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clarabowlover · 2 years
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Mae Murray - By Talbot Studio (1925)
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my-burnt-city · 1 year
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I am, once again, extremely back on my Drowned Man bullshit, I will go down with this ship, I won't put my hands up and surrender, etc etc etc
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Dark Universe: Of Monsters and Men - Prologue.
Original Concept By Victoria (AKA Dawn's Edge)
Art By Rover Studios.
Story and Edits by me.
This is a fan-comic inspired by the scrapped Dark Universe concept. You can read on Webtoon or Comic Fury.
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dedukeque · 2 years
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thedsgnblog · 1 year
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Areaware: Objects & Gifts for Home, Work & Play
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desertfangs · 8 months
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DEVIL’S MINION IS A LOVE LETTER TO ARMAND 😭
How do you manage to be so right all the time? Perhaps it’s not the love letter he might’ve wanted (given the circumstances and his feelings about Lestat’s books) but it’s the one he DESERVED. It’s the one chapter that truly captures him in all of his complexity and his simplicity, his evil and his goodness (the one he doesn’t even believe he has but becomes so palpable whenever he’s around Daniel), his curiosity and his insanity and his confusion and his endless need to experience and understand. No one had ever managed to capture Armand in such a way and it’s so fitting that it was Daniel telling the story and Lestat writing it. David Talbot wishes TBH
LOL OMG ANON RIGHT?? David Talbot could never.
Devil's Minion works because Daniel sees Armand for exactly what and who he is, and loves him for being the adorable little curious weirdo who wants to spend his nights chatting up artists and photographers in their studios while pretending to drink tea, or figuring out how to use a Chop-O-Matic, or watching the same movie 3 times and pointing out the characters who remind him of Lestat ("No Daniel, I will not speak of Lestat, your friend Louis has told you enough about that fool, hasn't he?" "Then why do you keep bringing him up?" Armand: 🥹)
Armand is philosophical and wants to know what Daniel thinks about the Big Questions, about war, death, and modern life. Armand wants to join the modern world and then become something important in it. He creates the Night Island! He's creative and innovative and beautiful and messy. As you say he has a desperate need to understand and tear things apart until they make sense. Daniel sees all of it and loves him for it. And Armand learns to let himself be loved and find that love in return.
It really is the story of Armand, after 500 years, finally coming into his own and it's because of Daniel and with Daniel that it happens, because he found someone who loves him for him and can allow him that space to grow.
Daniel telling it, and Lestat writing it after listening to Daniel expound on all the ways Armand is an incredible, amazing creature is just sort of beautiful. Lestat has known Armand for a long time but I do wonder if it helps him see Armand in a new light. It must, right??
Absolutely it's the love letter Armand deserved. And I hope he was able to see it that way when he read it back, however he finally got a copy of Lestat's manuscript.
And hot damn, I would pay cash money for the unabridged version that's probably sitting somewhere on Lestat's old 1985 hard drive in the catacombs of Night Island.
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in-flagrante · 7 months
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25 Aug 2023 12:01 AM
Downton Abbey stars-turned folk duo Michael Fox and Michelle Dockery have unveiled their new single, Starlight.
The track is a compelling, gritty American Western-inspired tune infused with the duo’s distinctive subtle touch of dramatic harmony.
Known by their stage name Michael and Michelle, Fox and Dockery first met on the set of the hit TV period drama, and soon discovered their shared passion for music – jamming casually in between shooting scenes.
The pair started playing regularly as a duo for fun and six years later signed their first record deal and debut EP, The Watching Silence, released via Decca in May 2022.
Speaking about the release of Starlight, Fox, who played Andrew Parker on Downton, said: “This is a song about getting out, fleeing in the middle of the night, taking back control of your own story.
“We heard parts of the delta blues when writing and saw images of the endless expanse along American roads.
“It is influenced by Delta blues, Arcade Fire, Bob Dylan and always Crosby Stills Nash and Young.”
Fox and Dockery are joined by Chris Mass, of Mumford and Sons, on percussion, Tommy Heap on piano and drums, and Carlos Garcia on guitar.
Starlight was recorded in Crouch End’s Church Studios in London, and was produced by Iain Grimble.
Fox added: “We wanted a song that felt really American, the idea of galloping through on horseback.
“We sat separately to write the lyrics, so it was very conversational. The lyrics were in conflict, her verse against my verse, and we tried to bring them back together and see what we ended up with.”
