#Dominic Richard Harrison

[anarchst]

idc yungblud is hooooot as fuck xx

[brujilda-8-txx]

[flowerescentt]

yungblud x stone pony 7/15/23

[layla-keating]

DAISY JONES & THE SIX Episode 6: Whatever Gets You Thru The Night

[celebclippinz]

Magazine clippings

[thecrownnet]

Netflix's hit royal drama, The Crown, is set to hang up its robe and scepter after 60 episodes later this year, with the release of it's sixth and final series.

The chronological dramatization of the life and reign of Queen Elizabeth II and her family has been the recipient of both praise and the subject of controversy since its debut in 2016, but has proven to be one of Netflix's most successful and talked about original productions to date.

Though no official release date has yet been given, the show's final season is expected to debut before the end of the year. Here, Newsweek looks ahead at what to expect from season six of The Crown.

*Read more via link above. **The Crown Season 5 will be coming to DVD and Blu-ray on October 17, 2023.

[jinx-on-mars-19xx]

[ljblueteak]

Richard Hamilton Swingeing London 67 poster and Beatles 68 poster

Text from Andrew Wilson's Swingeing London 67

The [Beatles] poster, described by Hamilton as a 'give-away' print, was the result of a fairly complex design process that took about two weeks to complete, with daily visits from Paul McCartney, the one Beatle who worked directly with Hamilton on the project and who had prior knowledge, through[Robert] Fraser, of Hamilton's work--he had earlier bought one of the Solomon R. Guggenheim (1965) screenprints from the 1966 exhibition of the series that he had helped hang.

This relationship gave Hamilton the freedom to develop his idea for the poster and the whole design project without interference from the other band members, Yoko Ono, or the record company.

The poster shows George Harrison, John Lennon, McCartney and Ringo Starr as distinct individuals. This is in sharp contrast to the individual John Kelly portraits, in which the similarities of pose, gaze, and lighting, conforming to the aesthetics of of a record company's publicity department, portray them as members of a band.

The seemingly casual pinboard aesthetic by which these informal photographs were arranged was determined primarily as a solution to crucial design issues (echoing his decision to order the collage for Swingeing London 67--poster as newspaper columns, with headline at top left).

The sheet had to be folded three times in order to be inserted into the square album sleeve, and this obliged Hamilton to approach it as 'a series of subsidiary compositions. The top right and left-hand square are front and back of the folder and and had to independently stand as well as be a double spread together. The bottom four squares can be read independently and as a group of four. They all mate together when opened up and used as wall decoration.'

The top left-hand panel is what is seen first, and it presents the songwriting duo of Lennon and McCartney. Lennon is shown in blue light, singing. The image has probably been taken from a television screen, and the attendant distortion and blue glow are unflattering.

The image of Lennon overlays the bottom right corner of an equally unusual portrait of McCartney in a bathtub, his head half submerged, soapy suds giving him a halo. Running beneath the two portraits is a fabricated contact strip that includes an image of Lennon in front of one of his wall drawings; the band in a recording session...in which they are, unusually, playing brass instruments; and a colour image from the recording of 'Hey Jude' (1968).

This sense of fragmentation, of hidden codes and messages, echoes both the 'guarded privacy and locked rooms' and the 'disturbing, dreamlike darkness' that have been identified in the album, inviting the fan to imagine the band members' private worlds, and hinting at the beginning of the band's disintegration.

The dominant image of the poster's top right panel, opposite Lennon and McCartney, is of George Harrison. This portrait casts him in a mystical, otherworldly and contemplative light, with the right side of his face obscured and out of focus....

There are very few collective photographs of the band: playing in recording sessions or in filmed concerts; with Harold Wilson after they had each received the MBE; and a sequence of them doing the 'business' as they re-sign their contract with EMI.

Instead, the poster emphasizes the individual activities of John, Paul, George and Ringo around the time of the collage. Starr is shown with his co-star from the film Candy (1968), Ewa Aulin, and also dancing with Liz Taylor (wife of his other co-star in the film, Richard Burton). Lennon is shown becoming the working-class hero. Yoko Ono appears just twice: in a self-portrait by Lennon of the naked couple, and in an image of a naked Lennon sitting cross-legged in bed talking on the phone, as its stretched cord cuts her out-of-focus head in two--cancelling her identity.

Of the band, it is McCartney who emerges as the poster's dominant figure. Hamilton has said how The Beatles contains 'arcane touches which only The Beatles' more intimate associates were likely to smile at,' and yet such details--such as the doubled image of a shut door or McCartney 'pole dancing' both naked and clothed--are not at the cost of the poster's legibility. At its centre is the reverse of a photograph, a gift to one of the band, bearing a lipstick imprint and a groupie's imploring words: 'I love you.'

In all this, Hamilton's fundamental aim for The Beatles was that it should reach a large audience and be as accessible as the cover design was remote. This was not a new subject for Hamilton. My Marilyn had already adopted, three years earlier, the motif of the publicity photograph and the manipulation of celebrity image as a subject. What is different here is Hamilton's direct participation in popular culture: The Beatles, like Swingeing London 67--poster, shows him not only constructing work with a subject that revolves around the manipulation and production of pop celebrity imagery, but also inserting these works into the mass circulation of popular culture.

--Andrew Wilson. Bold mine.

