#also this is mostly an ode to that last image or a reason to use it for sth maybe bc i love it dearly

[flammerouge]

TDF 2022 / From "Prowler's Universe" - Larissa Szporluk

#tadej pogacar #jonas vingegaard #tour de france #tdf2022 #web weave #this is not the insane web weave i was talking about that one. well we'll see #oh a quote about (love of) pain and (not) giving up and reaching perfection? #well. don't mind if do #also this is mostly an ode to that last image or a reason to use it for sth maybe bc i love it dearly #all these images are from gruberimages btw except the last one which i sadly don't know who took it

[letterboxd]

In Focus: The Mummy

Dominic Corry responds on behalf of Letterboxd to an impassioned plea to bump up the average rating of the 1999 version of The Mummy—and asks: where is the next great action adventure coming from?

We recently received the following email regarding the Stephen Sommers blockbuster The Mummy:

To whom it may concern,

I am writing to you on behalf of the nation, if not the entire globe, who frankly deserve better than this after months of suffering with the Covid pandemic.

I was recently made aware that the rating of The Mummy on your platform only stands at 3.3 stars out of five. … This, as I’m sure you’re aware, is simply unacceptable. The Mummy is, as a statement of fact, the greatest film ever made. It is simply fallacious that anyone should claim otherwise, or that the rating should fail to reflect this. This oversight cannot be allowed to stand.

I have my suspicions that this rating has been falsely allocated due to people with personal axes to grind against The Mummy, most likely other directors who are simply jealous that their own artistic oeuvres will never attain the zenith of perfection, nor indeed come close to approaching the quality or the cultural influence of The Mummy. There is, quite frankly, no other explanation. The Mummy is, objectively speaking, a five-star film (… I would argue that it in fact transcends the rating sytem used by us mere mortals). It would only be proper, as a matter of urgency, to remove all fake ratings (i.e. any ratings [below] five stars) and allow The Mummy’s rating to stand, as it should, at five stars, or perhaps to replace the rating altogether with a simple banner which reads “the greatest film of all time, objectively speaking”. I look forward to this grievous error being remedied.

Best, Anwen

Which of course: no, we would never do that. But the vigor Anwen expresses in her letter impressed us (we checked: she’s real, though is mostly a Letterboxd lurker due to a busy day-job in television production, “so finding time to watch anything that isn’t The Mummy is, frankly, impossible… not that there’s ever any need to watch anything else, of course.”).

So Letterboxd put me, Stephen Sommers fan, on the job of paying homage to the last great old-school action-adventure blockbuster, a film that straddles the end of one cinematic era and the beginning of the next one. And also to ask: where’s the next great action adventure coming from?

Brendan Fraser, Rachel Weisz and John Hannah in ‘The Mummy’ (1999).

When you delve into the Letterboxd reviews of The Mummy, it quickly becomes clear how widely beloved the film is, 3.3 average notwithstanding. Of more concern to the less youthful among us is how quaintly it is perceived, as if it harkens back to the dawn of cinema or something. “God, I miss good old-fashioned adventure movies,” bemoans Holly-Beth. “I have so many fond memories of watching this on TV with my family countless times growing up,” recalls Jess. “A childhood classic,” notes Simon.

As alarming as it is to see such wistful nostalgia for what was a cutting-edge, special-effects-laden contemporary popcorn hit, it has been twenty-one years since the film was released, so anyone currently in their early 30s would’ve encountered the film at just the right age for it to imprint deeply in their hearts. This has helped make it a Raiders of the Lost Ark for a specific Letterboxd demographic.

Sommers took plenty of inspiration from the Indiana Jones series for his take on The Mummy (the original 1932 film, also with a 3.3 average, is famously sedate), but for ten-year-olds in 1999, it may have been their only exposure to such pulpy derring-do. And when you consider that popcorn cinema would soon be taken over by interconnected on-screen universes populated by spandex-clad superheroes, the idea that The Mummy is an old-fashioned movie is easier to comprehend.

However, for all its throwbackiness, beholding The Mummy from the perspective of 2020 reveals it to have more to say about the future of cinema than the past. 1999 was a big year for movies, often considered one of the all-time best, but the legacy of The Mummy ties it most directly to two of that year’s other biggest hits: Star Wars: Episode One—The Phantom Menace and The Matrix. These three blockbusters represented a turning point for the biggest technological advancement to hit the cinematic art-form since the introduction of sound: computer-generated imagery, aka CGI. The technique had been widely used from 1989’s The Abyss onwards, and took significant leaps forward with movies such as Terminator 2: Judgment Day (1991), Jurassic Park (1993) and Starship Troopers (1997), but the three 1999 films mentioned above signified a move into the era when blockbusters began to be defined by their CGI.

A year before The Mummy, Sommers had creatively utilised CGI in his criminally underrated sci-fi action thriller Deep Rising (another film that deserves a higher average Letterboxd rating, just sayin’), and he took this approach to the next level with The Mummy. While some of the CGI in The Mummy doesn’t hold up as well as the technopunk visuals presented in The Matrix, The Mummy showed how effective the technique could be in an historical setting—the expansiveness of ancient Egypt depicted in the movie is magnificent, and the iconic rendering of Imhotep’s face in the sand storm proved to be an enduringly creepy image. Not to mention those scuttling scarab beetles.

George Lucas wanted to test the boundaries of the technique with his insanely anticipated new Star Wars film after dipping his toe in the digital water with the special editions of the original trilogy. Beyond set expansions and environments, a bunch of big creatures and cool spaceships, his biggest gambit was Jar Jar Binks, a major character rendered entirely through CGI. And we all know how that turned out.

A CGI-enhanced Arnold Vosloo as Imhotep.

Sommers arguably presented a much more effective CGI character in the slowly regenerating resurrected Imhotep. Jar Jar’s design was “bigger” than the actor playing him on set, Ahmed Best. Which is to say, Jar Jar took up more space on screen than Best. But with the zombie-ish Imhotep, Sommers (ably assisted by Industrial Light & Magic, who also worked on the Star Wars films) used CGI to create negative space, an effect impossible to achieve with practical make-up—large parts of the character were missing. It was an indelible visual concept that has been recreated many times since, but Sommers pioneered its usage here, and it contributed greatly to the popcorn horror threat posed by the character.

Sommers, generally an unfairly overlooked master of fun popcorn spectacle (G.I. Joe: The Rise of Cobra is good, guys), deserves more credit for how he creatively utilized CGI to elevate the storytelling in The Mummy. But CGI isn’t the main reason the film works—it’s a spry, light-on-its-feet adventure that presents an iconic horror property in an entertaining and adventurous new light. And it happens to feature a ridiculously attractive cast all captured just as their pulchritudinous powers were peaking.

Meme-worthy: “My sexual orientation is the cast of ‘The Mummy’ (1999).”

A rising star at the time, Brendan Fraser was mostly known for comedic performances, and although he’d proven himself very capable with his shirt off in George of the Jungle (1997), he wasn’t necessarily at the top of anyone’s list for action-hero roles. But he is superlatively charming as dashing American adventurer Rick O’Connell. His fizzy chemistry with Weisz, playing the brilliant-but-clumsy Egyptologist Evie Carnahan, makes the film a legitimate romantic caper. The role proved to be a breakout for Weisz, then perhaps best known for playing opposite Keanu Reeves in the trouble-plagued action flop Chain Reaction, or for her supporting role in the Liv Tyler vehicle Stealing Beauty.

“90s Brendan Fraser is what Chris Pratt wishes he was,” argues Holly-Beth. “Please come back to us, Brendaddy. We need you.” begs Joshhh. “I’d like to thank Rachel Weisz for playing an integral role in my sexual awakening,” offers Sree.

Then there’s Oded Fehr as Ardeth Bey, a member of the Medjai, a sect dedicated to preventing Imhotep’s tomb from being discovered, and Patricia Velásquez as Anck-su-namun, Imhotep’s cursed lover. Both stupidly good-looking. Heck, Imhotep himself (South African Arnold Vosloo, coming across as Billy Zane’s more rugged brother), is one of the hottest horror villains in the history of cinema.

“Remember when studio movies were sexy?” laments Colin McLaughlin. We do Colin, we do.

Sommers directed a somewhat bloated sequel, The Mummy Returns, in 2001, which featured the cinematic debut of one Dwayne Johnson. His character got a spin-off movie the following year (The Scorpion King), which generated a bunch of DTV sequels of its own, and is now the subject of a Johnson-produced reboot. Brendan Fraser came back for a third film in 2008, the Rob Cohen-directed The Mummy: Tomb of the Dragon Emperor. Weisz declined to participate, and was replaced by Maria Bello.

Despite all the follow-ups, and the enduring love for the first Sommers film, there has been a sadly significant dearth of movies along these lines in the two decades since it was released. The less said about 2017 reboot The Mummy (which was supposed to kick-off a new Universal Monster shared cinematic universe, and took a contemporary, action-heavy approach to the property), the better.

The Rock in ‘The Mummy Returns’ (2001).

For a long time, adventure films were Hollywood’s bread and butter, but they’re surprisingly thin on the ground these days. So it makes a certain amount of sense that nostalgia for the 1999 The Mummy continues to grow. You could argue that many of the superhero films that dominate multiplexes count as adventure movies, but nobody really sees them that way—they are their own genre.

There are, however, a couple of films on the horizon that could help bring back old-school cinematic adventure. One is the long-planned—and finally actually shot—adaptation of the Uncharted video-game franchise, starring Tom Holland. The games borrow a lot from the Indiana Jones films, and it’ll be interesting to see how much that manifests in the adaptation.

Then there’s Letterboxd favorite David Lowery’s forever-upcoming medieval adventure drama The Green Knight, starring Dev Patel and Alicia Vikander (who herself recently rebooted another video-game icon, Lara Croft). Plus they are still threatening to make another Indiana Jones movie, even if it no longer looks like Steven Spielberg will direct it.

While these are all exciting projects—and notwithstanding the current crisis in the multiplexes—it can’t help but feel like we may never again get a movie quite like The Mummy, with its unlikely combination of eye-popping CGI, old-fashioned adventure tropes and a once-in-a-lifetime ensemble of overflowing hotness. Long may love for it reign on Letterboxd—let’s see if we can’t get that average rating up, the old fashioned way. For Anwen.

Related content

How I Letterboxd with The Mummy fan Eve (“The first film I went out and bought memorabilia for… it was a Mummy action figure that included canopic jars”)

The Mummy (Universal) Collection

Every film featuring the Mummy (not mummies in general)

Follow Dom on Letterboxd

#the mummy #brendan fraser #stephen sommers #action adventure #fantasy adventure #action adventure film #the green knight #david lowery #dominic corry #letterboxd

[feanorianethicsdepartment]

more thoughts about the homecoming au, the au where maedhros and maglor get brought back to tirion after the war of wrath to be prettied-up trinkets on finarfin’s shelf, with painted-over scars and muffled screams. it is dark, it’s full of all kinds of emotional and caretaker abuse, and the brothers weren’t exactly in a good state of mind before any of this happened. @sunflowersupremes wrote the initial au that wasn’t even meant as horror, @outofangband - this au is as much theirs as mine, several of the concepts here were originally theirs, and a lot of this originally came out in dms with them. part 1 is here. this part contains gaslighting, loss of autonomy right at the end, more suicide mentions (thanks mae) and just general abuse from people who care more about their own comfort than the people they’re supposed to be caring for. it’s worse than the first part, honestly

most of the stuff the fëanorians had on them when they surrendered got taken away pretty fast. which is honestly understandable; some of it was cursed, a lot of it was weaponry, all of it stank to the high vault of the stars

but they both managed to hold onto some personal effects, or get them back before they went in the incinerator. a broken locket, a torn-up book, nothing fancy, nothing large, but things that still mean a lot to them

the valinoreans aren’t entirely comfortable with this. they find a lot of the brothers’ comfort items mildly disturbing, stained with darkness and (occasionally literal) blood as they are. maedhros had this dessicated finger he refuses to explain anything about that got disposed of very quickly

maglor has a few strands of brightly coloured thread, spun around each other somewhat inexpertly. he tends to pull it out when he’s feeling depressed, working it between his fingers until he feels like he can face the world again

one day, one of his minders who gets along better with him asks where he got it. from the twins, maglor admits. it’s part of some embroidery elrond abandoned when they left -

and it’s snatched out of his hands. his minder looks down at him compassionately. ‘i know you miss them, but you caused those boys a lot of pain, you know? you shouldn’t romanticise your relationship with them’

which - maglor’s relationship with the twins was complicated, and while it wasn’t nearly as hellish as elwing fears, it wasn’t entirely healthy. maglor was dependent emotionally on the kids a lot more than any adult should be to children, and vice versa

because the twins were the last people he had left. when maedhros executed celegorm’s servants with no warning at all, this rift began to grow between the sons of fëanor and their followers. they’d always been terrifying, but they’d also been comradely and inspiring, the white-hot stars around which their people orbited. but when they turned their fangs on their own host, all that started to fall away, leaving only the fear behind

it got worse after sirion. by the time vingilot rose in the sky, maglor’s only real remaining relationships were with maedhros, who he hated as much as he loved, and the twins. watching over them, talking to them, not hurting them - it kept him grounded in reality, kept him sane

he knows, he knows, he knows, they’re better off without him. but his time with them is the only happiness in his memories that still feels real

but the valinoreans can’t accept that. the exile was an awful time with nothing in it worth keeping, and the sooner he can recognise that the faster he’ll be back to his old self

besides. their caretakers don’t like being reminded of their more... unpleasant deeds

(elwing sidebar: elwing and eärendil are having an easier time, because the teleri have experience dealing with trauma and are also just more accepting of the right to have your own take on your own experiences. still, though, elwing occasionally hears that a proper telerin mother would have stayed with her children, even if she had to give up the treasure her people died for to the monsters of her childhood nightmares)