Dockery, who played Lady Mary Talbot on Downton, said: “It started with a very Western riff that sets the scene, like a Western film.
“It’s our favourite one to do live. We love it.”
Starlight is available now via Decca Records.
https://www.ireland-live.ie/news/music/1280789/downton-abbey-stars-michael-fox-and-michelle-dockery-unveil-new-folk-single.html?utm_source=dlvr.it&utm_medium=twitter
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floridaboiler · 1 year
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52 years ago today, April 4, 1971, the final episode of Hogan's Heroes aired. It ran for 168 episodes from September 17, 1965, to April 4, 1971, on the CBS network. Bob Crane starred as Colonel Robert E. Hogan, coordinating an international crew of Allied prisoners running a Special Operations group from the camp. Werner Klemperer played Colonel Wilhelm Klink, the incompetent commandant of the camp, and John Banner was the inept sergeant-of-the-guard, Hans Schultz.
Hogan's Heroes won two Emmy Awards out of twelve nominations. Both wins were for Werner Klemperer as Outstanding Performance by an Actor in a Supporting Role in a Comedy, in 1968 and 1969. Klemperer received nominations in the same category in 1966, 1967 and 1970. The series' other nominations were for Outstanding Comedy Series in 1966, 1967 and 1968; Bob Crane for Outstanding Continued Performance by an Actor in a Leading Role in a Comedy Series in 1966 and 1967; Nita Talbot for Outstanding Performance by an Actress in a Supporting Role in a Comedy in 1968; and Gordon Avil for cinematography in 1968.In December 2005, the series was listed at number 100 as part of the "Top 100 Most Unexpected Moments in TV History" by TV Guide and TV Land. The show was described as an "unlikely POW camp comedy.
Hogan's Heroes was filmed in two locations. Indoor sets were housed at Desilu Studios, later renamed as Paramount Studios for Season Four and then Cinema General Studios for Seasons Five and Six. Outdoor scenes were filmed on the 40 Acres Backlot. 40 Acres was in Culver City, in the Los Angeles metropolitan area. The studios for indoor scenes were both located in Hollywood, CA. Undoubtedly, one of the most original and curious aspects was to create the effect that there was always a snowy winter, something unusual in warm Southern California, but normal in the German winter. The actors had to wear warm clothes and frequently act like they were cold, even though it was warm for much of the year and usually hot during summer.
Although it was never snowing on the film set and the weather was apparently sunny, there was snow on the ground and building roofs, and frost on the windows. The set designers created the illusion of snow two ways: the snow during the first several seasons was made out of salt. By the fourth season, the show’s producers found a more permanent solution and lower cost, using white paint to give the illusion of snow. By the sixth and final season – with a smaller budget – most of the snow shown on the set was made out of paint.
After the series ended in 1971, the set remained standing until it was destroyed in 1974 while the final scene of Ilsa, She Wolf of the SS was filmed
The actors who played the four major German roles—Werner Klemperer (Klink), John Banner (Schultz), Leon Askin (General Burkhalter), and Howard Caine (Major Hochstetter)—were all Jewish. Furthermore, Klemperer, Banner, and Askin had all fled the Nazis during World War II (Caine, whose birth name was Cohen, was an American). Further, Robert Clary, a French Jew who played LeBeau, spent three years in a concentration camp (with an identity tattoo from the camp on his arm, "A-5714"); his parents and other family members were killed there. Likewise, Banner had been held in a (pre-war) concentration camp and his family was killed during the war. Askin was also in a pre-war French internment camp and his parents were killed at Treblinka. Other Jewish actors, including Harold Gould and Harold J. Stone, made multiple appearances playing German generals.
As a teenager, Klemperer, the son of conductor Otto Klemperer, fled Hitler's Germany with his family in 1933. During the show's production, he insisted that Hogan always win against his Nazi captors, or else he would not take the part of Klink. He defended his role by claiming, "I am an actor. If I can play Richard III, I can play a Nazi." Banner attempted to sum up the paradox of his role by saying, "Who can play Nazis better than us Jews?" Klemperer, Banner, Caine, Gould, and Askin had all spent the real Second World War serving in the U.S. Armed Forces—Banner and Askin in the U.S. Army Air Corps, Caine in the U.S. Navy, Gould with the U.S. Army, and Klemperer in a U.S. Army Entertainment Unit. But the sitcom was not the first time Klemperer had played a Nazi: in 1961, he starred as the title character in the serious drama Operation Eichmann, which also featured Banner in a supporting role. Ruta Lee, Theodore Marcuse, and Oscar Beregi, Jr. also appeared in the film, each of whom went on to make several guest appearances on Hogan’s Heroes.
https://www.facebook.com/Retrovision
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Sir Anthony Hopkins landed a Hollywood film role playing a man who saved the lives of hundreds of children
One Life (2023) ‧ War/Drama. The story of British humanitarian Sir Nicholas Winton, who helped save hundreds of Central European children from the Nazis on the eve of World War II. Sir Nicholas Winton saved 669 children, who were mostly Jewish, from Czechoslovakia before World War Two broke out in 1939.
