#2016 french cast

[drivestraight]

Unlike Max, Charles is one of those rare celebrities who’s naturally gracious with fame, kind to all his fans, and genuinely, sincerely, seems to love every part of it.

Charles is also one of those rare celebrities who stumbled into fame. Unlike Max, and unlike Lando, he was discovered.

Famously, the story goes like this:

Back in 2016, Charles had just started university in Paris. He was studying fashion, or architecture, or whatever the fuck. A casting director had been hosting auditions for Lanthimos’ new movie, primarily looking for young, French-speaking actors to play a small role opposite Léa Seydoux.

The director had been on lunch break, when he spotted Charles, sitting outside and studying at a cafe. Immediately, he took the seat opposite Charles, they spoke for a while, until, at last, he succeeded in convincing Charles he was actually who he said he was. It wasn’t until the director got Léa Seydoux on the phone that Charles believed him.

They held the audition there and then, recording on the director’s phone, in the busy streets of Paris. Years later, a clip of the audition was released on YouTube. It’s a short, four minute, unedited clip. It has something like 32mil views today.

Once Charles Leclerc had become a household name, the casting director had been asked what it was about Charles that caught his attention.

He laughed and he said, “Well, he’s beautiful, isn’t he? Devastatingly beautiful. The kind of beauty you don’t see very often, the kind you think is lost. I knew then, that we had to have him.”

But if Charles Leclerc was merely beautiful, it would’ve been that—a one-off role in a Lanthimos movie that no one watched and wasn’t nominated for any major award.

But he was good. He hadn’t acted a day in his life, but he was good. Lando had seen the movie. Charles was really only in it for less than two minutes, had only two lines, but the fact that it was his first ever role—he was, infuriatingly, a natural.

He didn’t become famous overnight, but he’d been sweet to the APs and hardworking on set that a few people put in a good word for him here and there. By the end of 2016, he had an agent. By the end of 2017, he had starred in an Oscar-nominated movie. It was some sort of tragicomedy with an ensemble cast, Vettel, Raikkonen, and Button. There were more Oscar winners than not. Lando hadn’t watched it, but he thinks Charles played the main character’s brother who kills himself in the end or something. Of course, he hadn’t personally been nominated for or won anything, but they’d won Best Ensemble at SAG, and the production won some bullshit award at Critics Choice.

In 2018, he attended a closed audition for Two Time, and everyone knows what happened after that.

[fromthedust]

portrayals of bats in the 20th & 21st centuries

Bat Cabaret Sign - France - wrought iron, rolled iron, carved and embossed, green glass

pair of bats - ivory seal - China

Rene Lalique (French, 1860-1945) - bat brooch - 1900

bat design - Bijutsukai (Art World) - vol. 2 - 1901-1902

Rene Lalique (French, 1860-1945) - bat ring - 1901

Rene Lalique (French, 1860-1945) - bat pendant - 1901

Ferdinand Erhart (French, active 1891-1933) - Bat Belt Buckle - cast silver, carved and oxidized - 1908

Bat Brooch - France - c.1908

Henri Husson (French, 1852-1933) - Cup with Bat - c.1909

Ohara Koson (Japanese, 1877-1945) - Bats In Moonlight - c.1910

Harrison Cady (American, 1877-1970) - illustration for Mother West Wind Why Stories by Thornton Burgess - 1915

John Buckland Wright (British, 1897-1954) - illustration for Le Sphinx by Iwan Gilkin - 1919

Heinrich Kley (German, 1863-1945) - illustration for Der Orchideengarten (The Orchid Garden) - 1919

Bats and Crescent Moon - incense box - Japan - early 20th century

Weird Tales - October 1933

Black Bat Firecrackers

Edward Gorey (American, 1925-2000) - Bat & Ballerina - pin - New York City Ballet - c.1970s

Edward Gorey (American, 1925-2000) - Bats & Bicycles stencil illustration from The Broken Spoke - 1976

Edward Gorey (American, 1925-2000) - cover illustration for A Clutch of Vampires by Raymond T. McNally

Three of Bats - Tarot Card - 1996

Richard Cooluris (American, working in San Francisco) - Perseus and the Bat - mixed media painting on wood panel - 2016

Yegor Smirnov (working in Montreal) - Bat Ring - 3d-printed and casted in silver - 2016

Stephanie Inagaki (working in Los Angeles) - Trinity - charcoal & gold foil

Adam Binder (British, b.1970) - Bats - carved ebony & carved ivory

Wayan Tuges (luthier working in Indonesia) - Raised by Bats - Commemorative custom Blueberry guitar for Aurelio Voltair - 2020

[proletnous]

Why Democrats Lose

A Marxist-Leninist Critique of the Democratic Party's political strategy

The four year loop ends/begins and once again the Democrats have snatched defeat from the jaws of victory in the electoral cycle. Admittedly, I am surprised the Democrats lost again to the same man after only eight years, but I am not shocked. In an echo of 2016, the Democratic incumbent was replaced by a former rival become functionary within their administration, a new candidate without an atom of charisma, to continue the ongoing halfhearted campaign against Donald Trump, specifically. His is the only wretched face not to change in the past twelve years.

This is an important fact in understanding the DNC and why it keeps losing.

Trump has become the primary antagonist in the Democratic psychodrama, performing the role of the Shadow of Americanism (from the Neo-Liberal faction’s Americanist perspective). He is the walking icon of the shape that every Blue Democrat, laboring under false consciousness, attempts to will themselves into not having the possibility of being. He is boorish, boisterous, and an unabashedly self-centered bandit for Imperialism, a dual Monopolist-Capitalist and politician, in many ways the modern Cecil Rhodes. Trump’s supporters follow suit in a mutually reinforced pattern with their representative, they make themselves more overtly Imperialistic.

Trump’s base, predominantly middle-class small shareholders and small business owners who are disenfranchised from macro American economics, have much to gain from a shaking (but not the actual sundering) of the American market and an obvious expansion of the United States’ imperial holding. They do not disguise their want to remove the current administration of big capital, the wholly synthesized syndicates of finance and industry, to replace the old guard with themselves as the new cast of financier-industrialist Capitalists and to throw open new markets through foreign intervention for the making of profit in Asia, Latin America and Africa. They support Trump because he seems to be what they wish to be, a Monopolist-Capitalist rising within Hegemony, and they support him for what he promises, to share with them the plunder of the world. So, Trump’s supporters become more emboldened in their Imperialism, which then makes them more resemble the shape of the Neo-Liberal Shadow-Self. Trump himself (like his middle-class followers) only aspires to the ranks of the grand Monopolist-Capitalists, but he can proclaim his affiliation with the likes of Elon Musk to further sell the image.

The True Blue Democrat also is an Imperialist and member of the middle-class, but one who is comfortable with the present management of the Imperial system. They, fundamentally, are a functioning part of the greater American market, and the world-Imperialist market. They are the reserve of the Imperial administrative caste. So by extension their interests are the interests of the United States and the current managers of world-Imperialism. But, just as any caste of Imperial administrators throughout time, their group-mind had to develop a self-concept to justify their domination and exploitation of the world to the self. Like their forerunners, the Democrats relied on the belief in a certain innate Liberal moral superiority that was likewise popular in the middle-classes of the old French, British, and German empires of the 19th and early 20th centuries. A virtuous self given permission to plunder, justified through the self-concept of being a person spreading an abstract enlightenment and freedom. “For who better would there be to properly guide the development and distribution of production and its profits then one so educated and caring?” they reason. With this excuse in reach, stealing from the world hand over fist can be rendered “sensible” or “reasonable.” The political careerists of the middle-class can get their Democratic ticket by appealing to such moralist “concerns” at home or abroad in the “poor countries” controlled by dictators and bandits in turn ruled by their libidinal appetites and greed. In these political ghosts, the imagined or real autocratic exploiters (when real, often installed by the U.S. in the first place), the Democrat encounters the Shadow of Americanism, for such figures are the fruit and embodiment of themselves, their representatives, and their imperialist economic life. So, when the Democrat sees Trump or, more properly, his supporters, they see their own hated Shadow-Self walking in the world and are filled with a real, genuine hatred. It is a hatred rooted in a repressed hatred of injustice, but transmuted by the act of projection into a hatred that licenses injustice (as shown by the prevalence of homophobia in anti-Trump propaganda).