(elwing was a young adult in a horrendous situation with no obvious way out, elwing is dealing with her own damage as best she can, elwing is valid, we stan elwing. she’s also one of the few direct-ish sources the noldor have for beleriand and what the fëanorians did there, and her (perfectly reasonable!) perspective colours a lot of their treatment)

in general the valinorean noldor are quite sure they know what beleriand was like and how it felt to be there, and aren’t particularly interested in being proven wrong

it was miserable, it was harrowing, it was nothing anyone should want to think about. it was a long nightmare maedhros and maglor are so fortunate to have finally woken up from

and you can kind of see why they think like that? the ones who have seen the hither shores saw them when ash rained from a void-black sky and almost everything was dead, and the survivors told stories of a long hopeless defeat and cruelties beyond imagining

but that deep black image blots out the genuine joy they felt in those five hundred years, the chance to prove their own greatness, the knowledge they were doing something good, nights when music echoed across the gap, warm hands in a cold fortress. there were things in beleriand worth remembering, aspects of the people they became there legitimately worth keeping

and even if there wasn’t - five hundred years. the scars on their bodies make it plain to see, every little piece of who they are was shaped by beleriand, for worse and for better. they just can’t leave it behind

their valinorean caretakers find this horrifying

maedhros likes to exercise. it keeps him calm, gives him something to do. it’s not something nelyafinwë was super into - he was more the peripatetic type - but it’s a feasible hobby for a noldorin prince to have, so he’s allowed to do it

sometimes, though, he’ll unconsciously shift into the old combat forms, precisely timed drills ingrained into his bodies. the first few times he does this, his minders are bemused more than anything, but then one day he happens to have a stick in hand to use as a mock-sword

then every time he starts to slip away into that meditative trance, hands reach out to stop him and hold him in place. ‘there’s no need to fight here, maitimo,’ an elf he knew before the unchaining tells him ever so gently. ‘you’re safe now’

... they say that, but maedhros’ nightmares keep getting worse

it’s like that with everything that makes the valinoreans uncomfortable. whenever they try to speak of their time in beleriand, no matter what they say, they’re told that oh, they know it was hard, but it’s all over now and they don’t have to dwell on it

but even after they’ve spent years in paradise, maedhros and maglor still won’t let go and allow themselves to heal

they just can’t come to terms with the truth of their ordeal

the narrative the valinoreans have constructed erases all of the bright spots, but it also bleaches out the true darkness

certainly they did horrible things, but did they really have a choice? in such a harsh world, they always had to be on guard, lest they themselves be killed. these poor boys never meant to harm anyone, but their father’s cruel madness and the painful chains of their oath and the vileness of beleriand forced them into atrocities they never wanted to commit

(surely the monsters the sindar spoke of wouldn’t cry. they wouldn’t lose themselves in waking nightmares or curl up shivering in well-hidden closets, they wouldn’t jump away from a casual touch or watch every new person like they might be a threat. they wouldn’t convince themselves the children they stole were happy, or talk to the shade of a dead kinsman they abandoned. surely they wouldn’t. surely)

(because if they are, and they’ve let a couple of orcs loose into the royal palace...)

(maglor and maedhros’ movements are pretty restricted. this is mostly for their own protection, but it’s partially - well, just in case. just in case)

this rankles at maedhros, though he tries not to show it. terrible they might have been, but his choices were his own

he was a warlord, he was a king. he expected to be hated for the things he had done. he didn’t expect to be pitied. he didn’t expect to be dismissed

sometimes, when he’s surrounded by people earnestly telling him that he’s not a bad person, he never was, it was all pressure from his father and the oath, he wants to scream that he chose to attack sirion because he was so, so tired of diplomatically dancing around problems he knew he could solve with his blade

but he stops himself, always. he knows how much what little freedom they do have is based on them not being a threat

and he will not wash this peaceful, innocent land in blood. he’ll kill himself first

maglor has lost all such scruples

it’s not often, but when they’re behaving themselves and no one who’s likely to take offense is in town, the brothers get taken out to court events

they paint makeup over their scars (which still won’t heal, everyone is concerned by the implications of this) dress them up in finery, string them with jewels, and show off how well they’re doing

(even if maedhros rarely says anything, and they never leave each other’s side)

tonight, it’s a feast. a minor celebration, nothing too crowded, nothing too loud. there’s revels and merrymaking and all kinds of fun

and after the food has been cleared away, there’s music

would his nephew like to play something, finarfin asks. it’s hard to tell if it’s a request or a politely phrased order

maglor decides he doesn’t have the patience to be taken aside and tell how much everyone wanted to hear his music, and accepts

finarfin smiles kindly. he’s thinking about how maglor’s minders have been talking about how he’s finally stopped trying to sing depressing or horrifying songs and how his voice grows more melodious by the day

maglor is thinking about how they won’t even let him sing about his wife. he wrote no odes to her beauty or her skill in the forge, but he sang ballads about the swiftness of her spear and her laughter after a battle

none of which the valinoreans want to hear. they want to pretend that love never existed, that there could be any joy found in darkness, that she’s at all worth remembering -

he gets up to play, and launches into the most vicious, most hopeless, most painful part of the noldolantë

they try to stop him, but he’s the greatest warsinger the world has ever seen, he’s sung with blood in his lungs over the roaring of dragons, there’s little they can do to block out everything they’re trying to ignore. he wails defeat and death and grief and death and despair and death

when they finally manage to knock him out, their whole petty festival in tatters, shock on their faces, tears streaming from their eyes, all he can think is that if they understand now, even a little, it’ll have been worth it

for the first time, but not the last, he wakes up in a cell

finarfin comes to visit, and starts giving a very disappointed lecture maglor is in no mood to hear. instead he just snarls that nothing they’ve been doing is helping him at all, and he’s so sick of false sympathy and no one listening to what his actual problems are

finarfin shuts his eyes, says ‘i’m sorry to hear you feel that way’ and leaves

a few days later he wakes up with a collar around his neck

it’s demeaning, but he gets released that morning, so he rolls with it. he gets told to never do that ever again, first by his minders and then by maedhros

his minders he nods at until they leave him alone. maedhros he snarks back at that it’s not like he’s doing anything to improve their condition

only he can’t

the words don’t just freeze in his throat, they can’t even form in his mind. what’s happening, he can’t say. what did you do to me, he can’t say. he can’t even scream

as maglor is clutching at his neck (he can’t get it off he can’t get it off) and all the colour is draining out of maedhros’ face, the minder in the room smiles

‘see? this way you’ll stop making yourself and everyone around you miserable. you can still talk about happy things -’

‘they did this in angband!’ maedhros roars, a statement that provokes his first actual fight with their minders. he’s harder to pin down than maglor. bigger

but their caretakers are becoming annoyed with the brothers’ obstinate refusal to let themselves get better. they may be content to wallow in the misery of their past, but inflicting it on others is a step too far

they clearly aren’t going to move any further down the road to recovery on their own volition, so it’s become clear they need a gentle push. is it a little distasteful? yes, but such things are sometimes necessary in medicine

the bright cheerful princes they will be again will thank them for it

oh god how did this end up so long. the last one should be shorter, it’s mostly clearing up some loose ends. why did i write this

#maedhros #maglor #homecoming au #my terrible fic #finarfin #noldor #late stage feanorians #abuse // #mental health issues /// #suicide mention // #gaslighting // #eeeeeeeeesh #i am not sure what i was trying to get across actually comes across in this #i ran out of unova pokedex before i ran out of fic #(the long one from b2w2. no i'm not explaining that) #it is three am! #and i'm not trying to start anything with that section about how the noldor minimise the feanorians' deeds #other people have their headcanons and that's cool. i have mine #i don't see them as 'entirely evil' (whatever that means) but i have felt like my own imperfections mean i don't deserve help before #... can you tell this is a vent fic yet #mags gets more focus because mags is the character i project onto #i've thought about him more; i have a more solid grasp of what i think his character is #'s why i got nelyo in on this. they're the creme de la creme at bad shit happening to maedhros and i wanted someone to cover his corner #this au is awful why am i writing it

[fuckyeahisawthat]

Have you been asked yet to rank Trust eps? Cos I'm asking! But your the criteria for ranking I leave to you to decide.

Ahahahaha I’ll have you know I put way too much thought into this. :-D

Ok so first of all, there is no such thing as a bad episode of Trust. The whole thing is really tightly written, every character and plot thread has a purpose, and even the episodes that I haven’t watched over and over again are important to the overall story. And a lot of the impact of the show comes from things that are cumulative over multiple episodes.

That being said, I do have favorites. Since the definitive ranking of Primo’s outfits has already been taken care of, here is my ranking from least to most favorite based on some nebulous criteria of artistic/narrative effectiveness and emotional impact, my judgement of which is obviously highly subjective and also correct.

Under the cut because this got ummm unbelievably, ridiculously long.

10. The House of Getty (episode 1)

Sorry Danny Boyle and Simon Beaufoy, the pilot is my least favorite episode. Still think it was the wrong choice to open with a flashy (and, I can tell, expensive) sequence showcasing the death of a character we literally never see again. And, look, I’m an impatient viewer. If I don’t get someone to root for/emotionally identify with/otherwise catch my interest early on in a narrative, I’ll tune out. And Old Paul is not only unlikeable--far from a mortal sin in dramatic storytelling--he’s boring. I don’t care about any of his rich people problems, and I’m not the kind of viewer who can be kept engaged just by hating someone and watching them be terrible.

Some of the secondary characters in the Getty household do have interesting plotlines, but we don’t get to learn very much about them in the first episode. And I do think things get interesting once Little Paul shows up (although I maintain that the whole episode is more interesting if we understand what the stakes are for Paul getting the money), but if I had started watching this show with no context I wouldn’t have made it past Old Paul’s pre-coital erotica listening routine.

If this had been anything other than the first episode I might not have ranked it last, but extra penalty points for leading with your least interesting characters.

9. Lone Star (episode 2)

This episode is, I think, saddled by the fact that it has to do a lot of heavy lifting in terms of exposition and setup. It mostly works because Chace is an entertaining narrator, and once we get to Italy with Gail I think things zip along at a pretty good pace. Opens with an attempted rape to show how Bad the Bad Guys are, which is...not my favorite trope.

Once again, I think a lot of the information in this episode would have worked better if episode 3 had been episode 1. (We’d already know who Berto was when Chace meets him; we’d already know about the box of guns in the apartment; we’d know when certain characters are lying.) This whole show runs on the suspense of the audience being the only party who knows what’s going on with all the characters at once; I think trading mystery for suspense here was the wrong move. I also can’t help thinking there was pressure to front-load the well-known American actors in the beginning of the show at the expense of the strongest narrative choices.

Imo the best thing about this episode is the sort of...multiple competing images of Paul that emerge. His mom sees him as an innocent victim who couldn’t possibly have planned any of this. Chace sees him as a spoiled rich kid trying to swindle his granddad. Neither one of them has the complete truth.

Next we get into some episodes that are certainly not bad, but their greatness is more on the level of some bangin’ individual scenes than a whole package.

8. John, Chapter 11 (episode 6)

Again, this isn’t a bad episode. The main reason I put it near the end of the list is that the first time through I got sort of impatient during the first half. We, the audience, by virtue of our extra-textual knowledge, know that Paul can’t be dead, and we spend about half the episode before we know what really happened to him, which felt a bit too long to me.

This episode does have some fantastic individual scenes including: Leo talking Primo down in the farmhouse, Leo and Paul’s conversation about Angelo’s death, Gail being an absolute badass, and the meeting between Salvatore and Old Paul. A lot of these scenes are essential on a thematic level, but I don’t think the episode as a whole is the most streamlined.

7. Consequences (episode 10)

I debated for a while where to put this episode because the overall feeling of 57 Chekov’s guns going off in the space of one episode is SO satisfying, and the resolutions of some of the individual plotlines are delicious. Ultimately I would have liked more space for Paul and Gail and less Old Paul being grumpy about his substitute child museum’s mediocrity (although the scene with the bad reviews is hilarious). Once again I feel like the show creators felt they had to pull the focus back to Old Paul to wrap things up and I just. don’t care.

That being said. The resolution of Primo’s storyline? SO SATISFYING. And tbh I don’t dislike the scenes that exist with Paul and Gail; even the happy scenes have this poignant tone to them. I think they were trying to deal with the fact that his irl story is just...incredibly fucking tragic, and you can see a bit of the strain showing.

6. Kodachrome (episode 7)

I know episode 7 is not one of your personal favorites, but it’s the one where I think jumping between multiple plotlines/sets of characters is used to the most satisfying dramatic effect. It has this sense of dramatic irony that feels like some Shakespearean family tragedy. The whole episode, we are hoping that Paul Jr. will finally do the thing we want him to do, which is stand up to his father. And he does it--but at the absolute worst, most selfish and destructive moment possible.

Paul Jr. may be the literal worst, but I do have compassion for him in the flashbacks, mostly because it seems painfully apparent that no matter what he does, he will never be able to please his father. But he doesn’t seem to realize this, and he keeps trying, even as it’s destroying him and his relationship with his family. Credit to Michael Esper for his performance for making me feel a smidgen of compassion for this bastard.

I think the other thing this episode shows is how both of Paul’s parents keep putting him, a child, into roles and circumstances that he shouldn’t really be in. He’s wandering around through what seem like very much adult environments with his dad and Talitha in Morocco. In the Trust version of events he’s there when Talitha ODs and is the one trying to revive her while his dad is having a breakdown in the corner. Gail seems like the more responsible parent but there’s something about her bringing Paul as her “date” on a night out, and the understanding that this is a thing that happens regularly...to me the disturbing part is not so much bringing a young kid to a party with adults but the unspoken expectation that Little Paul will fill the void of companionship that his father has left empty. (Gettys expecting Little Paul to step in to cover for the failings of his father is a repeated theme, and it even plays into the ear thing. His family has failed to pay the ransom, so this is now a problem he has to solve himself.) Combine this all with Leonardo going, um, excuse me but what the actual fuck is wrong with your family? and I think it makes a very effective episode. And the last couple minutes had me yelling NOOOOOOOO GODDAMMIT because you can see what’s going to happen and you’re just watching it unfolding like a car wreck. Also has one of my hands-down favorite scenes, of Paul and Primo in the car waiting for the ransom.

