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#chekhov draws critical role
thechekhov · 2 years
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Pondering her orb........................
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Have you ever written fan comics of this scale for any other fandom? What other fandoms do you participate in?
Not of this scale, but I have written tons of comics for other fandoms in general. If you look at my main blog, @thechekhov you can find them pretty easily.
My main fandoms right now are Critical Role and The Locked Tomb and I think that's what I've drawn the most comics for?
The tag to search for it is literally just #chekhov draws critical role
And there's tons of TLT stuff as well. #chekhov draws tlt
There's more deeper in there. I think the closest I've come to creating a longer form comic was making the Mighty Neintales AU for Critical Role? But that's more like a series of connected short comics than a long one.
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stevishabitat · 4 years
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“These are the perils of working from home,” mutters David Tennant, typing into his phone, filmed by his computer and watched, bemusedly, by me.
The 49-year-old actor has been texting, intermittently and apologetically, throughout our Zoom call. One of his five children (aged 18, nine, seven, four and eight months) has returned to school, and it seems pickup arrangements have been miscommunicated.
Tennant’s correspondent – I assume it is his wife, Georgia – is messaging from inside the house; Tennant is in the garden, his long lockdown locks pushed back into a Beckham-style headband. Over yonder, he gestures off-camera, a homeschooling lesson is under way: “I came outside to avoid the maths.”
Yet Tennant seems to have embraced the realities of home life, with two BBC projects drawing on his experience of raising a family. In the meta, of-the-moment series Staged, he and Georgia play versions of themselves in lockdown in their Chiswick home, while There She Goes (which returns for a second series tomorrow) captures an oft-unspoken truth about parenting, says Tennant: that “it’s sort of a slog”.
Coupled with doing interviews from his garden – Tennant tips his camera to show me Myrtle the cockapoo, flopped at his feet – it offers a surprising glimpse into the family life of an actor who has previously been reluctant to reveal any of it.
“We’re not quite as squeamish as we were,” he agrees, not least because his eldest son, Ty, is now also an actor. “I don’t think we’ll ever be sharing pictures of our children in Hello! magazine, but I think a lot of that comes from an insecurity about being uncovered or invaded. The longer you’re together, the less that feels like a threat.”
Tennant met Georgia (then Moffett) in 2008 on the set of Doctor Who – her father is a former Doctor, Pete Davison. “As our relationship was born out of people trying to stick lenses through windows, it’s taken us a long time to slough off that residual nervousness about sharing anything.”
These days, their guard is low enough for Georgia to post on Instagram a shot of herself breastfeeding – and to rail against Mark Zuckerberg when the image was removed by Facebook for breaching community standards (“I’ll come round there and squirt you in the eye”).
But, Tennant adds: “It’s still important to us that the characters in Staged are not us,” “David” being “more pathetic” than Tennant and “Georgia” more indulgent of him. “We’re not telling the actual story of our private life.”
There She Goes, however, he praises as scrupulously honest. The comedy stars Tennant and Jessica Hynes as parents of a child with a severe learning disability, based on the experience of the writers Shaun Pye and Sarah Crawford with their daughter, who was born with an extremely rare (and still undiagnosed) chromosomal disorder.
Tennant plays Simon, the character Pye based on himself: a loving but somewhat hapless father, always out to foist young Rosie on to his wife so he can head down the pub. Tennant says he tried to catch Pye out on set: “I’d go: ‘This bit we’re doing today – that didn’t really happen, did it?’ And everything is true.”
The first series was widely praised for refusing to sugarcoat the realities of parenting and marriage, while still finding moments of sweetness. Hynes won a Bafta for her turn as Emily, Rosie’s harried but devoted mum who, in a low moment, admits to struggling to love her newborn.
Simon, meanwhile, leans on booze and dark humour. There She Goes can be an undeniably uncomfortable watch. But the dual narratives of each episode – switching between a challenging but joyful time for the family and a more desperate early one – provide relief and perspective.
