Florida (2019)
with another trip to florida on the horizon (pictures to come when that happens!), i thought it would be nice to look back on my last trip. i was gearing up to do my leaving cert in art, so i went with the goal of taking reference photos that i may be able to use when the time came!
(first collage) i believe these photos were taken in a shop at the lost continent at universal! for some reason the dragons caught my eye the most so i decided, no matter what, i'd do my best to incorporate them or at least their poses and shapes into my portfolio as they're very dynamic and interesting.
(second collage) this was the first time i'd seen the horror make-up show, which was both hilarious and informative, which ended naturally in the audience being taken to the gift shop at the end. there were loads of creepy dolls which i personally love, as well as the head of frankenstein— i really do need to watch the classic universal monster movies and write about them here at some point!
(third collage) for me, no trip to orlando is truly complete without popping into ripley's believe it or not. there are so many interesting things to check out! my favourite has to be the two-headed calf, mostly because of the poem a similar oddity inspired.
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the three worst girls since eve - we know the devil collages
[sources under cut]
jupiter
NASA - NASA - NASA and Seán Doran - wktd artbook - fakeyouth - creophagy, angelica alzona - nebula stories, paul juno - handshake, gabalut - shutterstock stock image - HANDS SPEAK SECRETS, sunsbleeding - chacoco - 10 am is when you come to me, louise bourgeois - hand sketch, magsmunroe - wuukasch - neon praying hands, alison ullman - life's anecdote, claine - kirkurada - birds hover the trampled field, richard siken - wasted, marya hornbatcher
venus
nebulous 12, tara andris - broken mirror/evening sky, bing wright - wktd artbook - aurora, jacob böhme - untitled eyes, shawn barber - sandalphon and metatron in their chrysalis, ultrainfinitepit - and the angel said, “DO NOT BE AFRAID.”, katz ripley - frommoon2moon - pinterest - effie lealand - ascending athena, amy judd - pinterest - soapstore - untitled (gabriel's wing), robert longo - pinterest - all EYES on YOU, elena kulikova - wikipedia page for lucifer
neptune
giorgio trovato - wktd artbook - contact, mé - swimming pool iv, margot olde loohuis - rorschach blot 02, wikimedia commons - dendritic drainage pattern, wikimedia commons - julia kadel - unsplash - brush elegy, robert motherwell - pinterest - rough seas near lobster point, robert henri - the great wave off kanagawa, katsushika hokusai - sol tenebrarum: the occult study of melancholy, asenath mason - dripping paint - pinterest - delectable-collectables
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We autistic/adhd/just generally gnc girlies need like a smthcore of our own, thats not the fucking femcel/dirty bedroom/waaaaimsocraaazy whatever thing. I want like little collages of scully, ripley, starling, nancy drew(the raspy voice actress from the herinteractive games), that dumb drama with the cool bones character. Just average looking women with gnc appeal being very private about themselves and being very involved at their jobs and capable-core.
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'Netflix's "Ripley" has arrived. The eight-episode series premiered Thursday on Netflix and is a fresh take on Patricia Highsmith's chameleon-like conman, who the world was first introduced to in her 1955 novel, "The Talented Mr. Ripley."...
Like Anthony Minghella's 1999 sun-dappled adaptation, which starred Matt Damon in the central role, and the French take on the story "Purple Noon" released in 1960, "Ripley" follows the titular grifter (Andrew Scott) as he ingratiates himself into the life of two wealthy Americans living la dolce vita on a never-ending vacation in Italy.
Critics have praised the series, citing its striking film noir visuals and compelling cast performances. But for some, the pacing of the show is an issue; the slow, almost languid nature of the episodes (the longest of which clocks in at 76 minutes) means it's not necessarily one you could — or should — sit down and binge in one go.
As many critics have pointed out, "Ripley" indulges in every minute of its almost eight-hour run time. It may take a few episodes to engross audience members, but it's well worth the ride.
The Financial Times' Dan Einav noted that the series "takes its time to establish each location with a scene-setting collage of images," pointing out "wonderful details like the liver-spotted hand of a bus driver shifting gear to climb up towards Dickie's village and the bubbles of champagne in Ripley's glass as he acclimatises to a new life."
"The careful mapping of Tom's every move, whether in furtherance of his deceit or the covering up of his crimes, allows the tension to mount exquisitely," Lucy Mangan wrote for The Guardian.
"This kind of meticulous artistry deserves equally attentive viewing," Lena Wilson argued for IGN, adding: "Despite streaming in full on Netflix, 'Ripley' works best when watched in moderation."
However, Aramide Tinubu, writing for Variety, disagreed, arguing that "the episodes are painfully overlong and full of dead space."
"'Ripley' unfolds too slowly — as the trail of events attracts the attention of an Italian detective (Maurizio Lombardi) — while creating the risk that some people will bail out before the series reaches the good stuff," CNN's critic Brian Lowry stated.
In her review of the series for BBC, Caryn James wrote that Andrew Scott "brings a hum of sinister energy to the role of Tom Ripley."
The New York Times's Mike Hale said the Irish actor "does a meticulous job of portraying Ripley's transition from shifty timidity to insolent confidence, from lost boy to aesthete, through subtle shifts of expression and posture."
"Charismatic and scary in equal measure, Scott has never been better, and he's aided in his exceptional cause by Zaillian, whose writing is razor-sharp and his direction just as assured," the Daily Beast's Nick Schager said in his review.
But, as Daniel Fienberg wrote in his review for The Hollywood Reporter, Scott is "too old" to play the fledgling sociopath.
"It's one thing for Tom Ripley to be an unformed if still protean grifter at 21 or 22, but another thing still to be scraping by without an identity at 35," he argued...
"In an era where huge TV budgets often equate to cheap-looking visuals, Ripley is staggeringly, starkly beautiful," John Nugent wrote for Empire.
Cary Darling, writing for The Houston Chronicle, said that Elswit's monochrome palette is "almost a character of its own, one that throws the story into a sharp, film-noir relief."
Writing for Collider, Remus Noronha stated: "Every shot in 'Ripley' is perfectly composed, worthy of being showcased in a gallery as high art."
Ultimately, "Ripley" feels like it has been cut from an entirely different cloth to that of the 1999 film version of "The Talented Mr. Ripley," which is the best-known adaptation. Most reviewers agree that distinction is a good thing.
"The story may revolve around imitation, but 'Ripley' is a show determined to do its own thing," Einav wrote in his review for the Financial Times.
"'The Talented Mr. Ripley' has often been adapted in a way that felt sweaty, hot, and impassioned — this one is ice cold, drained of color and most human emotion. The choice really serves the reading of Ripley as an amoral creature, someone who doesn't cross boundaries of right and wrong as much as he never even considers them," reads the RogerEbert.com critic Brian Tallerico's review of the series.
As many reviewers pointed out, Zaillian's main point of reference for the series may have been the work of Alfred Hitchcock, the filmmaker best known for "Psycho," "The Birds," and "Strangers on a Train" (the last of which was adapted from another of Highsmith's novels).
"'Ripley' plays as if it were a Hitchcock series Hitchcock never made," reads the BBC review.
Rolling Stone's Alan Sepinwall called it "a masterpiece of Hitchcock-style suspense."...'
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