5. White Car in a Snowstorm (episode 9)

The ~ D R A M A !!! ~ This episode is an opera. I mean this whole show is dramatique but episode 9 really leans into the vivid imagery--that snowy highway in the mountains above the sea, the all-white ransom exchange, Paul clinging to the pole at the shuttered Getty gas station, some Very Serious Mobsters throwing the ransom money around like idiots in a moment where you’re encouraged to be happy along with them.

This is also one of my favorite episodes for Primo and for Primo and Paul’s weird sometimes-alliance. Primo walking away from Salvatore to go tell Paul “they always pay in the end”? Primo and Paul teaming up to argue with Salvatore about why Paul shouldn’t die? Primo being all threateny to the doctor treating Paul because somewhere deep down he is worried (that’s my take and you’ll never convince me otherwise)? Primo dressing up to fake-scab on a postal strike in order to find a misplaced severed ear? All gold.

Fun fact: the letter Gail writes to President Nixon did happen in real life, but as far as I can tell the phone call did not. The real details of who convinced Old Paul to finally pay (some) of the ransom are considerably less cinematic. They’re the same amount of sexist though!

Ok now we are getting to the top tier...

4. That’s All Folks! (episode 4)

This is definitely the episode that took me from “ok this is fun” to “oh holy shit I’m invested now.” It’s the episode where we get introduced to most of the Calabrian characters and their world. It’s also the episode where we start to realize that Primo is not just a fun antagonist but is really a parallel protagonist to Little Paul, with his own set of relationships and motivations that we start to see from his POV. (I’d argue that, with the exception of his very first scene, we’ve mostly seen Primo through other characters’ gaze up until episode 4, and this is the point where we start watching him as like, the character whose pursuit of a goal we’re following over the course of the scene.)

This episode ranks high for capturing so much of the weird mix of tones that makes Trust work. It can be very funny. (I never fail to fuckin lose it when Fifty is on the phone with Gail the first time and when he’s talking to the thoroughly unimpressed newspaper switchboard operator.) It has this weird unexpected intimacy between characters you wouldn’t think would connect with each other. (Primo and Paul, Paul and Angelo; in retrospect the arc of the relationship between Primo and Leo gets started in that scene in Salvatore’s kitchen.) And it has one of the show’s absolute best record-scratch tone shifts when Primo gets the ransom offer. I remember saying “oh FUCK” out loud the first time I watched the end of that episode, when Primo comes back to the house, visibly drunk and clearly furious. We’ve seen him be violent plenty before now in the show, but always in a controlled, calculated way. This is the first time we see his potential for out-of-control rage-fueled violence and he’s terrifying!

3. La Dolce Vita (episode 3)

I stand by my claim that this episode (with a few minor continuity adjustments) should have been the pilot. Can you imagine a title card that’s like “Rome 1973” and then away we go with Paul snorting coke and taking racy photos and jumping on cops and fucking his girlfriend in what is definitely not proper museum etiquette, and then the smash cut to Primo intimidating and robbing and murdering people? And that’s the opening of the whole show? And you’re like how are these characters connected and then they meet each other and it’s the fucking sunflower field scene??

Anyway aside from the fact that I think knowing the information in this episode would have made episodes 1 and 2 more interesting...it’s just a great fucking episode. It’s kinetic and propulsive and funny and tense and violent and features Primo’s sniper skills and his ass in those cornflower blue trousers. I rest my case.

2. Silenzio (episode 5)

I’ll be honest, I went back and forth on the top two a bunch. Silenzio is definitely my personal favorite episode, and I’d argue that it’s the best written, in terms of what it accomplishes narratively, which is to keep you emotionally invested in both Paul and Angelo trying to escape with their lives, and Primo and Leonardo hunting them down. That’s so fucking hard!! And yes some of it is great acting but it starts from the foundation of the writing. It’s just such a perfect little self-contained horror movie, and it has this profound sense of fatalism to it, because you know from the beginning (if only by virtue of only being halfway through the series) that Paul is not going to escape, and you sort of know that there is only one way this will end for Angelo. And yet they escape by the skin of their teeth so! many! times!

It’s also the episode where you see how much power the ‘Ndrangheta has over people’s lives in this community: Salvatore is like God, calling his servants to him with the church bells. Combine that with the visuals of two characters running for their lives mostly on foot through this unforgiving landscape, and you really get the sense of this environment as a harsh place where most people have a very constrained set of choices, and the claustrophobia of that. You get the sense in this episode that everyone is trapped in these expectations of violence and duty and honor. Angelo did what anyone with compassion would do, and saved Paul from what seemed like certain death, and he’s doomed for it. At the same time Primo is doing exactly what anyone would expect him to do in response to a subordinate who disobeyed him. In some ways the end of the episode feels inevitable, unsurprising, and yet they do SUCH a good job of winding up the tension until the literal last seconds of the episode, and then releasing it with a big dramatic bang. It’s so good!!

1. In the Name of the Father (episode 8)

Ok I’ll be honest the ONLY reason In the Name of the Father edged out Silenzio for the top spot is that it is really clear they pulled out all the stops in terms of making this episode feel extra heightened in a show where everything is already heightened. Like, the cinematography is different? They still use handheld a lot but I swear there are more still shots and more extreme, editorial camera angles like that shot of Francesco looking upward in church where the camera is looking down from above him. I can’t tell if they actually tweaked the color grading or if the bright white and blood red just stand out against the Calabrian color palette which is mostly earth tones, browns and greens and blues.

There are just. So many layers to this episode. The imagery! The literal sacrificial lamb at the beginning, Francesco being guided by Leonardo through an act of violence against an animal, something that I’m sure they don’t even see as violence but just part of farm life, part of survival and in this case part of a celebration, but something that fathers teach their sons how to do as part of becoming a man in this world. Paul as the metaphorical sacrificial lamb later, drawing parallels to Jesus (the lamb of God), Isaac (a father sacrificing his son), any number of martyred saints, pick your Catholic imagery. The blood of the lamb on the tree stump and Paul’s blood on the stone. The communion wafer (the body and blood of Christ) and Francesco at the end with Paul’s blood and a literal piece of his body held in his hands the same way.

And then there is like, the suspense of watching everyone marking time through the steps of this community ritual that’s supposed to be a joyful, communal celebration, while we know that there is a secret ticking away under the surface. The slow unfolding of the lie told to one person spreading to everyone in the village, and then the knowledge that Salvatore knows spreading to all the people who’ll be in trouble for that. The relationship arcs between the main Calabrian characters...not resolving, but sliding into place for the final act. Primo finally being done with Salvatore. Primo and Leo’s alliance being cemented and Leo physically stepping between Primo and Salvatore, to protect Primo. (No one ever protects Primo!! Still not over it!!!!) The confirmation celebration as a mirror of the Getty party in episode 1, the parallels drawn between the 3 Pauls and Salvatore-Primo-Francesco and how Primo reacts to being passed over as heir vs. how Paul Jr. reacts. Little Paul having two whole minutes of screen time and managing to break your heart with them. Regina! Just...Regina’s whole everything. The music going all-instrumental for an episode and having this haunting, dreamlike but still tense quality to it. And the fact that we never cut away from Calabria to another plotline gives the whole episode this hypnotic, all-encompassing quality. It’s just. SO GOOD!!!!

#fadagaski #asks answered #trust fx #long post #so so long omg #i can't believe how long i spent writing this but HERE IT IS #trust alternate watch order

[my-sherlock221b]

Supernatural Rewatch Ramblings: Bloodlust

2020-21 has been a huge transformative time for many of us. Whether we wanted it or not, we have been forced to stop, switch gears, rethink, reflect, let go, make new priorities, discover who we really are and who we want to be in the face of adversity.

One of those transformations for me has been giving up on control and finding a way to surrender to the power of the universe. Another has been to not let perfection be the enemy of good.

You may well wonder---What does all this have to do with the Bloodlust rewatch and review??!

Probably nothing LOL except for the fact that I still have to write up my review on Bloody Mary and have been unable to write for various reasons. And then because the Bloody Mary review was still incomplete I could not write about the next one etc etc etc.

So when we watched Bloodlust two days ago in the continuing re-watch, I decided that I am going to re-start the review, and from exactly where I am right now!

If time and life permits I might fill in the gaps later. If not, well, life is unpredictable and weird and we keep calm as it carries on….Thank you for coming to my Philosophy talk….:)

Read below for the Boodlust  review, Season 2 episode 3 and look out for the post from @soulmates-for-real​ on this rewatch too!! 

The opening scene is the perfect switch and bait because we as an audience have been trained to latch on to types and identities and representations.

Woman in white night gown screaming and running--victim

Person who brutally beheads her—villain.

A few minutes into the episode we realize that we were wrong.

A good few minutes later we realize that we were wrong about being wrong.]

Haha.

We are idjits, swept away on the eddies and currents of this masterfully written and directed episode. Thank you Sera Gamble and Robert Singer!

The acting and the mesmerizing beauty of the two leads is worthy of an entire essay of its own but in order to have a life and finish this review I shall only say this—Oh my goodness HOW gorgeous is Jensen Ackles?!!

It is sometimes impossible to look at him in this episode because my eyes didn’t know where to land! That perfect face? The lips? Those eyes?? The quirk of the eyebrows? Those micro expressions that are constantly weaving across his face? The smile? The way his lips move when he talks?? His hair? The Samulet?

And then the shot pans out and includes his hand and the ring and honestly it’s a miracle I could follow the plot at all.

So the images I am going to include in this review, much as I love Sam Winchester and Jared Padalecki, are all of Dean Winchester. It’s a criminal waste to not do so when the man is just an ode to perfection.

*

Sheila O’Malley’s review of this episode is in itself a work of art and a thing of beauty so I will direct you most enthusiastically towards it and only add here my little pennyworth bits. Do click on this link but be prepared to sink into a one hour read which will make you feel like you were dropped into the episode itself.

https://www.sheilaomalley.com/?p=87187

Here is a quote from her review which is so insightful.

These are the details that a director like Robert Singer never misses, and at this point his relationship with Ackles and Padalecki would be almost telepathic (it’s probably 100% telepathic now). He has said before that he and Kripke were such a good team because Kripke’s primary concern is Plot/Gore/Horror and Singer’s primary concern is Character/Relationship. And they both end up in the same place. It’s a good mix. If Singer were also Plot/Gore/Horror focused, we wouldn’t have the depth of relationship which is the real point of the show, its real hook.

*

For a much briefer and far less technically adept and analytical review, read on here!

*

The opening of this episode shows us the Impala from every possible angle. Gleaming, gorgeous, road -worthy. This is mirrored by Dean. He is also gleaming, gorgeous and roadworthy. He is in a happy mood that not even Sam’s little brother snitty comments can deflate.

Here is the soundtrack of this episode for those who are interested.

https://www.imdb.com/title/tt0835248/soundtrack

Here is some random but fun trivia:

Dean tells Sam in one scene "If it's     Supernatural, we kill it." One of the rare times the title of the     show is actually spoken in the dialogue.

This is the first episode where Sam began parting his     hair down the middle, the hairstyle he'd keep the rest of the series.

( I didn’t like his hair too much in this episode honestly but then again I could barely see anyone beyond Dean :D)

During the filming of this episode Jared injured his     hand when he fell badly during a stunt. He thought it was merely sprained     and went straight into filming the next episode without having it checked.     But it got more and more painful and finally he went to the doctor and     discovered that his hand was, in fact, broken. Because he had already     begun filming, he couldn't bandage the hand until filming for that episode     was finished. The writers ended up writing in an accident for Sam and his     line "I think she broke my hand" to explain the fact that for     the following few episodes he would be wearing a cast.

When Dean kills a vampire, blood is sprayed on his     face, mostly on his right cheek. In the next shot the pattern is     different, and notably the right cheek is almost clean. Furthermore, his     mouth was agape when he made the kill, risking the blood getting into his     mouth and turning him into a vampire. While the brothers didn't yet know     how a vampire is made at that point, Gordon did and should have been     alarmed that Dean might have gotten some of the blood in his mouth.

*

A random behind the scene shot from the episode:

Guess who she is? Apparently this is Jensen’s sister in a super brief role in Bloodlust!

* 

On to the review, or rather some of my thoughts during the re-watch.

The first scene with the Sheriff they are interrogating him about the cattle mutilations is hilarious. The way they bluff their way into the morgue is hilarious. Dean always leading and Sam following.

Random trivia: When Dean enters the morgue with Sam and sees the name tag of "J Manners", it has been thought the name was to honor Jeffrey Dean Morgan and series producer Kim Manners. Dean guesses "John" - Jeffrey's character name - and the intern corrects with "Jeff"

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It a testament to the way Supernatural has trained its audience that we barely blink when they pull out a decapitated head in the morgue, squabble over who is more chicken, dig into the mouth and eventually discover vampire fangs.

Yes, of course they do.

*

Next scene: Two hot guys walk into a bar…..

…….where the adorable Benny, who is not Benny in this episode but a random dude ( spoilers—later we find out the dude is a vampire), gives them directions/ mis- directions to a possible vampire nest.

We see the first glimpse of Gordon Walker, amazingly played by Sterling K. Brown, and making us worry about and dislike him almost right away. The way he is shown with the light and shade bars on his face from the window blinds is so menacing.

The next few scenes continue to build that sense of unease where the Winchester brothers, apparently telepathically, decide to double back and catch him following them, then he shows them his car and his weapons, where he references their dad and then refuses their offer for help.

The scene where he shows them his car is like a painting. (The car by the way is just as inconspicuous as the Impala –which is to say NOT AT ALL!! How do these people stay below the radar of the regular law enforcement is a mystery….).

The dust highlighting the rays of light, the two brothers on one side of the car and Gordon at the other, it’s all so consciously set up for a few seconds worth of screen time. Impressive!

Next comes a truly brutal kill, at Dean’s hands, which we don’t even see except as a spray of blood on his face. Poetic! But it is Dean’s expression that makes my stomach clench. His eyes are dead and he is somewhere deep that even Sam can’t reach, as we can see from the distress on Sam’s face.

Gordon of course is all chipper and full of bonhomie and offers to buy them drinks.

That following scene is the one which gives Wincest brother-wives vibes like 100%.

*

Sam plays the role of the disgruntled ‘wife’ to perfection. No one but hubby is allowed to use the nickname. He hates the male bonding going on with Gordon and the more Gordon seems to slip into Dean’s inner circle, the more uncomfortable Sam gets, until he finally decides that he just cannot physically be there any more.