[littlequeenies]

‘I’ve been called a witch, slut, murderer’: the ultra-creative women dismissed as rock star girlfriends

Despite their artistic skill, Anita Pallenberg, Suzi Ronson and Yoko Ono were cast as mere lovers or muses. They're now being allowed to tell their own stories – even if it's after death-Annie ZaleskiTue 21 May 2024 11.46 CEST

In a 2008 interview, Anita Pallenberg swore she would never write her autobiography. The artist, model and actor was weary of publishers who only wanted to read about her intimate dealings with the Rolling Stones – she dated both Brian Jones and Keith Richards, and had an affair with Mick Jagger. “They all wanted salacious,” she said then. “And everybody is writing autobiographies and that’s one reason why I’m not going to do it.”

Yet when Pallenberg died in 2017, she left behind pages of a neatly typed manuscript, titled Black Magic, that contained her life story. True to form, she characterised these memoirs as “memory images, a traveller’s tale through a landscape of dreams and shadows” rather than an autobiography. But she held little back while chronicling her spirited and frequently tumultuous life, quipping: “I don’t think the lawyers will like it very much.”Read in a narration by Scarlett Johansson, her unpublished words are the backbone of a compelling new documentary, Catching Fire: The Story of Anita Pallenberg. Kate Moss celebrates her as “the original bohemian rock chick that people still aspire to today” but more valuable is Pallenberg reframing her legacy on her own terms from beyond the grave. “I’ve been called a witch, a slut, a murderer. I’ve been hounded by the police and slandered in the press,” she wrote, before adding, “But I don’t need to settle scores. I’m reclaiming my soul.”Given how much ink has been spilt on the Stones over the years, it’s refreshing to hear Pallenberg share her own perspective on her experiences. She’s not the only high-profile rock girlfriend now getting a chance to tell their own story, asserting their place in, and influence on, male-dominated music culture.

Suzi Ronson, who was married to the guitarist Mick Ronson, just released a candid memoir, Me and Mr Jones: My Life with David Bowie and the Spiders from Mars, that’s a clear-eyed look at rock star mythology. Pattie Boyd, married to both George Harrison and Eric Clapton, was interviewed in 2018 by Taylor Swift for Harper’s Bazaar (“George and Eric had an inability to communicate their feelings through normal conversation,” Boyd said, “I became a reflection for them”) and this year she eloquently reminisced as she auctioned her memorabilia, including love letters from Clapton and handwritten Harrison lyrics, for a staggering £2,818,184. “The letters from Eric – they’re so desperate and passionate, a passion that blooms once in a lifetime,” she said. “They’re too painful in their beauty.”

Tate Modern, in London, is meanwhile celebrating Yoko Ono with a career-spanning exhibition, Yoko Ono: Music of the Mind – a pointed reminder that Ono’s artistic collaboration with John Lennon was only a relatively brief part of her career. It shows how her artistry spans theatre, writing and music, but also how it makes space for her story to change over time – for example, the various performances of Cut Piece across the decades – and for others’ perspectives. Take Ono’s 1964 artist’s book Grapefruit, which uses short, abstract action items (“Imagine the clouds dripping. Dig a hole in your garden to put it in”) to generate a huge potential variety of creative responses.

Among those was Lennon’s Imagine. In a 1980 BBC interview, Lennon said Grapefruit provided “the lyric and the concept” of the song, but Ono didn’t receive a songwriting credit until 2017 even though Lennon was aware of the oversight in his lifetime. “But those days I was a bit more selfish, a bit more macho,” he told the BBC, “and I sort of omitted to mention her contribution.”

Pallenberg, too, served as inspiration for Rolling Stones songs such as Gimme Shelter. But Catching Fire reinforces the idea that even if sexism meant she was underestimated by the public, she wasn’t a passive presence or muse. “Neither Anita nor I wanted to be with them because we wanted some of their power,” Marianne Faithfull says in voiceover – she was in the band’s orbit alongside Pallenberg owing to a relationship with Jagger. “We had our own power.”

Faithfull’s power was her own music career; Pallenberg, who spoke several languages and worked as a model, influenced the Stones’ look. (“I started to become a fashion icon for wearing my old lady’s clothes,” Richards quipped in his bookLife.) And she refused to rearrange her life for the Stones. “No girls were allowed in the studio when they were recording,” she said. “You weren’t allowed even to ring. I did other things; I didn’t sit at home.” She maintained an acting career, notably in 1968’s movie Barbarella and 1970’s Performance – though her voice was dubbed out in the former: you wonder whether her “muse” tag meant casting directors underestimated her.

Suzi Ronson, a colour-loving hair wizard who brought David Bowie’s tomato-red Ziggy Stardust coif to life, also took a different path from other women of her time. She left a steady job and went on the road, steering the Ziggy Stardust tour aesthetic by handling hair, makeup, and other tasks.

Me and Mr Jones illuminates her part in helping Bowie crystallise his vision – and shows how fame and rock stardom corrupt. On a Mott the Hoople tour, she seethes while Mick, cozying up to a baroness, orders Suzi to find his hairbrush, treating her like an assistant rather than a girlfriend. It wasn’t the only time she was underestimated. “I’m now the pathetic girlfriend, clinging on to my man, a position I never thought I’d find myself in,” she writes after joining Mick on tour with Bob Dylan for a few days, after not being invited. “I try to be understanding, but truthfully I’m infuriated at being left out.”