As with anything dredged up from the deep subconscious, this visceral hatred is highly exploitable–and exploited it is, by the groups of Liberal careerists and their public facing politicians with few reservations about their place in Imperialism and the work they do for the world-Imperialist front. To the DNC, Trump and Trumpism has been a political godsend. Through their propaganda they can cast Trump and his supporters as a barbarian hoard coming to trample all the forces and structures of morality that prevent the great power of America from being used by beasts. Then, the Democratic Party casts itself as the David fighting back these modern Philistines and their Goliath. In the spectacular struggle against Trump, the Democratic administrators can be freed from nearly all responsibility of action to their base. They are freed to work openly with Republican factions aligned with the Capitalist-Monopolist syndicates that support the various DNC elements, to both pursue Imperialism and shore up the fraying American union. All neatly shielded by the rhetoric of “all against Trump!” Herein is the economic basis of the “Resistance Democrats,” a phenomenon quickly sprouted in the 2016 cycle and already being drafted up again for this one!

But, to really sell the race for the White House as the Valley of Elah, the Democrats must always be at the brink of loss before pulling out the slingshot, and unlike David, they cannot afford to decisively win. Which, as we have just witnessed again, is precarious. The DNC does not, in fact, “want to lose” as the popular slogan says. The victory of Trump is something they do wish to avoid, despite most appearances. He, as an entity, and the rhetoric he inspires, has a negative effect on the stability of American Imperialism. His brazenness about plunder, intervention, and saber rattling makes the subtle elements of the Imperial work more challenging. It is hard to convince American allies or client states about the benefit of alignment with America when the president can be expected to rescind any agreements and drop bombs on anyone at random personal whim. In addition, Trump’s economic collaboration with Russian Capital is an existential threat to American monopoly in the Middle-East and Europe as it empowers Russian Imperialists and the United States’ Imperial rival, the Russian Federation. But, the DNC’s current strategy is to play electoral Russian Roulette, and just like the first round in 2016 the Democrats pulled a hot chamber in 2024.

While the Blue Dog chases its tail, this leaves the question though of what the Communists should do with this state of affairs going forward. We should not delude ourselves that Democratic administrations would treat a serious Communist threat with the same polite magnanimity as they have open fascists. The fact that recent Republican and Democratic administrations alike treat purportedly Communist institutions and media with supreme toleration hints at the scope of the problem to be confronted. We should, as we should have done in 2016, throw out the opportunist organizations from our movement. We must throw out the self styled “Leftists” and vulgar “Anti-Fascists,” and throw out the opportunist pseudo-Marxists groups and figures who, in the style of the old “economist” Mensheviks, argue for backing the ascendancy of the Trump-supporting middle-class. Absolutely do away with the obsolete and fundamentally Americanist CPUSA and DSA. Every “Communist” organization with “of America” or “USA” in its name. The vulgar “Anti-Imperialist” parties that divert back into the American Spectacle by running presidential candidates, as though Imperialism were only a “bad habit” of America. All of them washed away in our Red Flood.

Communists do not have a pony in this race. The Working Class as a whole does not have a pony in this race. The Masses in North America already realize this, as shown by the decrease in both Democratic and Republican turnout, showing them to be more advanced in their understanding than many “Communists”! We must capitalize on this, and swiftly!

We are to confront head on the contradiction of Imperialism, intellectually and politically, and work for the weakening of each link in the chain of world-Imperialism. Communists must excuse ourselves from the phantasmic politics of Imperial administration. We cannot work with Trump’s supporters whether in or out of power; they are the most reactionary and backwards of the middle-class and their goal is simply their faction’s domination over the withering American empire. Nor can we work with the new “Resistance” Democrats or whatever champion they rally around in each new cycle. The stability of the American union and its Imperial holdings is their paramount goal, which is wholly anathema to us. It is the cause for their cries for “unity” and “bipartisanship”. Any who agitate for unity with either faction is a bold opportunist. We must escape the centripetal pull of false “unity” and separate ourselves to move with the Working Class.

Free from Liberal Shadows, we can, wide awake and clear eyed, observe our local polity and perform social diagnostics on it. We do not need to hate Trump; he is not our mirror darkly, evil goatee and all; he is simply an unmasked avatar of Imperialism. We do not need him as our beacon; we have our golden polestar in the reddening sky. He is merely our enemy, and so are his supporters in all forms, the plague-infested rats of Imperialism. The feckless DNC and the Liberals who keep letting these hyper-real losers win are no better. Indeed, the weak and waning middle-class, the dwellers in the shadow of the Bourgeoisie, are all scurrying vermin looking for the one ship that isn’t capsizing. For all of these we have no use for passionate feeling at all, simply cold iron contempt.

It is time to shed the false consciousness of the skipping anthem on repeat. Let us now be free from the phantasm of the election cycle, the illusory four-year “loop”. While Democrats aspire to chase the same rabbit around the same track forever, our course is outward. The dialectic advances. The arc widens. Revolution is not a loop, it’s a spiral. Our footsteps are relentless. And with each circuit we build Revolution until it is victorious.

~Blossom of the Hundred Flowers∴ November 6, 2024

Illustration by Pillar of October∴

[yurimother]

'Yuri Is My Job!' Anime Premieres

On Thursday, April 6, the first episode of Passione and Studio Lings Yuri anime Yuri Is My Job! (Watashi no Yuri wa Oshigoto Desu!) premiered in Japan on AT-X and streamed on Crunchyroll internationally. The anime is based on the manga of the same name by Miman.

The series description on Crunchyroll reads:

Worried about her reputation, Hime covers shifts for a cafe manager she accidentally injures to maintain her picture-perfect princess image. But this cafe has a peculiar theme—private school. To put on her best barista schoolgirl act, she’ll be trained by the most graceful girl there, Mitsuki. Under her guidance, Hime’s feelings start to brew, but there’s just one problem—Mitsuki can’t stand her!

Yuri Is My Job! parodies themes and elements of shoujo and Class-S Yuri works, such as the catholic school setting of the cafe, the use of a foreign language, and the "Schwestern" system between girls of the fictional school.

The anime stars Yui Ogura as Hime Shiraki and Sumire Uesaka as Mitsuki Yano. Additional cast includes:

Minami Tanaka

Makoto Koichi

Yukari Tamura

Asami Seto

The anime is directed by Hijiri Sanpei, with script supervision by Naoki Hayashi and character designs by Taisuke Iwasaki.

The original Yuri is My Job! manga began serializing in Ichijinsha’s Comic Yuri Hime in November 2016. Ichijinsha publishes 11 bound volumes in Japanese. Kodansha Licenses the manga in English and will release the 11th translated volume in June.

Crunchyroll is streaming the series internationally with subtitles available in English, Spanish, German, French, Italian, Portuguese, and Russian. New episodes are released every Thursday. You can stream the first episode today.

[camisoledadparis]

THIS DAY IN GAY HISTORY

based on: The White Crane Institute's 'Gay Wisdom', Gay Birthdays, Gay For Today, Famous GLBT, glbt-Gay Encylopedia, Today in Gay History, Wikipedia, and more … November 13

354 AD – Early Christian writer St. Augustine was born on this date (d.430) Following the example of St. Paul, Augustine set the standard for confessional literature that was to flourish in the centuries that followed. The pattern, of course, is a detailed listing of one's sins, followed by a narration of some event or events that made one long for salvation, and then an enunciation of the pains and joys of penance with the hope of future redemption.

Augustine confessed not only to having fathered a son, but to friendship that was classically homoerotic. When he was a young man, his closest friend died and Augustine contemplated joining him in death. "I felt that his soul and mine were `one soul in two bodies'; and therefore life was to me horrible because I hated to live as half of a life; and therefore perhaps I feared to die, lest he should wholly die whom I loved so greatly. My longing eyes sought him everywhere." Augustine, of course, cast off all sins of the flesh and becoming one of the great founders of Christian doctrine, admonished us all to do the same.

