#stella co produced

[underscorehealy]

producer in crime - matty healy x labelmate!au

chapter 1: part of the band

wc: 1.1k

cw: none

an: hiya!! this is the new and improved au i've been working on and i'm sorry again for deleting the last one. it really just wasn't it for me. but i'm so stoked abt this one!! this was a lot of fun to write and i genuinely hope you like it as much as i do :)

-------------------------------------------------------

you trip over the main flight of stairs as you enter the main room of the studio. today's the first day of production on your new album, interstella. the name came to you like that, mainly because your name is stella. you'd never really worked in a proper studio before, as before this, you had usually made all of your previous works on your laptop in bed. so naturally, this was a huge deal.

you'd recently been signed to indie label, dirty hit, who is home to a few notable names like the japanese house, beabadoobee, and the one you're most excited about, the 1975. they were such a big inspiration for you to even start making music. but you had been friends with amber (aka the japanese house) for a few years now so when she introduced you to jamie, the label owner, you were ecstatic to finally have a place to showcase your talents. so some hope and a few paperwork signatures later, you were finally about to record your debut album.

"you okay?" a deep, male voice said as he watched you trip over the stairs. "oh yeah!! thanks" you chuckle. when you look up, you notice george daniel, the drummer and producer for the 1975. you had felt honored to be in his presence. jamie had usually set new artists up with george and matty healy because of their level of skill but you still felt incredibly honored.

"yeah thanks!" you catch your breath with a slight blush of embarrassment. george leads you into the studio and you're automatically in love with the sight in front of you. recording booth, guitars galore, it's everything you've dreamed of and more. "george. nice to meet you. first time in a studio?" he says giving off a cheeky grin. "yeah. pretty nervous actually. from a laptop in bed to a full studio really is a big progression." "yeah, been there." you show george some of the writing you've done and the demos you've made when all of a sudden you hear running footsteps rushing into the room.

"fuck. am i late?" a decently tall man (taller than you anyway), with coffee brown curls that look like little croissants at the top of his head and tapioca colored eyes, completely out of breath while almost dropping his guitar case pronounces. "yeah, where the fuck were you mate?" george shoots the man a glare. "alarm didn't go off." "mhm. sure." george passively says. "matty, this is stella. stella, this is matty." you and matty both introduce yourself to each other. from your understanding (what jamie told you), matty is co-producing the album with george, and providing backups on whatever he needs to. you involve matty in the discussion of presenting demos and having them listen to some of the voice notes you recorded on your phone.

both matty and george seem pretty impressed on what you already have. now you just have to bring all of the demos to life, but you have the fantastic duo to help you along the way so in reality you're incredibly lucky to be in this position.

today was mainly spent going over the album, listening to demos, playing around with different sounds and coming up with ideas to make the album even better. though you would be lying if you didn't feel a bit awkward in this position. you're with 2/4 of one of the most popular bands in the world who are so much more experienced than you. to be fair, they've been doing this for 20 something years so next to them, you feel like a tiny ant next to a big tree.

"yo, scarlett!! i have this little intro guitar idea thingy for the 6th song. you wanna hear??" matty shouts from the other corner of the room but you're too busy thinking about the potential of the album and hoping you'll make it work. you feel a sudden slap on your shoulder. "you good?" he says as he lets out a chuckle. "oh! yeah! totally fine! what's up?"

after you guys are done at the studio for today, you get a text from jamie just asking about how today went and setting up a label meeting to talk about the album, it's visuals and the future of your career. you tell him your down for a meeting on monday, which is only 3 days away.

george is the first to leave the studio, having to go take mayhem on a walk. "you excited?" you hear matty's dark but somewhat girly voice across from you, while putting out a cigarette. "yeah definitely!! as well as completely and utterly nervous at the same time. this is my first time ever in like a professional studio so this is a giant leap for me." you say as you continuously spin around in the spinny chair. "yeah, feel ya there." matty says. "we've worked with small artists a lot, especially with ones that are just getting used to the industry. this shit is crazy so it's good to have mentors that can start you out and guide you but its not like we're gonna leave you off after to fend for yourself. hell, george produced ambers last album and she's been doing this for a bit, you know?" "i can't really say i know but i'm totally grateful to have you and george guiding me." you say as matty shoots you a smile .

"well, stella, it was great meeting you!!" he says as you hands you a small paper slip. "here's my number just in case you need anything. cya around!" you didn't get the chance to say goodbye before he packed up his guitar case and left but you were too exhausted so after he left, you followed not too far behind. you hopped in your car and headed off back to your flat.

right after you enter your front door, your cat, eloise, nuzzles up against your ankle and you can't help but laugh and snap a picture. you pick her up and head to your couch, plopping you and eloise in front of the tv. nothing good on, but you decide on some dumb reality show anyway. you pick up your phone and shoot matty a text.

(your texts | matty's texts)

hi!! this is stella btw :)

yo, you good??

yeah. everythings okay. just wondering if you wanted to have a coffee or something before the meeting monday.

yeah, that sounds great actually. 9am-ish??

yeah, sounds great. cya there!!

you smile with excitement filled in your eyes as matty reads your last message sent to him. and at that moment, you feel incredibly lucky to be in this position and to produce your album with 2 of the most inspiring people on the planet.

#matty #matty the 1975 #drive like i do #the 1975 #bfiafl #matty healy #iliwysfyasbysuoi #at their very best #matty healy fanfiction #matty healy smut #matty healy x reader #matty healy x labelmate!au

[stellaridegifs]

That’s a helpless feeling when you can’t go in, and it’s not only just co-firefighters that are in there, but it’s his wife that’s in there. And he is ready to unleash holy hell on whatever is happening ... he would change in one heartbeat, he would change places with his wife and make him be the one there. — DEREK HAAS, co-showrunner and executive producer

KELLY SEVERIDE and STELLA KIDD (Chicago Fire)

#stellaride #kelly severide #chicago fire #chfedit #kellyseverideedit #stellarideedit #chicagofireedit #one chicago #tvedit #parallels #6x15 #7x02 #10x22 #11x09 #11x12 #♥️♥️♥️

[laf-outloud]

I was worried about the CW, now I’m also worried about CBS.

https://t.co/OmrgzonMd3

Speaking of Walker, now in its fourth season, it is the most watched series on the CW, headlined by one of the network’s biggest stars of the past two decades, Jared Padalecki. Like All American, the series also didn’t undergo major cuts last summer as the drama, filmed in Texas, already had been produced pretty efficiently. But I hear its license fee is so low, just over the $500K per episode threshold, that it may not make sense for CBS Studios to continue to deliver the show to the CW at that price even if the network wants it.

According to sources, it is very hard for U.S. studios to produce drama series for the current size of the CW license fees without going the international co-production route. Doing it in the U.S., even in states with tax incentives, is virtually impossible without major production compromises, like cutting further the number of filming days, significantly limiting shooting locations and opting against big lighting packages, which would make for inferior product that would be hard to sell internationally.

There's another piece of news about All American, in that it was given two more episodes this season to help wrap-up certain storylines that will allow them to switch out cast members and reduce costs, if needed, for the next season.

Now, before everyone runs to the doom and gloom, notice that this information is speculation at this point, i.e., "may not make sense." CBS may ask for a higher licensing fee and the CW may be willing to pay it if Walker is the type of show they want for their brand moving forward.

But also, it appears, based on the episode titles for 4.12 and 4.13, along with the general theme of this season (The Quiet), that it's possible Walker is setting things up to reduce their cast if they get renewed for a Season 5. It would be easy to ship August off to the military and reduce Stella's appearances to recurring instead of regular. As the article points out, Walker is the most watched series on the CW right now, which could help CBS negotiate a higher licensing fee while the production team works to reduce their overall costs.

I'm not going to go all doom and gloom right now, this is all just speculation based on what appears to be one person's understanding of the industry. Could they be right? Sure. But I'm not going to worry about it until there's an official announcement. What I am going to do is continue to watch Live and on the CW app within the next week.

#ask box #walker #walker renewal speculation #walker season 5 speculation

[uptightcitizensbrigade]

About All Born Screaming

“All Born Screaming”

There is a figure staggering down the street, lurching through a skewed landscape toward a grim new beginning. Rabid, man-sized; disconsolate and grieving in the violent daylight, the smell of death alive on her clothes. No mask, no costume. In fact—though try not to stare—her office wear is somewhat askew. Even her language is ruptured: what was once tightly refined is now impressionistic and felt. No wonder: “I find myself at the precipice of life and death, and reckoning with that,” says Annie Clark, the musician better known as triple-Grammy-winning iconoclast St. Vincent, on the cusp of releasing her seventh album.