These new works also highlight how each woman, at a time when women struggled to “have it all”, cultivated agency through one of the only paths open to them: motherhood. Rather than being something limiting, becoming mothers allowed them to reinvent their lives. Suzi Ronson, long out of Bowie’s orbit and living in England with her parents after giving birth, reflects that “the life I created for myself has disappeared, and my career with it,” she writes, but her daughter brings joy and solace – and encourages her to stay optimistic and keep striving for a unique path. “As I push her around the same streets my mother used to push me, I swear to her: this isn’t going to be it, and I pray I’m right.” Ronson closes the loop by noting that she and Mick return to the US, living in the singer Maria Muldaur’s house and finding equilibrium.

Ono confronted motherhood’s messiness. Her installation My Mommy Was Beautiful used photos of breasts and vaginas to demystify birth and celebrate the strength of the body, and the 1969 song Don’t Worry Kyoko (Mummy’s Only Looking for a Hand in the Snow) – which Yoko wrote for her young daughter Kyoko – conveys primal agony and frustration. “Society’s myth is that all women are supposed to love having children,” Ono said in 1981. “But that was a myth. So there was Kyoko, and I did become attached to her and had great love for her, but at the same time, I was still struggling to get my own space in the world. I felt that if l didn’t have room for myself, how could I give room to another human being?”

Pallenberg also navigates this conundrum. Jake Weber, the actor son of notorious Stones associate Tommy Weber, becomes visibly emotional when talking about how “generous and funny” Pallenberg was to him after his mother died in 1971, during the Stones’ debauched French summer. “She filled a vacuum of a surrogate parent,” he said. “She was lovely like that. Her thing was trying to give us joy.” Catching Fire also visits the agonising fallout of the sudden June 1976 death of Pallenberg’s 10-week-old son Tara.

Pallenberg has the last word in Catching Fire, and her conclusion illustrates the importance of women directing their own narratives. “Writing this has helped me emerge in my own eyes,” she noted. “Reading over what I’ve written, I get a lump in my throat. But it doesn’t need to be a doom and gloom kind of story.” The film makes it clear that Pallenberg’s chief power was, ultimately, resilience, which she needed during an often-challenging life (she lived with various addictions, including to heroin and alcohol) and several tragic events, such as when a 17-year-old shot and killed himself in Richards’ bed.

“I felt like some nasty person who caused death and destruction around her,” Pallenberg said after the 1979 incident, but Catching Fire refuses to let Pallenberg become a tragic figure or cautionary tale. The film ends noting that she got sober, graduated from college, and aged with iconoclastic gusto. The lessons are clear – redemption is possible and we are not our worst moments – while also reinforcing what we miss when women’s voices are silenced or ignored. Catching Fire: The Story of Anita Pallenberg, directed by Alexis Bloom and Svetlana Zill is in UK and Irish cinemas now

[randomfoggytiger]

Kibbe Body Types, Part 2: David Duchovny

Gillian Anderson's Kibbe analysis here; beginner's guide here.

Okay.

So.

We're going to have to do this analysis a little differently.

David Kibbe has a thorough quiz to type your body correctly... if you're a woman. So... I'm going to have to go around the mulberry bush a bit to arrive at David Duchovny's Kibbe Type.

...Why don't you tag along with me? We'll find out together.

(Spoiler: I already know his Type.)

KIBBE BODY TYPES-- BUT FOR MEN

(**Note**: You can skip this section if extra reading isn't your thing.)

Kibbe identifies female bodies through their height, their hips, their chest, their waist, and their shoulders. However, male bodies are a whole different ballgame: width is the key measure-- of greater importance even than height-- as well as the softness or "fleshiness" of the frame.

THANKFULLY, Aly Art's got my back with this video.

Now: we must identify the yin-- soft, delicate, short, light-- qualities and separate them from the yang-- strong, tall, lean, vertical, angular, sharp-- qualities. Everybody has a blend of those two traits slapped on their skeletons; but Kibbe tried (tries) to keep it as simple as possible.

There are five basic body types; and those five types are divided into yang (sharp) and yin (soft) variants.

Dramatics-- 100% yang energy: tall, lean, strong, hard. They look angular and heavy. Typically have smaller eyes, prominent nose and chin, and thin lips.

Benedict Cumberbatch, Sean Connery, Charlton Heston, Ricardo Montalban, Errol Flyn, Daniel Craig

Soft Dramatics-- predominant yang energy with some yin added: softness and fleshiness added to their sharp, angular frame.

Dean Martin, Christian Bale, Matthew McConoughy, John Travolta, Nicholas Cage, Clark Gable

Flamboyant Naturals-- strong and hard, but with wide, blunted edges. They appear sporty or athletic: moderate to tall height, wider shoulders, and slimmer waists and hips.

Calvin Klein, Dick Van Dyke, Harrison Ford, Clint Eastwood, Tom Selleck (maybe), Michael Landon (maybe), Joe Biden  

Soft Naturals-- like the FNs, they are wide, and blunted; but their width is softened by added fleshiness, appearing slightly less tall, less dense and more delicate. They sport plusher, softer cheeks, lips, torso, and thighs; and often appear "cuter" than FNs, Ds, and SDs.