1759 – In the Netherlands, minister Andreas Klink is banished for life for having committed sodomy. He defends his attractions as natural.

1879 – Marcus Behmer (d.1958) was a German writer and book illustrator, graphic designer and painter.

Marcus Behmer was a son of the painter Hermann Behmer. His uncle Rudolf Behmer, known as a breeder of Merino sheep - was the twin brother of his father. His brother Joachim Behmer was also active as an artist.

His artistic beginnings came with his first major success with the illustrations for Wilde's Salome in 1903. The early works show the influence of the illustrations of Aubrey Beardsley.

On 1 October 1903 Behmer entered military service, was appointed a corporal in 1904 and promoted in 1907 to sergeant. From 1914 he participated in the First World War (in Flanders and in Poland). In the summer of 1917 he fell ill "after an operation in the field" and was six weeks in the military hospital of Jarny . During his time in the army, many so-called "comrades' portraits" emerged, usually reduced, although finely crafted profile views of young soldiers

From 1902 Behmer produced illustrations for books, designed initials and writings, and was responsible for carefully planned publishing facilities. He worked for the Cranach Press of Count Harry Kessler and illustrated numerous articles for the monthly magazine "The Island."

Behmer had been since 1903 a member of the first homosexual organization in the world in Berlin. Because of his homosexuality, Behmer was sentenced in April 1937 by a court in Konstanz to imprisonment of two years. At times he was given the opportunity to work as an artist in prison. The works produced in this period are mostly calligraphic tablets with Greek text (prayers and Bible quotes), and drawings full of bitterness and irony.

1950 – Charles Kaiser is an American author, journalist and academic administrator. In 2018 he was named Acting Director of the LGBTQ Public Policy Center at Hunter College. He is also a nonfiction book critic for The Guardian (US).

His book about one family in the French Resistance, The Cost of Courage (2015) received enthusiastic reviews from The Washington Post, The Wall Street Journal, and The Christian Science Monitor, among many other publications. It also won the grand prize at the Paris Book Festival (2015). In 2016 it was published in France by Seuil as Le Prix du Courage.

His blog about the media, Full Court Press, originated on the website of Radar Magazine in the fall of 2007. He continued it at the Columbia Journalism Review and the Sidney Hillman Foundation until the spring of 2011.

The son of a diplomat, Philip Mayer Kaiser, he grew up in Washington, D.C., Albany, New York, Dakar, Senegal, London, England and Windsor, Connecticut. He has lived on the Upper West Side of Manhattan for many years.

He is the author of The Cost of Courage, 1968 In America, and The Gay Metropolis. The Gay Metropolis was a Lambda Literary Award winner, as well as a New York Times Notable Book of the Year. He was a guest on the Colbert Report, where he discussed a new edition of The Gay Metropolis. He wrote the afterword for a 2012 edition of Merle Miller's landmark work, On Being Different: What it Means to Be a Homosexual. That afterword was excerpted on the website of the New York Review of Books. In 2015 he was inducted into the LGBT Journalists Hall of Fame.

1955 – Caryn Elaine Johnson, best known as Whoopi Goldberg is an American comedian, actress, singer-songwriter, political activist, author and talk show host. She is a strong supporter of the LGBT community.

On April 1, 2010, Goldberg joined Cyndi Lauper in the launch of her Give a Damn campaign to bring a wider awareness of discrimination of the LGBT community. The campaign is to bring straight people to ally with the gay, lesbian, bisexual, transgender community. Other names included in the campaign include Jason Mraz, Elton John, Judith Light, Cynthia Nixon, Kim Kardashian, Clay Aiken, Sharon Osbourne and Kelly Osbourne.

Goldberg's high-profile support for LGBT rights and AIDS activism dates back to the 1987 March on Washington, where she was one of few celebrities participating.

1969 – Today is the birthday of bi-sexual Scottish actor Gerard Butler. He is best known for his portrayal of King Leonidas in the intensely homoerotic film about the Spartans, 300. He also portrayed the Phantom in the 2004 film version of The Phantom of the Opera. He is slated to portray the iconic Scottish poet Robert Burns in an upcoming biopic.

In the gossip mags, there have been numerous stories of his romantic involvements - including several of romantic and/or sexual involvements with other male stars.

In a 2004 Movieline interview he said:

"I talk about my sexuality, but it's always glossed over. People seem to shy away from the issue. Whenever it is discussed, it's distended and exaggerated. Gerard Butler is Gay. No I'm not. I don't know myself what I am so it can be bewildering to see that being plugged. I have been in relationships with women. And men. That doesn't make me Gay. That doesn't make me straight. It's hard enough to go through these things in my mind without being scrutinised about it so there are times when you want to close the door and say my sexuality is my own personal business."

1999 – Josh Cavallo is an Australian professional association footballer who plays as a left back and central midfielder for Adelaide United. Cavallo has represented the Australian under-20 national team.

Cavallo was born in Bentleigh East, Victoria.

Cavallo represented both Melbourne Victory FC Youth and Melbourne City FC Youth. Western United. On 15 April 2019, Melbourne City announced that Cavallo would leave the club at the expiration of his contract at the end of the 2018–19 season.

On 24 June 2019, new A-League side Western United announced that Cavallo would join the club ahead of its inaugural season. He made his debut on 3 January 2020 in a 3–2 loss at his previous club. On as a 71st-minute substitute for Apostolos Stamatelopoulos, he earned a penalty when fouled by goalkeeper Dean Bouzanis, which was converted by Besart Berisha. Western United announced that Cavallo was leaving the club on 10 February 2021.

On 18 February 2021, Cavallo signed a short-term contract to play for Adelaide United. After a successful stint in the 2020–21 A-League, he signed a two-year contract extension on 11 May. He was rewarded with Adelaide United's A-League Rising Star award after a successful 2020–21 campaign, in which he started 15 games and made 18 appearances.

Cavallo came out as gay in October 2021. At the time, there were no other openly-gay male footballers playing professional top-flight football, in the world. In becoming the first to do so, he said in a statement, "I hope that in sharing who I am, I can show others who identify as LGBTQ+ that they are welcome in the football community."

[myoddessy]

CONEY ISLAND CHARACTER PROFILE

series masterlist

FAMOUS BIRTHDAYS!

Y/N L/N —TV Actress/Singer/Model

BIRTHDAY —July 5TH, 1998

BIRTH SIGN —Cancer

BIRTHPLACE —Monte Carlo, Monaco

AGE (as of 2018) —20

#3 MOST POPULAR ✰ BOOST

ABOUT

Famous for her breakout role in the French, Oscar-winning film, "Enchanté", where she played a young girl learning of love and of life through art and foreign cinema. (For this film, Y/n won her first of many Academy Awards, and made history as the youngest nominee to win in said category.) In 2014, she released an album entitled 'As I am' which delved into her troubled personal life and how she fears that there will come a day when those she loves will grow bored of her. 5 of the album's 11 tracks made it onto Billboard's top 100, while a further 2 topped the list for three weeks post-release. Additionally, she made her directorial debut with "Little Women" starring Saoirse Ronan, Timotheé Chalamet, and Florence Pugh, where she also played the role of the eldest March sister, Meg. That year, she won the Academy Award for best director.

BEFORE FAME

She began her acting career at the age of six, where she starred in a number of commercials and minor appearances in soap operas. She also began modeling at a young age, and can be found on the cover of several textbooks.

TRIVIA

In 2015, she was casted for the French dubbing of Joy in the Pixar movie "Inside Out". In 2017, Y/n launched her beauty and cosmetics company "Bare", a brand dedicated to creating a diverse range of product shades and cruelty-free cosmetics. She hosted SNL for the first time on March 11th, 2016

FAMILY LIFE

Despite keeping her personal life quite private, many sources have been able to gather that she has a very close relationship with her mother and two brothers, and is the middle child. We do not know anything about her father. As far as we know, none of her family is involved in showbusiness.

ASSOCIATED WITH

She is most commonly associated with her long-term boyfriend, Formula 1 driver, Charles Leclerc.