Ever since she covered Big Black’s “Kerosene” live in 2011 and the subsequent cataclysmic 7” split “Krokodil”/”Grot,” fans have known that some evil lurked in Clark’s guitar. (Take it back even further if you like: This is someone whose college noise band was named Skull Fuckers.) On All Born Screaming—the first half, at any rate—that lacerating aggression possesses a St. Vincent album for the first time, unleashing a reeling thrash laced with the formative DNA of Albini at his most corrosive and the ugly, spectacular catharsis of Nine Inch Nails, and opening up a brand new fracture in her songwriting. “It’s my least funny record,” says Clark with knowing wryness.

Brawny lead single “Broken Man” is unhinged by loss and lust, unveiling our debilitated antagonist in a desperate confrontation that begs “lover nail yourself right to me / If you go I won’t be well / I can hold my arms right open / But I need you to drive the nail.” “Reckless” loses its footing in the post-loss oblivion. The mischievous “Flea” casts all-consuming desire as an invasive pestilence. “Big Time Nothing” is a mordant catwalk sashay through the deafening assault of self loathing. “There is the feeling: I want everything because I feel nothing,” says Clark. “I am bereft. I am in love. But I want more love too. There’s no drugs and abstraction on this record. It’s cut to the pink meat, hungry for life, even if it’s brutal. Because life is brutal.”

For that reason, All Born Screaming is Clark’s first entirely self-produced record (having co-produced all of her previous records). “I had to walk through the fire with this one alone,” she says. “There was no way to find it except sitting with yourself in a room, singing, playing with modular synths, turning knobs, moving electricity around and trying to find those six seconds of lightning in a bottle that I could build an entire song around. I’m obsessed with production. I’ve obviously done it on all of my records, but this time, I wanted to be the first and final filter for this material. It meant sitting with a lot of self-doubt—like Bowie says, ‘when you feel that your feet aren’t quite touching the bottom, you’re just about in the right place to do something exciting.’”

Production 101 is knowing the right people for the job, and All Born Screaming boasts “a tight little wrecking crew,” says Clark. “A curated group of rippers.” On “Broken Man” and “Flea,” that’s Dave Grohl on drums. (If we’re tracing this virulent seam back through Clark’s work, recall the surviving members of Nirvana inviting her to help induct the band into the Rock and Roll Hall of Fame in 2014.) “Dave is one of the greatest drummers ever because he’s a great songwriter,” says Clark, noting that Grohl heard the “Yes-style prog section” of “Flea” just three times before he knew “every phase and turnaround. My engineer, Cian Riordan, has a video of me in the studio when Dave was playing. I’m in my chair hearing the first take, and I immediately stand up and, like, my hair is on fire.”

On the immaculately restrained, Portishead-narcotic opener “Hell Is Near” and the dreamily gone “So Many Planets,” that’s new Foo Fighters drummer Josh Freese. There’s Justin Meldal-Johnsen (bass), Rachel Eckroth (keys), David Ralicke (brass), Mark Giuliana (drums), and Stella Mozgawa (drums). Then there’s the invaluable contribution of Welsh creative genius Cate Le Bon, who yanked Clark out of the weeds during a period of frustration and self-doubt, and offered stalwart reinforcement, helping her to surmount a few key obstacles. Case in point: Cate shines on the title track, "All Born Screaming,” a near-seven-minute epic closer propelled by a bassline so perfectly suited that it’s impossible to imagine the song without it. "I had that guitar part but was struggling with the song's overall tone.  Cate listened to it and said ‘Give me a beer, a bass, and three hours’,” and worked out the title track’s puckish low end. “She’s my favorite modern songwriter, period,” says Clark, hinting at future collaborations to come.

As for the life and death we’re dealing with here? The details are immaterial. This isn’t music-as-true-crime designed to be picked apart for clues. On the album’s pivot into the second half, “Violent Times,” we’re waking up and understanding the stakes have irrevocably changed, and who hasn’t felt that these past however many years? The difference, in the album’s back end, is the realization that we must love one another or die, set to an expansive, enveloping palette that steps back from the guitar offensive: Gainsbourg-worthy grandeur on “Violent Times,” the “what if someone who loved 2 TONE did it all wrong?” of “So Many Planets,” about the stumbling search for a place to call home. “The first half is reckoning with loss and how life is basically impossible,” says Clark, “but the second half is: but we get to live it so we better fucking dig in.”

Perhaps compassion and hunger can light the way: “The Power’s Out” is a classically gorgeous St. Vincent portrait of a city’s pushers, parents, racers, and queers waking up to some disaster but finding beauty in the slo-mo confetti cloud of debris. And the racing valediction of “Sweetest Fruit” exalts individuals who attempted to stake out life’s outer reaches. “Take a big swing and fail, but my God, at least you were trying for transcendence,” says Clark.

Perhaps love can, too. The still life of opener “Hell Is Near” marks “the beginning / our beginning / begin again.” “That’s the only reason to do something, the reason to live,” says Clark. “Maybe I go the long way around saying that in this record, but at the end of the day it’s a very dark record about love. I have great love in my life. I’m so lucky. I’m not the rat in the maze in that regard any more.” It comes into focus on the back of priority shifts, shuddering sudden dislocations from the culture’s priorities, old disguises dropping to the floor on the title track’s skittish, happy shrug, “all of the wasted nights fighting mortality when in the ashes of Pompeii lovers discovered in an embrace for all eternity”, as she sings on “Violent Times.”

Unlike the ‘70s cosplay of Clark’s previous album, here, there’s no aestheticizing pain or conceptualizing loss. On Daddy’s Home, Clark says she needed to “become the music my father loved in the hope it would heal me, give me the agency as ‘daddy.’ That was probably largely misinterpreted, but I have no regrets—it’s what I needed to do.” With this record, she says emphatically, “I want to fuck people up.” As the title states, we’re All Born Screaming. It’s both a horrifying condition and whaddya-gonna-do acceptance. “If you’re born screaming, that’s a great sign,” says Clark, “because it means you’re breathing. You’re alive. My god. It’s joyous. And then it’s also a protest. We’re all born in protest in a certain way. It’s terrifying to be alive, it’s ecstatic to be alive. It’s everything.”

#annie clark #st vincent #all born screaming

[onlydylanobrien]

Variety and the Golden Globe Awards Announce Party at Sundance Film Festival

At the event, Variety will present its Breakthrough Awards to Dylan O’Brien, Normani, Maddie Ziegler, Justice Smith and Jane Schoenbrun By William Earl

Variety and the Golden Globe Awards continue their tradition of festival celebrations with an exclusive invite-only party celebrating talent attending the 2024 Sundance Film Festival. Variety & The Golden Globe Awards Breakthrough Artists Party Presented by Adobe will take place on Jan. 19 in Park City.

“Following our Breakthrough Awards at Cannes and Venice, the Golden Globes and Variety are excited to partner again at Sundance,” said Helen Hoehne, president of the Golden Globes, and Ramin Setoodeh, the co-editor-in-chief of Variety. “We look forward to toasting all our honorees and celebrating the most exciting new voices in independent film.”

At the event, Variety will present its Breakthrough Awards, which highlight the next generation of exceptional talents in front of the camera. This year’s recipients include Dylan O’Brien who stars in “Ponyboi,” Normani who stars in “Freaky Tales,” Maddie Ziegler who stars in “My Old Ass” and Justice Smith who stars in “I Saw the TV Glow” and “The American Society of Magical Negroes” at the festival. Presenters include Megan Park, Maisy Stella, Victoria Pedretti, River Gallo and Brigette Lundy-Paine.

Jane Schoenbrun will receive the Breakthrough Director Award presented by Adobe for A24’s “I Saw the TV Glow.” The film is produced by Emma Stone, Dave McCary and Ali Herting through their Fruit Tree banner alongside Sarah Winshall with Smudge Films and Sam Intili.

“Storytelling plays a pivotal role in informing culture and inspiring the next generation of creators. Adobe is proud to support emerging artists and filmmakers whose unique perspectives inspire us to dream bigger and change the world, and we’re excited to see their stories illuminate the screens at the 2024 Sundance Film Festival.” said Heather Freeland, chief brand officer at Adobe.