Alan Alda, OJ Simpson, John Wayne, Robert Redford, Robert Conrad, Bing Crosby, Tom Cruise, George Clooney, Gene Kelly, Brad Pit, Gene Hackman

Dramatic Classics-- is an even, "average" mixture of yin and yang elements with a slightly more dominant yang presence. They have a very blended bone structure with tauter cheeks and more predominant facial features.

Carey Grant, John Ham

Soft Classics-- is an even, "average" mixture of yin and yang elements with a slightly more delicate yin presence. They have a very blended bone structure with softer lips and fleshier cheeks.

John Slattery, John Glenn, Gregory Peck, Bryant Gumbel

Romantics-- is 100% yin: smaller, shorter, softer, more delicate. No sharp angles. They appear gentler, less harsh, less "brutally" masculine than their Dramatic and Natural counterparts.

Colin Firth, Leonardo DiCaprio, Elijah Wood, Simon Baker, Richard Gere, Michael Jackson, Omar Shereef, Billy Dee Williams, Elvis Presley

Theatrical Romantics-- is 100% yin with a taut touch of yang to their features: narrow, delicate bones instead of fully-rounded, softly-widened angles.

David Kibbe, Orlando Bloom, Prince, Johnny Depp

Flamboyant Gamines-- an uneven mixture of yin and yang elements, with more pronounced yang in their angularity and sharpness. They have small, rectangular muscularity: angular facial bones, smaller shoulders and torso, some tautness to their physique.

Jimmy Kimmel, Frank Sinatra, Neil Patrick Harris

Soft Gamines-- an uneven mixture of yin and yang elements, with more pronounced yin in their rounded curves and softness. They appear the most "cute" of the types: an even smaller Gamine, with softer cheeks, softer noses, softer lips, bigger eyes, smaller hands, etc.

Fred Astaire, Robert Downy Jr. 

THE MAN, THE MYTH, THE MONOTONE

David's frame is dominated by prominent, long vertical lines-- dare I say, blunt edges?-- and shoulders that appear-- or are?-- wider because of his narrow waist and hips.

Using this previous post as a rough guide to map out his features, DD has pronounced yin-- softer cheeks, rounder nose, softened jawbone, softer flesh over his muscles-- but not enough to cover or dominate the long, strong bones in his frame and overall musculature.

I have my suspicions, and they swing Soft Natural (not enough T-bone shoulder to fit Flamboyant Natural); but let's put this theory to the test.

COMPARISON IS OUR REPRIEVE AND JOY

But you ask: how are we going to type the Man, the Myth, the Monotone without a handy dandy reference guide?

Easy peasy. We compare him to other body types and notate the differences.

David and Gamines

We're eliminating Gamines first because their shorter lines, shorter stature, and more angular or rounded bodies are in direct opposition to his longer, denser lines.

Compared to DD's wider shoulders, denser frame, and squarer facial features, Jimmy Kimmel and Lucy Liu (and Theatrical Romantic Gillian Anderson) appear more"weightless", angular, and narrow.

Soft Gamine Winona Ryder and Halle Berry appear weightless as well; but their angular features are tempered by an added layer of softness that corresponds with the fleshiness of David's face.

David and Romantics

We have a look-a-like for this section: Richard Gere, a pure Romantic.

Compared to DD's wide shoulders, slim torso and hips, and more defined musculature (even at his skinniest), Richard is composed of rounded curves, more delicate facial and skeletal bones, and a soft layer of flesh over his torso, arms, thighs, and legs. Even at Richard's fittest, there was still a softness present in his body that could not be chiseled away or hidden.

The two Romantic Type women below-- Drew Barrymore, pure Romantic; Gillian Anderson, Theatrical Romantic-- again highlight the density of David's structure, bringing out a "heavier" presence than the Gamines had previously.

David and Classics

Is David a Classic Type? Frankly, no-- his bones are too long and dense to be moderate and balanced; and he, even more frankly, looks terrible in very quaffed, groomed, and buttoned-up outfits.

Compared to DD's length and width, Dramatic Classics appear more proportionate, their touch of sharpness blending in with-- not rivaling-- the balance of their frames. DC Carey Grant's more balanced edges bring out the angles in DD's face, more so than the Gamines or Romantics did.

By contrast, Soft Classics' proportionate frames contain a touch of softness-- Meryl Streep's yin calls forth David's, appearing more rounded instead of angular or blunt.

David and Dramatics

Compared to David, Dramatics' structure is more elongated, narrow, and angular. Dramatic Benedict Cumberbatch has sharper, more prominent features; less width across his shoulders and torso; and barely any yin to speak of in his face.

(I also suspicion Tea Leoni as a Dramatic; so sneaked her in here.)

Soft Dramatics have the elongated sharpness of the Dramatics with a soft, fleshy padding over the tautness of their features. Compared to SD Christian Bale's sharpness-in-spite-of-his-softness, DD's softer, blunter edges become more obvious.

David and Naturals

And last but not least, we reach the native soil of David Duchovny's body type.

Flamboyant Naturals are a close but not perfect match-- their elongated, blunt width not only matches but exceeds DD's shoulders, torso, arms, legs, and facial features. FN Harrison Ford looks denser, more muscular, and even more athletic when compared to his softer brother from a different mother.