Dean’s smug expression when Sam tells Gordon off for calling him Sammy, his instant worry at Sam going back alone, his hand raised in exasperation to convey to Gordon—look what I have to put up with-- the tossing of the keys to his car----it is all a symphony of Dean playing his part in the brother-wives orchestra.

The last line?! ‘Remind me to beat the buzzkill out of you later.’ And Sam’s expression at that? That’s exactly the way a bullying /abusive husband would react to a nagging wife who doesn’t like his toxic friends and wonders how he can be so blind as to not see them for the bad influence they clearly are.

( Bad Dean!!!)

Sam goes back to the motel and does his due diligence by checking with Ellen, gets kidnapped by vampires, released and on his return is disgusted to find Gordon inside their motel room.

*

The next scene is where Dean erupts, having clearly had enough of the shifting power dynamics between them over the evening. Sam has been silently judging him since the kill and Gordon has managed to ‘other’ Sam and make Dean feel validated in his own bloodlust as a hunter.

Dean clocks Sam one.

Wow. I did not see that coming. And what shocked me at this re- watch is that Sam just takes it.

Like an abused wife, he just takes it. Not only that, sometime later in the episode he tells Dean to hit him again if it is going to make him feel better.

NO Sam! NO!!! This is NOT healthy and this is NOT the way to deal….ugh. Sigh.

*

Then the second half of the episode swings in and the moral dilemma they face becomes clear when the victim and villain switch roles and Dean is shook enough to question his dad’s judgement!

Dean is still kind of trying to give Gordon the benefit of the doubt even though he sees him literally torturing the vampire. But of course all bets are off the instant he touches Sam. Dean pulls his gun on him. I was surprised that he didn’t shoot him just on principle later simply because he hurt Sam even if it was a small cut.

That is Dean’s definition of monsters-- Anything that hurts Sam. 😊

*

We don’t know it at this time, and spoilers ahead, but maybe Dean has been so annoyed and violent with Sam at the idea that he is standing up for MONSTERS is because he might also be one….and the way he looks at the end when he realizes that his whole life’s philosophy has been upended.

There are the details about the vampires who drink cattle blood so they don’t harm humans and therefore want to be treated as the good guys. Of course it is all about the inherent struggle between who you are and what you do—something that shows up hugely magnified in the later seasons when Sam is struggling with his own demon blood addiction and the knowledge of the demon blood inside him.

He needs desperately to believe in this as the utmost foundation stone of his life and its purpose—what you DO is more important than what you ARE!

So even if you are a monster, if you don’t behave like one—that is your redemption.

But it’s not just anybody whose faith he wants in his struggle to prove to himself that he is not a monster. He needs it from Dean.

Remember the dialogue from the panic room “Don’t you say that to me. Don’t YOU say that to me.”

And the fake voicemail set up by Zachariah exploits this at the time of the breaking of the last seal.

*

Of course he doesn’t know any of this yet, but that’s Sam fucking Winchester for you –always purer and better than his circumstances allow. Always struggling to do better, be better.😍

*

It is fascinating how the visuals and the roles these two play are of rugged handsome men, badass heroes-- Dean of course super macho role playing all the time. But there are so many layers upon layers and honestly if it wasn’t for Jared and Jensen’s fine nuanced and impeccable acting adding depth to the characters, the show would not have held our interest for this long.

We are shown Sam as the brains with his lore and research, but then in the very next episode (Children Shouldn’t Play with Dead Things), we see Dean connect dots faster than Sherlock Holmes.

Dean is shown as the instinctively violent one with the gun under his pillow, trigger happy, and in this episode even that brutal kill of the vampire on the docks. But then please remember the way Sam kills Gordon finally. Or the insane way he bites himself to get blood for drawing sigils. Or the way he just simply shoots the crossroads demon point blank!

We see Sam as the soft hearted one and he does rescue kids once in a while, but he is never shown to bond with them even a fraction of the way Dean does—so effortlessly. Also the ladies of course, all of whom have a soft spot for Dean. The exceptions being Sarah and Madison, both of whom completely ignored Dean. Oh and that doctor from Sex and Violence.

Dean has had his share of bad dates of course with Cassie, the woman who gave birth to his magical superfast growing daughter ( who was killed by Sam), and the whole Lisa arc, but somehow we are shown Sam as the one who is invested in relationships. Hello?! Sam was planning to marry Jessica without having told her a thing about his life while Dean told Cassie the secret as soon as he thought he was in love and wanted a relationship.

So anyway, just to say that a rewatch is so brilliant because we know more about them at this point than they do and the character arc is such a thing of beauty to see unfolding!

*

That last scene where Dean is in a thoughtful frame of mind, the sun is rising overhead ( as a metaphor for him seeing the light, maybe?)--that insanely gorgeous shot of Dean with the ring of fire and light and his absolutely perfect face in a close up…sigh.

Then he thanks Sam for pushing him to see this grey area and for the first time in that episode Sam finally smiles.

His big brother is back with him.

And then he commits to Dean too. Ah…how it warms my heart to hear this dialogue!

 DEAN I wish we never took this job. It's jacked everything up.

SAM What do you mean?

DEAN Think about all the hunts we went on, Sammy, our whole lives.

SAM Okay.

DEAN What if we killed things that didn't deserve killing? You know? I mean, the way Dad raised us...

SAM Dean, after what happened to Mom, Dad did the best he could.

DEAN I know he did. But the man wasn't perfect. And the way he raised us, to hate those things; and man, I hate 'em. I do. When I killed that vampire at the mill I didn't even think about it; hell, I even enjoyed it.

SAM You didn't kill Lenore.

DEAN No, but every instinct told me to. I was gonna kill her. I was gonna kill 'em all.

SAM Yeah, Dean, but you didn't. And that's what matters.

DEAN Yeah. Well, 'cause you're a pain in my ass.

SAM Guess I might have to stick around to be a pain in the ass, then.

DEAN Thanks.

SAM Don't mention it.

Transcript here http://www.supernaturalwiki.com/index.php?title=2.03_Bloodlust_%28transcript%29

 Guess Sam does stick around for the next 15 years to be a pain in the ass 😊

Some quotes from the writers about this episode: 

·  "The episode was really about what Dean would become if he didn't watch out: that Gordon was Dean in ten years if Sam didn't ask the difficult questions and keep him from getting too militant." - Executive story editor Sera Gamble

· "We set out to create a monster episode where you weren't entirely sure whether these monsters should be killed." - Eric Kripke

· "For me, the show is at its best when the supernatural story reveals something new about the brothers, or forces them to change in some way. Sam and Dean's realization that they've basically been raised as 'monster racists' was really meaty stuff. Exploring these characters' flaws is just as important as showcasing their heroism - these are the things that make them human, that make us invest in them." - Raelle Tucker

Check out this site for more amazing trivia and stuff

http://www.jonescave.com/supernatural/Episode/Episode.php?s=2&e=3#PopCulture

I have already finished watching the next episode ‘Children’s Shouldn’t play with Dead Things’….so let’s hope I get around to writing a review sometime soon !

#spn #spn review #spn meta #sam and dean #bloodlust #the epic love story of sam and dean #wincest #brother wives

[rndavus]

The Collector

TW/CW: mentions of We*pons, bl*od, d***h, vi*lence

     I purchased a painting from the merchant's stall at the back of an abandoned alleyway, it looked wonderful. It really did. The gorgeous face of a middle-aged woman played with my lonely heart with a devilish smile, making my breathing uncontrollable. 

    I was in the habit of collecting paintings, mostly portraits of beautiful young women. One might have called me a connoisseur of the beauties of the visual arts. As I walked with the bag I was keeping the canvas in, it seemed to become heavier with every step. I tried to protect it from all the Victorian dangers that could've damaged the painting. By the time I had reached the doorstep of my house, my arms ached as the weight of the bag began to make me understand how Atlas must've felt holding Earth in his arms. 

    I entered my house, a familiar smell coming to me as I walked past the threshold. Everything I had grown accustomed to and took a chair on which I placed the bagged painting. After I removed the cloth, exposing the naked, revealed canvas for my delighted gaze. Oh, how beautiful she still was, although her smile had gone astray. I could see no more glee on her face. Instead, she looked at me with widened eyes. Her lips slightly parted, exposing her front teeth in the candle light that lit up the room. She slumped to the side a little. 

    "How could it have changed?" 

    The painting also looked worn to me, as if decay had somehow gotten to it in that small amount of time. As I bought it before, the canvas looked new. That is what attracted me to it so much, what urged me to buy this work of magnificent art. The painting appeared as if it had just been created. As I looked at the painting then, it was scratched up, old, and almost ready to be thrown away. There were cuts in canvas everywhere and the paint had scratches, deep enough to have taken parts of the paint away. I analyzed it for hours, my mind was unable to process the strange sight that I observed. 

    I got up and walked away from the painting to get a whiskey. Perhaps that would straighten out the confusion so heavily set on me. I took a few sips from the bottle of whiskey that had stood on the counter since the last couple of days and turned around to take another glance at the portrait. 

    "By God!" 

    I gazed at it as I noticed it seemed like the frame had been broken. When I bought it, there had been no damage to it, nor as I brought it in. It was in pristine condition. To see damage to my new canvas saddened me. It used to be such a beautiful painting, and presently, the painting appeared more decrepit with my every glance . 

    To prevent any further damage, I decided to watch it more closely. I grabbed a chair from the table in the small dinner area, shoved it to the opposite side of the painting, and stared at the painting, refusing to take my eyes from it. For hours, I kept a close watch on it, not allowing this mystery to unfold any more and my painting to become more damaged than it already was. But staring can be more tiresome than one would think. After a long passage of time, in which I denied my eyes the rest they needed; that they demanded, they forced themselves to close. 

    Hours went by with me sleeping in that chair, guarded by the painting across me. As I awoke, my shock was immense. The painting had lost all its color. There stood a gray painting in front of me. No more were the colors vibrant. But the colors were not the worst of it. Those eyes - the eyes that were vibrant when I observed the painting before, were dull. The color had disappeared from them. They looked horrifying. What beauty had once lied in them was a long-gone fantasy. It broke my heart to see the eyes staring back at me with such a vacancy. 

    Why the painting was acting in such a manner, I don't know. Perhaps it was the paint that was of an inferior quality, perhaps it was bad luck, but the radiant image was fading with such speed that I couldn't keep up with it.  I thought about staring at it again , but my mind quickly told me that in the long run, this would be futile, as I would grow tired yet again, and my consciousness would eventually extinguish. I stood up, walked back to the bottle, and then heard it. A short groan, as of someone waking up and gasping for air. It was impossible though, since I was alone in the house. 

    I tell you, I am not insane, nor do I have the tendency to hear things that weren't there. But as I stood by the counter and reached for another bottle of whiskey after having finished the last one, I heard another groan come from behind me, close to the painting, but not from it.

    My heart raced within my chest as I jolted around and freaked out. The bottle of whiskey dropped as I turned, my hand shoving it off the counter and hit the ground. For a moment, I stayed still, expecting to hear the sound again. But alas, my silence was answered by more silence. My eyes darted to each corner of the room, scanning whether I could, before hearing the sound again, see the origin of the sound that was chilling me. Yet again, I was met with failure. 

    With my heart still racing, I bent over to pick up the bottle off the floor. My ears kept listening to my surroundings as I cleaned the floor, expecting to hear that dreadful sound again. The more I listened, the more it seemed like all sound was starting to be sucked from the room. I walked to the window and opened it. I hoped to hear horseshoes prancing and the wheels of carriages rolling on the stone roads, birds chirping, people talking, or even the leaves from the trees being rustled by the summer wind. Instead, I heard the groan again, now coming from right behind me, almost at the place where I stood.

    My head turned to the source of the sound. It was now close enough for me to locate where the sound came from. It came from the floorboards. It was in the room, there was no doubt. I was sure that it came from under the floor now. I know I am not insane, and I know that I heard it from there. You might say that a groan could never come from the floor. Where else would it come from? My eyes glanced over at the painting once more, and the sight I beheld terrified me. The woman in the painting looked at me with those gray eyes. Perhaps even through my soul. Her lips curled into a small grin as she gazed at me.

     A loud gasp escaped me with an impressive echo which overwhelmed the otherwise silent room. I observed the room, fear taking over my mind. My head felt dizzy, and my stomach felt as if it was about to spill all the contents of the day to the ground. My breathing became loud and heavy. What was going on? Why had this simple painting brought this insanity into my home?

    "My God!" My lungs inflated in synchrony with the words, "Why have I deserved this? Why have you brought this misery to me? What sins have I committed to deserve such punishment upon my mortal soul?" 

    I received no response from the God that I had once adored. I still stood in the room, alone, pestered by the loud groan. I turned around and dropped to my knees. I began desperately looking through all the cracks of the floor, searching whether I could see through them and, perhaps, discover the source of the horrible sound. 

    Then I heard another groan. This one came from a different place. It sounded different and was more guttural. It was somewhat louder than the others.I quickly ran to the kitchen and took the first knife that I could find. I held it tightly in my hand as I walked around the room and scanned every inch of it, trying to determine from where the new torturous sound came.

    As time went by, it started to seem as if the room filled with the vile groaning. It filled my ears until I could no longer hear anything else, nor think about anything else. I had to stop it before it would have cost me my entire sanity. Wherever I looked, it appeared to become the one source of the ear-shattering noise. In the insanity that was beginning to conquer my mind, I could suddenly distinctly hear the source of another groan. It was the closet - the damned closet. I marched towards it and opened it, the uncontrollable force of my anger pulling the closet door nearly out of its hinges. 

    There she was: another painting. The painting of a young girl which I had brought only a few days ago. How beautiful she looked! Yet, she had begun boring me all those days ago. That was an issue I had since my early years. I would get something new, and within a short amount of time, I'd become bored with it and needed to get rid of it, as it would become a bothersome thing for my eyes. For that reason, I had placed the painting within the closet so my eyes wouldn't have to look upon it. The gaze of the girl in the painting looked directly into mine. I saw the mouth move, and before a groan could come out, I smashed the knife into the canvas, ripping through it.