Source: variety.com

#dylan o'brien #news

[viornefni]

You're in my head

I had plans for the weekend

But wound up with you instead

Back here again

Got me deep in my feelings

When i should be in your bed

You and i go back to like '09 it's like forever

And you were there my lonely nights, yeah, keeping me together

So wouldn't it make sense if I was yours and you could call me your baby

But we say we're just, say we're just

Friends

Just for now

Yeah but friends don't say words that

Make friends feel like more than just

Friends

Just for now

Now I'm over pretending

So let's put the "end" in friends

Friends

Just for now

Yeah but friends don't say words that

Make friends feel like more than just

Friends are not supposed to get too close

And feel emotions that we're feeling now, now, now

We ain't slowing down, down, down

But once we cross the line, there's no denying you and I can never turn around, round, round

Know we'll never be the same

You and I go back to like '09 it's like forever

And you were there my lonely nights, yeah, keeping me together

So wouldn't it make sense if I was yours and you could call me your baby

But we say we're just, say we're just

Friends

Just for now

Yeah but friends don't say words that

Make friends feel like more than just

Friends

Just for now

Now I'm over pretending

So let's put the "end" in friends

V 'FRI(END)S' Release

🎧 Listen now: https://ingrv.es/friends​

Credits:

Director: Samuel Bradley

Production Company: Iconoclast TV

EP: Maeva Tenneroni, Jean Mougin, Guy Rolfe

Head of Production: Kate Sharpe

Producer: Martha Mcguirk

Directors Agent: Yoni Yosef

Casting: Road Casting

Casting Director: Coralie Rose

Casting Assist: Luis Torrecilla, Laura Meredith

Love Interest: Ruby Sear

Production Manager: Chanel Parkinson

Production Co-ord: Alice Hayes

Artist Liason: Jo Thompson

Cast Co-ord: Beth Rubery

Production Assistant: Callum Anderson

Production Runner: Mia Tessema

Intimacy Coordinator: Stella Moss

Movement Director: Yagamoto

Location Manager: Ryan Colaco

Location Assistant: Eser Savrin, Lois Constantinou

1st AD: Ben Gill

2nd AD: Gabriel O’Donohoe

3rd AD: Kitty Rajakulasingham, Aloha Kulieshova

Runner: Kai Rajakulasingham, Joe Heap, Danny Zanre, Anna Kovalevska, Grace Goodworth, Kwesi Mcleod, Darren Sintes, Tyson Douglas, Tiger Brewers

DOP: Jake Gabbay

A CAM Focus Puller: Rozemarijn Stokkel

A CAM 2nd AC: Ania Bahadrian

Trainee: Guillem Zamora

B CAM Operator Day 1: Juanjo Salazar

B CAM Operator Day 2: Jomar O’Meally

B CAM 1st AC - Alex Rawson

B CAM Trainee: Ollie Wesley

Camera Car: Davide Viera

Key Grip: Darren Quinn

Crane Tech: Henry Stone

Grip Trainee: James Quinn

Gaffer: Kieran Brown

Electrician: Shuan Clark, Ed Irvine, John Joe Besagni, Akeel Fleary, Cieran Nash, Amarjeet Singh, Laurent Arnaud

Master Rigger: Lee Doran

Rigger: Joe Parrott, Jamie Brindle, Ryan Ross, Alfie Berry, Scott Allen, Joe Knight

Video Playback: Liam Coles

Playback Assistant: Elvis Mcgovern

DIT: Lilly Palmer

Production Designer: Staci Lee Hindley

Art Director: Nia Samuel

Prop Master: Ezra Piers Mantell

Prop Buyer: Jessa Thorpe, Shopie-Mai Wigans

Art Assistant: Harry Beedle, Camilla Byles, Tom Hope, George Mein, Freya Wentworth, Alice Moles

Home Economist: Olivia Somary

Action Vehicle Driver (Car): Dan Chester

Action Vehicle Driver (Bus): Tom Burnage

SFX; Sean Harland

SFX Technician: Danny Matters

Stunt Coordinator: Jim Dowdall

Stylist: Justin Hamilton

Stylist Assistant: Samela Gjozi, Colleen Finnerty, Lorna Lane, Chris Atkins, Vania Monteiro, Katherine Somavia, Anna Menshykova, Mel Lyse

Hair Stylist: Simon Izard

Hair Assistant: Julie West, Aaron Dorn, Natasha Rose, Natasha Lawes

Makeup Assistant: Sophie Gia Moore, Marta Wozniak

Makeup Trainee: Rebecca Robinson

Medic: Alex Gardner, Richard Drakesford

Paramedic: Lynsey Shewring

Mini Winnego Driver: Phil Rainer

Honeywagon Driver: John Suttion

Production Sprinter: Jos Benschop

Minibus Driver: Rob Higgs, Gavin Baker, Granger Goodey, Dean Cumbers

Label Vehicle: Blerim Morina, Othman Abashikh, Peter Tarling, Steven Smith

Artist Trailer: Paul Haddock

Artist Wardrobe: David Czekalski

Honeywagon Driver: Martin Dean

Wardrobe Truck: Warren Smart

Hmu Truck: Wally Smart

Dining Bus: Andy Byrne

Location Security: Randal Berbick, Billy Bridger, Alan Laney, Kerri Mccann, Malakai Mars, Angelo Evangelou, Richard Johnson, Mathew Richards

Edit House: Assembly Rooms

Editor: Jack Williams

Edit Producer: Phoebe Armstrong-Beaver

Edit Assist: Bruna Manfredi, Tamara Ishida

Post Production: Cheat

Grade: Toby Tomkins

Post Producer: Joanna Dawson, Jen Saunders

Post Sound House: Soundtree Music

Sound Designer: Jack Patterson

Sound Producer: Neil Athale

BIGHIT MUSIC. Rights are reserved selectively in the video. Unauthorized reproduction is a violation of applicable laws. Manufactured by BIGHIT MUSIC, Seoul, Korea.

Connect with BTS:

https://ibighit.com/bts​

   / bts_bighit  ​

   / bts_twt  ​

   / bangtan.official  ​

    / bangtantv  ​

   / bts.bighitofficial  ​

   / bts_official_bighit  ​

https://weverse.onelink.me/qt3S/94808190​

https://www.weibo.com/BTSbighit​

http://btsblog.ibighit.com​

#V_FRIENDS​ #FRI_END_S​ #뷔​ #V​

#bts v #bts taehyung #bts v friends #bts friends to lovers #bts rm #bts jihope #bts jimin #bts jungkook #bts jin #bts suga #bts army #bts v mv #bts new #kpop kings

[pers-books]

Bloody hell! There's a cast and a half in this!!

BBC to air Miss Austen, starring Keeley Hawes and Rose Leslie

The four-part drama takes a literary mystery and reimagines it as a fascinating, witty and heart-breaking story of sisterly love

The BBC has acquired Miss Austen, a star-studded production of Gill Hornby’s best-selling and much loved novel, produced by Bonnie Productions for MASTERPIECE in the US and distributed by Federation Studios.

The adaptation, from BAFTA-winning writer Andrea Gibb (Elizabeth is Missing, Mayflies), will star Keeley Hawes (It’s A Sin, Bodyguard, Line of Duty), Rose Leslie (Game of Thrones, Vigil), Patsy Ferran (Living, Hot Milk), Jessica Hynes (Life After Life, Years and Years), Mirren Mack (The Witcher: Blood Origin, The Nest), Phyllis Logan (Downton Abbey, Shetland), Kevin McNally (The Crown, Ten Percent), Max Irons (Condor, The Wife), Alfred Enoch (How to Get Away with Murder, Foundation), Calam Lynch (Bridgerton, Archie) and Liv Hill (The Serpent Queen, Elizabeth Is Missing).

The four-part drama, directed by BAFTA-winning filmmaker Aisling Walsh (Maudie, Elizabeth is Missing) started filming last month in the UK and is produced by Stella Merz (Gentleman Jack, Renegade Nell).

Miss Austen takes a literary mystery – Cassandra Austen notoriously burning her famous sister Jane’s letters – and reimagines it as a fascinating, witty and heart-breaking story of sisterly love, while creating in Cassandra a character as captivating as any Austen heroine.