Soft Naturals: finally, David is home! Soft Naturals have the width and length of the FNs Types softened and slightly moderated by an added, pronounced yin quality. Their face, lips, arms, torso, and slim waist appear less blunt (if no less wide); and the dense musculature of their frame is less noticeable in comparison.

LINES, SILHOUETTES, AND OTHER FASHION ADVICE

Now that David's found his SN kind, I shall pack him up a little box lunch of good wardrobe advice to take with him. ...Or that was the theory, except it is notoriously hard to get my hands on Kibbe Body Type advice for men.

I shall do my best to transcribe and transform Aly Art's excerpts (here) from David Kibbe's Metamorphosis book:

"Soft Natural: it is the overall combination of the very soft yin with the yang undercurrent. Slightly soft and fleshy body type on an angular frame combined with an appealing, innocent essence.

Height: moderate.... Bone structure: slightly angular bones, slightly broad shoulders, moderate to slightly short limbs, slightly leggy look also possible. Blunt or small and irregular facial contours-- nose, cheekbones, and jawline. Hands and feet are moderate and fleshy, or slightly small and wide. Body type: slightly soft..... Facial features: full and rounded. Round eyes, round eyes, full lips, soft cheeks. Nose tends small and wide; or slightly irregular, blunt or wide. If overweight, the body tends to become extremely soft and fleshy, with the waist thickening. The upper hips, arms, and thighs tend to collect excess weight most rapidly.

"Physically, you are basically angular in bone structure-- although this is softened by a fleshy body type and full facial features.... To disperse your soft yin undercurrent..., we want to develop an appearance that could best be described as fresh and sensual....

"Shape: Asymmetric and irregular curves-- elongated ovals, wide circles, ellipticals, and so on. Relaxed geometrics with rounded edges, easy swirls. You might not look as good in sharp geometrics; in wide, chunky, and boxy shapes; in plain, symmetrical shapes; in overly ornate shapes.

"Line and silhouette: unconstructed silhouette with shaping, particularly at waist. Relaxed lines with subtle drape and flow, particularly bias cuts.

You might not look as good in wide, shapeless silhouettes; in sharp, severe silhouettes; in symmetrical silhouettes; in fitted silhouettes.

"Details: details should be loose, relaxed, delicate, slightly intricate, and very creative. Any detail that suggests a bit of antique or the earth is excellent. Shoulders should not be sharp or stiff. Necklines should be loose and soft, not closed, restricted, or fussy. Simple draped necklines; soft cowls; soft notched collars; clean lapels; shawl collars; and so on. Waist should be defined, although loosely: there can be a slightly blousy effect with the top draped over the waistline, or a slightly dropped waist as long as the silhouette is fluid. Gathers and falls should be deep, full, and soft; sleeves can be full and flowing, or gently tapered at the wrist with minimum detail.

"Trim should be delicate and antique, shearing applique, and so on. You might not look as good in sharply tailored detail, in no detail, in overly fitted and fussy detail, in animated, perky detail."

Conclusion

David Duchovny's gonna do and wear what he's gonna do and wear. And that's just fine.

Thanks for reading~

And take care of yourselves.

Enjoy!

[nerds-yearbook]

With the infamous words, "Somehow, Palpatine returned," the end of the third Star Wars trilogy premiered on December 20, 2019. There had been plans to focus on Han in the first movie, Luke in the second, and Leia the third, but the death of Carrie Fisher changed those plans. Producers decided to inlcude her primarily through using unused footage. To help with the nastalgia for the original trilogy Billy Dee Williams returned as Lando Calrissian, Mark Hamill as Luke Skywalker, Anthony Daniels as C-3PO, Ian McDiarmid as Emperor Palpatine, Harrison Ford as Han Solo, Mike Quinn and Kipsang Rotich as Nien Nunb, Warwick Davis as Wicket, Joonas Suotamo as Chewbacca, Denis Lawson as Wedge Antilles and R2-D2. Returning from the new trilogy were Adam Driver (Kylo Ren), Daisy Ridley (Rey), John Boyega (Finn), Oscar Isaac (Poe Dameron), Domhall Gleeson (General Hux), Lupita Nyong'o (Maz Kanata), Kelly Marie Tran (Rose Tico), Greg Grunberg (Snap Wexley), Amanda Lawrence (Comander D'Acy), Billy Lourd (Lt Connix) and BB8. There were a lot of voice cameos by Shirley Henderson (Babu Frik), J.J. Abrams (D-0) , James Earl Jones (Darth Vader), Matthew Wood (Cai Threnalli), Andy Serkis (Snoke), Hayden Christensen (Anakin Skywalker), Olivia D'Ablo (Luminara Unduli), Ashley Eckstein (Ahsoka Tano), Jennifer Hale (Aayla Secura), Samuel L Jackson (Mace Windu), Ewan McGregor (Obi-Wan Kenobi), Alec Guinness (Obi-Wan Kenobi), Frank Oz (Yoda), Angelique Perrin (Adi Gallia), Freddie Prinze Jr (Kanan Jarrus), and Liam Neeson (Qui-Gon Jinn). John Williams who composed the scores for all three of the original trilogies made a cameo appearance. There were also cameos by Richard E Grant, Keri Russel, Dominic Monaghan, Jeff Garlin, Lin-Manuel Miranda, Ed Sheeran, Kevin Smith, and Karl Urban. The action took place at Ajon Kloss, Pasaana, Kijimi, Kef Bir, and Exegol. ("Star Wars Episode IX The Rise of Skywalker" Star Wars Movie Event).