Tennant considers the series a mainstream comedy. Yet there had been trepidation within the BBC about how it would be received, he says, “because it lacked a certain sentimentality and political correctness – there was a real fear”. He disdainfully recalls a journalist at the press launch playing devil’s advocate, warning of a coming “shitstorm”: “He said: ‘You are going to be destroyed for putting this on television.’ We all hoped he was wrong – but we feared that he might be right.” And this was after the huge critical success of the police drama Broadchurch, which might easily have convinced Tennant he could do no wrong.
The casting of a non-disabled actor as nine-year-old Rosie – who is non-verbal, with the mental age of a toddler – was one sensitivity, says Tennant. The possibility of casting an actor with a learning disability had been explored, he says, “because, of course, that’s a live issue and one that has to be rightly unpicked”. But the demands of the role were found to be too great for a young actor with a disability. “Anyone who appreciates the kind of challenges that a child like Rosie would have doesn’t doubt that it would not really have been possible.”
Miley Locke, who is now 11, was “an incredible find”, says Tennant, praising her as nimble and uninhibited in a challenging role. Locke has met Jo, on whom Rosie is based, and has “an incredible capacity to find the truth of that character”, he says. “She’s also very game – I’m endlessly having to pick her up and fling her about and yank her around …”
Any parent will identify with “that constant sense that you’re falling short”, he says – now, perhaps, more than ever. A scene in which Emily tries desperately to work in the face of Rosie’s demands has taken on new relevance during lockdown. “Well, quite,” says Tennant, while texting in response to the latest news from Georgia. “Erm. Sorry …”
A big part of the challenge of shooting Staged was finding moments when the children were “either asleep or quiet”, but Tennant counts himself as “phenomenally fortunate” to have had the work, given how acting has been affected by the pandemic. This October, he was due to appear in CP Taylor’s play Good; that now seems unlikely.
Even when theatres are able to reopen, Tennant does not foresee audiences flocking back, “to sit there watching three hours of Chekhov as someone coughs all over them”. The impact on British culture could be catastrophic, he fears, even for institutions such as the National Theatre and the Royal Shakespeare Company. “It’s a huge bill just to keep those buildings running … We could be left with a cultural scene that’s vastly changed, and that’s a huge part of who we are as a nation.
“Even if the theatre is of no interest to you, even if it feels like an elitist playground, it’s places like that that all the other creative industries feed off,” he says, adding that the arts make a significant contribution to the UK economy – nearly £11bn in 2016, more than agriculture.
Tennant’s career first developed in theatre. As a teenager in Paisley, the son of a Presbyterian minister, he became one of the youngest students at the Royal Scottish Academy of Music and Drama. Even as his work in television and film has taken off, Tennant continues to be a regular on stage, especially with the RSC.
It faces a “titanic problem” in the pandemic, he says, having furloughed 90% of its staff. Government intervention is needed to support theatres until they can reopen, he says, but he is sceptical of it materialising. “If one felt more inclined to trust this government, one might relax, but they haven’t exactly covered themselves in glory thus far.” In fact, since I spoke to Tennant, the government has promised the arts and heritage sectors a rescue package worth £1.57bn, which the playwright and funding advocate James Graham described as “surprisingly ambitious”.
A longtime Labour supporter, Tennant appeared in an election broadcast in 2015 before becoming disillusioned with Jeremy Corbyn’s leadership (to summarise various diplomatic responses to interviewers). Asked if he was a fan of Corbyn in 2017, he said he was a fan of the party – although its ambivalent position on Brexit (which Tennant has called a “shitshow”) was a sticking point.
Before last year’s general election, he said he was not even sure if he would vote for Labour. He did – to return Ruth Cadbury to her Brentford and Isleworth seat: “And, also, what was the actual alternative?”
He admits he found Labour’s defeat and the postmortem “disappointingly predictable”, although he still struggles to fathom how so many red seats turned blue. “How do you go from ever being a Labour supporter to supporting Boris Johnson?” he asks, dumbfounded.