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Sir Anthony Hopkins will appear as Sir Nicholas Winton in an upcoming biographical film called One Life.
Sir Anthony Hopkins tells the story of 'hero' Sir Nicholas Winton in One Life. The Welsh acting legend plays a man who saved 669 Jewish children before the Second World War. Nicholas Winton from London was a stockbroker and humanitarian who died at the age of 106 in July 2015.
He was known for organising the rescue of 669 Czech children from Nazi-occupied Czechoslovakia during the nine months before the war broke out in 1939. The story became known to the public in 1988 when it was featured on That’s Life!, the BBC magazine programme. In 2003, he was knighted by Queen Elizabeth II for Services to Humanity for this work.
In the nine months leading up to the outbreak of World War Two, 669 children who were mostly Jewish, were transported from Czechoslovakia to Britain and other countries. This was due to the foresight and work of a small group of people organised by 29-year-old stockbroker Nicholas Winton.
He made sure that those who were displaced found a new home, but he was haunted by the thought of those he was unable to save and as a result, he never spoke of the rescue. Around 50 years later, however, his work came to light when his wife, Grete Winton, found an old scrapbook which detailed everything her husband had done, including the names of the children he had saved.
As the news of his heroism broke out, Sir Nicholas was invited to appear on That's Life!. During the show, presenter Esther Rantzen asked the studio audience if "anyone here tonight owes their life to Nicholas Winton?" and in turn, some members of the audience, who sat next to Nicholas, began to stand.
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Sir Nicholas Winton was known as "Britain's Schindler" as he saved hundreds of children from Czechoslovakia in 1939(Image: PA)
The stockbroker was reunited with some of the Jewish children he had saved. He was known as "Britain's Schindler" coined after Oskar Schindler who was a German industrialist who saved thousands of Jews he had employed at his factories during the Holocaust.
The remarkable story is now being turned into a Hollywood film and stars Port Talbot-born actor, Sir Anthony Hopkins, as Sir Nicholas Winton.
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On the BBC's programme That's Life! Sir Nicholas Winton was reunited with some of the children he had saved in an emotional reunion (Image: BBC)
One Life, which has been adapted from a 2014 book written by Sir Nicholas's daughter Barbara, entitled If It's Not Impossible. The Life of Sir Nicholas Winton will be a biographical film and will focus on Sir Nicholas and the rescue operation. The film will be premiered at the 2023 Toronto International Film Festival in September.
Sir Anthony Hopkins plays the older version of Sir Nicholas Winton, while Johnny Flynn plays the younger version. The film also stars Helena Bonham Carter, Romola Garai and fellow Welsh actor and Hopkins' The Two Popes co-star, Jonathan Pryce. Directed by James Hawes.
youtube
#OneLife #SirAnthonyHopkins #WorldWarTwo #rescueoperation #Jewishchildren #BBC #book #Britain'sSchindler #SirNicholasWinton #reunion #Grete Winton #IfIt'sNotImpossible #knighted #BarbaraWinton #biographicalfilm #programme #EstherRantzen
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byneddiedingo · 8 months
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Leslie Howard and Norma Shearer in Romeo and Juliet (George Cukor, 1936)
Cast: Norma Shearer, Leslie Howard, John Barrymore, Edna May Oliver, Basil Rathbone, C. Aubrey Smith, Andy Devine, Conway Tearle, Ralph Forbes, Henry Kolker. Screenplay: Talbot Jennings, based on a play by William Shakespeare. Cinematography: William H. Daniels. Art direction: Cedric Gibbons, Frederic Hope, Oliver Messel, Edwin B. Willis. Film editing: Margaret Booth. Music: Herbert Stothart.