[awardseason]

21st Annual Visual Effects Society Awards — Film Winners

Outstanding Visual Effects in a Photoreal Feature Avatar: The Way of Water – Richard Baneham, Walter Garcia, Joe Letteri, Eric Saindon, JD Schwalm — WINNER Fantastic Beasts: The Secrets of Dumbledore – Christian Mänz, Olly Young, Benjamin Loch, Stephane Naze, Alistair Williams Jurassic World: Dominion – David Vickery, Ann Podlozny, Jance Rubinchik, Dan Snape, Paul Corbould The Batman – Dan Lemmon, Bryan Searing, Russell Earl, Anders Langlands, Dominic Tuohy Top Gun: Maverick – Ryan Tudhope, Paul Molles, Seth Hill, Bryan Litson, Scott Fisher

Outstanding Supporting Visual Effects in a Photoreal Feature Death on the Nile – George Murphy, Claudia Dehmel, Mathieu Raynault, Jonathan Bowen, David Watkins I Wanna Dance With Somebody – Paul Norris, Tim Field, Don Libby, Andrew Simmonds The Fabelmans – Pablo Helman, Jennifer Mizener, Cernogorods Aleksei, Jeff Kalmus, Mark Hawker The Gray Man – Swen Gilberg, Viet Luu, Bryan Grill, Cliff Welsh, Michael Meinardus The Pale Blue Eye – Jake Braver, Catherine Farrell, Tim Van Horn, Scott Pritchard, Jeremy Hays Thirteen Lives – Jason Billington, Thomas Horton, Denis Baudin, Michael Harrison, Brian Cox — WINNER

Outstanding Visual Effects in an Animated Feature Guillermo del Toro’s Pinocchio – Aaron Weintraub, Jeffrey Schaper, Cameron Carson, Emma Gorbey, Mad God, Chris Morley, Phil Tippett, Ken Rogerson, Tom Gibbons — WINNER Strange World – Steve Goldberg, Laurie Au, Mark Hammel, Mehrdad Isvandi The Bad Guys– Pierre Perifel, Damon Ross, Matt Baer, JP Sans The Sea Beast – Joshua Beveridge, Christian Hejnal, Stirling Duguid, Spencer Lueders Turning Red – Domee Shi, Lindsey Collins, Danielle Feinberg, Dave Hale

Outstanding Animated Character in a Photoreal Feature  Avatar: The Way of Water: Kiri – Anneka Fris, Rebecca Louise Leybourne, Guillaume Francois, Jung-Rock Hwang — WINNER Beast: Lion – Alvise Avati, Bora Şahin, Chris McGaw, Krzysztof Boyoko Disney’s Pinocchio: Honest John – Christophe Paradis, Valentina Rosselli, Armita Khanlarpour, Kyoungmin Kim Slumberland: Pig – Fernando Lopes Herrera, Victor Dinis, Martine Chartrand, Lucie Martinetto

Outstanding Animated Character in an Animated Feature Guillermo del Toro’s Pinocchio: Geppetto – Charles Greenfield, Peter Saunders, Shami Lang-Rinderspacher, Noel Estevez-Baker Guillermo del Toro’s Pinocchio: Pinocchio – Oliver Beale, Richard Pickersgill, Brian Leif Hansen, Kim Slate — WINNER Strange World: Splat – Leticia Gillett, Cameron Black, Dan Lipson, Louis Jones Turning Red: Panda Mei – Christopher Bolwyn, Ethan Dean, Bill Sheffler, Kureha Yokoo

Outstanding Created Environment in a Photoreal Feature Avatar: The Way of Water: Metkayina Village – Ryan Arcus, Lisa Hardisty, Paul Harris TaeHyoung David Kim Avatar: The Way of Water: The Reef – Jessica Cowley, Joe W. Churchill, Justin Stockton, Alex Nowotny — WINNER Jurassic World Dominion: Biosyn Valley – Steve Ellis, Steve Hardy, Thomas Dohlen, John Seru Slumberland: The Wondrous Cuban Hotel Dream – Daniël Dimitri Veder, Marc Austin, Pavan Rajesh Uppu, Casey Gorton

Outstanding Created Environment in an Animated Feature Guillermo del Toro’s Pinocchio: In the Stomach of a Sea Monster – Warren Lawtey, Anjum Sakharkar, Javier Gonzalez Alonso, Quinn Carvalho — WINNER Lightyear: T’Kani Prime Forest – Lenora Acidera, Amy Allen, Alyssa Minko, Jose L. Ramos Serrano Strange World: The Windy Jungle – Ki Jong Hong, Ryan Smith, Jesse Erickson, Benjamin Fiske The Sea Beast: The Hunting Ship – Yohan Bang, Enoch Ihde, Denil George Chundangal, John Wallace Wendell & Wild: The Scream Fair – Tom Proost, Nicholas Blake, Colin Babcock, Matthew Paul Albertus Cross

Outstanding Virtual Cinematography in a CG Project ABBA: Voyage – Pär M. Ekberg, John Galloway, Paolo Acri, Jose Burgos Avatar: The Way of Water – Richard Baneham, Dan Cox, Eric Reynolds, A.J Briones — WINNER Prehistoric Planet – Daniel Fotheringham, Krzysztof Szczepanski, Wei-Chuan Hsu, Claire Hill The Batman: Rain Soaked Car Chase – Dennis Yoo, Michael J. Hall, Jason Desjarlais, Ben Bigiel