He expresses some limited sympathy for politicians handed a pandemic when they thought they “were only going to have to talk about Brexit”. “But if you choose a cabinet purely to surround yourself with people who won’t disagree with you, you’re not necessarily getting the greatest brains in the country,” he says, although a caveat is quick in coming. “One might postulate, were that to be the case, and I’m not for a minute suggesting it is …”
Last year, Tennant singled out Michael Gove’s call for “enough of experts” as a “political lowpoint”. That attitude has had deadly consequences during the pandemic, I suggest. Now the government is “hiding behind them”, he agrees – “selectively, of course. If the experts then say: ‘We told them not to do that,’ suddenly they’re evil again.”
He shakes his head in despair. “Ugh! It’s a very sad state of affairs. Remember when there used to be clever people? When you look back on David Cameron and George W Bush with some kind of sentimentality, you think: ‘Jesus – how low have we plummeted, when they look like better options than what we’ve got currently?’”
Under Keir Starmer, Tennant says Labour “are looking a lot stronger”: “We’ve got a clever grownup in the room, which makes the other side look as ridiculous as they are. Let’s hope he can fulfil his early promise.”
Tennant has said he was inspired to act by watching Doctor Who at the age of three. When he was cast as the 10th incarnation of the Doctor, in 2005, he quipped that the first line of his obituary was written. Ten years since ceding the role to Matt Smith, Tennant remains as connected as ever to the programme, recording a new Doctor Who audio drama while in lockdown. “It’s a nice show to be associated with, because people feel kindly towards it,” he says. “You may not be a fan, but it sort of sits there in the cultural firmament. As a nation, I think we’re quite proud of it.”
Unlike many vehicles for British nostalgia, the malleability of the format has allowed Doctor Who to move with the times, he thinks. “It absolutely comes with all that nostalgic goodwill, but it also manages to live in the moment.
“It felt like a very different show in 2005 than it did in 1963, but it also has that link to the past – which is a positive, rather than preserving it in aspic in any way.” And the Doctor, defined by his (or her) kindness, a peaceful champion of the underdog, is “a wonderful character to aspire to. It’s about being the cleverest person in the room, not the strongest.”
Tennant, meanwhile, remains in his garden, the school pickup plan no more clear for all the messages sent back and forth over the threshold. “Probably would have been quicker just to go and have a conversation,” he says, cheerily. “But less fun for you, obviously.”
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vileart · 7 years
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Hunger Dramaturgy: Sinking Ship @ Edfringe 2017
Kafka’s Irresistible Puppet Master
Physical theatre company Sinking Ship Productions has won widespread praise for their stage version of Kafka’s A Hunger Artist, which they are bringing to the Edinburgh Festival Fringe.
In the title role, Lecoq-trained performer and puppeteer Jonathan Levin is giving “possibly the best solo performance of the year” (New York Irish Arts). 
What was the inspiration for this performance?
It was equal parts frustration with the direction of live performance in the US and a soft spot for Kafka. I miss the old vaudeville presentational stuff, with red curtains, footlights, and over-the-top theatrical gestures, so I thought why not use Kafka’s story about the death and decline of Hunger Artists to also talk about the death and decline of that kind of theatricality. 
And at the same time use things like miniature “toy theatre” (which were big in the 1800s), travelling vaudeville trunks, and red curtains to tell the story.
Is performance still a good space for the public discussion of ideas?
It’s certainly better than a comment board.
The main limitation, I think, on the relevance of performance is that it reaches a finite and relatively small number of people. But when done well, it is still one of the most visceral, empathetic art forms. Maybe “empathy” is a strange way to answer a question about ideas, but it’s essential to understanding. 
The audience is required to participate in the act of imagination, or you don’t have a show. So it’s never passive. And you are in a group, almost always. You can’t sit at home and watch alone, and there’s no screen mediating between you and the performer. 
In a world that feels increasingly lacking in empathy, performance feels absolutely necessary.
How did you become interested in making performance?
There were a couple of shows I saw that really blew my mind at various points in my life, and I think I’m still trying to process/recreate those experiences: Mabou Mines’ Peter and Wendy, Pig Iron’s Chekhov Lizardbrain, and a puppet company called Wakka Wakka. 
Each one had this incredible sense of magic, imagination and theatricality that I’ve been striving to find my own flavour of… Maybe we’re all just chasing the theatrical dragon so to speak.