The drama begins in 1830, a while after Jane has died. Cassandra (Keeley Hawes) races to see her young friend Isabella (Rose Leslie) who is about to lose her home following her father’s death. Cassandra is ostensibly there to help her friend, but her real motive is to find a stash of private letters which, in the wrong hands, could destroy Jane’s reputation. On discovering them, Cassandra is overwhelmed as she is transported back to her youth. In flashback, we meet Young Cassy and Jane (Patsy Ferran) as they navigate the infatuations, family feuds and dashed hopes which shaped their lives and laid the foundations for Jane’s unforgettable stories. Cassandra’s re-evaluation of her past eventually leads her to realise how blind she has been to the real cause of Isabella’s heartache and distress. Finding a way to guide Isabella towards true happiness, Cassandra is finally able to understand and celebrate the sacrifices she chose to make for her brilliant sister, Jane.

Sue Deeks, Head of BBC Programme Acquisition, says: “Miss Austen is the perfect blend of intriguing mystery, vivid and engaging characters and beguiling period charm – BBC viewers certainly have a treat in store.”

Christine Langan, executive producer, says: “To have this hugely entertaining female-driven story told by such a stellar cast, led by Keeley Hawes, as Bonnie Productions’ first drama is genuinely a dream come true. Gill Hornby has found an ingenious way into the Austen world, creating female characters modern audiences can empathise with and delight in. I’m so honoured to be bringing this wonderful novel to the screen in collaboration with the deeply talented trio of writer, Andrea Gibb, director, Aisling Walsh and producer, Stella Merz.”

Susanne Simpson, MASTERPIECE executive producer, says: “Miss Austen is a beautifully told story about the loves and losses of the Austen sisters. I’m thrilled that this heartfelt, romantic, and funny adaptation is in the hands of a remarkable ensemble cast led by the incredible Keeley Hawes.”

Miss Austen (4x50) is a co-production of Bonnie Productions and MASTERPIECE, in association with the BBC and Federation Stories.

The executive producers are Christine Langan for Bonnie Productions, Susanne Simpson for MASTERPIECE and Polly Williams for Federation Stories. Keeley Hawes, Andrea Gibb and Aisling Walsh are also executive producers.

#TV: Miss Austen #Keeley Hawes #Alfred Enoch #Phyllis Logan #Rose Leslie #Jessica Hynes

[scotianostra]

Happy Birthday Nicholas Andrew Argyll Campbell, better known as Nicky, born in Edinburgh, on April 10th 1961.

Best known for hosting Wheel of Fortune with fellow Scot Carol Smillie, but now the main show we might know him for is the very good Long Lost Family which aims to reunite close relatives after years of separation, often the people featured have been, like Nicky himself adopted, his "born" name was Nicholas Lackey he was adopted at four days old. His biological mother Stella was unmarried and had travelled from Ireland to give birth. Although she sent Christmas cards for the first five years of Nicky's life, they had no direct contact. It was not until he was in his 20's that Nicky decided to try and track down Stella and his biological father Joseph.

Although he discovered that his biological heritage was Irish, Nicky still thinks of himself as a Scot and it's his adoptive family, the Campbells, that he's closest to.

He was educated at the independent school Edinburgh Academy. His adoptive mother was a psychiatric social worker and his adoptive father a publisher of maps.

Nicky Campbell gained a history degree from Aberdeen University, and then became a jingle writer for Northsound Radio. At university, Campbell's best friend had been the actor Iain Glen.

Campbell went on to present the breakfast show there before crossing the border to join London's Capital Radio in 1986. Just a year later Nicky Campbell moved to Radio 1 where he had a variety of slots before moving to BBC Radio Five Live in October 1997. He regularly hosted Top of the Pops from 1988 to 1991 and again from 1994 to 1997.

He currently presents The Big Questions on BBC One and the aforementioned Long Lost Family, as well as his presenting he has written and co-produced a jazz swing album for singer and actor Mark Moraghan. As well as recording an album with the multi talented Kate Robbins. He is the director of a recording company who supply original music fro TV and films. On Radio Campbell has won seven Sony Awards, including a Gold Award in 2007 for the Radio 5 Live Breakfast programme as "Best News and Current Affairs Programme"

Nicky is a Patron of the British Association for Adoption and Fostering as well as he supports wildlife conservation and has works closely with Will Travers, Virginia McKenna and the Born Free Foundation.

In 2017 he made a documentary for the Women at War series for BBC1 with his adoptive mother Sheila Campbell.[18] He found out more about his her role in World War 2 and her experiences as a radar operator on D-Day.[Also that year he took part in All Star Musicals for ITV performing Razzle Dazzle from the musical Chicago live at the London Palladium.

In 2021 Campbell presented Manhunt; The Raul Moat Story on ITV1. This was the inside story of how Moat was tracked down, all in the glare of 24-hour rolling news. I n recent years Nicky has also been involved in a number of podcasts

Last year Police launch investigation after Campbell says he suffered abuse during his time at Edinburgh Academy in the 1970s. He made the claims during an episode of his BBC podcast Different, saying the experience had a "profound effect on my life".

The broadcaster said: "I was badly beaten up at school by a teacher who was a leading light in the scripture union.

"My mother took it as far as she could and got a grovelling apology from (the man involved), but was essentially stonewalled and it was hushed up by the school.

"Those were different times and that has stayed with me all my life."

The school said it "deeply" regrets the allegations and "wholeheartedly" apologised to those involved.

In a previously released statement, the school said: "We have worked closely with the relevant authorities including Police Scotland with their inquiries and would like to provide reassurance that things have dramatically changed since the 1970s.

"The Academy has robust measures in place to safeguard children at the school, with child protection training now core to the ethos of the Academy."

A New Radio 5 Live simulcast is due to start on Monday 17th April on the UK feed of BBC News and BBC Two. Nicky Campbell’s show will also be broadcast on BBC Two. 

#scotland #scottish #broadcaster #tv personality #disc jockey #radio presenter #happy birhtday

[themultifandomgal]

Tyler Hoechlin- Our Love

Comic Con 2011 Panel Interview

July 2011

After doing press interviews I stand nervously next to Tyler waiting to be introduced for our comic con panel. Not only am I nervous for my first ever interview/panel, we also are a fairly new TV show so there may not be many people here. We only have a few episodes left for season 1 to air now

"You ok?" Tyler asks giving me a little smile wrapping one arm around my waist and giving me a hug

"Just nervous"

"You'll be fine. Your sat next to me so if you are asked something and your unsure just give me a nudge"

"Thanks"

"I'd like to get started and introduce the moderator for the panel Deborah Birnbaum the editor in-chief for TV Guid Magazine" Justin Levy announces through the microphone. Deborah walks on the stage to the microphone. She then starts introducing us all

"Creator and executive producer Jeff Davis, director and co executive producer Russell Mulcahy, my favourite shirtless wonder Tyler Hoechlin, the girl with the comebacks YN YLN..." I sit next to Tyler while Deborah calls out everyone else's names "you guys bought Teen Wolf to comic con last year how is it different this year?"

"Well last year no one knew us" Posey says into his mic he's sharing with Crystal

"I feel like last time people were mad we were remaking the movie" Tyler says "and now it's like Teen Wolf!"

"YN this is your first comic con, you didn't come last year so how are you finding it?" Deborah asks me. I lean over to Tyler who moves the mic a little closer to me

"Errm it's crazy. These guys have been so excited while I've been a nervous wreck not knowing what to expect, but everyone has just been so lovely and it's been great to meet everyone who's supporting the show"

"Love you!" someone in the crowd shouts

"We love you" Posey shouts back

"It's just on huge love fest" Holland chuckles

"Ok let's go down the line. Favourite episode, favourite scene"

"It's upcoming. I can't say my favourite scene yet but err I think episode 10 is my favourite” Jeff says

“Errm I think show just accelerates and episodes 11 will send tingles up your spine”

“My favourite episode so far was episode 3, the fight scene with me and Tyler, I do also like episode 9” Tyler says

“YN?”

“Ooo I did like that episode, mainly the err no fit scene that just cracked me up, but my favourite so far hasn’t aired yet so I can’t say to much, but it’s episode 12. It’s just jam packed in that episode it’s a rollercoaster” the others start to tell there favourite episodes and scenes, while I mainly listen but every time Tyler moves next to me I can feel his body touching mine in some way, wether that’s his arm touching mine or his thigh touching mine which keeps distracting me.

Jeff talks a bit about the knowledge of werewolves. Deborah asks some more questions that the others answer then it’s back to me

“YN what’s going on between Stella and Derek?”