    Suddenly, a loud knocking on my door disrupted the salvation I delivered myself. I jerked the knife back and forth while I watched the door. I looked at the knife, and saw that my hands were covered in a scarlet liquid, sticky substance. My mind could only grasp this to be paint.  I looked at it with raised eyebrows and smirked at the prospect of having stopped at least part of that terrible sound. My enjoyment was short-lived as the knocking at my door became louder. almost louder than the groans were. I began walking to the door, marching over the floorboards and through the deafening noise. I pulled the door open, and in my anger I stabbed the knife into whoever stood outside, adding to the noise that was already enraging me.

    My eyes grew wider as I saw a police officer standing before me. The large fellow looked at me in shock. As I looked over at my hand, I realised I had stabbed his colleague in the stomach. He sat on his knees, as life slowly left his body. His pained gaze darted at me as the sounds of his teeth grinding tightly together ground against my mind.

    That brings us to today. I am now sitting in a cell. It is tiny, but I will soon be out of her and be guided to the gallows. They tell me that I murdered many women... That my house was filled with victims... That the stench of the dead women could be smelled everywhere in my house... Their words confuse me. I couldn't even hurt a fly. Yet they keep telling me that I'm a killer?! They said that I had abducted a woman that day, strangled her, and placed her dead body upon a chair in my house. They also said there were corpses of women in the closet and under the floorboards. I now sit in my cell confused, able to only conjure the sight of the many paintings that I had bought. 

    I am sure that no women, dead or alive, were in my house. I can swear to that, as God is my witness. I was alone in that house as the police arrested me. I merely collected paintings. That was all which was present in my house. Now they are calling me "insane", but as I have stated before: I am not insane. Of that fact I am sure. Never have I felt insane, nor have I felt any urge to put harm upon anyone. I merely enjoyed collecting my paintings. The only insanity that may have pierced through my sanity is how I became bored with the paintings after a while, and kept putting them away in various places around my house. 

    But it doesn't matter. I have already been declared insane, and thus, my words aren't believed by anyone. No matter how much I speak, the gallows shall be my final destination. That is a fact of which I am sure. 

#short story #horror #suspense #Mystery #writerscommunity #writersnetwork #writers aesthetic #fiction #my writing #writing #exciting #writerscorner #writers #writers on tumblr #writeaway #horror writing #horror fiction #Short-story #short fiction

[thelostnymphaeum]

A morbid longing for the picturesque.

Entry: 008 // Literature // Title: The Secret History Author: Donna Tartt Year: 1992

-----

I must say I have never read a book that gave me anxiety from the first page down to the last page like this one. But I loved every minute of it.

This book is so popular among certain communities here in Tumblr, so I decided to read it (even though it was not originally in my schedule) and indulge myself to what the spectacle was all about. 

AESTHETIC & ATMOSPHERE 

“There is no exquisite beauty… without some strangeness.” — Edgar Allan Poe

I guess this is the reason why this book inspired an entire community to form in Tumblr. The book was able to tell a narrative so idyllic and “aesthetic” it makes my heart hurt. It sort of makes you want to be a student in Vermont, inside Hampden College. I fell in love with how incredibly scenic it was even just through words (and despite the looming darkness within the story itself). Tartt was constantly painting the setting in the pages, which of course, I take as an ode to one of the first few lines Richard says in the book. 

I liked how Richard’s room was small but the light from outside can seep through, how a character lounges beautifully  in a window seat, how secretive the Lyceum is, how the skies looked or how the breeze felt. I was charmed and seduced by the appeal of it all.

THE LYCEUM PATRONS

“No excellent soul is exempt from a mixture of madness.'' -  Aristotle

What can I say, they were deluded in Greco-Roman ideals. So much so that they became a bunch of demented cuckoos. Each of them was flawed, even Richard who seemed impartial and innocent, but he was a liar that pretended to be something he is not just so he can fit the “aesthetic” of his friends. Did they even truly know each other? The fatal flaw that he himself admitted in the beginning proved to be true. I mean, who else would freeze in the snow just so he could keep up the image of a man who never begged for money? 

“Does such a thing as 'the fatal flaw,' that showy dark crack running down the middle of a life, exist outside literature? I used to think it didn't. Now I think it does. And I think that mine is this: a morbid longing for the picturesque at all costs.”

Also, the way it was written (by that, I mean Richard’s point of view) had a certain way of downplaying the depth of their misguided acts. They eliminated Bunny because he was the only one who saw through the delusion - he did not like being superficial. As much as Bunny himself was a fraud, he said everything outright and blatant. His unwarranted blabbers of unspoken truth and double entendre probably ruined the sense of perfection they were trying to echo. They were all imperfect anyways, but Bunny’s flaw of never seeing his own flaws was his undoing. 

ELITISM 

The sense of elitism in their group was a point to be taken. They were handpicked by their professor and certainly thought highly of themselves since they were chosen (it reminds me of the Slug Club made by Professor Slughorn in Hogwarts). They were alienated from the rest of the school, and from within it might have felt like a sense of superiority and selectiveness; but from the outside perspective, they were just a bunch of snobbish and weird students who felt too proud to be friends with anyone outside their own.

I also liked how they used foreign language a lot, like Latin, Greek and French. Although it caused me to pause reading and look up whatever they were saying, it served the purpose of creating the gap between the reader and their group. It must be the same way the other students in the school felt about them – a bunch of alien kids who spoke a different language and therefore do not mingle with them.

BEAUTY

One of the reasons why this story charmed me is that I share the same fascination with the Greeks and the Romans. They were so extraordinary and exquisite that they almost feel like mere story characters in our history books and not actual humans who walked this Earth. And the Greeks and the Romans definitely knew and lived whatever the meaning of “beauty” might be.

“There is nothing wrong with the love of Beauty. But Beauty - unless she is wed to something more meaningful - is always superficial.”

Well, these kids did try to emulate the way the Greeks and Roman lived their lives. But what they failed to realize was that it was all superficial. And pointless. They thought that if they lived among themselves and tried to create their own sense of ideal reality, they will be better off and a step closer to their idols. They were not in touch with real life, they did not even know that humans already stepped on the moon (huh?). They are just like the Dreamers: living for the aesthetic without actually making change. They were not in sync with reality, which I find the most disappointing, considering how their love for art and literature could have contributed for something substantial.

Julian was their epitome. They venerated Julian as their teacher and in their eyes he can never do no wrong. He taught them about ideals. Yet when the time came for him to use this knowledge and wisdom for the right reasons, he refused to do it and fled. Like a coward. He could not live up with his words. Words are wind. He was such a traitor in my eyes. A fraud. 

SO WHAT WAS THE POINT?

“Forgive me, for all the things I did but mostly for the ones that I did not.”

All this vanity and for what? All this studying and contemplating and philosophizing, and for what? All the chaos and meltdowns, and in the end, for what? Only one of them graduated and had a career. The rest had flailing routes in life. So all that elitism and love of beauty, what were they for?

#The Secret History #Donna Tartt #Richard Pappen #Deerslayers #Dark academia

[vsiti18onlinehdvidea-blog]

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~V síti 18+ 2020 ke shlédnutí CZ Filmy Online Videa, V síti 18+ (2020) Sledujte CZ Filmy Online a zdarma. Pro sledování filmu V síti 18+ je treba, kliknout na obrázek prehrávace. mužete zhlédnout V síti 18+ filmy online. Film V síti 18+ máme

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Vydáno: Feb 27, 2020 Runtime: 90 minut Žánr: Dokumentární Hvězdy: Sabina Dlouhá, Anežka Pithartová, Tereza Těžká Crew: Jan Vlček (Set Designer), Filip Remunda (Producer), Vít Klusák (Screenplay), Vít Klusák (Director), Vít Klusák (Editor), Vít Klusák (Producer)

Necenzurovaná verze V síti 18+ divákům velmi věrně zprostředkovává zkušenosti a pocity dětí zneužívaných na internetu. Zakryté totiž zůstávají pouze tváře predátorů. Tři dospělé herečky s dětskými rysy se vydávají na sociální sítě, aby v přímém přenosu prožily zkušenost dvanáctiletých dívek online. Ve věrných kopiích dětských pokojů chatují a skypují s muži, kteří je na netu aktivně vyhledali a oslovili. Drtivá většina těchto mužů požaduje sex přes webkameru, posílá fotky svých penisů a odkazy na porno. Děti jsou dokonce vystaveny vydírání. Dokumentární film Barbory Chalupové a Víta Klusáka vypráví strhující drama tří hrdinek alias „dvanáctiletých dívek", pro které se účast na experimentu, od castingu až po osobní schůzky s predátory pod dozorem ochranky, stává zásadní životní zkušeností. Predátorské taktiky se postupně obracejí proti svým strůjcům: Z lovců se stávají lovení

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There is also the term extras that are used as minor characters with few roles in the film. This differs from the main actors, who have larger and more roles. As an actor and actress, good acting talent must be required that corresponds to the subject of the film in which he plays the leading role. In certain scenes, the role of the actor can be replaced by a stunt man or a stunt man. The existence of a stuntman is important to replace the actors who play difficult and extreme scenes that are usually found in action-action films. Movies can also be used to deliver 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 person that are visualized in the film. The film itself is mostly fictional, though some are based on actual stories or on a true story. 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The 19440 World MOVIE inspired many Americans to buy their first television, and in 1948 the popular Texaco Star Theater radio moved to become the first weekly television variety show that hosted Milton Berle and earned the name “Mr Television” demonstrated The medium was a stable, modern form of entertainment that could attract advertisers. The first national live television broadcast in the United States took place on September 4, 1951, when President Harry Truman’s speech at the Japanese Peace Treaty Conference in San Francisco on AT & T’s transcontinental cable and microwave relay system was broadcasting to broadcasters in local markets has been. The first national color show (the 1954 Rose Parade tournament) in the United States took place on January 1, 1954. For the next ten years, most network broadcasts and almost all local broadcasts continued to be broadcast in black and white. A color transition was announced for autumn 1965, in which more than half of all network prime time programs were broadcast in color. The first all-color peak season came just a year later. In 19402, the last holdout of daytime network shows was converted to the first full color network season. ❍❍❍ formats and genres ❍❍❍ See also: List of genres § Film and television formats and genres TV shows are more diverse than most other media due to the variety of formats and genres that can be presented. A show can be fictional (as in comedies and dramas) or non-fictional (as in documentary, news, and reality television). It can be current (as in the case of a local news program and some television films) or historical (as in the case of many documentaries and fictional films). They can be educational or educational in the first place, or entertaining, as is the case with situation comedies and game shows. [Citation required] A drama program usually consists of a series of actors who play characters in a historical or contemporary setting. The program follows their lives and adventures. Before the 1980s, shows (with the exception of soap opera series) generally remained static without storylines, and the main characters and premise barely changed. [Citation required] If the characters’ lives changed a bit during the episode, it was usually reversed in the end. For this reason, the episodes can be broadcast in any order. [Citation required] Since the 1980s, many FILMS have had a progressive change in the plot, characters, or both. For example, Hill Street Blues and St. Elsewhere were two of the first American prime time drama television films to have this kind of dramatic structure [4] [better source required], while the later MOVIE Babylon 5 further illustrated such a structure had a predetermined story about the planned five season run. [Citation required] In ((2020)), it was reported that television became a larger part of the revenue of large media companies than the film. Some also noticed the quality improvement of some television programs. In ((2020)), Oscar-winning film director Steven Soderbergh declared the ambiguity and complexity of character and narrative: “I think these qualities are now being seen on television and people who want to see stories with such qualities are watching TV.

[thegloriasonlinevidea]

!(HD)!“The Glorias” _~celý film_~ ^CZ^ (2020)“HD

~The Glorias 2020 ke shlédnutí CZ Filmy Online Videa, The Glorias (2020) Sledujte CZ Filmy Online a zdarma. Pro sledování filmu The Glorias je treba, kliknout na obrázek prehrávace. mužete zhlédnout The Glorias filmy online. Film The Glorias máme v HD kvalite

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Vydáno: Jan 26, 2020 Runtime: 139 minut Žánr: Drama Hvězdy: Julianne Moore, Alicia Vikander, Bette Midler, Lulu Wilson, Janelle Monáe, Timothy Hutton Crew: Rodrigo Prieto (Director of Photography), Elliot Goldenthal (Original Music Composer), Sandy Powell (Costume Design), Julie Taymor (Screenplay), Julie Taymor (Director), Julie Taymor (Producer)

Biografický snímek, v hlavních rolích s Aliciou Vikander a Julianne Moore, sleduje životní cestu ikony feminismu – Glorie Steinem. Film založený na knize „My Life on the Road“ (2015), memoárech, které sepsala sama Glorie Steinem, se věnuje důležitým životním etapám této ženy, od jejího pobytu v Indii, přes založení časopisu Ms. v New Yorku, její roli na vzestupu amerického hnutí za práva žen v 60. letech 20. století až po celonárodní konferenci žen z roku 1977. Společně se spisovatelkou a aktivistkou Glorií Steinem se však na její životní cestě setkáváme i s dalšími významnými ženami feministického hnutí – Bellou Abzug, Flo Kennedy nebo Dorothy Pitman Hughes

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There are also documentaries with original and real images or biographical films that tell the story of a character. There are many other popular genre films, from action films, horror films, comedy films, romantic films, fantasy films, thriller films, drama films, science fiction films, crime films, documentaries and others. This is some information about the definition of film or film. The information has been cited from various sources and references. Hope it can be useful. ❍❍❍ TV FILM ❍❍❍The first television shows were experimental, sporadic programs that from the 1930s could only be seen at a very short distance from the mast. TV events such as the 1936 Summer Olympics in Germany, the crowning of King George VI. In Britain in 19340 and the famous launch of David Sarnoff at the 1939 New York World’s Fair in the United States, the medium grew, but World War II brought development to a halt after the war. The 19440 World MOVIE inspired many Americans to buy their first television, and in 1948 the popular Texaco Star Theater radio moved to become the first weekly television variety show that hosted Milton Berle and earned the name “Mr Television” demonstrated The medium was a stable, modern form of entertainment that could attract advertisers. The first national live television broadcast in the United States took place on September 4, 1951, when President Harry Truman’s speech at the Japanese Peace Treaty Conference in San Francisco on AT & T’s transcontinental cable and microwave relay system was broadcasting to broadcasters in local markets has been. The first national color show (the 1954 Rose Parade tournament) in the United States took place on January 1, 1954. For the next ten years, most network broadcasts and almost all local broadcasts continued to be broadcast in black and white. A color transition was announced for autumn 1965, in which more than half of all network prime time programs were broadcast in color. The first all-color peak season came just a year later. In 19402, the last holdout of daytime network shows was converted to the first full color network season. ❍❍❍ formats and genres ❍❍❍ See also: List of genres § Film and television formats and genres TV shows are more diverse than most other media due to the variety of formats and genres that can be presented. A show can be fictional (as in comedies and dramas) or non-fictional (as in documentary, news, and reality television). It can be current (as in the case of a local news program and some television films) or historical (as in the case of many documentaries and fictional films). They can be educational or educational in the first place, or entertaining, as is the case with situation comedies and game shows. [Citation required] A drama program usually consists of a series of actors who play characters in a historical or contemporary setting. The program follows their lives and adventures. Before the 1980s, shows (with the exception of soap opera series) generally remained static without storylines, and the main characters and premise barely changed. [Citation required] If the characters’ lives changed a bit during the episode, it was usually reversed in the end. For this reason, the episodes can be broadcast in any order. [Citation required] Since the 1980s, many FILMS have had a progressive change in the plot, characters, or both. For example, Hill Street Blues and St. Elsewhere were two of the first American prime time drama television films to have this kind of dramatic structure [4] [better source required], while the later MOVIE Babylon 5 further illustrated such a structure had a predetermined story about the planned five season run. [Citation required] In ((2020)), it was reported that television became a larger part of the revenue of large media companies than the film. Some also noticed the quality improvement of some television programs. In ((2020)), Oscar-winning film director Steven Soderbergh declared the ambiguity and complexity of character and narrative: “I think these qualities are now being seen on television and people who want to see stories with such qualities are watching TV.