POPULARITY

Most Popular #3

Born on July 5th #1

TV Actress #2

Singer #5

Model #2

20 Year Old #1

Born in Monaco #1

Cancer #2

SOCIAL MEDIA ACCOUNTS!

taglist — @lilsiz , @formula-hamilton

if you would like to be tagged in future series parts, either comment, dm me, or send a message into my inbox! 💞💞

[neoyorzapoteca]

What is the role of the translator in decolonizing translation? In your regional/linguistic focus(es), are there certain stereotypes or tropes you have to avoid? As translators, we choose which books to pitch, which books to translate, which books to promote to publishers and online. We have a responsibility to diversify the books we’re pitching and reading. And it’s not just about pitching or translating books from underrepresented countries and groups, but doing what we can to understand the place, the author’s context, what the book means in its country of origin, what it means to bring that book into English, and how to do that effectively and responsibly. And if a translator doesn’t think they can grasp the context or meaning well enough to do the book justice, then it’s important to make room for a different translator who will be able to. For me, I’ve made the choice not to translate work only from France, but to read widely from authors writing in French around the world, and to pitch and accept projects by authors from other Francophone countries. I spent a year in Morocco learning about the literary landscape there and so I have a particular connection with Moroccan literature, and hope to continue translating books by Moroccan authors. I’m also half Arab and it’s important to me to work on more books from that part of the world as well. I loved translating Moroccan writer Fouad Laroui’s The Curious Case of Dassoukine’s Trousers (Deep Vellum, 2016) because the stories are hilarious, they portray a variety of kinds of people, they foreground joy, romance, and the absurd, they also span countries and cultures, they poke fun at Morocco but also lean away from tropes. Laroui’s stories don’t only depict Moroccans, and don’t only depict Moroccans living in desperate poverty, oppressed women, desert scenes with camels, or other stereotypes from that region which tend to populate the Moroccan books translated into English. One of my favorite things I’ve ever translated was a wildly experimental short story by Anis Arafai called “The Leg,” and often people are surprised to find such inventive writing from Morocco, but why? Because translators don’t typically pitch these projects and publishers don’t typically publish them, but they’re out there. And my translation of Meryem Alaoui’s Straight From the Horse’s Mouth, coming out next month from Other Press, is about a Moroccan sex worker who is cast in the lead role in a film by a foreign director and embarks on a fantastic, thrilling life. Stories that are different than what English readers typically have access to from a given country are important to translate, and I think that’s one way (among many others) that translators can attempt to decolonize the landscape of translated literature.

Wit Month: Q&A with Emma Ramadan — The Magic Word

[cdaae]

Why Am I Like This- Phantom Collector Edition

I’m a completionist and an obsessive so I need all the different versions of a thing so here’s a list of where I’m at right now. I wish I could say that I was anywhere near done but there’s always more phantom stuff to collect

Books

Gaston Leroux x51(This includes all 6 English translations, 8 different languages, and three levels of French)

Gaston Leroux signed by Broadway Cast

The Underground’s of the Phantom of the Opera

The Phantom of the Bathtub

Night of the Phantom

Embrace the Night

Lessons from the Phantom of the Opera

Song of a Maiden

Madrigal

Phantom

Unmasqued

Phantom of Manhattan

Ruinsong

Roseblood

Beyond the Masque

Chanson de L’Ange

Sing Me Forgotten

The Angel of the Opera

The Phoenix of the Opera

The Phantom’s Opera

The Phantom of Paris

The Phantom’s Apprentice

Where Dreams Descend

The Phantom Cat of the Opera

Phantom Pop Up Book

George Perry’s Complete Phantom of the Opera

Phantoms of the Opera

The Trap Door Maker

Phantom Graphic Novel x2

The Phantom Cooks

2004 Companion

Geronimo Stilton

Thea Stilton

My Phantom

Phantoms in the Night

Phantom of Pemberly

Phantom of the Auditorium

Behind the Phantom’s Mask

The Phantom Returns

Phantom erotica

Book cassette

Souvenir edition OLC

Emoji of the opera

Phantom 2020

Phantom Phantasia

Songbird

The Phantom’s Lullaby

Phantom of the Little Russian Theatre

Masked Love

Treasures of Egypt

Victory

Venetian Romance

Susannah’s Secret

The Man in the Shadows

Love in the Spotlight

Let the Dream Begin

A Phantom’s Promise

Destiny’s Curse

Phantom by David Bischoff

Mini Leroux

L’Opera de Paris

Paris National Opera

Palais Garnier

Peeping Duck Gang

Out of the Darness

L’Opera De Paris Coulisses etc secrets du Garnier

Claude Rains Book

Movies/CDs/Media

Lon Chaney

Claude Rains x2

Herbert Lom x2

Phantom of Hollywood

Schell

Robert Englund

Charles Dance

David Staller

Julian Sands

2004 x17 (English x2, French x3 Germanx2, Greek, Spanish, Italian, limited(English and German), deluxe, and Ultimate, Special, Collectors(English and French)

Angel of Music

25th Anniversary

Love Never Dies

A Monster in Paris

Phantom of the Grindhouse

Anthony Mann

Phantom of the Theatre

Unmasking the Masterpiece

Love on Safari

Faust

1987 Cartoon(dvd & VHS)

Mystery Legends Phantom Game x2

2004 digital press kit(English and French)

OLC (cassette & CD)

CDs x59

Phantom of the Paradise Record

OLC small record(wywsha&motn)

Long box cd

Long box 2004

2004 VHS

Movie/book set

Long box OLC cassettes

Karaoke cassettes

Highlight cassettes

Robert Englund VHS

For Your Consideration 2004

Book casettes

Stage Fright

Props/Signed/Similar

Love Never Dies audience gift notebook

1992 tour Auction book prop

Jerry Mitchell signed LND after party invite

Phantoms Note from BWay x2

Don Juan Music from BWay x1 1/2

Ticket to 25th Anniversary Party

Majestic Theatre Phantom Barricade Cover

Photo cards, signed x16

Signed LOBs x2

Robert Englund autograph

Laird Mackintosh autograph

BWay 29th anniversary cast gift beanie

KAV’s dressing gown shoes

Manager’s BWay newspaper prop x4

Cast board name placards x3(2 BWay one Vegas)

Reopening cookies x2

London 35th anniversary rose petals and card

Il Muto page boy stockings

OBC cast member costume gloves

Printed cast member email

Cast made calendars 2006 and 2007

Full cast signed poster with Hugh

Signed trading card

Signed Michael Crawford Face mask

Signed Crawford Article

Signed 35 Poster

Signed Mask

Scrap of Christine’s wedding dress

Scrap of phantoms suit

10th anniversary invite

Opera glasses cast gift

Magazines

24/7 Magazine featuring Crivello

NYC City Guide 2014 & 2016

TODAY featuring Vegas

What’s On Vegas

Time Out New York

German LND

Theater Week 1988

In Theater 1998

Casino Player Magazine

Fate Magazine

Broadway Spotlight

Other

Megstine notebook

Mugs x7

Cups x5

Water Bottle

Ornaments x5

Phantom harmonica

Red death figure

Lon Chaney figure

Phantom Nutcracker

Phantom and Christine Barbies

Tote bag x4

Phantom creamer tops, complete set

Postcards x6

LOBs x2

Magnet x5

Stickers x12

Phantom Cat sticker set

Chibi phantom sticker set

Angel patch

Greeting cards x2

Posters x5

Art print

Calendar

Ramin based doll

Phantom doll + Ayesha

Snerik

Pen

Mardi Gras coin

Felt Raoul and Erik

Francœur bean

Small hand painted canvas

25th Anniversary limited edition boxed set

Canada gift bag

Mexico phone card

Japanese train card x2

Trading card

Lon Chaney money

Lon Chaney stamp

Pencil

Phone case

Gift bag

Japanese posters x6

Herbert Lom ad stamp

Complete LND London draft script

Blanket

Operetta

34th Anniversary blank playbill sticker sheets

Goosebumps pen

Goosebumps magnet

Goosebumps stickers x9

Bendyfigs phantom

German postcard

Angel of Music coffee

Where Dreams Descend popcorn holder

Raoul and Christine art print

Large paper bag

1994 calendar

Ireland phone card

Movie screening invite

German something?

