My mom and I had watched the Nun 2 the other day, so I suspect this is where this came from, but I just woke up from a dream where like this village or common was being terrorized by a smiling shadow demon, and I had teamed up with an ex sniper to try and hunt the demon, idk if he was also a priest or anyone who was qualified to hunt demons, but if it showed up you had to not look at it and hold your hand out like you were Swiper, no swiping, and you had to say a rhyme that was like, go away or whatever, but I made up one and the demon just kinda stared at me then it said that I had technically fulfilled the requirements so he was going to leave but he wanted me to know that the rhyme I made up was terrible. Then the dream randomly changed and suddenly I was at work talking to my manager…. On second thought maybe the demon lied and killed me when I tried to leave and I was immediately transported to Hell where I would have to work my grocery job for all eternity.
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TheKristElementsConcertD2: 🚣🦆
"P'Tha secretly whispered to me before entering the hall “today, the six of them will be targeting you, just prepare to row”…, which made watching the concert not so enjoyable for me. It made me feel on edge the whole time… Once the "row a boat to buy a duck" came up, I just… I've missed these six and this song so much, I actually cried. But when I got row-ed, I wanted to ask for my tears back."
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Bonus:
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Because several of the first Iraqi films were coproductions with Egypt, Turkey, and Lebanon and often employed foreign directors, used foreign actors, and relied on investments, equipment, and trained workers from abroad, in the very limited scholarship on the history of cinema and film in Iraq there has been much debate about what can rightly be called the first Iraqi film. [...] Failure and coproduction [...] were not only an essential feature of the early Iraqi film industry, but [...] they paved the way for subsequent productions. Bhaskar Sarkar has described how global media theory outside of the global centers of production has been preoccupied with novelty and national firsts. Similarly, [...] Cooley argues that the “intertwined histories such as those of cinemas in the Middle East and South Asia have been chronically erased in national narratives of cinemas [...]”. [S]he examines the Iranian entrepreneurs who travelled to India and Egypt in search of technology, training, and collaboration and concludes that “Iranian cinema was partly born of material connections to Egypt and India.” In Iraq as well, film production was established through transregional and transnational cultural and material collaborations [...].
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Attempts to produce films in Iraq did not materialize until the late 1940s when a number of joint Egyptian-Iraqi production companies were created. The first of these joint companies, Aflam al-Rashid, was founded by ‘Adil ‘Abd al-Wahhab, an Iraqi studying medicine in Cairo. Ibn al-Sharq (Son of the East), the first and only film produced by Aflam al-Rashid was directed by the Egyptian directors [...] and coproduced with al-Ahram Studios in Cairo. Ibn al-Sharq featured both Iraqi and Egyptian actors and musicians, including ‘Adil ‘Abd al-Wahhab himself, the Egyptian actress Madiha Yusri, and several Iraqi musicians. Ibn al-Sharq premiered in late November 1946 in King Ghazi Cinema in Baghdad and shortly after in Cairo. A semi-autobiographical melodrama, the no-longer-extant Ibn al-Sharq tells the story of an Iraqi medical student in Cairo. [...]
The year after the premiere of Ibn al-Sharq, another joint Egyptian-Iraqi production appeared – al-Qahira-Baghdad [...]. Like al-Qahira-Baghdad, in addition to its actors, directors, and technical staff, the plot of Ibn al-Sharq also moves between Cairo and Baghdad, thereby culturally and materially connecting the two capitals. Both al-Qahira-Baghdad and Ibn al-Sharq were filmed in Egypt and Iraq and the local dialects of both countries appear in the films. [...] [R]einstating coproductions reveals the extent of the transregional transfer of knowledge, culture, film infrastructure [...].
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In 1946, the Sawda’i family created Studio Baghdad, the first studio in Iraq.
As a joint business venture, the Sawda’i family established Studio Baghdad with investments from Anton Messayeh, whose family owned Iraq’s largest arak distillery, an Iraqi Jewish businessman by the name of Salman Zilkha, and a Muslim business partner named Kamil al-Khudayri. In the first couple of years, Studio Baghdad relied heavily on experts hired from Europe and Egypt. With time, however, Iraqis who had trained abroad took over. [...] In 1954, Studio Baghdad was sold to Iraqis living abroad, but it continued to make films until 1966, when the Coca-Cola Company acquired the land and buildings in order to build a factory. During its first two years, the newly established company produced documentary films [...].
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In 1948, Studio Baghdad produced its first film, ‘Aliya wa ‘Isam. ‘Aliya wa ‘Isam is a Romeo and Juliet-like melodrama [...]. André Shatan, a French director,directed ‘Aliya wa ‘Isam and employed French equipment and materials in its production. In fact, the majority of Studio Baghdad’s materials and equipment came from France where Me’ir Sawda’i, who had studied engineering there, had contacts.
Studio Baghdad commissioned the Iraqi Jewish lawyer, journalist, poet, and editor of the Iraqi cultural magazine al-Hasid, Anwar Sha’ul, to write the songs and script for ‘Aliya wa ‘Isam. Being a poet, Sha’ul wrote the first version of the script in metered and rhymed verse. The owners of the studio, however, found it too formal and he was asked to rewrite it, which shows how aesthetic standards and processes had to be negotiated during the early years of the industry in order to fit the demands of the new medium.
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All text above by: Pelle Valentin Olsen. “Al-Qahira-Baghdad: The Transnational and Transregional History of Iraq’s Early Cinema Industry.” Arab Studies Journal. Volume XXIX, No. 2. Fall 2021. [Bold emphasis and some paragraph breaks/contractions added by me.]
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Cait and Tony - Charles Finch & Chanel Pre-BAFTA Party. ❤️
https://pbs.twimg.com/media/GGqv2-GbwAAQBIY?format=jpg&name=900x900
Well, well, well… 😂 Thanks for the message, Anon. 😃
Update — Source
I don’t like to post images without providing a source, but since I currently should be enjoying sweet dreams, I’ll pretend I’m posting this one while sleepwalking. 💤💤💤
Remember when chatter about his absence was misguided?
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“Halloween Resurrection” (2002)
Directed By: Rick Rosenthal
Dimension Films, Miramax,
Poster:
John Carpenter has stated that this film made him cringe
This is the only movie to establish Michael Myers’s birthday, which is October 19, 1957. This matches up with his canon ages of 6 in 1963 and 21 in 1978
Some gifs from @junkfoodcinemas and @vizual-demon
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