[wy9646036]

^^I zbaw nas ode złego w VOD (2014) Cały Film Online

I zbaw nas ode złego (2020) Najlepsza jakość

Zbaw nas ode złego (2014) - Thriller Filmy 118 minut. Livrai-nos Do Mal, از شر شيطان نجاتمان ده, Libranos del mal, Beware the Night, Deliver Us from Evil. Oficer nowojorskiej policji, Ralph Sarchie (Eric Bana), rozpoczyna śledztwo w sprawie serii dziwnych i niepokojących, wręcz nie dających się racjonalnie wytłumaczyć zbrodni. Gdy odkrywa, że mogą one mieć nadprzyrodzone pochodzenie, zwraca się o pomoc do niekonwencjonalnego księdza (Édgar Ramírez), wyszkolonego w rytuałach egzorcyzmów. Razem starają się zwalczyć przerażające, demoniczne opętania, które przejmują i terroryzują ich miasto. Trzymający w napięciu, pełen akcji film zainspirowany został książką opisującą mrożące krew w żyłach, prawdziwe sprawy prowadzone przez Sarchiego. detective, confession, cave, lion, zoo, bible, latin, iraq war veteran, basement, priest, possessed, demon, catholic, occult, police investigation, demonic possession, neo-noir, security video

Wydany: Jul 01, 2014

Czas działania: 118 minut

Gatunek: Thriller, Kryminał, Horror

Gwiazdy: Eric Bana, Joel McHale, Olivia Munn, Edgar Ramírez, Sean Harris, Chris Coy

Crew: Jerry Bruckheimer (Producer), Denise Chamian (Casting), Laura Ballinger (Art Direction), Christopher Young (Original Music Composer), Scott Kevan (Director of Photography), Scott Derrickson (Director)

🎬▶  https://bit.ly/2ZKkZwk

🎬▶  https://t.co/mj6kcc7QB2?amp=1

Definition and definition of film / film 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 minor characters with few roles in the film. This differs from the main actors, who have larger and more roles. As an actor and actress, good acting talent must be required that corresponds to the subject of the film in which he plays the leading role. In certain scenes, the role of the actor can be replaced by a stunt man or a stunt man. The existence of a stuntman is important to replace the actors who play difficult and extreme scenes that are usually found in action-action films. Movies can also be used to deliver 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 person that are visualized in the film. The film itself is mostly fictional, though some are based on actual stories or on a true story. There are also documentaries with original and real images or biographical films that tell the story of a character. There are many other popular genre films, from action films, horror films, comedy films, romantic films, fantasy films, thriller films, drama films, science fiction films, crime films, documentaries and others. This is some information about the definition of film or film. The information has been cited from various sources and references. Hope it can be useful. ❍❍❍ TV FILM ❍❍❍ The first television shows were experimental, sporadic programs that from the 1930s could only be seen at a very short distance from the mast. TV events such as the 1936 Summer Olympics in Germany, the crowning of King George VI. In Britain in 19340 and the famous launch of David Sarnoff at the 1939 New York World’s Fair in the United States, the medium grew, but World War II brought development to a halt after the war. The 19440 World MOVIE inspired many Americans to buy their first television, and in 1948 the popular Texaco Star Theater radio moved to become the first weekly television variety show that hosted Milton Berle and earned the name “Mr Television” demonstrated The medium was a stable, modern form of entertainment that could attract advertisers. The first national live television broadcast in the United States took place on September 4, 1951, when President Harry Truman’s speech at the Japanese Peace Treaty Conference in San Francisco on AT & T’s transcontinental cable and microwave relay system was broadcasting to broadcasters in local markets has been. The first national color show (the 1954 Rose Parade tournament) in the United States took place on January 1, 1954. For the next ten years, most network broadcasts and almost all local broadcasts continued to be broadcast in black and white. A color transition was announced for autumn 1965, in which more than half of all network prime time programs were broadcast in color. The first all-color peak season came just a year later. In 19402, the last holdout of daytime network shows was converted to the first full color network season. ❍❍❍ formats and genres ❍❍❍ See also: List of genres § Film and television formats and genres TV shows are more diverse than most other media due to the variety of formats and genres that can be presented. A show can be fictional (as in comedies and dramas) or non-fictional (as in documentary, news, and reality television). It can be current (as in the case of a local news program and some television films) or historical (as in the case of many documentaries and fictional films). They can be educational or educational in the first place, or entertaining, as is the case with situation comedies and game shows. [Citation required] A drama program usually consists of a series of actors who play characters in a historical or contemporary setting. The program follows their lives and adventures. Before the 1980s, shows (with the exception of soap opera series) generally remained static without storylines, and the main characters and premise barely changed. [Citation required] If the characters’ lives changed a bit during the episode, it was usually reversed in the end. For this reason, the episodes can be broadcast in any order. [Citation required] Since the 1980s, many FILMS have had a progressive change in the plot, characters, or both. For example, Hill Street Blues and St. Elsewhere were two of the first American prime time drama television films to have this kind of dramatic structure [4] [better source required], while the later MOVIE Babylon 5 further illustrated such a structure had a predetermined story about the planned five season run. [Citation required] In 2020, it was reported that television became a larger part of the revenue of large media companies than the film. Some also noticed the quality improvement of some television programs. In 2020, Oscar-winning film director Steven Soderbergh declared the ambiguity and complexity of character and narrative: “I think these qualities are now being seen on television and people who want to see stories with such qualities are watching TV. ❍❍❍ Thanks for everything and have fun watching❍❍❍ Here you will find all the films that you can stream online, including the films that were shown this week. If you’re wondering what to see on this website, you should know that it covers genres that include crime, science, fi-fi, action, romance, thriller, comedy, drama, and anime film. Thanks a lot. We inform everyone who is happy to receive news or information about this year’s film program and how to watch your favorite films. Hopefully we can be the best partner for you to find recommendations for your favorite films. That’s all from us, greetings! Thank you for watching The Video Today. I hope you like the videos I share. Give a thumbs up, like or share if you like what we shared so we are more excited. Scatter a happy smile so that the world returns in a variety of colors.

[bezvycitekonlinevidea-blog]

!(HD)!“Bez výčitek” _~celý film_~ ^CZ^ (2020)“HD

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Vydáno: Feb 26, 2021 Runtime: 1:47:31 minut Žánr: Akční, Thriller Hvězdy: Michael B. Jordan, Cam Gigandet, Jamie Bell, Artjom Gilz, Luke Mitchell, Jacob Scipio Crew: Akiva Goldsman (Producer), Denis L. Stewart (Executive Producer), Kevin Kavanaugh (Production Designer), Tom Clancy (Author), Don Granger (Executive Producer), David Ellison (Executive Producer)

Král politických thrilleru Tom Clancy inspiruje filmaře už od první půlky devadesátých let. Jeho hrdina Jack Ryan se sice přesunul na Amazon, ale přeci jen se dočkáme dalšího filmu. Without Remorse ovšem nebudou Ryanovka, točit se mají kolem příslušníka Navy SEALS Johna Kellyho, jehož přítelkyně byla zavražděna a on je rozhodnutý udělat všechno pro to, aby potrestal lidi, kteří mají na rukou její krev. Jenže rychle zjistí, že se přimotal k mnohem většímu případu. Michael B. Jordan by měl hlavní roli zvládnout bez problémů a podle scénáře Taylora Sheridena režíruje Sefano Sollima, ti dva spolu dělali už na dvojce Sicaria.

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There is also the term extras that are used as minor characters with few roles in the film. This differs from the main actors, who have larger and more roles. As an actor and actress, good acting talent must be required that corresponds to the subject of the film in which he plays the leading role. In certain scenes, the role of the actor can be replaced by a stunt man or a stunt man. The existence of a stuntman is important to replace the actors who play difficult and extreme scenes that are usually found in action-action films. Movies can also be used to deliver 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 person that are visualized in the film. The film itself is mostly fictional, though some are based on actual stories or on a true story. There are also documentaries with original and real images or biographical films that tell the story of a character. There are many other popular genre films, from action films, horror films, comedy films, romantic films, fantasy films, thriller films, drama films, science fiction films, crime films, documentaries and others. This is some information about the definition of film or film. The information has been cited from various sources and references. Hope it can be useful. ❍❍❍ TV FILM ❍❍❍The first television shows were experimental, sporadic programs that from the 1930s could only be seen at a very short distance from the mast. TV events such as the 1936 Summer Olympics in Germany, the crowning of King George VI. In Britain in 19340 and the famous launch of David Sarnoff at the 1939 New York World’s Fair in the United States, the medium grew, but World War II brought development to a halt after the war. The 19440 World MOVIE inspired many Americans to buy their first television, and in 1948 the popular Texaco Star Theater radio moved to become the first weekly television variety show that hosted Milton Berle and earned the name “Mr Television” demonstrated The medium was a stable, modern form of entertainment that could attract advertisers. The first national live television broadcast in the United States took place on September 4, 1951, when President Harry Truman’s speech at the Japanese Peace Treaty Conference in San Francisco on AT & T’s transcontinental cable and microwave relay system was broadcasting to broadcasters in local markets has been. The first national color show (the 1954 Rose Parade tournament) in the United States took place on January 1, 1954. For the next ten years, most network broadcasts and almost all local broadcasts continued to be broadcast in black and white. A color transition was announced for autumn 1965, in which more than half of all network prime time programs were broadcast in color. The first all-color peak season came just a year later. In 19402, the last holdout of daytime network shows was converted to the first full color network season. ❍❍❍ formats and genres ❍❍❍ See also: List of genres § Film and television formats and genres TV shows are more diverse than most other media due to the variety of formats and genres that can be presented. A show can be fictional (as in comedies and dramas) or non-fictional (as in documentary, news, and reality television). It can be current (as in the case of a local news program and some television films) or historical (as in the case of many documentaries and fictional films). They can be educational or educational in the first place, or entertaining, as is the case with situation comedies and game shows. [Citation required] A drama program usually consists of a series of actors who play characters in a historical or contemporary setting. The program follows their lives and adventures. Before the 1980s, shows (with the exception of soap opera series) generally remained static without storylines, and the main characters and premise barely changed. [Citation required] If the characters’ lives changed a bit during the episode, it was usually reversed in the end. For this reason, the episodes can be broadcast in any order. [Citation required] Since the 1980s, many FILMS have had a progressive change in the plot, characters, or both. For example, Hill Street Blues and St. Elsewhere were two of the first American prime time drama television films to have this kind of dramatic structure [4] [better source required], while the later MOVIE Babylon 5 further illustrated such a structure had a predetermined story about the planned five season run. [Citation required] In ((2020)), it was reported that television became a larger part of the revenue of large media companies than the film. Some also noticed the quality improvement of some television programs. In ((2020)), Oscar-winning film director Steven Soderbergh declared the ambiguity and complexity of character and narrative: “I think these qualities are now being seen on television and people who want to see stories with such qualities are watching TV.

#!(HD)!“Bez výčitek” _~celý film_~ ^CZ^ (2020)“HD

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Hodná dívka Tessa a tajemný Hardin se propadli do vzájemné osudové lásky. Na ničem jiném nezáleží a ani jeden z nich nemá co ztratit. Až na to, že mohou ztratit jeden druhého, tedy vlastně úplně všechno. A právě takové nebezpečí hrozí ve chvíli, kdy se Tessa dozví o sázce, která jejich vášni předcházela, a jedno Hardinovo ošklivé tajemství z minulosti.