Frame

Vegas key card

Angel of music bear

Tea towels x2

Mask sticker

Blockbuster card

Phantom press invite

Mini 2004 scrapbook

Playing cards

Assorted Japanese 2004 film memorabilia(10 pieces)

2004 film poster and booklet

1999 ticket info

2023 newspaper clippings

Gingerbread ornament

Aussie keychain

Phantom/Christine blanket

2011 wall calendar

2012 wall calendar

2013 wall calendar

Angel ornament

Universal Erik doll

Sarah/Steve Ad

1993 calendar

2004 Mylar

1995 calendar

Italy confetti

Crawford ornament

Halloween figure

Matchbox

Soap?

Heart frame

Jewelry

Pins x11

Charm bracelet

Necklace x2

Key chains x14

Replica Ring

Hair bow x2

Think of Me hair clips

Jewelry pouch

Music Boxes

Square black jewelry music box

Il Muto

Limited Edition boat scene

Boat Scene

Phantom and Christine wedding

Porcelain signs x2

Limited edition mirror scene

Mirror scene

Mirror

Limited edition MotN

Red Death

Throne water globe

Music water globe

Phantom w/ stick water globe

Rooftop water globe

Russian egg(?)

Mirror scene water globe

Phantom w/ stick

Phantom in throne

Monkey music box

Limited edition Jack in the box

Boat scene water globe(broken globe)

Russian egg (?? Missing top)

Small music box(no music)

Universal Phantom and Christine

Phantom and Christine with Marni

Opera House

Phantom Automata

Madame Alexander Christine Doll

Broken Mirror

Erik and Christine porcelain figure

Music pedestal

Clothing

Socks

Glow in the dark boxers

Night shirt

Phantom BWay x2

Sydney Harbour shirt

Christine dressing gown VTC

Peacock dress

US tour grey shirt

Christmas Sweatshirt

Toronto shirt

Candy of the Opera

1988 mask shirt

Phantom of the Opry shirt

New York shirt

Mask sweatshirt

Ghost Red Death Shirt

35th anniversary shirt

Italy shirt

Programs/Playbills/ETC

Loose understudy slips x14

Ticket stubs x11

Newspaper clippings

Mini flyers x6

Flyers x40

Ken Hill souvenir program

2004 film souvenir program

ALW souvenir programs x49

BWAY playbills x63

Signed playbills x12

Tour playbills x20

London programs x18

YK phantom playbill

World tour playbill

Melbourne playbill

Robert Englund film souvenir program

Italy program

Sweden program

Music Books

ALW piano x3(easy, intermediate, expert)

2004 film

YK phantom

LND London

I can honestly say this may not even be everything because sometimes I forget to add new acquisitions to the list. If there’s anything on the list you wanna see pics of, I’m happy to share!

[maximumwobblerbanditdonut]

Conor MacNeill as young Edward (Ned) Gowan

Bill Paterson as old Edward (Ned) Gowan. Ned was a lawyer from Edinburgh who knew the law, inside and out and acted as a legal advisor to Clan MacKenzie.

Conor MacNeill is an Irish actor from County Antrim, Northern Ireland, who has experience on both the big and small screen, as well as the stage. He is an actor, producer, and writer, and is known for his roles in An Crisís (2010) Whole Lotta Sole (2012) a Comedy/Crime with Brendan Fraser and Privates (2013) and in the BBC and HBO drama, Industry, as Kenny Kilblane.

He made his London stage debut starring alongside Harry Potter actor Daniel Radcliffe in The Cripple of Inishmaan. He was nominated for a BAFTA award in 2017 for Best Short Film.

He played the Garda, and Detective Ruairi Slater in The Tourist season 2 alongside Jamie Dornan (2024) Conor MacNeill wrote a script with Jamie Dornan it's set in NI'.

The Tourist is the four-time MacNeill and Dornan have worked together – they were both in The Fall, Belfast and Siege of Jadotville together, and became good friends outside of work, even writing a script together during lockdown (more of which later)

Belfast. The film is set in the 1960s. Belfast captures the spirit and atmosphere of the city during a period of significant social and political change.

Conor MacNeill (McLaury) fictional character and Colin Morgan in Kenneth Branagh's “Belfast” film (2021) 🎬

Industry (2020)‧ Drama Young finance graduates venture out into the cut-throat competitive world to get a job during the recession times that followed as a result of the 2008 financial crisis.

Conor MacNeill - Industry’s Kenny belongs in the pantheon of bad fictional bosses.

The Siege of Jadotville (2016) It is a true story. Irish soldiers on a UN peacekeeping mission in Africa, are besieged by overwhelming enemy forces, as UN peacekeepers defend their outpost.

The Siege of Jadotville depicts the incredible true story of the siege of 150 UN Irish troops led by Commandant Pat Quinlan (Jamie Dornan) in the Congo in 1961. Quinlan and his men held out against a force of 3,000 local troops led by French and Belgian mercenaries working for mining companies.

In honour of their courageous actions in Congo at the Siege of Jadotville a specially commissioned medal “An Bonn Jadotville” was awarded to all men of “A” Company, 35th Infantry Battalion and the families of deceased members, to give them full and due recognition. If you haven't seen this film yet, I recommend watching it.

The Fall (TV Series 2013–2016) - Conor MacNeill as Mark Bailey - MacNeill joined the cast of The Fall in 2016 for its third season, in which he featured in the final few episodes.

The Fall is a crime drama television series filmed and set in Northern Ireland. The series, starring Gillian Anderson as Detective Superintendent Stella Gibson, is created and written by Allan Cubitt and features Jamie Dornan as serial killer Paul Spector. 

#ConorMacNeill #BillPaterson #NedGowan #RuairiSlater #TheTourist #JamieDornan #season2 #TheFall #Belfast #SiegeofJadotville

[jules-has-notes]

2017 Kettering A Cappella Festival — VoicePlay live performances

Three years after their previous appearance, VoicePlay returned to the stage in Dayton as professional headliners for the Kettering National A Cappella Festival. Their recent schedule hadn't allowed as much educational outreach as usual, so they enjoyed what time they had with the kids.

.

[Here is another recording from the side of the stage with more of their entrance.]

A toe-tapping tune with an audience participation element is a fantastic way to kick off a show. With a performance like this one, it's not surprising that the crowd treat them like the rockstars they are.

Details:

title: Mr. Blue Sky

original songs / performers: "Mr. Blue Sky" by ELO (Electric Light Orchestra); [1:10] "Blue Skies" by Ben Selvin & Charles Kaley (as The Knickerbockers)

written by: "Mr. Blue Sky" by Jeff Lynne; "Blue Skies" by Irving Berlin

arranged by: Geoff Castellucci

performance date: 11 November 2017

My favorite bits:

the crunchy harmonies on ♫ "sun shines brightly" ♫ ☀

J.None working the front row, and the kids' resulting excitement

Layne looping back for his mic stand without missing a beat

"So far, you've been helping us… not so much." 😆 (Very diplomatic.)

the smooth transitions into and out of the "Blue Skies" section

Geoff giving Layne's arm a friendly bump as they cross on the riser

using the mini megaphones to replicate the voice distortions from the original song

the build up to the lovely ending chord

Trivia:

The guys performed this arrangement for a little over a year more before they finally filmed a video for it as the first entry in the second round of their PartWork series.

The mini megaphones later made an appearance in the music video for their cover of "You're My Best Friend" by Queen.

.

There's a ton of overlap between a cappella kids and theater kids, so it was an easy choice for VoicePlay to include a song from the biggest musical of the 21st century in their setlist. It's interesting to see how their new member and a live setting led to adjustments in the arrangement from the recorded version.

Details:

title: My Shot

original performers: cast of Hamilton: An American Musical (2015)

written by: Lin-Manuel Miranda & Alex Lacamoire

arranged by: Layne Stein

performance date: 11 November 2017

My favorite bits:

shifting the vocal roles with J.None taking on both the Hamilton and Burr lines

all the audience members singing along

the projections on the backdrop

Earl's fantastic French accent and that dip into his lower register

the moment of silence after ♫ "you're gonna get shot" ♫ and Layne's gunshot sound effect

the building tension during Geoff's repetition of ♫ "When are these colonies gonna rise up?" ♫

harmonized fast patter lyrics

J's big old belt leading into the ending section

Trivia:

VoicePlay had released their video for this song a year and a half earlier, shortly before the 2016 Tony Awards.