If Shakespeare's Juliet could be played, as it was in its first performances, by a boy, then why shouldn't she be played by 34-year-old Norma Shearer? Truth be told, I don't find Shearer's performance that bad: She lightens her voice effectively and her girlish manner never gets too coy. It also helps that William H. Daniels photographs her through filters that soften the signs of aging: She looks maybe five years younger than her actual age, if not the 20 years younger that the play's Juliet is supposed to be. I'm more bothered by the balding 43-year-old Leslie Howard as her Romeo, though he had the theatrical training that makes the verse sound convincing in his delivery. And then there's the 54-year-old John Barrymore as Mercutio, who could be Romeo's fey uncle but not his contemporary. In fact, Barrymore's over-the-top performance almost makes this version of the play a must-see -- we miss him more than we do most Mercutios after his death. Edna May Oliver's turn as Juliet's Nurse is enjoyable, if a bit of a surprise: She usually played eccentric spinsters like Aunt Betsy Trotwood in David Copperfield (George Cukor, 1935) or sour dowagers like Lady Catherine de Bourgh in Pride and Prejudice (Robert Z. Leonard, 1940). In the play, the Nurse rarely speaks without risqué double-entendres, but most of them have been cut in Talbot Jennings's adaptation, thus avoiding the ridiculous spectacle of Shakespeare being subjected to the Production Code censors. (Somehow the studio managed to slip in Mercutio's line, "the bawdy hand of the dial is now upon the prick of noon.") Some of the other pleasures of the film are camp ones, such as Agnes deMille's choreography for the ball, along with the costume designs by Oliver Messel and Adrian, which evoke early 20th-century illustrators like Walter Crane or Maxfield Parrish. No, this Romeo and Juliet won't do, except as a representation of how Shakespeare's play was seen at a particular time and place: a Hollywood film studio in the heyday of the star system. In that respect, it's invaluable.
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Universal Horrors (Crossover AU of umbrark's FNAF Human AU)
(((OOC: This will also include other properties from other companies like with 20th Century Fox for example (due to them being featured in Universal Studios' HHN events), HHN stuff, and other horror films by Universal Pictures
The AU itself is basically a crossover between Universal Studios' horror films and umbrark's FNAF Human AU. I'm thinking events would probably change due to the presence of the characters from them. Here are some character ideas I have so far
Norman Bates (Psycho): A troubled man who moved his motel business to Hurricane, Utah and is employed as a cook at Freddy Fazbear's Pizzeria. Of course however, things aren't what they seem to be as Norman sometimes gets paranoid and would start arguing with "Mother". Things get worse however as someone wearing a mother's dress and grey hair is sometimes spotted inside and outside the Pizzeria... (1980s)
"Abraham Hemingway" (actually Dracula): A seemingly-human man who owns a company, Hemingway Corp., and works with William Afton from time-to-time. In actuality however, he is none other than the infamous vampire Dracula, who had survived death before and moves to America in order to hide from those that hunt down the vampire, especially if those are descendants of Abraham van Helsing. The only one who knows his secret is William Afton, who the vampire promises immortality to him. (1970s-2020s)
Peter Talbot (Descendant of Lawrence Talbot and Larry Talbot, both of them sharing the same fate on becoming a werewolf): A security guard that got hired for Freddy Fazbear's Pizzeria for day-shifts. He is best described as a nervous yet friendly guard who does his best at his job and looks harmless, but at Full Moon, he transforms into a terrifying werewolf and kills anyone on sight. (1980s)
David Kessler (An American Werewolf in London): A backpacker who is hiding out in America due to being responsible for the killings in London and the Piccadilly Circus Massacre. He does his best to keep his werewolf form under control whenever a Full Moon is shown. He forms a friendship with Peter Talbot due to their similar circumstances. (1980s)
Johnny Bartlett a.k.a The Grim Reaper (The Frighteners): A demented mass murderer with a grisly count of 40. Has been into Hell not only once, but twice. Got out of hell for the third time and has set his sights on Springtrap and The Phantoms. Is facing competition with Chucky (once known as the Lakeshore Strangler in his human life before transferring his spirit to a Good Guy doll) (2010s)
FNAF Human AU belongs to @umbrarkzoo
Universal Horrors AU belongs to me.)))
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garr9988 · 5 months
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So I Watched "Monster Force"...
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After watching Captain Simian and the Space Monkeys (which I seriously recommend, it's pretty charming and decently written), a friend and I decided to watch other old and somewhat obscure cartoons. In between episodes of Action Man (1995), I found Monster Force.
Monster Force was a 1994 cartoon based on the Universal Studios line of monster movies. Only getting one season, although all 13 episodes are known to exist, only 9 of them seem to have been saved and uploaded online to be watched.
