movie theatre
sometimes seems like a waste f time and money.
In such a scenario, streaming movies online is left as an option as it helps you not only save time and money but also make things
convenient. Imagine life when you get to watch movies at your fingertips and for free.
Watch a movie, drama or a serial. All of it at your comfort.
Along with that, complete information about TV shows is present on the site. That information is based on IMDB rating, director,
release date, duration, synopsis of the episode, and cast.
In short, it is regarded as one of the best websites to watch TV shows as well as movies from different origins.
Film is a work of art in the form of a series of live images that are rotated to produce an illusion of moving images that are
presented as a form of entertainment. The illusion of a series of images produces continuous motion in the form of video. The film is
often referred to as a movie or moving picture. Film is a modern and popular art form created for business and entertainment purposes.
Film making has now become a popular industry throughout the world, where feature films are always awaited by cinemas.
Films are made in two main ways. The first is through shooting and recording techniques through film cameras. This method is done by
photographing images or objects. The second uses traditional animation techniques. This method is done through computer graphic
animation or CGI techniques. Both can also be combined with other techniques and visual effects. Filming usually takes a relatively
long time. It also requires a job desk each, starting from the director, producer, editor, wardrobe, visual effects and others.
Definition and Definition of Film / Movie
While the players who play a role in the film are referred to as actors (men) or actresses (women). There is also the term extras that
are used as supporting characters with few roles in the film. This is different from the main actors who have bigger and more roles.
Being an actor and an actress must be demanded to have good acting talent, which is in accordance with the theme of the film he is
starring in. In certain scenes, the actor’s role can be replaced by a stuntman or a stuntman. The existence of a stuntman is important
to replace the actors doing scenes that are difficult and extreme, which are usually found in action action films.
Films can also be used to convey certain messages from the filmmaker. Some industries also use film to convey and represent their
symbols and culture. Filmmaking is also a form of expression, thoughts, ideas, concepts, feelings and moods of a human being visualized
in film. The film itself is mostly a fiction, although some are based on fact true stories or based on a true story.
There are also documentaries with original and real pictures, or biographical films that tell the story of a character. There are many
other popular genre films, ranging from action films, horror films, comedy films, romantic films, fantasy films, thriller films, drama
films, science fiction films, crime films, documentaries and others.
That’s a little information about the definition of film or movie. The information was quoted from various sources and references. Hope
it can be useful.
>>> TV MOVIE >>>
The first television shows were experimental, sporadic broadcasts viewable only within a very short range from the broadcast tower
starting in the 1930s. Televised events such as the 1936 Summer Olympics in Germany, the 19340 coronation of King George VI in the UK,
and David Sarnoff’s famous introduction at the 1939 New York World’s Fair in the US spurred a growth in the medium, but World War II
put a halt to development until after the war. The 19440 World MOVIE inspired many Americans to buy their first television set and then
in 1948, the popular radio show Texaco Star Theater made the move and became the first weekly televised variety show, earning host
Milton Berle the name “”Mr Television”” and demonstrating that the medium was a stable, modern form of entertainment which could
attract advertisers. The first national live television broadcast in the US took place on September 4, 1951 when President Harry
Truman’s speech at the Japanese Peace Treaty Conference in San Francisco was transmitted over AT&T’s transcontinental cable and
microwave radio relay system to broadcast stations in local markets.
The first national color broadcast (the 1954 Tournament of Roses Parade) in the US occurred on January 1, 1954. During the following
ten years most network broadcasts, and nearly all local programming, continued to be in black-and-white. A color transition was
announced for the fall of 1965, during which over half of all network prime-time programming would be broadcast in color. The first
all-color prime-time season came just one year later. In 19402, the last holdout among daytime network shows converted to color,
resulting in the first completely all-color network season.
>>> Formats and Genres >>>
See also: List of genres § Film and television formats and genres
Television shows are more varied than most other forms of media due to the wide variety of formats and genres that can be presented. A
show may be fictional (as in comedies and dramas), or non-fictional (as in documentary, news, and reality television). It may be
topical (as in the case of a local newscast and some made-for-television films), or historical (as in the case of many documentaries
and fictional MOVIE). They could be primarily instructional or educational, or entertaining as is the case in situation comedy and game
shows.[citation needed]
A drama program usually features a set of actors playing characters in a historical or contemporary setting. The program follows their
lives and adventures. Before the 1980s, shows (except for soap opera-type serials) typically remained static without story arcs, and
the main characters and premise changed little.[citation needed] If some change happened to the characters’ lives during the episode,
it was usually undone by the end. Because of this, the episodes could be broadcast in any order.[citation needed] Since the 1980s, many
MOVIE feature progressive change in the plot, the characters, or both. For instance, Hill Street Blues and St. Elsewhere were two of
the first American prime time drama television MOVIE to have this kind of dramatic structure,[4][better source needed] while the later
MOVIE Babylon 5 further exemplifies such structure in that it had a predetermined story running over its intendevd five-season run.
[citvatio””&n needed]
In 2012, it was reported that television was growing into a larger component of major media companies’ revenues than film.[5] Some also
noted the increase in quality of some television programs. In 2012, Academy-Award-winning film director Steven Soderbergh, commenting
on ambiguity and complexity of character and narrative, stated: “”I think those qualities are now being seen on television and that
people who want to see stories that have those kinds of qualities are watching television.
>>> Thank’s For All And Happy Watching>>>
Find all the movies that you can stream online, including those that were screened this week. If you are wondering what you can watch
on this website, then you should know that it covers genres that include crime, Science, Fi-Fi, action, romance, thriller, Comedy,
drama and Anime Movie.
Thank you very much. We tell everyone who is happy to receive us as news or information about this year’s film schedule and how you
watch your favorite films. Hopefully we can become the best partner for you in finding recommendations for your favorite movies. That’s
all from us, greetings!
Thanks for watching The Video Today.
I hope you enjoy the videos that I share. Give a thumbs up, like, or share if you enjoy what we’ve shared so that we more excited.
Sprinkle cheerful smile so that the world back in a variety of colors.~**
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