This video was originally posted to Facebook by the Western Brown Choirs from Mount Orab, Ohio.

.

Every performance of this piece is unique. It's also one of the best demonstrations of their group name, a chance for the boys to play together for everyone's amusement, including their own. Unfortunately, this clip is only the first two verses and one chorus, but it's still fun while it lasts.

Details:

title: Elvira

original performers: The Oak Ridge Boys

written by: Dallas Frazier

arranged by: Geoff Castellucci

performance date: 11 November 2017

My favorite bits:

troublemaker Eli nudging Earl to take center stage

pouty Geoff sitting on the edge of the riser, and the ensuing gesture conversation between him and Earl

J.None's smooth runs

Eli's big old riff

Trivia:

This fan favorite tune was a staple of VoicePlay's live shows for many years, including on the 2015 Sing-Off tour, but they've never made a music video for it because the audience response is so integral to the humor of it.

Their buddies in Home Free enjoyed this arrangement so much that they asked to use it as a starting point for their own version recorded with The Oak Ridge Boys.

.

Additional photos

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The crowd was pretty excited for the post-show meet and greet.

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A post shared by FloVoice (@flovoice)

[baufive]

So for all intents and purposes, I had considered myself ready to pull together some sort of post - slowly - of all these disparate parts, but *this* piece popped into my head while I in the shower. I have never really loved the piece. It always looked a little washed out wherever I put it. Even the thumbnail is like 'boo' when I finally find it. First introduced as a gift in 2012 for S3 and then again in 2016 when I was learning S4 tools - I always like the *idea* of this piece and really, the S3 version was a little different in that it could be CASt so the painted panel could be changed to whatever color (it was actually a separate part on the mesh - not just a mask trick) as could the mat and the frame ... but the S4 version was a bit ... washed out.

Botanicals can be lush, but this sort of specimen drawing is delicate and is a perfect example of why one might use french matting. Scale is everything and I think I figured out what bugged me all this time (aside from the truly ugly and flat color of the frame) ... the spacing of the painted panel and the lack of variety in the linework. Staggering measurements and weights is critical so the details don't stymie the flow of ones gaze and overpower the subject. Effectively, I would call the original 'cheap' if it came into my shop ... unfinished if I was feeling kind.

So hopefully this edit (and remake of sorts - I took out a few polys while I was at it) will not be a wallflower so to speak.

[r0semirages]

So. I made an RTC swap au!!

It started just with an idea of John Doe!Ricky that I had for a pretty long time, but recently I decided to turn it into something cooler, so I made this whole thing. Maybe I'll sketch their designs later (or at least make picrews of them), but idk how much time it will take. I haven't change some things, like the relationships between some characters, because I thought it wouldn't work very well. But, this isn't fully finished yet, so there's some moments that may be changed in the future.

I imagine this AU more like a play, than a musical and honestly I really don't think that it'll become something serious, cause I'm not that good at writing and creating full stories, so, at least at the moment, it's just for fun. Also, the designs are based on the 2016 cast, but feel free to make your own interpretations with your favorite cast. And maybe someday I'll make them too, we'll see. Anyway, hope y'all enjoy it!! (Pls excuse me if there are any mistakes, english isn't my first language, blah blah blah. Also there are a lot of spoilers for rtc, so if you plan to watch it — don't read further!)

So, first is Penny — the most imaginative girl in town. She's super silly, sometimes awkward and doesn't really have any friends because most people think she's weird. Penny often gets left out or bullied, and she uses escapism to cope with this + all the stuff with her parents, who she didn't get enough love from. Her fantasies is a bit different from the original Ricky's: they don't have a lore, she just makes up random stories to escape from reality and writes them out sometimes. She *definetely* writes fanfiction and probably posts it online. For some reason people find it cool, but no one in the choir knows about it. She's still a Seven-Up fan and she plays the ukulele (that will be used in the new birthday song for Ricky)

I changed her design just a bit, now she wears a lot of accessories, mostly pins (bc I headcanon the og Ricky having them) and it's mostly based on Emily Rohm's Penny, while her personality is more like legoland Penny's.

The next is Ocean — the angriest girl in town. Like the og Mischa, she hates her parents (but in this case they aren't adoptive) and their lifestyle, but instead of becoming the most succesful to prove that she's different from them, this Ocean just becomes a total mess and starts hating everyone. Idk if I will make her like shitty rap about money in autotune, but she definetely has a history of stealing stuff from stores, lol.

Design changes: messy hair; she doesn't have a headband and a tie, her shirt isn't fully buttoned up. She wears a sweater vest over it with a short skirt (a dress, actually).

Then we have Constance — the most succesful girl in town. She's a big nerd and spends a lot of her time studying because she wants to be the best. In general she behaves just like original Ocean and treats Noel like Ocean would treat her in the og musical (they're besties, but not really). She's pretty mean and very ambitious. This Constance doesn't have as much love for her town as the og one and she plans to move out (and become a premier minister of Canada, maybe :p) She's the one to make the final vote in this AU and of course she will choose John Doe/Ricky.

I haven't change a lot of things in the design, but her hair isn't dyed anymore, buns are down, she has a tie and maybe some hairpins. In general she looks a bit more tidy

Next one: Noel — the nicest boy in town. A complete opposite to the og Noel, he doesn't want to change anything in his life and enjoys living in Uranium. He's still super homosexual and has a big crush on Mischa, and, as I've said before he's "best friends" with Constance who treats him like shit and makes jokes about how he's never gonna breed👍🏻 /ref

He's really insecure about himself, but very friendly with everyone else (especially Mischa). He still enjoys all the french stuff, but you know, in a less... horny... way. And his mother is a baker and Noel often helps her in their cafe

He now has a short-sleeved shirt, round glasses and half of his hair is purple (it's also a bit more messy). In general I didn't change a lot in his design, but I made him such an UwU softie boy /j

Then, Mischa — the most romantic boy in town (ah yes, this one is for you, Mischa simps). He's still in love with Talia and his backstory is the same, but instead of becoming an angry rapper, he became a sad romantic guy, who dreams about moving to Ukraine with his (probably non-existing) internet fiancé. He just wants to be happy :(

Design changes: his clothes and hair aren't that messy anymore and he has a black jacket (like the one chance theatre Noel had). Also his nails are usually black or any other dark shade!!

And! Finally! My best creation yet — John Doe!Ricky. Perhaps, the rest of the choir doesn't remember him (well, in fact they do remember him, but it's a different theory and I don't want to bring it here) because he couldn't talk and no one really noticed him. The only person he was pretty close with was Penny, but still, they weren't even friends, they just standed close to each other while the choir was performing and both sat in the back of a rollercoaster when the accident happened. There will be a role-swapped version of the Savannah scene, but I don't know what name should I use instead of Savannah yet (if you have any ideas, please drop them in the comments!! I'll be very grateful)

When he gets choosen by Constance he'll came back to life as Ricky and yes, he WILL remain disabled because I'm a very big Ricky fan + a very big ableism hater, don't expect that shit from me👎🏻👎🏻👎🏻 Also he will still have 14 cats because. Why not. I love cats.

The only thing that will change is the fact that he's a little happier now?? People around him treat him better and he doesn't have to fantasize about fucking cat-people from Zolar to be happy lol. Oh man I'm writing a bit too much about him sorry I just love this guy a lot. Bless his little heart

Finally, about his design: honestly he's just a yassified version of this picture /hj

↓

Okay, so he has a head stolen from some super swag dressed in a Bowie-like style doll that for some reason was in the warehouse. He has a big purple star around one of his eyes and some parts of his hair are also colorful (purple/blue/pink). His clothes isn't very different, but maybe I'll add some more accesories

Well, that's all atm. I will try my best to make some content for this and keep developing this idea and I really really hope you will like it!