“Errr” I laugh trying to think of an answer where it doesn’t give anything away “you know, Derek and Stella are best friends, they’ve been through a lot and will carry on to do so”

“We can see the tension between the pair, so will we be getting any Derella kiss scenes? The fans want to know if Derek and Stella will date” I look at Tyler to answer this question

“I guess you’ll have to watch more episodes to find out”

“You know it’s so hard to not give away spoilers because we all know what’s coming up. We know how the season ends and it’s so hard to sit here and answer the questions without giving anything away” I say laughing

“We want the spoilers” Deborah says

“I don’t want to loose my job” I reply looking at Jeff and Russel

“Ok but surely you can talk about off set. What’s that like for you guys?”

“We’re like a huge family” Colten says “we all genuinely like each other and hang out”

“Normally we are over at YN’s place. Especially for watch parties” Dylan looks over at me

“Me, YN and Crystal take turns in buying coffee in the morning for each other. Like Colten said we really are just a big family” since we can hold hands or act in a relationship Tyler subtly places his pinkie over mine behind our name cards.

“Alright Mr Hoechlin, Miss YLN, are your characters bad guys? We see Derek doing some not so great things and Estella just goes along with it”

“Kinda” Tyler replies but looks at me I shrug smiling at him

“Do they want to protect Scott or have they got their own agenda”

“Erm Derek is definitely trying to protect Scott but does have his own motivation”

“For me I don’t see them as the quote on quote enemy’s or anything. Derek wants something and Stella being his friend wants to help. Both have their reasons for why they do what they do but I do think they both want to help Scott”

“Derek doesn’t seem to like Stiles very much, yet Stella and Stiles get on so well”

“I think part of the reason that Derek doesn’t like Stiles is because he and Stella are so alike with the witty banter, I think Derek just has enough of them sometimes” I laugh “and I think Stiles isn’t a fan of Derek for the same reason”

“So it’s Stella’s fault?”

“Kinda I guess”

“Ok I have 1 more Derek and Stella question. Derek seems to have a past with Alison’s aunt Kate and Stella probably hates Kate the most out of everyone. What can you tell us about that?” I look at Tyler and give him a nudge to tell him to answer the question because I’m scared I might spoil it

“Errm I can tell you that you’ll learn about all of that in the next couple of episodes”

We finish up the panel and go for food before heading to more interviews that we have to do. I sit down on the couch with Tyler, both of us eating our food

“So when are you guys going to tell the public?” Holland asks sitting opposite

“Why?”

“Well your not very subtle in the way you look at each other”

“Or the sneaky touches” Colten joins Holland

“Are we really that obvious?” I ask earning a nod from both Holland and Colten

“I guess we will have to tell them eventually but right now I think we’re fine in our little bubble” Tyler says placing an arm over my shoulders

“Well you may want to look on Twitter. Fans are speculating and shipping you guys” Holland holds out her phone, Tyler just shrugs his shoulders

“Let them. Creates some buzz for the show” I roll my eyes taking Hollands phone

“Ok they aren’t that bad. Maybe we just need to be more careful”

#teen wolf cast #teen wolf imagine #teen wolf comic con #teen wolf packs #teen wolf #teen wolf actress #tyler hoechlin x reader #tyler hoechlin imagine #tyler hoechlin

[bellqmione]

You asked for lots of attention in your inbox and I'm unsure if that was an open invite or for mutuals only but uhhh, here's a rant on why fate: the winx saga was an insult to me, personally:

Winx Club is an Italian magical girl show that is currently drip marketing for the release of its 9th season. Season 1-3 were made by Rainbow, and then seasons 4+ had some form of co-producing by Nickelodeon.

It was remarkable for its colourful sci-fi fantasy setting and itstackling of difficult topics for children. The main characters (who were all fairies) rode hover bikes and space ships and dated energy sword wielding fighting Specialists whilst all having a signature colour and a sparkly transformation. Stella had a full story arc on her parent's divorce, Bloom had an adoptive and bio family and had to navigate both of them, Musa had lost her mum, Aisha had controlling parents (and later lost her fiance), Tecna had emotionally distant parents who valued logic over all else, Flora was shy and reserved and had to learn to speak up for herself. It was great (at least for the first 3-4 seasons)!

As the seasons went on (most from 5+) it got targeted at a younger and younger demographic and soft reset the main characters from 20 somethings getting jobs and getting engaged back into being students and so lost a lot of its fanbase who had enjoyed watching the girls grow up and wanted to know where life post s4 would take them.

Then Netflix decided it was going to make a live action adaptation aimed at an older audience. I was Very Very nervous but I had hope. A Winx where Bloom could say fuck and blood could be shown would be cool, and maybe this time we could actually see the characters get married and then move in together instead of living on separate planets with their parents still.

The first sign that it was not going to be good was when the casting call went out and there wasn't a call for Tecna: my favourite of the 6 main characters. I was so confused as to why but was hoping it was because they planned to introduce her later (as in the original show Aisha wasn't introduced until season 2). And then the cast got released and they'd cast a white woman to play Flora (the latina coded character) and a maybe white passing maybe white woman to play Musa (the chinese coded character). They later changed Flora's name to Terra and hoped we wouldn't notice but kept the casting the same. (Only coded bc this is a sci-fi show and the characters are all from different planets, for all intents and purposes the character just are Chinese/latina/ect.) This then left Aisha (afro american coded) as the token black girl in the cast.

Speculation on my part: I think they didn't do anything to mitigate the backlash for Musa as they didn't perceive it as as bad white washing as they were doing to Flora, somehow. And I think they white washed Flora because they wrote her fat and figured a fat latina woman would be too much forced diversity or something, as if people don't just exist.

As a kid, seeing the Winx all being badasses saving the Magix dimension together whilst two of them even looked like me was really special. And they just white wash ⅓ of the main cast. Like,,, what?

Next up they released to the press that the reason they got rid of Tecna was because they were going for a more fantasy, less sci-fi vibe and so the Fairy of Technology wouldn't fit in anymore. And by "less sci-fi" they mean they're scrapping the whole setting of the Magix dimension and are instead setting it in a hidden magic society on earth (with the show taking place in Ireland specifically). No more space travel, no more alien princesses, no more hover bikes or energy weapons or the whole plot line of reintroducing Earth to magic that was s4. They couldn't even set it in the fictional town of Gardenia, Italy (where all the earth shenanigans in the original show took place). Scrapping Tecna for this reason is also bs but I'll come back to that in a moment.

Then they said they were going to make sure that they had boy fairies and girl specialists because the original show didn't and they were more progressive (ignore the white washing)... ... ... THEY HAD BOU FAIRIES AND GIRL SPECIALISTS IN THE OG SHOW STFU!! The main characters were six girls bc, wow, magical girl show aimed at little girls, and the only specialists we spent time with were their boyfriends because who tf cares about anyone else?? But background characters showed boy fairies and girl specialists from the beginning?? The fairy school literally had multiple named guy teachers. Like,,, tell me you don't care about this ip without telling me you don't care about this ip.

*sigh*

Anyways, I'll go along with their logic for this next segment i guess. So, you want to show more gender diversity in your three two different magical schools (that you smushed into one school for some reason?), you don't want to have Tecna be a technology fairy because not only have you scrapped all sci-fi but you've introduced a completely different magic system (I'll get to it). So how to kill two birds with one stone? Make her a specialist! They fight using technology and having a main character be a girl specialist/boy fairy would definitely get your point across!! But nooooo, just get rid of her entirely i guess.

Now we have some minor nit picks that one could gather from promo material before we get to the plot of the show. 1) the colours and fashions: everyone looks so drab and so dull. The bright colours and y2k fashions from the first show were part of its main selling power, now everyone is dressed like they're 35 and don't have the energy to put into outfit crafting despite all being 16-18. Especially Terra, probably because they gave up trying to dress someone fat, thanks guys. 2) they've gotten rid of the third big magic school, the one for witches and then smashed the remaining two into one. Why? To give more harry potter vibes i guess (which isn't something you should want to be emulating but w/e they don't care). 3) the magic system is radically different. Before every fairy and witch had their own domain (eg: fairy of music, witch of storms, ect) but now everyone is one of 6 different types of elemental fairy. Musa is no longer the fairy of music but instead a mind fairy, but the other main characters get to keep their domain roughly the same (though they have to share) with fire, water, earth, light, and electricity. (You might think "electricity?" why didn't they make Tecna an electric fairy but idfk guys, idfk) Oh! and they've scrapped fairy transformations, saying they're a lost art (Bloom does get one at the end of the season but all it does is give her bad gci fire wings and the sequence is boring and there's no outfit change??? In a magical girl show???). 4) they've scrapped the iconic main antagonists from the show, The Trix: a trio of witches who want to rule the magic dimension and have an eye on Bloom specifically, for one character called Beatrix (oh wow, very creative) who's an electric fairy and idk has some bad blood magic thing going on.