First and foremost: it's not good. Or at least, it's not terrible. But it's absolutely not well-written. In 9 episodes, I could not tell you anything about most of the recurring cast.
The writing puts too much emphasis on the "job" of the story, or the progression of events themselves. It's hard to describe, but it's like there's no time to breathe, no opportunities taken to explore the characters in any way beyond their job. It uses the characters as extremely shallow chess pieces to give exposition and advance the plot with next to no personality. Most of the characters talk too similarly to each other or just talk very flatly and clinically, and all in sarcastic quips and jokes, to stand out on their own in any significant way.
Of the embarrassingly forgettable recurring cast, only 3 stood out to my friend and I in a positive way:
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Luke Talbot, descendant of Larry Talbot (aka The Wolfman), and one of the only two monsters on Monster Force (along with Frank, aka Frankenstein's Monster). His whole thing is that he's trying to find the werewolf that bit his grandfather Larry, with the intent of killing him so as to end his curse of lycanthropy.
Outside of his built-in plot device goal, Luke has little personality, just like most of the cast. And given he uses his lycanthropy so much, his textual loathing for his curse comes off as forced and without depth. The only reason my friend and I like him is because we find his werewolf form hot.
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Like come on. If this show were more popular and better I feel like this image would be on a lot of backgrounds and edits.
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Count Dracula was absolutely a stand-out character. His voice performance by Robert Bockstael was likewise a stand-out in a show full of phoned-in, flat acting from everyone else. He's got drama, charisma, cruelty, and an accent. And similarly, unlike everyone else's ugly and overdesigned dieselpunk mechsuit (EMACS) designs, his was actually simple, yet well-made, pleasing and dramatic.
Aside from those crazy side-goatees??? Granted, they look like spider pincers, which may be intentional, so I guess that's cool?
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The very first episode had him try to force Luke to embrace his lycanthropy and join his forces of evil as a full monster (which we enjoyed bc Gayyyy). He also tries to recruit Frank and other actually evil monsters to his cause, but in the 9 episodes was never successful.
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Commander Honor Santiago, a security officer working for Hyper-Gen. She mostly stood out because she was sooooo butch lesbian-coded. Strong square face, short & slicked hair, earrings in one(?) ear, and she seemed torn between her duty to recapture the escaped Bride of Frankenstein('s Monster) (who had escaped the facility she worked for) and being disturbed by her mistreatment at the hands of her superior, Dr. Ducaine.
Honestly, I feel like there was a lot of potential for Honor and The Bride to get together, but of course The Bride ends up rejecting both Frank (and other monsters) and humans alike in favor of living alone, and Honor ends up as a love interest for de facto male lead Reed Crawley (the guy she's looking at). I have no clue if this was intentional coding that got comphet'd because it was the 90s, or just a bunch of coincidences. But if more young girls saw her, I'm sure she'd have been lots of girls' awakening.
Of the 9 extant episodes, there were only 3 episodes I could decidedly call "character-focus episodes" - episodes that focus on one character of the cast in particular. Which is funny, you'd think they'd do that for every main character at least once (there are 6 main characters, so there should be room). Of those 3, two of them are only ostensibly in this category because they still didn't feel focused enough, and only one of them I "liked" - because it focused on Luke going after the source of his curse, and so there were lots of nice Werewolf Time.
The one episode my friend and I regard fairly positively is not among those 3 focus episodes: Episode 7, "Dark City"
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After 6 shallow, empty episodes, this one (written by Mary Crawford and Alan Templeton) was actually pretty interesting and freaky! The premise of the episode is that the gang are stuck in a living town that's a grotesque monster (the whole thing!) that every so often pops out of the aether to lure entire nearby populations into itself to eat.
The episode doesn't really explore that premise in a way other cartoons would/it should have (i.e. the gang falling under its allures for more than 2 minutes, or spending more time investigating recent disappearances, or the strangeness of the town longer before it reveals itself... y'know, things you'd do in competent writing). Where it excels is purely in the visual execution of its concept.
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The background/environmental artists for this episode did a really nice job of making this place so gnarly and disturbing in its monstrousness. A living city with eyes, teeth, horns and tentacles built into buildings and walls, how normal environments can transform into something horrifying and organic in the blink of an eye (like this stairwell). It's awesome, and calls to mind Queensland from Alice: Madness Returns.