Reblogs/comments/likes are VERY appreciated and again, if you have any recommendations for improving this au I'll be really glad to hear them or just any of your thoughts!!!

Ty for reading (⁠◍⁠•⁠ᴗ⁠•⁠◍⁠)⁠✧⁠*⁠。

[courseyoulovemeyoudontknowme]

Call Me By Your Name (2017, Luca Guadagnino)

24/12/2023

Call Me By Your Name is a 2017 sentimental film directed by Luca Guadagnino.

The screenplay is written by James Ivory and is a film adaptation of the novel Call Me By Your Name by André Aciman. It is the third and final film of Guadagnino's "desire trilogy", after I Am Love (2009) and A Bigger Splash (2015). Set in northern Italy in 1983, the film tells the love story between Elio (Timothée Chalamet), a seventeen-year-old living in Italy, and the American student Oliver (Armie Hammer). Also part of the cast are Michael Stuhlbarg, Amira Casar, Esther Garrel and Victoire Du Bois. The film's editor Walter Fasano also has a cameo in the film: he is the DJ of the famous party scene, as stated by Fasano himself in an interview.

Principal photography took place in Crema, Italy, between May and June 2016.

The film had its world premiere at the Sundance Film Festival on January 22, 2017, and was subsequently released theatrically in the United Kingdom on October 27, 2017 and in the United States on November 24, 2017. The film received unanimous acclaim, with particular appreciation for the direction, screenplay, soundtrack and performers, and was chosen by the National Board of Review and the American Film Institute as one of the 10 best films of the year. It received three nominations for the 2018 Golden Globe, for best film, best actor (Chalamet) and best supporting actor (Hammer) and four nominations for the 2018 Oscar awards for best film, best actor (Chalamet), best non-original screenplay, best song (Mystery of Love). The Oscar was won by Ivory for best adapted screenplay.

Summer 1983. Elio Perlman, a seventeen-year-old French-American Jew, spends his summer holidays in a villa immersed in the Cremasco countryside, in Moscazzano, where his father, an archeology professor, usually hosts a foreign student every year who is busy writing his thesis doctoral degree.

[uttersorcery]

10 Horror films for Halloween

By David K Frampton

The Curse Of Frankenstein (Terrence Fisher 1957)

Hammer’s classic features a fine pair of performances from Chistopher Lee and Peter Cushing.

It also features the first time in cinema history to feature red blood. It’s so atmospheric and deep

And I love the way that Dr Frankestsein (Peter Cushing) becomes more and more evil as the film progresses yet somehow we still care about him. Classy early Hammer with tons of charm, atmosphere and darkness.

Les Yeux Sans Visage (Georges Franju 1960)

This French horror from the late 50s pioneers body horror. Beautifully shot and featuring some of the most haunting imagery of the era. There are some heart in mouth moments and a powerful performance my it’s cast…

Lake Mungo (Joel Anderson 2008)

This Australian horror flick might be the most terrifying movie I have ever seen…at least the most upsetting. But it is extremely well made and realised. A mockumentary with an edge it recounts the last days of a persons life. The gut wrenching finale is unforgettable and truly deeply scary.

Skinamirinck (Kyle Edward Ball 2022)

For true fear and originality try Skinamirink this film utilises atmosphere and tension to build a truly terrifying portrait of a young girl alone in her house. Too say anything more would spoil it but from a technical perspective this film uniquely creeps it’s way into your mind through showing and hiding key information leading to a disorientating and captivating stew of pure dread.

Raw (Julia Ducourno 2016)

Sometimes horror needs to be gut wrenching to truly have fun. And it doesn’t get much more gut wrenching than Raw. What makes this horror film so elemental is that this sort of pairs up as a coming of age tale as much as a cannibal horror. Beautifully shot and finely acted by Garance Marillier).

Jennifer’s Body (Karyn Kusama 2009)

Megan Fox arrived in this sensational witty and huge fun demon flick alongside Amanda Seyfried, writer Diablo Cody and director Karyn Kusama. The film deals with themes such as female sexuality, male gaze and the occult. It’s great fun, very bloody and somehow strangely moving.

From Beyond (Stuart Gordon 1986)

It’s always a pleasure to see some good old 80’s slime in a horror movie. This “slime classic” from Stuart Gordon is fun to watch, intense and woozy. When a scientist opens a portal to hell it is up to Jeffrey Combs to try and close it with disastrous results. This is a staple in the body horror diet as we witness flesh giving birth to flesh.

Audition (Takeshi Miike 1999)

Japan’s “Audition” is about as extreme as it gets as a film maker holds a fake audition to find a wife with terrible consequences. Takeshi Miike’s skill is to never let go of empathy for all of the characters leading to a finale that is both visceral and horrific aswell as heartbreaking. Essential horror.

Prevenge (Alice Lowe 2016)

If like me you think Alice Low is a genius then you’ll truly love her take on the slasher genre incredibly written and directed when she was pregnant. This movie contorts gender roles of men and women into new shapes as one nightmare situation bleeds into another. It’s dark…very dark but also shot with blackest humour. Stunning cinematography by Ryan Eddlestone.

Thanksgiving (Eli Roth 2023)

Eli Roth likes to make horror movies. He’s very good at them. And this is his best yet. My final entrance is a bit of fun. This slasher movie gets more and more crazy and gory as it progresses..almost a love letter to slasher movies the kills get more creative…and he keeps it in at a tight 90 minutes. It’s exhilarating, a little bit exploitative but the tension throughout is crafted immaculately.

[claudia1829things]

"EMILY" (2022) Review

"EMILY" (2022) Review

I have been aware of only four productions that served as biopics for the Brontë family. I have seen only three of these productions, one of them being a recent movie released in theaters last year. This latest movie, the first to be written and directed by actress Frances O'Connor, is a biopic about Emily Brontë titled "EMILY".

This 2022 movie began with a question. While Emily Brontë laid dying from tuberculosis, her older sister Charlotte asks what had inspired her to write the 1847 novel, "Wuthering Heights". The story flashed back to 1839, when Charlotte returned home to the Haworth parish in West Yorkshire to visit before her graduation from school. Emily attempts to re-connect with the older sister about her fictional works, but Charlotte merely dismisses her creations as juvenile activities. Around the same time, their father Patrick, the parish's perpetual curate receives a new curate name William Weightman. While Charlotte, younger sister Anne and several young women seem enamored of the handsome newcomer, only Emily is dismissive of him. Emily accompanies Charlotte to the latter's school to learn to become a teacher and their brother Bramwell goes to study at the Royal Academy of Arts. Both Emily and Branwell return shortly to Haworth after as failures. When Branwell manages to find a job as a tutor, the Reverend Brontë charges William to provide French lessons to Emily. What began as lessons in French and religious philosophy lessons, eventually evolves into a romantic entanglement between the pair.

"EMILY" managed to garner a good deal of critical acclaim upon its release in theaters, including four nominations from the British Independent Film Awards. It also won three awards at the Dinard British Film Festival: Golden Hitchcock, Best Performance Award for leading actress Emma Mackey and the Audience Award. I have no idea how much "EMILY" had earned at the U.K. box office. But in North America (the U.S. and Canada), it earned nearly four million dollars. Regardless of this . . . did I believe "EMILY" was a good movie? Did it deserved the accolades it had received not only from film critics, but also many moviegoers?

I cannot deny that the production values for "EMILY" struck me as first-rate. I believe Steve Summersgill did a first-rate job as the film's production designer. I thought he had ably re-created Britain's West Yorkshire region during the early 1840s with contributions from Jono Moles' art direction, Cathy Featerstone's set decorations and the film's art direction. Nanu Segal's photography of the Yorkshire locations created a great deal of atmosphere with moody colors that managed to remain sharp. I found myself very impressed with Michael O'Connor's costume designs. I thought he did an excellent job in not only re-creating fashions from the end of the 1830s to the late 1840s, he also ensured that the costumes worn by the cast perfectly adhered to their professions and their class, as shown below:

However, according to a relative of mine, Emily Brontë's fashion sense had remained stuck in the mid-to-late 1830s, something that the 2016 movie, "TO WALK INVISIBLE" had reflected. On the other hand, "EMILY" had the famous author wearing up-to-date fashion for someone of her class:

And I must admit that I found those moments featuring actress Emma Mackay wearing her hair down . . . in an era in which Western women did no such thing . . . very annoying. Otherwise, I certainly had no problems with the movie's production values. The movie also included a fascinating scene in which Emily had donned a mask and pretended to be the ghost of the Brontës' late mother during a social gathering. The scene reeked with atmosphere, emotion and good acting from the cast. I also found the scene well shot by O'Connor, who was only a first-time director.