Is there any particular approach to the making of the show?
We went into this project with some major storytelling limitations, namely: how can we adapt this story about an ascetic performance artist who spends most of his time inside a cage in a theatrically dynamic, constantly surprising way using only one performer? 
And the more we began to translate the piece into a series of contained character bits/clowning set pieces the more we found ourselves navigating even more self-imposed limitations and conventions. 
But these sort of artistic boundaries, while restricting, encourage a tremendous sense of play and problem solving in a room that was basically working through absurdist trial and error.
The piece was built collaboratively, with the three core company members being performer Jonathan Levin, writer Josh Luxenberg, and director Joshua William Gelb. We worked together from the start to pull apart Kafka’s story, find the theatrical translation, and create the staging. Playing off each other allowed us to create an intricate, interconnected work.
Does the show fit with your usual productions?
In a way, it’s a distillation of Sinking Ship’s work. All our other shows have been large casts - and too big to travel with. We built this one with Edinburgh in mind. 
Of course - and maybe this is a hallmark of our shows - we find it hard to think small. So we packed a ton of stuff into this (not so little) trunk show. The content of the plays we’ve made has been wildly different. What connects it all is a love of surprise, delight, and inventiveness (especially as an avenue to discussing big or hard ideas and feelings), an emphasis on physical, visual theatre (often with a dose of puppetry), and total integration of every element of performance. 
We believe that anything the audience sees is part of the show, which means we give as much consideration to a scene change as a scene.
What do you hope that the audience will experience?
A Hunger Artist is at its core about the relationship between the performer and the audience. So while this is technically a solo show, the audience plays an integral part. You might even call some moments “participatory” (though if that word gives you pause, don’t worry, it’s not like you’ve seen it before). 
As the trajectory of the Hunger Artist’s career shifts from prestige to anonymity, so to does the audience’s experience shift from the comfort of clown to the inevitably Kafkaesque. The performance, and in particular our central prop, a large theatrical touring trunk, is filled with surprises that will delight, astonish, and perhaps even disturb.
What strategies did you consider towards shaping this audience experience?
Without giving too much away, a portion of the show, as mentioned above, relies on some cleverly guided audience participation. So we’ve spent whole workshops devoted to figuring out what works, what doesn’t, what’s fun, and what’s not, when involving the unpredictable element of the audience on stage. 
We’ve come away with something that seems a little magical, to the point that everyone seems to think the audience participants are plants. They’re not!
In common with Kafka’s celebrated Metamorphosis, the story draws people into a world somehow familiar and yet extraordinarily strange.
    The story opens with an account of how cheering, laughing crowds once flocked to see the hunger artist who starved in a cage for 40 days and 40 nights at a time for their entertainment. 
What then unfolds is a powerful piece of physical theatre mixed with elements of puppetry. The seemingly whimsical nostalgia for a lost art form rapidly transforms into a troubling trip into the nature of memory, art and spectatorship.
Although never explicitly addressed, there is a disquieting sense that the forces, frailties and fascinations Kafka exposed in 1922 were linked to the rise of fascism back then and of far right populism today.
Levin says: “It’s a dark tale, but there is lots of humour which is something we really bring out in the production. We’ve tried to make it very fresh and physical, so there’s always lots going on. New York has been great and now we are looking forward to the biggest challenge of them all – the Edinburgh Festival Fringe.” 
Created collaboratively by Levin, writer Josh Luxenberg, and director Joshua William Gelb, A Hunger Artist is crossing the Atlantic to Edinburgh following its successful run at the historic Connelly Theater in New York’s East Village. It is packed with transformations and there are so many people on the stage that it never has the sense of being a solo show.
A Hunger Artist has further cemented the reputation of the Brooklyn-based Sinking Ship, garnering considerable critical acclaim: "Boisterously funny and chokingly sad,” Blogcritics; “An unflagging sense of theatrical invention, Lighting & Sound America; “Beautifully imagined… full of heart,” Culturebot.