Outstanding Model in a Photoreal or Animated Project Avatar: The Way of Water: The Sea Dragon – Sam Sharplin, Stephan Skorepa, Ian Baker, Guillaume Francois — WINNER The Sea Beast – Maxx Okazaki, Susan Kornfeld, Edward Lee, Doug Smith Top Gun: Maverick: F-14 Tomcat – Christian Peck, Klaudio Ladavac, Aram Jung, Peter Dominik Wendell & Wild: Dream Faire – Peter Dahmen, Paul Harrod, Nicholas Blake

Outstanding Effects Simulation in a Photoreal Feature Avatar: The Way of Water: Fire and Destruction – Miguel Perez Senent, Xavier Martin Ramirez, David Kirchner, Ole Geir Eidsheim Avatar: The Way of Water: Water Simulations – Johnathan M. Nixon, David Moraton, Nicolas Illingworth, David Caeiro Cebrian — WINNER Black Panther: Wakanda Forever: City Street Flooding – Matthew Hanger, Alexis Hall, Hang Yang, Mikel Zuloaga Fantastic Beasts: The Secrets of Dumbledore – Jesse Parker Holmes, Grayden Solman, Toyokazu Hirai, Rob Richardson

Outstanding Effects Simulation in an Animated Feature Lightyear – Alexis Angelidis, Chris Chapman, Jung-Hyun Kim, Keith Klohn Puss in Boots: The Last Wish – Derek Cheung, Michael Losure, Kiem Ching Ong, Jinguang Huang — WINNER Strange World – Deborah Carlson, Scott Townsend, Stuart Griese, Yasser Hamed The Sea Beast – Spencer Lueders, Dmitriy Kolesnik, Brian D. Casper, Joe Eckroat

Outstanding Compositing & Lighting in Feature Avatar: The Way of Water: Landing Rockets Forest Destruction – Miguel Santana Da Silva, Hongfei Geng, Jonathan Moulin, Maria Corcho Avatar: The Way of Water: Water Integration – Sam Cole, Francois Sugny, Florian Schroeder, Jean Matthews — WINNER The Batman: Rainy Freeway Chase – Beck Veitch, Stephen Tong, Eva Snyder, Rachel E. Herbert Top Gun: Maverick – Saul Davide Galbiati, Jean-Frederic Veilleux, Felix B. Lafontaine, Cynthia Rodriguez del Castillo

Outstanding Special (Practical) Effects in a Photoreal Project Avatar: The Way of Water: Current Machine and Wave Pool – JD Schwalm, Richie Schwalm, Nick Rand, Robert Spurlock — WINNER Black Adam: Robotic Flight – JD Schwalm, Nick Rand, Andrew Hyde, Andy Robot, Mad God, Phil Tippett, Chris Morley, Webster Colcord, Johnny McLeod The Lord of the Rings: The Rings of Power “Adrift” Middle Earth Storm – Dean Clarke, Oliver Gee, Eliot Naimie, Mark Robson

Emerging Technology Award Avatar: The Way of Water: Depth Comp – Dejan Momcilovic, Tobias B. Schmidt, Benny Edlund, Joshua Hardgrave Avatar: The Way of Water: Facial System – Byungkuk Choi, Stephen Cullingford, Stuart Adcock, Marco Revelant Avatar: The Way of Water: Water Toolset – Alexey Dmitrievich Stomakhin, Steve Lesser, Sven Joel Wretborn, Douglas McHale — WINNER Guillermo del Toro’s Pinocchio: 3D Printed Metal Armature – Richard Pickersgill, Glen Southern, Peter Saunders, Brian Leif Hansen Turning Red: Profile Mover and CurveNets – Kurt Fleischer, Fernando de Goes, Bill Sheffler

[bondshotel]

September 15, 2008 - Richard Wright / Rick Wright (b. July 28, 1943) died at home, of an undisclosed form of cancer, aged 65.

Wright was a pianist and keyboardist; he grew up in Hatch End, North London and is best known for his long career with Pink Floyd. Although he wasn't really credited as a singer, he frequently sang background and occasionally lead vocals onstage and in the studio with Pink Floyd most notably on "Time", "Echoes", "Matilda Mother", and "Astronomy Domine", as well as notable harmonies on"Chapter 24" and "The Scarecrow". Examples of his early compositions include "Remember a Day", "See-Saw", "Paint Box" and "It Would Be So Nice". He also wrote significant parts of the music for classic albums such as Meddle, The Dark Side of the Moon and Wish You Were Here, as well as for Pink Floyd's final studio album The Division Bell. His instrumental compositions include "Cirrus Minor", "Interstellar Overdrive", "A Saucerful of Secrets", "Careful with That Axe, Eugene", "One of These Days" and to musical themes for film scores.