"EMILY" also featured a first-rate cast. The movie featured solid performances from the likes of Amelia Gething as Anne Brontë, Adrian Dunbar as Patrick Brontë, Gemma Jones as the siblings' Aunt Branwell, Sacha Parkinson, Philip Desmeules, Veronica Roberts and other supporting cast member. I cannot recall a bad performance from any of them. The movie also featured some truly excellent performances. One came from Fionn Whitehead, who gave an emotional performance as the Brontë family's black sheep, who seemed overwhelmed by family pressure to succeed in a profession or the arts. Alexandra Dowling gave a subtle, yet charged performance as Charlotte Brontë, the family's oldest sibling (at the moment). Dowling did an excellent job of conveying Charlotte's perceived sense of superiority and emotional suppression. I wonder if the role of William Weightman, Reverend Brontë's curate, had been a difficult one for actor Oliver Jackson-Cohen. I could not help but notice that the role struck me as very complicated - moral, charming, intelligent, passionate and at times, hypocritical. Not only that, I believe Jackson-Cohen did an excellent job of conveying the different facets of Weightman's character. The actor also managed to create a dynamic screen chemistry with the movie's leading lady, Emma Mackey. I discovered that the actress had received a Best Actress nomination from the British Independent Film Awards and won the BAFTA Rising Star Award. If I must be honest, I believe she earned those accolades. She gave a brilliant performance as the enigmatic and emotional Emily, who struggled to maintain her sense of individuality and express her artistry, despite the lack of support from most of her family.

"EMILY" had a great deal to admire - an excellent cast led by the talented Emma Mackey, first-rate production designs, and costumes that beautifully reflected the film's setting. So . . . do I believe it still deserved the acclaim that it had received? Hmmm . . . NO. No, not really. There were two aspects of "EMILY" that led me to regard it in a lesser light. I thought it it was a piss poor biopic of Emily Brontë. I also found the nature of the whole romance between the author and William Weightman not only unoriginal, but also unnecessary. Let me explain.

As far as anyone knows, there had been no romance - sexual or otherwise - between Emily Brontë and William Weightman. There has never been any evidence that the two were ever attracted to each other, or one attracted to the other. Many have discovered that the youngest Brontë sister, Anne, had been attracted to Weightman. In fact, she had based her leading male character from her 1947 novel, "Agnes Grey", on the curate. There have been reports that Charlotte had found him attractive. But there has been no sign of any kind of connection between him and Emily. Why did Frances O'Connor conjure up this obviously fictional romance between the movie's main character and Weightman. What was the point? Did the actress-turned-writer/director found it difficult to believe that a virginal woman in her late 20s had created "Wuthering Heighs"? Did O'Connor find it difficult to accept that Emily's creation of the 1847 novel had nothing to do with a doomed romance the author may have experienced?

Despite Mackey's excellent performance, I found the portrayal of Emily Brontë exaggerated at times and almost bizarre. In this case, I have to blame O'Connor, who had not only directed this film, but wrote the screenplay. For some reason, O'Connor believed the only way to depict Brontë's free spirited nature was to have the character engage in behavior such as alcohol and opium consumption, frolicking on the moors, have the words "Freedom in thought" tattooed on one of her arms - like brother Branwell, and scaring a local family by staring into their window at night - again, with brother Branwell. This is freedom? These were signs of being a "free spirit"? Frankly, I found such activities either immature or destructive. Worse, they seemed to smack of old tropes used in old romance novels or costume melodramas. In fact, watching Emily partake both alcohol and opium reminded me of a scene in which Kate Winslet's character had lit up a cigarette in 1997's "TITANIC", in order to convey some kind of feminist sensibility. Good grief.

What made O'Connor's movie even worse was her portrayal of the rest of the Brontë family. As far as anyone knows, Reverend Brontë had never a cold parent to his children, including Emily. Emily had not only been close to Branwell, but also to Anne. And Branwell was also close to Charlotte. All three sisters had openly and closely supported each other's artistic work. Why did O'Connor villainize Charlotte, by transforming her into this cold, prissy woman barely capable of any kind of artistic expression? Why have Charlotte be inspired to write her most successful novel, "Jane Eyre", following the "success" of "Wuthering Heights", when her novel had been published two months before Emily's? Why did she reduce Anne into the family's nobody? Was it really necessary for O'Connor to drag Charlotte's character through the mud and ignore Anne, because Emily was her main protagonist? What was the damn point of this movie? Granted, there have been plenty of biopics and historical dramas that occasionally play fast and loose with the facts. But O'Connor had more or less re-wrote Emily Brontë's life into a "re-imagining" in order to . . . what? Suggest a more romantic inspiration for the creation of "Wuthering Heights"?

I have another issue with "EMILY". Namely, the so-called "romance" between Brontë and Weightman. Or the illicit nature of their romance. Why did O'Connor portray this "romance" as forbidden? A secret? I mean . . . why bother? What was it about the pair that made an open romance impossible for them? Both Brontë and Weightman came from the same class - more or less. Weightman had been in the same profession as her father. And both had been college educated. Neither Emily or Weightman had been romantically involved in or engaged to someone else. In other words, both had been free to pursue an open relationship. Both were equally intelligent. If the Weightman character had truly been in love with Emily, why not have him request permission from Reverend Brontë to court her or propose marriage to Emily? Surely as part of the cleric, he would have considered such a thing, instead of fall into a secretive and sexual relationship with her. It just seemed so unnecessary for the pair to engage in a "forbidden" or secret romance. Come to think of it, whether the film had been an Emily Brontë biopic or simply a Victorian melodrama with fictional characters, the forbidden aspect of the two leads' romance struck me as simply unnecessary.

What else can I say about "EMILY"? A rich atmosphere filled the movie. The latter featured atmospheric and beautiful images of West Yorkshire, thanks to cinematographer Nanu Segal. It possessed a first-class production design, excellent costumes that reflected the movie's 1840s setting and superb performances from a cast led by the talented Emma Mackey. I could have fully admired this film if it were not for two aspects. One, I thought it was a shoddy take on a biopic for author Emily Brontë that featured one falsehood too many. And two, I found the secretive and "forbidden" nature of Brontë's false romance with the William Weightman character very unnecessary. Pity.

[flinnwantstobeahiddleston]

Our Future/Cast Part One

Name:Park Ha-Rin

Date of Birth:February 14 1994/London

Nationality:Korean/British

Family:Jessica Piel(Mother) Park Woon-Ho(Father)

Career:Actress

About her:She was born in London as the only child of a prosecutor mother and a writer father.After living in London with her family until the age of 12,she came to Korea with her father when her parents divorced.She continued her education in Korea.She had her first acting experience at the age of 18.She became well known and continued her career successfully.She speaks English, French and Russian.

Relationships:Rowoon(2018-2019) Lee Junho(Rumored 2016) Lee Dong Wook(2020-)

Net Worth:$35M

Name:Moon Ar-Eum

Date Of Birth:April 9 1994/Seoul

Nationality:Korean

Family:Moon Jin-Ae(Mother) Moon Beom- Seok(Father) Moon Yun-Hee(Older Sister)

Moon Gyeong(Older Sister)

Career:Actress

About her:She was born in Seoul as the third child of a prosecutor father and a mother who had her own cosmetics brand.During her education,she graduated from the best schools.After graduating from the Korean National University of Arts,she played supporting roles in TV series for a while.She played the leading role for the first time when she was 24 years old.From that day on,she became known as the shining face of the screens.

Relationships:Lee Dong Wook(2018-2018)

Ji Chang Wook(2019-)

Net Worth:$17M