Sledujte a stahujte filmAfter: Přiznání [After: Sľub] Full Movie Jedním z největších dopadů průmyslu streamování filmů byl v Blu-Ray HD průmyslu, který efektivně naplnil svůj Smrt s popularizací online obsahu. Nárůst streamování médií způsobil pád mnoha půjčoven Blu-Ray HD, jako je například Blockbuster.a New York Times článek publikoval článek o službách Netflix Blu-Ray HD. Prohlašuji to Netflix pokračuje ve svých službách Blu-Ray HD s 5,3 miliony odběratelů, což představuje významný pokles oproti předchozímu roku. Na druhou stranu má jeho přenosové služby 65 milionů členů. Studie filmu Watch Movie, která hodnotila „Dopad přenosu filmu na tradiční Půjčování filmů Blu-Ray HD “, bylo zjištěno, že respondenti již nekupují filmy Blu-Ray HD téměř tolik, pokud vůbec, protože převzal přenos Trh. Ve filmuAfter: Přiznání [After: Sľub] Full diváci nezjistili, že kvalita filmu byla mezi Blu-Ray HD a online vysílání výrazně odlišná. Problémy, které respondenti věřili, že je třeba zlepšit pomocí streamování filmu, zahrnovaly také funkce rychlého přetáčení vpřed nebo vzad vyhledávací funkce Tento článek zdůrazňuje, že kvalita přenosu filmů jako průmyslu se bude od času reklamy jen zvyšovat Příjmy pokračují včetně dramatuAfter: Přiznání [After: Sľub] Stage (Sledujte Full HDAfter: Přiznání [After: Sľub]: Za školou)

Stránka Streamování filmu Star Movie obsahuje ve svém katalogu řadu populárních filmů. Od Tenetu (2020), Project Power (2020), Sonic the Hedgehog (2020), Peninsula (2020), 1917 (2019), přes Birds of Prey (a Fantabulous Emancipation One Harley Quinn) (2020). Kromě toho, že jsou k dispozici pro sledování naživo, lze také stahovat filmy na Star Movie

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Definition and definition of film / film 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 minor characters with few roles in the film. This differs from the main actors, who have larger and more roles. As an actor and actress, good acting talent must be required that corresponds to the subject of the film in which he plays the leading role. In certain scenes, the role of the actor can be replaced by a stunt man or a stunt man. The existence of a stuntman is important to replace the actors who play difficult and extreme scenes that are usually found in action-action films. Movies can also be used to deliver 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 person that are visualized in the film. The film itself is mostly fictional, though some are based on actual stories or on a true story. There are also documentaries with original and real images or biographical films that tell the story of a character. There are many other popular genre films, from action films, horror films, comedy films, romantic films, fantasy films, thriller films, drama films, science fiction films, crime films, documentaries and others. This is some information about the definition of film or film. The information has been cited from various sources and references. Hope it can be useful. ❍❍❍ TV FILM ❍❍❍The first television shows were experimental, sporadic programs that from the 1930s could only be seen at a very short distance from the mast. TV events such as the 1936 Summer Olympics in Germany, the crowning of King George VI. In Britain in 19340 and the famous launch of David Sarnoff at the 1939 New York World’s Fair in the United States, the medium grew, but World War II brought development to a halt after the war. The 19440 World MOVIE inspired many Americans to buy their first television, and in 1948 the popular Texaco Star Theater radio moved to become the first weekly television variety show that hosted Milton Berle and earned the name “Mr Television” demonstrated The medium was a stable, modern form of entertainment that could attract advertisers. The first national live television broadcast in the United States took place on September 4, 1951, when President Harry Truman’s speech at the Japanese Peace Treaty Conference in San Francisco on AT & T’s transcontinental cable and microwave relay system was broadcasting to broadcasters in local markets has been. The first national color show (the 1954 Rose Parade tournament) in the United States took place on January 1, 1954. For the next ten years, most network broadcasts and almost all local broadcasts continued to be broadcast in black and white. A color transition was announced for autumn 1965, in which more than half of all network prime time programs were broadcast in color. The first all-color peak season came just a year later. In 19402, the last holdout of daytime network shows was converted to the first full color network season. ❍❍❍ formats and genres ❍❍❍ See also: List of genres § Film and television formats and genres TV shows are more diverse than most other media due to the variety of formats and genres that can be presented. A show can be fictional (as in comedies and dramas) or non-fictional (as in documentary, news, and reality television). It can be current (as in the case of a local news program and some television films) or historical (as in the case of many documentaries and fictional films). They can be educational or educational in the first place, or entertaining, as is the case with situation comedies and game shows. [Citation required] A drama program usually consists of a series of actors who play characters in a historical or contemporary setting. The program follows their lives and adventures. Before the 1980s, shows (with the exception of soap opera series) generally remained static without storylines, and the main characters and premise barely changed. [Citation required] If the characters’ lives changed a bit during the episode, it was usually reversed in the end. For this reason, the episodes can be broadcast in any order. [Citation required] Since the 1980s, many FILMS have had a progressive change in the plot, characters, or both. For example, Hill Street Blues and St. Elsewhere were two of the first American prime time drama television films to have this kind of dramatic structure [4] [better source required], while the later MOVIE Babylon 5 further illustrated such a structure had a predetermined story about the planned five season run. [Citation required] In 2020, it was reported that television became a larger part of the revenue of large media companies than the film. Some also noticed the quality improvement of some television programs. In 2020, Oscar-winning film director Steven Soderbergh declared the ambiguity and complexity of character and narrative: “I think these qualities are now being seen on television and people who want to see stories with such qualities are watching TV. ❍❍❍ Thanks for everything and have fun watching❍❍❍ Here you will find all the films that you can stream online, including the films that were shown this week. If you’re wondering what to see on this website, you should know that it covers genres that include crime, science, fi-fi, action, romance, thriller, comedy, drama, and anime film. Thanks a lot. We inform everyone who is happy to receive news or information about this year’s film program and how to watch your favorite films. Hopefully we can be the best partner for you to find recommendations for your favorite films. That’s all from us, greetings! Thank you for watching The Video Today. I hope you like the videos I share. Give a thumbs up, like or share if you like what we shared so we are more excited. Scatter a happy smile so that the world returns in a variety of colors.

[bangke02]

〘Sledujte/Filmy〙V síti (2020) Celý Filmy online Zdarma [CZ-SK] Kvalitě Dabing HD

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Obsah: 3 herečky, 3 pokojíčky, 10 dní a 2458 potenciálních sexuálních predátorů. Radikální experiment otevírá tabuizované téma zneužívání dětí na internetu. Tři dospělé herečky s dětskými rysy se vydávají na sociální sítě, aby v přímém přenosu prožily zkušenost dvanáctiletých dívek online. Ve věrných kopiích dětských pokojů chatují a skypují s muži, kteří je na netu aktivně vyhledali a oslovili. Drtivá většina těchto mužů požaduje sex přes webkameru, posílá fotky svých penisů a odkazy na porno. Děti jsou dokonce vystaveny vydírání. Dokumentární film Barbory Chalupové a Víta Klusáka vypráví strhující drama tří hrdinek alias „dvanáctiletých dívek”, pro které se účast na experimentu, od castingu až po osobní schůzky s predátory pod dozorem ochranky, stává zásadní životní zkušeností. Predátorské taktiky se postupně obracejí proti svým strůjcům: Z lovců se stávají lovení.(Aerofilms) V síti Filmové Novinky, V síti celý film Cesky, V síti Filmové premiéry, V síti celý film cz dabing, V síti zkouknito, V síti sleduj filmy, V síti online cz titulky, V síti Program filmy, V síti CZ HD Film o filmu, V síti CZ dabing, V síti premiéra, V síti online cz, V síti online cz dabing, V síti Zadarmo, V síti Celý Film, V síti Titulky, V síti nový film, V síti DVD filmy, V síti Blu-ray filmy, V síti 3D filmy, V síti online bombuj, V síti online cely film, V síti online ke shlednuti, V síti cz dabing online ke shlednuti, V síti online, V síti online film cz, V síti Bombuj, V síti bombuj cz, V síti online ke shlédnutí, V síti celý film Cesky, V síti celý film zdarma ke shlédnutí, V síti celý film cz dabing, V síti zkouknito, V síti sleduj filmy, V síti online cz titulky, Definition and definition of film / film 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 minor characters with few roles in the film. This differs from the main actors, who have larger and more roles. As an actor and actress, good acting talent must be required that corresponds to the subject of the film in which he plays the leading role. In certain scenes, the role of the actor can be replaced by a stunt man or a stunt man. The existence of a stuntman is important to replace the actors who play difficult and extreme scenes that are usually found in action-action films. Movies can also be used to deliver 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 person that are visualized in the film. The film itself is mostly fictional, though some are based on actual stories or on a true story. There are also documentaries with original and real images or biographical films that tell the story of a character. There are many other popular genre films, from action films, horror films, comedy films, romantic films, fantasy films, thriller films, drama films, science fiction films, crime films, documentaries and others. This is some information about the definition of film or film. The information has been cited from various sources and references. Hope it can be useful. ❍❍❍ TV FILM ❍❍❍The first television shows were experimental, sporadic programs that from the 1930s could only be seen at a very short distance from the mast. TV events such as the 1936 Summer Olympics in Germany, the crowning of King George VI. In Britain in 19340 and the famous launch of David Sarnoff at the 1939 New York World’s Fair in the United States, the medium grew, but World War II brought development to a halt after the war. The 19440 World MOVIE inspired many Americans to buy their first television, and in 1948 the popular Texaco Star Theater radio moved to become the first weekly television variety show that hosted Milton Berle and earned the name “Mr Television” demonstrated The medium was a stable, modern form of entertainment that could attract advertisers. The first national live television broadcast in the United States took place on September 4, 1951, when President Harry Truman’s speech at the Japanese Peace Treaty Conference in San Francisco on AT & T’s transcontinental cable and microwave relay system was broadcasting to broadcasters in local markets has been. The first national color show (the 1954 Rose Parade tournament) in the United States took place on January 1, 1954. For the next ten years, most network broadcasts and almost all local broadcasts continued to be broadcast in black and white. A color transition was announced for autumn 1965, in which more than half of all network prime time programs were broadcast in color. The first all-color peak season came just a year later. In 19402, the last holdout of daytime network shows was converted to the first full color network season. ❍❍❍ formats and genres ❍❍❍ See also: List of genres § Film and television formats and genres TV shows are more diverse than most other media due to the variety of formats and genres that can be presented. A show can be fictional (as in comedies and dramas) or non-fictional (as in documentary, news, and reality television). It can be current (as in the case of a local news program and some television films) or historical (as in the case of many documentaries and fictional films). They can be educational or educational in the first place, or entertaining, as is the case with situation comedies and game shows. [Citation required] A drama program usually consists of a series of actors who play characters in a historical or contemporary setting. The program follows their lives and adventures. Before the 1980s, shows (with the exception of soap opera series) generally remained static without storylines, and the main characters and premise barely changed. [Citation required] If the characters’ lives changed a bit during the episode, it was usually reversed in the end. For this reason, the episodes can be broadcast in any order. [Citation required] Since the 1980s, many FILMS have had a progressive change in the plot, characters, or both. For example, Hill Street Blues and St. Elsewhere were two of the first American prime time drama television films to have this kind of dramatic structure [4] [better source required], while the later MOVIE Babylon 5 further illustrated such a structure had a predetermined story about the planned five season run. [Citation required] In 2020, it was reported that television became a larger part of the revenue of large media companies than the film. Some also noticed the quality improvement of some television programs. In 2020, Oscar-winning film director Steven Soderbergh declared the ambiguity and complexity of character and narrative: “I think these qualities are now being seen on television and people who want to see stories with such qualities are watching TV. ❍❍❍ Thanks for everything and have fun watching❍❍❍ Here you will find all the films that you can stream online, including the films that were shown this week. If you’re wondering what to see on this website, you should know that it covers genres that include crime, science, fi-fi, action, romance, thriller, comedy, drama, and anime film. Thanks a lot. We inform everyone who is happy to receive news or information about this year’s film program and how to watch your favorite films. Hopefully we can be the best partner for you to find recommendations for your favorite films. That’s all from us, greetings! Thank you for watching The Video Today. I hope you like the videos I share. Give a thumbs up, like or share if you like what we shared so we are more excited. Scatter a happy smile so that the world returns in a variety of colors. ”

[on-the-shelves]

on my shelf: soundtrack to my fourth year of uni - summer

I’m finally done with my Bachelor’s thesis! I might make a separate, more detailed post about it, since the topic is relevant for what this blog is about (of course it is haha), but for now I can say my topic was an analysis of the use of elements from the “Pop-Star-System” in building up a girlgroup career. I looked at the history of Pop-Stars and analysed the album covers of the Supremes’ first two albums, as well as the Spice Girls and Girls’ Generation’s first albums/physical releases. It was a lot of work, but I really enjoyed the topic. Oh and if anyone was wondering, I’m doing a Media Studies degree, which is why I could tackle such a cool topic.

Anyway! So working on my thesis took up my entire summer semester because I luckily didn’t have any classes left to attend, so I was thankfully spared the whole online class ordeal. The music I mentioned in my last post (”Quarantunes”) has mostly stayed on repeat in the past few months. Besides an ever steady stream of BTS, there are a couple of new things to add to the list:

Tomorrow X Together: The Dream Chapter: Eternity (2020)

Now THIS is the release I’ve been waiting for from them. Their previous album had one song that had a co-writing credit for one of the members (Hueningkai on “Rollercoaster”), but this album has more! We’re finally starting to hear their writing talents more. “Maze in the Mirror” was written/demo’ed entirely by one member (Beomgyu) and in the process of preparing it for this release the other members also wrote parts. It’s a beautiful, melancholic, and dynamic song that I can highly recommend for listening to before going to sleep. The lyrics talk about how unsure they felt before debuting. I can’t wait to hear more songs where they talk about their personal experiences, because clearly they’re good at it. In general this album is much darker than their previous two releases and they suit them well. The songs are more varied, too: You have the classic TXT style opening song, but the lead single “Can’t You See Me?” is full of angst, which is new for them. “PUMA” is like dark R&B, while “Fairy of Shampoo”, a reworked cover of a popular 1990s Korean song, is more city-pop. And then you have “Eternally” which reminded me of twenty one pilots’ “Ode to Sleep” in the way it completely changes up its style several times throughout the song. It’s all coherent and flows well from top to bottom though, and I think they’re well on their way to carving their own niche in the saturated and often same-same (k-) pop landscape.