Listings details
•  Theatre
•  Venue: Zoo (Venue 124) 140, Pleasance, EH8 9RR
•  Dates: 4 to 28 August
•  Time: 17:45
•  Duration: 70 minutes 
•  Guidance: None
•  Tickets:  £9 to £11
•  Box office: 0131 662 6892
•  Group: Sinking ShipProductions
from the vileblog http://ift.tt/2u7a3Gt
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frontporchlit · 7 years
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Bolaño Revisited by Jeff Karr
In the weeks after Trump's election I found it difficult to read and write. Art felt strange, futile, maybe even immoral. The country had been suckered by a pervert and a racist who constitutes a serious threat to some of society's most vulnerable populations, and here I was in an MFA program, talking about plot and point of view and the believability and humanity of people who don't exist. I thought about rereading All the Kings Men, like maybe it'd help me identify some faint sliver of humanity in the recently elected führer, but I couldn't get past the first page. Instead, I reread Roberto Bolaño's By Night In Chile. 
This was the right decision. 
Whenever I read Bolaño I'm reminded of a quote from Chekhov's letters: "You are right in demanding that an artist should take an intelligent attitude to his work, but you confuse two things: solving a problem and stating a problem correctly. It is only the second that is obligatory for the artist." 
In his work Bolaño probed his own anxieties and questions about the role of art in a country whose central authority had fallen into chaos and totalitarianism. He was a voracious reader and writer, and yet his work evinces a haunting skepticism of literature and literary culture. 
In By Night in Chile, the narrator, a priest and literary critic, tucks himself away from the violence of the military coup and reads the Greek classics. He writes a review of a novel called White Dove: "I gave it a good review, you might say I hailed it in glowing terms, although deep down I knew it wasn't much of a book." Set against a backdrop of violence and terror, the priest's literary preoccupations come across as grotesque and immoral, an avoidance for which Bolaño seems to believe his narrator should be made to answer. 
Bolaño simultaneously revered and reviled literature, so it's no surprise that some aspects of his work are decidedly unliterary. His sentences are deadpan and often emotionally flatlined. He's not one for metaphor or analogy, and much of his work forsakes such fundamental conventions as paragraph indentation, quotation marks, and page breaks, as though he's trying to distract from the fact that what you're reading is indeed a work of literature. His narrators are often engaged in a kind of secondhand storytelling. They tell stories other characters have told them, and they gain narrative authority by surrendering any pretense of narrative authority.
Embedded in most of Bolaño's work is a mystery concerning the disappearance of a particular writer or artist. In the short story "Last Evenings on Earth" a young man named "B" vacations with his father in Acapulco. He spends much of the trip dwelling on the disappearance of Gui Rosey, a surrealist poet who went missing in Nazi-occupied France. Toward the end of the novel Distant Star, the narrator has moved to Spain and has decided to go in search of a fictional propagandist named Carlos Wieder. When he finds Wieder in a cafe, the narrator turns his attention back to the collected works of Bruno Schulz, the painter and surrealist writer who was shot and killed by a Gestapo officer in Nazi-occupied Poland: "I felt that Wieder’s lifeless eyes were scrutinizing me, while the letters on the pages I was turning (perhaps too quickly) were no longer beetles but eyes, the eyes of Bruno Schulz, opening and closing, over and over, eyes pale as the sky, shining like the surface of the sea, opening, blinking, again and again, in the midst of total darkness. No, not total, in the midst of a milky darkness, like the inside of a storm cloud."
By all accounts Bolaño felt a tremendous sense of guilt about leaving Chile to pursue a life dedicated to poetry. He used his work to grapple with the confluence of emotions this created in him. His allusions to surrealist writers are contrasted with the deadpan realism of his prose. His work calls to mind Theodor Adorno's quote that "there can be no poetry after Auschwitz." For Bolaño, no work of literature could adequately capture the scale of suffering the people of Chile experienced during the coup. This realization led him to reinvent the form of the novel and use it as a space in which he could examine his conflicting thoughts and feelings about literature itself. None of this is to say that literature could ever function as a substitute for meaningful political action. Bolaño certainly didn't feel that way. Right now the United States' defining characteristic might be its burgeoning fascism. The importance of active engagement cannot be overstated, but Bolaño's work can serve as proof that when it comes time to sit down and write, maybe our anxiety about doing so is in and of itself a fruitful resource to draw from. 