Then the show actually came out.

I'll be brief here bc I've already gone on long enough but to summarise it:

- the girls all hate each other for the whole season despite their easy friendship and talking about their problems being a highlight of the og show

- the dialogue feels like Riverdale but worse somehow, "snorting the midnight crack?" is somehow a real line someone says with a straight face

- they make these 16 year olds have sex on screen, please stop I don't wanna see that

- despite Terra's storyline being about not taking shit from people for being fat they somehow give everything fatphobic undertones regardless??? At least Terra and Musa are actually friends for a bit ig

- there's a love triangle where there wasn't one in the original series. Please for the love of god stop

- there's a weird polyam/bi thing happening with Beatrix, Riven, and original for this show bi character that is done in the most biphobic way possible and I'm still confused as to how they did it so bad

- Bloom's adoptive mum is abusive now?? despite her adoptive family being absolutely lovely in the original???

- Stella didn't get held back a year for slacking like she did previously, she got held back a year for blinding a student on accident but her mum is making her say it was on purpose??

- Aisha is a wet towel teacher's pet for some reason??

- yeah it's just bad.

(also despite half the main cast being princesses in the original show, now only Stella is and for some reason her mum is the monarch instead of her dad and her dad just isn't in the picture and instead of being slightly distant due to divorce her mum is just straight up emotionally abusive, in this new magic system where magic is done with emotion, so Stella has shit magic control?? Also Bloom is American now and not Italian. Idk just odd here i feel)

Uhhh, yeah, thanks for reading. Feel free to ignore this i guess ahaha I don't know if this is over stepping I haven't been a proper tumblrina for long

- 📟🧚

#everything 2 me

[underthecitysky]

IT was a real family affair when Stella McCartney showcased her autumn/winter collection at LIPA (Liverpool Institute for Performing Arts) yesterday. ECHO Features Editor Jane Haase had a front row seat ...

“GRANDAD,” shouted the little boy in delight as he ran over to the man in the grey suit with the flowery shirt who leant down and gave him a hug.

He might be one of the most famous men in the world but he was just grandad to the toddler who wanted a cuddle.

The McCartney clan were out in force for a special fashion show by Sir Paul’s designer daughter Stella, held just a few hours before the Beatles legend rocked a 36,000 strong crowd at Anfield.

Stella had chosen to unveil her autumn/winter collection at Lipa as a celebration of the city’s Capital of Culture year.

Her children – son Miller, three; 18-month-old daughter, Bailey, and four- month- old son, Beckett – were at the family event, joined by their excited cousin (lol, aunt), four-year-old Beatrice (Sir Paul’s daughter with ex-wife Heather Mills). When not sitting with her relatives the pretty blonde-haired youngster could be seen bouncing on her father’s lap.

Photographer Mike McCartney (Paul's brother), famed for his intimate portraits of The Beatles, was snapping away inside the auditorium.

On the front row were Sir Paul, with his son James on one side and Yoko Ono on the other. Next to her was George Harrison’s widow Olivia, who was in the city for a special tribute to her late husband at FACT on Friday night, as well as Beatles producer Sir George Martin.

They were being watched more than the models on stage by some members of the audience who had paid between £100 to £500 for a ticket for the event, with all proceeds going to LIPA. One keen female fan in the balcony even had her opera glasses out and trained on the A-listers.

Badges saying “Stella” with a shape of a heart and the words “L’Pool” below were given out at the entrance to guests who included Sir Peter Blake, who designed the iconic Sgt Pepper album cover, and number one WAG Coleen McLoughlin.The same message was spelled out in silver balloons suspended from the ceiling above the stage.

Liverpool singer Candie Payne, looking stunning in a thigh- skimming black mini dress, opened the afternoon show. The singer from West Derby obviously impressed Sir Paul who was spotted taking a picture of her on his mobile phone as she performed.

The fact this was no ordinary fashion showcase was evident when the models took to the catwalk. Instead of strutting their stuff these statuesque visions in dresses of varying hues of blue, grey, black and taupe played musical chairs while tottering about in what looked like 7ins platform wedges.

Amid laughter from the 380 seater auditorium, they entered into the spirit of fun as they battled it out to the thumping beat of That’s Not Your name by the Ting Tings.

As balloons descended onto the stage (with “Uncle Mike” retrieving a heart-shaped one for Beatrice) Stella appeared with a present for the winning model and thanked everyone for coming.

She joked: “I seem to have 50,000 members of my family still in this city.”

And proud dad Sir Paul, wearing his trademark suit and trainers and a Stella badge, shouted out: “Three cheers for Stella.”

Before heading off to her father’s Liverpool Sound concert with the rest of the family, Stella explained why it was important to showcase her new fashion range at LIPA, which was co-founded by Sir Paul in 1996 in the grounds of his old school, The Liverpool Institute.

She said: “It’s been a great day, especially with the concert tonight.

“I wanted to do something for LIPA because it’s my dad’s old school and I’m very proud of what he’s done here and the way he’s made the school survive.

“This show was a lot of fun and it’s great to hold it in the Capital Culture year and do my bit for the city.”

Describing her collection as “naturally sexy, naturally confidant and modern”, she added: “I don’t design for one particular woman, but I try to pick up what I think is happening around me and on the streets.

“I don’t get a chance to spend much time in Liverpool but I think Liverpool can compete with other cities.”

And what does the acclaimed fashion designer, who counts Madonna and Gwyneth Paltrow as pals as well as clients, think of Liverpool girls’ style?

“I think they are great but I would say that because I’ve got a bit of Liverpool in me,” she laughed.

The Scouse gliterrati were out in force yesterday. Former Emmerdale star Sheree Murphy, wife of footballer Harry Kewell, was there along with friends, Cricket owner and ECHO columnist Justine Mills and celebrity stylist Lorraine McCullough.

Coronation Street star Alison King, who plays Carla Connor, was among the guests as was Radio City presenter Pete Price.

Dance group Flava, who were semi finalists in the TV show Britain’s Got Talent, also performed at the event.

Stella had said she had wanted to do her bit for the city in Capital of Culture year. I think the McCartney clan certainly did that yesterday.

Text copied from ohnotheydidnt on livejournal here

#stella mccartney #LIPA

[petiplacha]

Stella Rose is preparing her debut album and will perform tomorrow as the lead singer for her father's group Depeche Mode at Madison Square Garden in New York.

Dave's daughter Stella Rose has announced her debut album, Eyes of Glass, which will be released May 19th through Yves Rothman's KRO Records. The album has been co-written and produced by Rothman, and recorded for two weeks at his studio. "After all, I'm a writer," Stella says. “It’s the only way I have to process my feelings, and when I write I may not understand the meaning or gravity of my words, but at some point later they will explain where I was and how I’ve grown.” "This is how I make music: I collect things over time."

The album features previous singles "Muddled Man" and "Angel," and with the record's novelty comes the dark, macho, melodramatic "Faithful." It's accompanied by a shocking video directed by Ben Howley, which you can watch here: https://youtu.be/rkJnvM8Y_l4

Stella Rose - YouTube Theme: https://www.youtube.com/channel/UCPFLaEAD0UPvqFXtQQa9w9Q

#Dave Gahan family #Dave Gahan #stella rose

[simplytheevebest]

A Silrah Romcom AU but Also There's Violence (Because Saul is a Hitman)

It's AU time! No-magic. Inspired by RBJ in this plaid shirt and the knowledge that Eve Best lives remotely in Italy growing her own produce and making her own olive oil.

Saul Silva is a hitman for hire, part of a once-elite team contracted by people with money to burn and secrets they're willing to kill to keep. His best friend Andreas Eraklyon handles the contracts, and Saul handles the grunt work. When Andreas double-crosses him, Saul has to fight for his life from the man he called a brother and a friend. He goes on the run and off the grid, driving from town to town but never staying long enough to be tracked or make an impression, until he arrives in Alfea, a small town barely acknowledged on most maps.

Farah Dowling is a prodigy of some kind, constantly weighed down by the expectations of her overbearing mother Rosalind. She finally has enough and disappears, cutting all ties to her previous life and driving until she runs out of gas in the town of Alfea. It's remote and small, the last place her mother will think to look, so she buys a fixer-upper farm and settles down, grows her own produce and makes friends with the locals. Everything is going smoothly until Saul shows up and brings trouble with him.