Now, of course, this show was among the litany of cartoons made toys-first and everything else came afterwards as a glorified commercial. It just wasn't successful at making an attractive commercial of itself at all. It's rather baffling and embarrassing how a crew of people being paid to write managed to do so poorly, even if they must have had very little time to write and review/update drafts.
To cap off a slew of mediocre with some inside jokes:
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"You better not be a Cunty Frankenstein when I get there!"
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"They pick her up like the fútbol."
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bi-bard · 1 year
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The Look - Jack Barber Imagine [Downton Abbey: A New Era]
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Title: The Look
Pairing: Jack Barber X Reader
Word Count: 1,161 words
Warning(s): jealousy, insecurities
Summary: Jack invites (Y/n) out to visit the set of his new film. (Y/n) was more than excited to see a film set outside of a studio. However, some of said excitement is squashed once they catch sight of Jack's interactions with Lady Mary Talbot.
Author's Note: First of all, Mary's a better woman than me. Second of all, don't say I don't do anything for you people (I am still looking at that post about all those Hugh Dancy characters, by the way).
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When Jack first invited me to visit the set of his new film, I was hesitant.
I had no desire to be seen as some kind of distraction from the project.
But his insistence seemed to calm some of my anxieties. I finally agreed. We arranged for me to visit for a short portion of the time. A matter of days, truly.
It did bring me some comfort to know that I would not have to go as long as I expected without seeing him.
Downton was even grander than I had been expecting. I remember just staring up at the building with nothing, but shock written on my face.
"(Y/n)!"
I pulled my eyes away from the building when I heard my name being called.
"Jack," I said happily, jogging over to him.
He pulled me into a tight hug immediately. "Oh, I am so happy that you made it."
"So am I," I leaned back to look at Downton again. "This place doesn't quite feel real."
"I am barely starting to accept it myself," he chuckled. "Come on, I'll show you where we're filming."
Jack's hand was placed on my back as he guided me into the grand building.
I met so many people that it felt like names were falling out of some kind of cup in my head. I didn't know that my mind could feel like it was completely overflowing.
It was a gorgeous place.
The people were kind.
The film crew itself felt like they were surrounded by this pristine bubble. If you got too close, then you would pop that bubble and ruin the illusion. People on display like museum exhibits.
No one quite caught my attention like Lady Mary.
She was kind and clever. I didn't know much about her beyond that. We had only interacted a few times between scenes being filmed.
Those moments in between were enough for my mind to play tricks on itself.
I would watch Jack and Mary talk between scenes. She seemed to always be the first to help when things went wrong. She carried herself with this strange mix of humbleness, yet some self-awareness of her status and power in the current situation.
Jack just had this... look. I couldn't describe it beyond that. It was just a look. But it was enough for me to be uneasy.
Watching them interact made my stomach churn. I felt my palms sweating and my face warming up out of some kind of anger or embarrassment. I wasn't sure which one.
I tried to ignore it.
Jack and I had been together long enough for me to completely trust him. If he was trying to keep something from me or if he were truly questioning his feelings for me, then I would have liked to believe that he wouldn't insist that I come to visit.
I thought I had done well. I thought that I managed to hide my thoughts and feelings behind a wall of kind grins and short answers.
I truly had no indication that I had been the cause of any worry until Jack asked if he could speak with me.
"Of course," I answered. "What do you-"
"Not here," he said quietly. "In private."
I hesitated for a moment before nodding and following him into some room away from the others.
"What is it," I asked when the door closed behind us.
"Is something wrong?" he replied.
I shook my head. "No, of course not."
I wanted to believe that I had done a better job hiding my thoughts. I never thought that I was one to allow my feelings to be easily recognized. Granted, Jack always seemed to see through whatever disguise that I attempted to use.
"(Y/n)," he said quietly. He stepped forward before reaching out and taking my hand. "I'm sorry, but we have been together long enough for me to know when something is upsetting you."
I took a deep breath, but I couldn't bring myself to admit to what I had been thinking. It all felt so ridiculous when I thought about speaking about it.
"Darling...," Jack's voice dropped to a whisper as he stepped even closer. "Please..."
"You and Lady Mary seem... very close," I admitted. My face warmed up as embarrassment started to take over. "I feel like I'm watching you look at her the same way that people told me you looked at me."
I looked away, only feeling more embarrassed by the way Jack was looking at me.
"(Y/n)," he spoke up after a moment. "Please, look at me."
I took a deep breath before looking at him.