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drubblernews-blog · 7 years
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New Post has been published on http://drubbler.com/2017/01/31/paradise-for-selected-konchalovskiy/
"Paradise" for selected Konchalovskiy
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Aleksey Jusev, January 31, 2017, 7:03- REGNUM
the film “Paradise” by Andrei Konchalovsky this month received two big Russian kinopremii Golden Eagle from Nikita Mikhalkov’s Film and “white elephant” Guild of film critics. Previously, the creator of paintings was celebrated in Venice as best Director, but all prizes to enumerate. Nevertheless, Konchalovsky’s latest work is weak, like the overwhelming majority of the rest of his opus, and the figure of the author — bloated not due to high art.
Andrey Konchalovskiy enjoyed great privileges in the USSR as the son of the author of the anthem of the country. Shortly before his departure from the Union in 1980, he got the title of people’s artist of the RSFSR. But life began in Europe — the reason prosecution in emigrant press that Konchalovsky is associated with the KGB. Director, in turn, comments positively on their homeland and the ruling regime there, and even negotiating with Soviet dissidents on the return back. For example, Tarkovsky considered Konchalovsky agent secret service and stopped to chat with him, despite the old friendships. A large part of the creativity of the son of Hollywood Film period is a series of paintings with vague source of funding. American Studio, which created four films, it is not cared about renting tapes Konchalovsky, as it happens, when money is allocated from the outside. The only potential commercial hit — “runaway train” had nominations for the Academy Awards, grossed in theaters less than cost in production. The last Hollywood picture — “Tango and cash” (which received three nominations for the “Golden raspberries”), made at a major film Studio, Director of the project, though left uncredited. In fact, Konchalovsky did not any commercial strips, though he worked in the style of the mass movie. The apotheosis of his effort was “the Nutcracker and the rat King” with a 90-million budget, mostly funded by the Russian Bank VEB, controlled by the State. In the end, the tape failed miserably in the United States, which it alleged was originally oriented (even mice in rats altered to Mickey Mouse does not discredit). According to the results of the American cinema, advertising campaign whose cost in 25 times more than the income received (5 million against 195 thousand), for the “the Nutcracker” was thought up by special nomination in Razzie antipremii entitled “Pluck the eyes».
at home have much things went better Painter than overseas. On his return he took upon himself the role of a liberal Messiah and quoted in the press of Western economists. In 2004-m Director in response to the publication of theses Khodorkovsky nominated their article “Catechism of a revolutionary”. The author debunks misconceptions society that repressive apparatus is bad and that the KGB and other security structures are enemies of mankind. In the same years Konchalovsky shoots documentaries about Yuri Andropov and Heydar Aliyev heads of special services. Despite the sympathy mode, directed by Russian okolokinoshnyh best friend left Liberals, even though his recent interview «Meduze» under the title «beautiful cannot be put at the forefront of human rights, where there is an attempt to justify censorship. “I personally regret that no censorship. Censorship has never been an obstacle to creating masterpieces. Do you think that freedom creates masterpieces? Never. Masterpieces they create restrictions. In creative terms artist freedom gives nothing. Show me these geniuses, which crowd shakes censorship? Yes No such “. in addition, the reader learns that Putin is perfectly knowledgeable world culture Westerner, which Europe did not let to themselves, and not waited.