Farah works at the local library where volunteer student Bloom looks up to her. Ben Harvey owns a flower shop he used to co-run with his late wife. His children, especially Terra, are fond of Farah and initially introduced her to Ben as a potential romantic set-up, but now the two are very dear friends. Stella is the daughter of the mayor, Luna Solaria, who has taken an irrational liking to Farah for fixing up the old produce stand and selling fresh produce because she has an investment in the flashy new supermarket or something. Anyway, Saul's car breaks down outside Farah's farm so he hikes into town where he meets Farah, who is complaining to Ben about some random car on her property. Saul follows her to explain and apologize, forgetting that he cuts a very menacing, imposing figure, and Farah pepper sprays him in the face for following her. Misunderstandings are sorted out, his car gets brought to the auto repair shop, but Riven says it'll be a while because he's got to order a new part, and wouldn't you know it the town doesn't have a B&B? So stranger danger reality aside, Saul ends up staying with Farah.

Cue all the Hallmark channel romcom tropes and a "strangers to lovers" montage. Saul helps run the produce stand, Saul gets into a heated argument defending Farah from Luna, Farah and Saul fight about it because she doesn't need his help but then they kiss and make up (metaphorically). Saul gets roped into helping out on the farm when there's an emergency of some kind and Farah tells him to get Ben, but Saul insists he can help instead. Saul stops by the library because Farah offered reading as a productive time-passer and meets Bloom, who sizes him up as worthy of dating her beloved mentor. Farah and Saul enjoy the sunrise with coffee and have that exchange that I hate but will still mentally go "aw" about: where Farah says the sunrise is beautiful and Saul looks at her when he agrees. Ben makes Saul do yard work and gardening to win his favor even though Saul insists there's nothing going on between he and Farah.

Saul starts receiving phone calls and texts from an unknown number on his burner phone -it's Sky, Andreas' son, whom Saul has always been closer to because Andreas thought his son was "too soft" to go into the "family business." Sky warns Saul that Andreas is looking for him and close, so Saul panics. Farah, meanwhile, is fielding phone calls from her mother, after she mistakenly answered an unknown number only for Rosalind to be on the other end. Saul is desperate for his car to be finished so he can leave, but it's still not ready, so he offers Farah an insane amount of cash for her old farm truck just to get the hell out of there because the last thing he wants is any of the people he's met getting hurt because of him. Farah refuses because she needs the truck but it's also not reliable and isn't going to get Saul far and she doesn't understand what his rush is.

During his search for Saul, Andreas comes across Rosalind, and overhears her complaining about her daughter having a boyfriend because she heard Saul's voice when she called Farah. Rosalind plays a recording of their phone conversation to her unknown companion, because of plot, and Andreas recognizes Saul's voice and by tracking down Farah (because his connections are better than Rosalind's) he finds Saul. Saul sees one of Andreas' contacts in town and rushes back to Farah fearing the worst, only to find the thugs are already there -and Farah's knocked them all out because she's a badass strategist. Saul hugs her in relief which shocks her because he's not big on physical affection and she has no idea who these guys are, just that they snuck in her house and she's not having it. She demands an explanation, Saul gives it, and then they make a plan: Ben will run the farm in Farah's absence, the two of them will go back on the run and give Andreas' men the slip and get rid of Andreas for good. For happy ending purposes, everything goes accordingly to plan, and they also rescue Sky who Andreas tried to use as collateral to catch Saul. Now safe, they return to Alfea and Farah's farm to find Bloom helping out Terra and Sam, and Bloom gets introduced to Sky. Riven tells Saul his car is ready, and Farah asks if he's going to leave again, so Saul takes her hand, kisses her on the forehead, and says "never."

The end.

All the absolutely unrealistic parts of this AU aside, I think more romcoms should have the action/suspense of Mr. Right (Sam Rockwell, Anna Kendrick) and less of the sappy, although I do love the sappy.

#fate: the winx saga #eve best #fate the winx saga #ftws #farah dowling #fate winx saga #saul silva #rob james collier #fate au

[spacetimewithstuartgary]

Stars determine their own masses Last year, a team of astrophysicists including key members from Northwestern University launchedSTARFORGE, a project that produces the most realistic, highest-resolution 3D simulations of star formation to date. Now, the scientists have used the highly detailed simulations to uncover what determines the masses of stars, a mystery that has captivated astrophysicists for decades. In a new study, the team discovered that star formation is a self-regulatory process. In other words, stars themselves set their own masses. This helps explain why stars formed in disparate environments still have similar masses. The new finding may enable researchers to better understand star formation within our own Milky Way and other galaxies. The study was published last week in the Monthly Notices of the Royal Astronomical Society. The collaborative team included experts from Northwestern, University of Texas at Austin (UT Austin), Carnegie Observatories, Harvard University and the California Institute of Technology. The lead author of the new study is Dávid Guszejnov, a postdoctoral fellow at UT Austin. “Understanding the stellar initial mass function is such an important problem because it impacts astrophysics across the board — from nearby planets to distant galaxies,” said Northwestern’s Claude-André Faucher-Giguère, a study co-author. “This is because stars have relatively simple DNA. If you know the mass of a star, then you know most things about the star: how much light it emits, how long it will live and what will happen to it when it dies. The distribution of stellar masses is thus critical for whether planets that orbit stars can potentially sustain life, as well as what distant galaxies look like.” Faucher-Giguère is an associate professor of physics and astronomy in Northwestern’s Weinberg College of Arts and Sciences and a member of the Center for Interdisciplinary Exploration and Research in Astrophysics (CIERA). Outer space is filled with giant clouds, consisting of cold gas and dust. Slowly, gravity pulls far-flung specks of this gas and dust toward each other to form dense clumps. Materials in these clumps fall inward, crashing and sparking heat to create a newborn star. Surrounding each of these “protostars” is a rotating disk of gas and dust. Every planet in our solar system was once specks in such a disk around our newborn sun. Whether or not planets orbiting a star could host life is dependent on the mass of the star and how it formed. Therefore, understanding star formation is crucial to determining where life can form in the universe. “Stars are the atoms of the galaxy,” said Stella Offner, associate professor of astronomy at UT Austin. “Their mass distribution dictates whether planets will be born and if life might develop.” Every subfield in astronomy depends on the mass distribution of stars — or initial mass function (IMF) — which has proved challenging for scientists to model correctly. Stars much bigger than our sun are rare, making up only 1% of newborn stars. And, for every one of these stars there are up to 10 sun-like stars and 30 dwarf stars. Observations found that no matter where we look in the Milky Way these ratios (i.e., the IMF) are the same, for both newly formed star clusters and for those that are billions of years old. This is the mystery of the IMF. Every population of stars in our galaxy, and in all the dwarf galaxies that surround us, has this same balance — even though their stars were born under wildly different conditions over billions of years. In theory, the IMF should vary dramatically, but it is virtually universal, which has puzzled astronomers for decades. “For a long time, we have been asking why,” Guszejnov said. “Our simulations followed stars from birth to the natural endpoint of their formation to solve this mystery.” The new simulations, however, showed that stellar feedback, in an effort to oppose gravity, pushes stellar masses toward the same mass distribution. These simulations are the first to follow the formation of individual stars in a collapsing giant cloud, while also capturing how these newly formed stars interact with their surroundings by giving off light and shedding mass via jets and winds — a phenomenon referred to as “stellar feedback.” The STARFORGE project is a multi-institutional initiative, co-led by Guszejnov and Michael Grudić of Carnegie Observatories. Grudić was a CIERA postdoctoral fellow at Northwestern when the project was initiated. STARFORGE simulations are the first to simultaneously model star formation, evolution and dynamics while accounting for stellar feedback, including jets, radiation, wind and nearby supernovae activity. While other simulations have incorporated individual types of stellar feedback, STARFORGE puts them all together to simulate how these various processes interact to affect star formation. The collaboration is funded by the National Science Foundation, NASA, the Research Corporation for Science Advancement, the Extreme Science and Engineering Discovery Environment, CIERA and Harvard’s Institute for Theory and Computation. Research was completed on two supercomputers at UT Austin’s Texas Advanced Computing Center. IMAGE....Simulation of a star-forming region, where massive stars destroy their parent cloud. CREDIT STARFORGE

#space #science #Astronomy #physics #news

[a-man-for-hire-and-his-archives]

SBS & NITV new crime drama True Colours is a murder mystery like no other

A powerful collaboration between SBS and NITV, True Colours is a murder mystery that twists and turns between two laws to find a killer very close to home.