"I had no idea that you were uncomfortable with what I had done," he explained. "That may very well be my own fault. But I can promise that there is nothing between Lady Mary and me."
I felt the beginning of a soft smile forming at the corner of my lips. I would always trust him. Perhaps that could have been dangerous, but I would never have the heart to care about such a thing.
"You are the only one that I have ever had eyes for," he continued. "That 'way' people have said I look at you has never changed and has never been pointed at another being. It never will. I love you."
My smile formed fully at the sentiment. I still felt ridiculous for worrying, but now that was met with a sense of gratitude. How had I been so fortunate to find a man that could share such love with no hesitation?
"I love you too," I mumbled after a moment. "I'm so sorry. I should have come to you the moment these feelings surfaced. I never meant to pull you from your work by worrying about me."
"I believe I made the choice to worry about you long before I made the choice to make films," he replied. His free hand cupped the side of my face. "You will always be my first priority."
I leaned in and pecked his lips quickly. "You should get back to your film."
"I am going to see if I can find a place for us to share an evening away from the others," Jack said. "We both have earned a night to ourselves."
"That would be wonderful, Jack."
His smile only grew more as he admired me for a moment.
That was the first time I felt like I could truly see it. The way he looked at me. That small glint in his eye. I felt my face warming up under his gaze.
"Go," I pushed on his shoulder playfully.
He chuckled, kissing me again before going to head back out to work on the film.
I laughed a bit at him.
He was the best thing I had been lucky enough to have in my life.
And now I could see that he could have very well thought the very same way about me.
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Navigation Guide
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Nigel on IDLEs
Godrich has reached a point in his career where he can be selective about his projects. “I rarely, these days, have any sort of desire to work with anyone, to be honest,” he tells me, a few weeks after my conversation with Talbot and Bowen. “But they’re doing it for the right reasons and the right intentions – and they’re really fucking sweet people, which, believe it or not, is a very important thing to me.” He wasn’t, and still isn’t, closely familiar with the lineage of their sound, but after relaunching his beloved live-in-studio music series From The Basement with their performance, he glimpsed the potential for something within them that had, until then, been untapped.
“I always think about things selfishly, like, ‘What would I like to hear?’, Godrich explains. “I see this band, I see them perform, and I see Joe who’s a star. And I started to think, ‘I wish they would…’, in that kind of imaginary way. I thought it would be interesting to see how they would translate if he was a little bit more musical, if he sang more. Has this tone which is really quite amazing. I was talking to Mark and Kenny, and we all agreed it would be a great angle to take - and Joe was on board. The reason I was drawn to do it was because I could see a role I could play; I could see a possible outcome.”
It was the first time Godrich had worked on a record where not a single word had been written beforehand. It’s how IDLES have always worked: Bowen and the band conjure the sound, dictate its mood and climate, and then Talbot communicates that sound through melody, like beams of light refracting through a prism. Godrich was both astounded and disarmed, he recalls, at the instinctive way in which he would write a song at the microphone, in that very moment. But rising to this new musical approach, at first, didn’t not come easily to Talbot.
“First of all, Joe is the one at the front there who’s having to sing all this stuff,” Godrich points out. “He’s put in a very vulnerable position and he’s the one who has to make it work. I know, for him, that was difficult because I think he puts himself forward with a very aggressive kind of sensitivity on the previous records. In order to kill the toxic masculinity of something, you have to have that masculinity there in order to detoxify it – that’s part of the magic of it all. So then, suddenly, to work without that edge, I felt that he was a bit nervous about it. And rightly so. He’s a sensitive guy, and that’s what makes him such an extraordinary performer.”
At the end of our conversation, Godrich also confesses, “I didn’t really want to do any interviews about this. It’s nice to retain an air of mystery sometimes, but these boys deserve everything that I hope is going to come to them.”
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Think that's a subtly revealing interview, actually.
I know Nigel has expressed that most music isn't very good right now. But the air of mystery quote at the end is another clear reason he doesn't interview much or talk details.
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Wonka il Film
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✔️ 𝐒𝐓𝐑𝐄𝐀𝐌𝐈𝐍𝐆 𝐎𝐑𝐀 𝐐𝐔𝐈 ▶ https://megavids.online/movie/787699/wonka
:: Trama WONKA ::
Questo film racconta la storia delle origini di Willy Wonka, un personaggio del romanzo Charlie e la fabbrica di cioccolato di Roald Dahl, pubblicato nel 1964. Questo film descrive i primi giorni di Wonka come eccentrico cioccolatiere. Confezionato come "compagno" dell'adattamento cinematografico di Willy Wonka e la fabbrica di cioccolato, questo film ha come protagonista Timothée Chalamet. È supportato da Calah Lane e altri attori famosi come Keegan-Michael Key, Paterson Joseph, Matt Lucas, Mathew Baynton, Sally Hawkins, Rowan Atkinson, Jim Carter, Tom Davis, Olivia Colman e Hugh Grant.