new picture Konchalovsky “paradise” is devoted to the role of Russian emigrants in the rescue of Jews during the second world war. The theme for the most part artificial, as Mikhail Trofimenkov: least Resistance dealt with the Jewish question, and this is not the only exaggeration authors paintings. For example, if judged according to extermination in concentration camp (10 thousand per day), for the year would have to burn almost twice as many as died in all stoves for the period of the second world war. In another episode mentions about 80 thousand Jews arrested in France for one week, although this figure is close to losses in the country during wartime. Unfortunately, no information about scenaristku “Paradise” Alena Kiselevu, which was directed by: it would be interesting to become better acquainted with creativity of Lesja likeminded Rjabcevoj and alternatively vosprinimavshej the story of the heroine of “Stories” Segal. Though perhaps the Holocaust (indicated by the same Trofimenkovym as “speculative and nepravdopodobnaja) may not be much. This pass not only the world of festivals, but also guarantee the financing of the budget of the project — even where among the main characters no Jew. It is hard to imagine what a thing of “paradise”, in addition to fees and props in the form of hundreds of points. The film is very poor, with little use of props, although it cost the same as “attraction” Bondarchuk. Pre-war Beach scene at Konchalovsky filmed not just cheap, but just for a penny, why give bad vaudeville.
“Paradise” does not exist as a whole cinematic statement. This is a short, five-minute episodes, which are interrupted by scenes of the main characters who speak on camera about her life (derived from the witty “Animal nature” Michel Gondry, but here’s a rough pereinachennyj). In these pieces, the actors give your skill, istoskovavshemusja on a theatrical catwalk and soloist wife filmmaker, better known to the masses as the face of culinary brand. Her character, a Russian princess, came out very contradictory what we cannot say even about changing women. Her actions deprived logic: what it says, being fed on securing German officer, denies it has demonstrated resistance under penalty of death. In his youth, Princess sexy nevozderzhana, if not to say rasputna that organically for decadent Paris, but not for the believers in paradise.
the ideology of one of the main characters, a German officer, unusually for high-ranking Nazis, let and aristocrats. Character values the Stalin and the Communists, which clearly could not get out of his hobby at the youth of Chekhov. Officer draws on clean water caught corrupt Chief of German camps, but nobody cares. In General, as if not about Germany, but about present Russia, directorial justification systematic theft.
in General, the “paradise” Konchalovsky boring more than is incorrect in historical detail. As if the Director did not film, and he decided to fill the Assembly joints the speech of characters (so, for example, have been reported in domestic anime “first squad”). But even in the monologues of the creators cannot remove all single doubles and constantly get gluing. Apparently, even the audience in Paradise bored listening to the characters, and the angels cut their dialogues. But whatever made Konchalovsky, gag “gloss” or himericheskij “Nutcracker”, we have the Director still has the status of sacred cows of merit of half a century ago. Well, what are these cultural society and its idols.
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thechekhov · 2 years
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local goblin mother very proud of her dirt wizard honor student, more at 11
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thechekhov · 2 years
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Hello, I forgot to post this singular doodle I have thus far made for the amazing fic - till human voices wake us by @ariadne-mouse. 
If you love mildly horror-esque, fairytale stories of merfolk and also suffer from the affliction of wanting to walk into the ocean and never come back out, you need to read this.
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thechekhov · 2 years
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Thank you for the ride, Critical Role. 
Song is Ashes by the Longest Johns
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thechekhov · 1 year
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Don’t worry Jester, he won’t leave you again. Though you won’t make it easy...
(for more Mighty Neintales content follow the tag or read it on Tapas)
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thechekhov · 2 years
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The Invitation of Asmodeus into Exandria (cir. 189 Pre Divergence)
Huge thank you to everyone who made EXU Calamity for making me feral enough to do this, and huge thank you also to @saturdaysky​ for teaching me things about colors so that this could turn out the way it did.
Closeups under the cut!
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thechekhov · 2 years
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I cannot believe I’m being enabled like this. They’re giving me everything I want.
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thechekhov · 1 year
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Don’t worry Fjord. All you have to do is evolve it............ 
If you’re curious in more Mighty Neintales comics, check out the tag!
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thechekhov · 1 year
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Rewatching the Xhorhas arc to give myself some energy, decided to doodle to try to shake this weird block I’ve had. 
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thechekhov · 1 year
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Hey, it’s finally finished! I don’t know maybe read it or something.
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thechekhov · 2 years
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I love your Pokemon AU so much. I'm now imagining Frumpkin being a Ditto and the reaction of the party the first time they realize that.
Honestly, I’ve considered the idea before and hadn’t quite settled on it... but now...
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Nothing weird here.
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