Things are not what they seem in a new four-part crime drama True Colours.

What starts with the investigation of a car accident soon turns into an epic hunt for a killer. It’s a murder mystery like no other exploring culture, community, family and one woman’s pursuit to find her place within it.

Set in the fictional community of Perda Theendar against the backdrop of the Northern Territory’s Mparntwe (Alice Springs) and Yeperenye (East MacDonnell Ranges), the series in English and Arrernte, is a ground-breaking insight into the Arrernte peoples’ connection to art and cultural practices.  

Detective Toni Alma, played by Rarriwuy Hick (Redfern Now, Cleverman, Wentworth), is assigned to investigate a suspicious car accident in Perda Theendar, the Aboriginal community she left as a child and has had little to do with over the years. The beauty of Aboriginal art and the sometimes-devious practices in the global art market lead Detective Alma on a hunt for a killer in her hometown.

Rarriwuy Hick and Luke Arnold star in a gripping murder mystery set in remote Australia. Source: NITV/SBS

Hick spearheads a stellar cast including Luke Arnold (Never Tear Us Apart: The Untold Story of INXS, Black Sails), acclaimed singer-songwriter Warren H. Williams, and Miranda Otto (The Unusual Suspects, Chilling Adventures of Sabrina, The Lord of the Rings).

Rarriwuy Hick said she is "beyond proud" to be involved in such a ground-breaking drama series.

"(True Colours) takes viewers deep into the world of a First Nations community as it has never been seen before, also showcasing Arrernte language which is extraordinary to hear and perform," Hick said.

I can’t wait for everyone to see this amazing series. — Rarriwuy Hick.

"It’s always a pleasure to bring a character to life on screen, but there’s something special about playing Toni Alma. As a woman who is trying to work out who she is and what she wants, she is as equally drawn to her family and culture as she is confronted by it. I can’t wait for everyone to see this amazing series.”

Aboriginal art and the sometimes-devious practices in the global art market ignite a hunt for a killer in a small community. Source: SBS/NITV

Vivienne Alma, Miranda Otto and Warren H. Williams make up the dynamic cast of True Colours. Source: NITV/SBS

The creative team behind this bold story are co-creators Erica Glynn (Redfern Now, Black Comedy, She Who Must Be Loved) and Warren H. Williams (who also stars in the series as Detective Alma’s uncle, Samuel), with writers Erica Glynn, Steven McGregor (Sweet Country, Mystery Road), and Danielle MacLean (Little J & Big Cuz, Mystery Road).

The series is produced by Penny Smallacombe, and Bunya Productions’ David Jowsey and Greer Simpkin, the award-winning team behind Sweet Country, Mystery Road, and Goldstone.

The ensemble cast includes Errol Shand, Emilie de Ravin, Trisha Morton Thomas and Ben Oxenbould, and is rounded out by exceptional local talent, many of whom count the series as their first acting role: Sabella Kngwarraye Ross Turner, Kurt Abbott, Kumalie Kngwarraye, Natalie Pepperill, Warren ‘Wazza’ Williams, Grant Wallace, Janaya Kopp, Siobhan Breaden, Genise Williams, Martin McMillan, Keenan Mitchell, Stella McMillan, Rosario Young, and Waylon Dixon.

SBS Head of Scripted Julie Eckersley and NITV Head of Commissioning and Programming Kyas Hepworth agree SBS and NITV are a great team.

"We believe in the unique power of fiction to transport audiences into fascinating and often underexplored worlds not otherwise seen on Australian TV," the pair said.

"True Colours is NITV’s first foray into long-form drama and continues our commitment to telling diverse stories with a distinctive voice. This is not only a remarkable drama, but also a significant moment in television history.”  

Luke Arnold plays Nick Gawler (skin name: Purrellar), not only is he Toni's policing partner, but also her ex-boyfriend. Source: SBS/NITV

Playing Fantasia, Siobhan Breaden is one of the many exceptional local talent from the Central Desert area. Source: SBS/NITV

The series will be subtitled in Arabic, Traditional Chinese, Simplified Chinese, Vietnamese and Korean​ and will be added to the subtitled collection on SBS On Demand.

True Colours leads SBS and NITV’s impressive NAIDOC slate for 2022, including two specials of Living Black that take a closer look at the making of the series, including a forum where Grant is joined by the cast and creators to explore how culture and community shaped this unique program. 

True Colours premieres Monday 4 July at 8.30pm on SBS and NITV. 

Source: Sbs Australia

#luke arnold #rarriwuy hick #sbs australia #true colours #true colours sbs

[isupportzaynxliamxziam]

Friday, 6 December 2019

Liam releases his debut album LP1 through Capitol Records. It's hip hop and R&B-oriëntated, drawing influencefrom Usher and Justin Timberlake. A number of singles were released ahead of the album including Strip That Down, Get Low, Bedroom Floor and Familiar. For You, Polaroid and the Christmas track All I Want (For Christmas) are also included as bonus tracks. Stack It Up was released as the lead single from the album. Live Forever is also released simultaneously alongside the album

The opener of the album is Stack It Up featuring A Boogie wit a Hoodie, written by Ed Sheeran, Steve McCutcheon, Frederik Gibson and Artist Dubose better known as A Boogie wit a Hoodie. The production's in de hands of Steve Mac

Remember is written by James Abrahart, Jonathan Price, Stefan and Jordan Johnson, as well as Marcus Lomax aka Marc Lo and Oliver Peterhof aka German. The production is done by The Monsters & Strangerz (= production and songwriting team of Alexander "Eskeerdo" Izquierdo, Oliver "German" Peterhof, Stefan and Jordan Johnson) , Jonny Price and Gian Stone

Heart Meet Break is written by Jake Torrey, Michael Matosic and Joseph Spargur, also known as Joe London, who also did the production of the song

Hips Don't Lie is written by Stefan and Jordan Johnson, as well as by Marcus Lomax, Alexander Izquierdo and Oliver Peterhof. The Monsters & Strangerz and Ben Chang aka Bengineer

Tell Your Friends is written by David Brown, Dylan Bauld and Sam Watters. The two last also produced the song

Say It All is the first song on the album Liam co-wrote. Other songwriters on it are Ryan Tedder, Sandy Wilhelm, Mikkel S. Eriksen and Tor Erik Hermansen. Ryan Tedder produced the song with Stargate (= producing and songwriting team of Tor Erik Hermansen and Mikkel S. Eriksen)

Rude Hours is written by James Duval, Rudolph Huggins and Daniel Schofield, who also produced the song as DannyBoyStyles

Live Forever featuring Cheat Codes is written by Samuel Preston, Evan Kidd Bogart and Sylvester "Sly" Sivertsen, while the song's produced by Trevor Dahl and Sly

Weekend is a song written by Liam, with Aaron Zuckerman, Simon Wilcox, Nolan Lambroza and Shaun Frank. Both Aaron Z and sir Bilan produced the song

Both Ways is written by Liam, Ruth-Anne Cunningham, Stephenie Jones, Ian Franzino and Andrew Haas. Afterhrs hàndeld the production

Strip That Down featuring Quavo is written by Liam, Ed Sheeran, Steve McCutcheon and a lot of others, while the production is done by Steve Mac

For You featuring Rita Ora, from Fifty Shades Freed is written by Alexandra Tamposi, Ali Payami and Andrew Wotman. The two last produced the song with Peter Karlsson

Familiar featuring J Balvin is written by Gamal Lewis, Sean Douglas, J Balvin and Michael Sabath, wil also handled the production

Polaroid featuring Jonas Blue and Lennon Stella is written by John Paul Cooper, Samuel Romans, Edward Drewett and Jonas Blue, who also handled the production

Get Low featuring Zedd is written by Charles Hinwhaw Jr, Tristan Landymorr, Fabienne Holloway and Anton Zaslavski als Zedd, wil also did the production

Bedroom Floor is written by Charlie Puth, Jacob Kasher Jr, Steve McCutcheon, Ammar Malik, Noel Zancanella and Aaron Jennings. The production's handled by Steve Mac and Ben Rice

The last song the album is All I Want (For Christmas), written by James Newman, Samuel Preston and Phil Cook. The latter also produced the song

#Friday 6 December 2019 #Liam Payne #LP1 #Stack It Up #Remember #Heart Meet Break #Hips Don't Lie #Tell Your Frieds #Say It All #Rude Hours #Live Forever #Weekend #Both Ways #Strip That Down #For You #Familiar #Polaroid #Get Low #Bedroom Floor #All I Want (For Christmas)