Il processo di sviluppo del film è iniziato dopo che la Warner Bros. La Pictures, che aveva precedentemente pubblicato un adattamento del romanzo del 1964 nel 2005, ha acquisito i diritti sul personaggio di Wonka nell'ottobre 2016. Hanno annunciato che il film si sarebbe concentrato sulla storia delle origini di Wonka. Timothée Chalamet è stato confermato per interpretare Wonka nel maggio 2021 e il cast di supporto è stato annunciato nel settembre dello stesso anno. Le riprese principali sono iniziate nel Regno Unito nel settembre 2021. Le location delle riprese includono Warner Bros. Studios, Leavesden, Watford, così come a Oxford, Lyme Regis, Bath, St Albans e al Rivoli Ballroom di Crofton Park, Londra. Le canzoni originali del film sono state fornite da Neil Hannon, con la musica originale di Joby Talbot.
Wonka è stato presentato in anteprima alla Royal Festival Hall, Southbank Centre, Londra, il 28 novembre 2023. Il film è uscito nel Regno Unito l'8 dicembre e negli Stati Uniti il ​​15 dicembre 2023 dalla Warner Bros. Immagini. Il film ha ricevuto recensioni generalmente positive da parte della critica.
Lancio :
Timothée Chalamet nel ruolo di Willy Wonka, un aspirante inventore e cioccolatiere.
Calah Lane nel ruolo di Noodle, l'assistente di Willy
Keegan-Michael Key nel ruolo del capo della polizia
Paterson Joseph nei panni di Arthur Slugworth, un uomo d'affari corrotto e leader del cartello del cioccolato
Matt Lucas nel ruolo di Prodnose
Matthew Baynton nel ruolo di Fickelgruber
Sally Hawkins nel ruolo della madre di Willy Wonka
Rowan Atkinson nel ruolo di Padre Julius, un prete.
Jim Carter nel ruolo di Abacus Crunch,e altri
Wonka ha tenuto proiezioni speciali allo ShowEast il 24 ottobre 2023 e all'auditorium Naval Support Activity Hampton Roads il 19 novembre. Una première speciale a Tokyo si è tenuta il 20 novembre, alla presenza del regista Paul King, dei produttori David Heyman e Alexandra Derbyshire e delle star del cinema Timothée Chalamet e Hugh Grant. Il film è stato presentato in anteprima alla Royal Festival Hall, Southbank Centre, il 28 novembre 2023. Distribuito nelle sale dalla Warner Bros. Immagini nel Regno Unito l'8 dicembre 2023, il film è stato seguito dall'uscita negli Stati Uniti il ​​15 dicembre 2023, nei cinema convenzionali, Dolby Cinema e IMAX.Inizialmente, l'uscita del film era prevista per il 17 marzo 2023.
Il film è un artefatto culturale creato da una specifica cultura, riflettendola e, al tempo stesso, influenzandola. È per questo motivo che il film viene considerato come un'importante forma d'arte, una fonte di intrattenimento popolare ed un potente mezzo per educare (o indottrinare) la popolazione. Il fatto che sia fruibile attraverso la vista rende questa forma d'arte una potente forma di comunicazione universale. Alcuni film sono diventati popolari in tutto il mondo grazie all'uso del doppiaggio o dei sottotitoli per tradurre i dialoghi del film stesso in lingue diverse da quella (o quelle) utilizzata nella sua produzione.
Le singole immagini che formano il film sono chiamate “fotogrammi”. Durante la proiezione delle tradizionali pellicole di celluloide, un otturatore rotante muove la pellicola per posizionare ogni fotogramma nella posizione giusta per essere proiettato. Durante il processo, fra un frammento e l'altro vengono creati degli intervalli scuri, di cui però lo spettatore non nota la loro presenza per via del cosiddetto effetto della persistenza della visione: per un breve periodo di tempo l'immagine permane a livello della retina. La percezione del movimento è dovuta ad un effetto psicologico definito come “fenomeno Phi”.
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thedsgnblog · 2 years
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