Agust D: D-2 (2020)

He finally came back. SUGA of BTS last released a mixtape under his solo moniker Agust D in 2016. That one was very dark, brazen at times, and incredibly open and honest about his struggles, ending on a note of hoping that things will get better. This follow-up release makes it clear that Agust D has become a slightly different person in the past few years. He’s still brazen at times, but he has good reason to be, looking at how incredibly successful BTS has become since 2016. As always, he makes fun of those who decide to be haters but cleverly never gets too specific - if you feel attacked, that’s on you. There is a lot of introspection on this album too. It’s generally much less defeated or dark than on the 2016 self-titled release, but it’s still not all sunshine and rainbows. His problems have morphed -  he has now achieved his dreams, but it’s not quite what he expected it to be. There are a lot of thoughts about dreams, about what it means to grow up, about what his position in the world means and feels like. That sounds like it’s very focused on himself and might be inaccessible to us non-famous people, but that’s absolutely not the case. A lot of it are quite mundane questions that everyone asks themselves in their 20s, like “what am I doing with my life?” and “what kind of person am I really?”. He makes it clear that he doesn’t have the answers, but he somehow makes you feel comforted in that uncertainty. The musical style is more like current hip-hop, where Agust D was more like harder, older hip-hop, but retains his (especially recent) typical, very melodious style, with him even singing some choruses. There are various styles and interesting production choices that make for a varied, but cohesive listening experience. 

Hayley Williams: Petals for Armor (2020)

I mentioned this album in the “Quarantunes” post as well, but the full album was released after that went up, so it deserves another mention here. This album tells a story of an emotional journey towards healing, without ever getting preachy or feeling insincere. In several interviews Hayley mentions her therapy journey and learning to deal with her trauma and how this album helped with that. Listening to all the songs in order, a journey of self-discovery, -acceptance, and -empowerment is laid out. All these things are typically found in little things and learning to change your perspective. It’s Hayley’s most feminine work yet, in the sense that she’s embracing all of her different aspects: the delicate, the powerful, the rage, the love. Everything is wrapped in sounds inspired by Alternative music, but more, as said before, the Björks, Radioheads, and synth-y 80s artists, instead of loud guitar bands. My favourite songs are “Crystal Clear”, “Roses/Lotus/Violet/Iris”, “Over Yet”, “Cinnamon” and “Simmer”.

IU: Palette (2017)

When it was announced that IU and SUGA from BTS (two of the most popular artists in Korea) would release a collab song, I decided to check out her (IU’s) music more intensely, because I only knew one or two of her songs from the Dalkom Café playlist on Spotify. One of them is on this album, “Palette (ft. G-Dragon)”. This album, to me, best encapsulates IU’s sound: from heartbreaking ballads to satisfying light K-R&B, to slightly darker, groovy K-R&B (I think that’s the right genre term..), this one has them all. I’m not the biggest fan of ballads, but I enjoy IU’s voice so much that I don’t mind listening to them at all. I really love it, however, when she leaves that style behind for the slightly darker, or at least more pop sounds, like on “Palette”, but especially on “Jam Jam” and “Black Out”. She has a certain attitude on those songs that are slightly opposite of the pure, innocent image I previously had of her. It seems very sincere though, most likely because she writes on all of her songs. She has been utilising this style more often in recent years, on songs like “Bbibbi” and “Blueming” (both certified bops). “Eight”, the collab with SUGA, is an uplifting, yet bittersweet feeling pop anthem that almost feels like it could’ve been just a little bit longer. I’ll probably dive deeper into her lyrics soon and I’m excited for what I will find.

Sunmi: Warning (2018)

Last summer, Sunmi released the single “Lalalay” and I immediately loved it. I learned the choreography pretty much the week after I heard it the first time. Unfortunately, she didn’t seem to have much other music on her Spotify page though, just a couple of older singles (which I also immediately loved). This year she released “pporappippam” (which is basically the romanization of the Korean title which translates to Purple Night), a bittersweet, nostalgic, summer pop song, like only Sunmi can do. Seriously, no one else in K-Pop is releasing music like hers, and they probably don’t even dare to try. For those who don’t know, she used to be in one of the historically most popular girlgroups Wonder Girls. But besides that, she has been releasing her own style of pop since she started releasing solo music and Warning (which they must’ve only recently put on Spotify in full) is a pretty good encapsulation of that sound. It’s almost like a mix between K-Pop and K-R&B, but more like IU’s moodier songs for example. It’s not flashy and sparkly, but it’s not full-on groove either. It’s a bit of both and it works perfectly for her. 

--

Special mentions for new albums I haven’t listened to that much but do enjoy a lot: HAIM’s Women in Music Part III, Irene&Seulgi’s Monster, Taylor Swift’s folklore (released like a week before this post is published but it’s undeniably good and will get a longer write-up when I’ve had more time with it), Loona’s discography

#on my shelf #txt #agust d #hayley williams #iu #sunmi #music

[voltron-band]

Pitch & Signature

(Interview)

Albums In Depth: today we talk to Voltron about their first and only album Sashimi.

Opening the album is the song Firefighter, also the title of your first ever release, an EP, and one of your more popular songs. Tell us what the song is about.

Hunk: Keith wrote this one.

Keith: I don’t want to talk about it.

Lance: Come on Keith, you gotta answer the question!

Keith: No.

Alright then, let’s move on. The next song is a track called To Bloom, what’s that all about?

Pidge: I’ll answer this if you don’t mind. This is a song I myself wrote, and its about growth. I was browsing the internet one day and I found this video where someone had timelapsed the growth of fungus and it really caught my imagination, y’know. So I went to my keyboard, hooked it up to my iPad and just started playing around while I was on the inspiration high. Then I wrote the lyrics and showed the rest of the band what I’d been working on. That’s how To Bloom was born.

Could you tell us a little more about the lyrics?

Pidge: I’d rather leave the lyrics up to interpretation, but again the song is about growth.

Nasty is the next song on the album and has quite the chaotic sound to it.

Keith: I was angry. I just wanted to vent and make as much noise as possible; thats a song now.

Next on the tracklist is Bright Blue, could you give a little insight into this song?

Lance: This one was mostly me. I don’t really know how to explain the song, it kind of just came to me and used my body as a vessel. That happens sometimes.

Moving on to the title track Sashimi. First, however, Is there a reason why your album is called Sashimi?

Hunk: We actually named it as an ode to Shiro.

Lance: His favourite food is sashimi, so we figured, why not name it that?

Pidge: The song is also about Shiro, its one of the only songs we really worked together on.

Hunk: Probably because we all love Shiro.

Lance: Right you are.

In The Forest is the only instrumental song on your album, and is quite different from the more acoustic feel of the album. Could you shed a bit more light on this?

Pidge: I’m proud to say I wrote this entire song myself after taking a walk through the bush. I’m not normally one to do that sort of thing but it was raining and I had nothing else to do. I surprisingly enjoyed that walk. Anyway I think the fresh air helped my creative spirit or something cause next thing I know Ive written a song.

The next song on the album is Take It Out.

Lance: Another McClain song! I actually wrote this one quite a while ago after my mom told me to take out the rubbish. The song tells the story of a young person living in the modern day. I don’t know how my mom telling me to take out the rubbish inspired a song, but the world works in mysterious ways I guess.

Pidge: Yeah but did you take out the rubbish?

Lance: Wh- of course I did! I’m not rude.

Disconcerting is next on the list. Input?

Lance: ‘Why does this feel so...’

Hunk: *mimics drum roll*

Lance: ‘Disconcerting!’

Keith: Output.

We’re almost there. Spaceship is the next track.

Lance: Ahh yes. I like to call this one the Keith Has An Existential Song.

Keith: Shut up.

Pidge: In this house we love and appreciate space.

The second last track is Underwater, and describes a scene at a beach.

Lance: I just really love the ocean. Mind you I don’t love it so much that I’d encourage Global warming. I do love it though. I had an image in my head of this beach I always used to go to when I was little that owns a special place in my heart.

Last but not least; Sweet. Why’d you choose to close with this song?

Hunk: I thought it would be nice to finish with something, well, nicer. Not that the other songs aren’t nice, its just that this one is less... unhappy.

Keith: And we agreed with Hunk. End of story.

That was Voltron on their album Sashimi.

#voltron #voltron band #voltron band au #vld #keith #keith kogane #hunk #hunk garret #pidge #pidge gunderson #lance #lance mcclain #voltron au

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Obsah: 3 herečky, 3 pokojíčky, 10 dní a 2458 potenciálních sexuálních predátorů. Radikální experiment otevírá tabuizované téma zneužívání dětí na internetu. Tři dospělé herečky s dětskými rysy se vydávají na sociální sítě, aby v přímém přenosu prožily zkušenost dvanáctiletých dívek online. Ve věrných kopiích dětských pokojů chatují a skypují s muži, kteří je na netu aktivně vyhledali a oslovili. Drtivá většina těchto mužů požaduje sex přes webkameru, posílá fotky svých penisů a odkazy na porno. Děti jsou dokonce vystaveny vydírání. Dokumentární film Barbory Chalupové a Víta Klusáka vypráví strhující drama tří hrdinek alias „dvanáctiletých dívek”, pro které se účast na experimentu, od castingu až po osobní schůzky s predátory pod dozorem ochranky, stává zásadní životní zkušeností. Predátorské taktiky se postupně obracejí proti svým strůjcům: Z lovců se stávají lovení.(Aerofilms)

V síti Filmové Novinky, V síti celý film Cesky, V síti Filmové premiéry, V síti celý film cz dabing, V síti zkouknito, V síti sleduj filmy, V síti online cz titulky, V síti Program filmy, V síti CZ HD Film o filmu, V síti CZ dabing, V síti premiéra, V síti online cz, V síti online cz dabing, V síti Zadarmo, V síti Celý Film, V síti Titulky, V síti nový film, V síti DVD filmy, V síti Blu-ray filmy, V síti 3D filmy, V síti online bombuj, V síti online cely film, V síti online ke shlednuti, V síti cz dabing online ke shlednuti, V síti online, V síti online film cz, V síti Bombuj, V síti bombuj cz, V síti online ke shlédnutí, V síti celý film Cesky, V síti celý film zdarma ke shlédnutí, V síti celý film cz dabing, V síti zkouknito, V síti sleduj filmy, V síti online cz titulky, Definition and definition of film / film 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 minor characters with few roles in the film. This differs from the main actors, who have larger and more roles. As an actor and actress, good acting talent must be required that corresponds to the subject of the film in which he plays the leading role. In certain scenes, the role of the actor can be replaced by a stunt man or a stunt man. The existence of a stuntman is important to replace the actors who play difficult and extreme scenes that are usually found in action-action films. Movies can also be used to deliver 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 person that are visualized in the film. The film itself is mostly fictional, though some are based on actual stories or on a true story. There are also documentaries with original and real images or biographical films that tell the story of a character. There are many other popular genre films, from action films, horror films, comedy films, romantic films, fantasy films, thriller films, drama films, science fiction films, crime films, documentaries and others. This is some information about the definition of film or film. The information has been cited from various sources and references. Hope it can be useful. ❍❍❍ TV FILM ❍❍❍The first television shows were experimental, sporadic programs that from the 1930s could only be seen at a very short distance from the mast. TV events such as the 1936 Summer Olympics in Germany, the crowning of King George VI. In Britain in 19340 and the famous launch of David Sarnoff at the 1939 New York World’s Fair in the United States, the medium grew, but World War II brought development to a halt after the war. The 19440 World MOVIE inspired many Americans to buy their first television, and in 1948 the popular Texaco Star Theater radio moved to become the first weekly television variety show that hosted Milton Berle and earned the name “Mr Television” demonstrated The medium was a stable, modern form of entertainment that could attract advertisers. The first national live television broadcast in the United States took place on September 4, 1951, when President Harry Truman’s speech at the Japanese Peace Treaty Conference in San Francisco on AT & T’s transcontinental cable and microwave relay system was broadcasting to broadcasters in local markets has been. The first national color show (the 1954 Rose Parade tournament) in the United States took place on January 1, 1954. For the next ten years, most network broadcasts and almost all local broadcasts continued to be broadcast in black and white. A color transition was announced for autumn 1965, in which more than half of all network prime time programs were broadcast in color. The first all-color peak season came just a year later. In 19402, the last holdout of daytime network shows was converted to the first full color network season. ❍❍❍ formats and genres ❍❍❍ See also: List of genres § Film and television formats and genres TV shows are more diverse than most other media due to the variety of formats and genres that can be presented. A show can be fictional (as in comedies and dramas) or non-fictional (as in documentary, news, and reality television). It can be current (as in the case of a local news program and some television films) or historical (as in the case of many documentaries and fictional films). They can be educational or educational in the first place, or entertaining, as is the case with situation comedies and game shows. [Citation required] A drama program usually consists of a series of actors who play characters in a historical or contemporary setting. The program follows their lives and adventures. Before the 1980s, shows (with the exception of soap opera series) generally remained static without storylines, and the main characters and premise barely changed. [Citation required] If the characters’ lives changed a bit during the episode, it was usually reversed in the end. For this reason, the episodes can be broadcast in any order. [Citation required] Since the 1980s, many FILMS have had a progressive change in the plot, characters, or both. For example, Hill Street Blues and St. Elsewhere were two of the first American prime time drama television films to have this kind of dramatic structure [4] [better source required], while the later MOVIE Babylon 5 further illustrated such a structure had a predetermined story about the planned five season run. [Citation required] In 2020, it was reported that television became a larger part of the revenue of large media companies than the film. Some also noticed the quality improvement of some television programs. In 2020, Oscar-winning film director Steven Soderbergh declared the ambiguity and complexity of character and narrative: “I think these qualities are now being seen on television and people who want to see stories with such qualities are watching TV. ❍❍❍ Thanks for everything and have fun watching❍❍❍ Here you will find all the films that you can stream online, including the films that were shown this week. If you’re wondering what to see on this website, you should know that it covers genres that include crime, science, fi-fi, action, romance, thriller, comedy, drama, and anime film. Thanks a lot. We inform everyone who is happy to receive news or information about this year’s film program and how to watch your favorite films. Hopefully we can be the best partner for you to find recommendations for your favorite films. That’s all from us, greetings! Thank you for watching The Video Today. I hope you like the videos I share. Give a thumbs up, like or share if you like what we shared so we are more excited. Scatter a happy smile so that the world returns in a variety of colors. ”

#V síti #V síti Celý Film #V síti CZ