Bandmate David Gilmour said:

“No one can replace Richard Wright. He was my musical partner and my friend. In the welter of arguments about who or what was Pink Floyd, Rick's enormous input was frequently forgotten. He was gentle, unassuming and private but his soulful voice and playing were vital, magical components of our most recognised Pink Floyd sound. I have never played with anyone quite like him. The blend of his and my voices and our musical telepathy reached their first major flowering in 1971 on 'Echoes'. In my view all the greatest PF moments are the ones where he is in full flow. After all, without 'Us and Them' and 'The Great Gig in the Sky', both of which he wrote, what would 'The Dark Side of the Moon' have been? Without his quiet touch the album 'Wish You Were Here' would not quite have worked. In our middle years, for many reasons he lost his way for a while, but in the early Nineties, with 'The Division Bell', his vitality, spark and humour returned to him and then the audience reaction to his appearances on my tour in 2006 was hugely uplifting and it's a mark of his modesty that those standing ovations came as a huge surprise to him (though not to the rest of us). Like Rick, I don't find it easy to express my feelings in words, but I loved him and will miss him enormously.”

Pink Floyd drummer Nick Mason told Entertainment Weekly:

“Like any band, you can never quite quantify who does what. But Pink Floyd wouldn’t have been Pink Floyd if [we] hadn't had Rick. I think there’s a feeling now – particularly after all the warfare that went on with Roger and David trying to make clear what their contribution was – that perhaps Rick rather got pushed into the background. Because the sound of Pink Floyd is more than the guitar, bass, and drum thing. Rick was the sound that knitted it all together... He was by far the quietest of the band, right from day one. And, I think, probably harder to get to know than the rest of us... It's almost that George Harrison thing. You sort of forget that they did a lot more than perhaps they’re given credit for.”

Former bandmate Roger Waters' website was replaced with a photograph of an array of candles and poppies against a black background; one of the screen images used for the song "Wish You Were Here" in his "Dark Side of the Moon Live" Tour.

Waters issued a statement:

“I was very sad to hear of Rick's premature death, I knew he had been ill, but the end came suddenly and shockingly. My thoughts are with his family, particularly [his children] Jamie and Gala and their mum Juliet, who I knew very well in the old days, and always liked very much and greatly admired. As for the man and his work, it is hard to overstate the importance of his musical voice in the Pink Floyd of the '60s and '70s. The intriguing, jazz influenced, modulations and voicings so familiar in 'Us and Them' and 'Great Gig in the Sky,' which lent those compositions both their extraordinary humanity and their majesty, are omnipresent in all the collaborative work the four of us did in those times. Rick's ear for harmonic progression was our bedrock. I am very grateful for the opportunity that Live 8 afforded me to engage with him and David [Gilmour] and Nick [Mason] that one last time. I wish there had been more.

[just-your-average-tangerine]

Song of the day: September 3 2024

Sex Not Violence by Yungblud

About Yungblud:

Dominic Richard Harrison (born 5 August 1997), known professionally as Yungblud, is an English singer, songwriter and actor. In 2018, he released his debut self-titled EP, followed by his debut studio album 21st Century Liability. In 2019, he released his second EP, The Underrated Youth, and the following year, he released his second studio album, Weird!, which peaked at the top of the UK Albums Chart and reached number 75 on the US Billboard 200. His self-titled third studio album was released in 2022 and reached number one on the UK Album Charts, as well as number 45 on the Billboard 200 and number 7 on the US Top Rock Albums chart.

(Via Wikipedia)

[themovieblogonline]

Charlie Hunnam is Back: Get Ready for ‘Criminal’ on Amazon Prime Video

Ladies and gents, brace yourselves. Charlie Hunnam, the ruggedly handsome actor we adored as Jax Teller in "Sons of Anarchy," is returning to our screens with a new TV series, "Criminal." Yes, you heard it right! Hunnam is set to bring his signature bad-boy charm back to television in an upcoming Amazon Prime Video series. Let’s dive into what we know so far about this highly anticipated show. A New Crime Saga: What's ‘Criminal’ About? "Criminal" is poised to be an epic series centered on an interlocking universe of crime stories involving multiple criminal families. If you loved the intricate plots of "Sons of Anarchy," then get ready because this show is going to serve some serious drama. Hunnam will play Leo, a brilliant master thief who prefers brains over brawn. He’s the kind of guy who sees all the angles, plans meticulously, and avoids violence. Think of him as the chess player of the criminal underworld. Unlike other crooks, Leo avoids guns and fights, which makes other criminals see him as a coward. This includes his father, Tommy, a hardened man who went to prison for offing the city's most feared criminal, Teeg Lawless. So, Leo’s journey isn’t just about outsmarting the law; it’s about navigating family expectations and the dangerous world he’s a part of. Stellar Cast and Crew "Criminal" boasts a star-studded cast that promises to keep you hooked. Alongside Hunnam, we have: - Adria Arjona: Recently seen in "Hit Man" with Glen Powell, playing a car thief. - Kadeem Harrison: Taking on the role of a boxer. - Emilia Clarke: Yes, Daenerys herself will portray an armed robber. - Richard Jenkins: Playing a friend of Leo’s late father. - Luke Evans: Cast as a former thief turned military man. - John Hawkes: Joining the fray as a criminal underworld shark. - Gus Harper and Dominic Burgess: Adding more depth to the ensemble. The series is adapted from a graphic novel by Ed Brubaker and Sean Phillips, known for their work on "Batman: Gotham Noir" and "Incognito." With Anna Boden and Ryan Fleck (directors of "Captain Marvel") helming the first four episodes, you can expect top-notch storytelling and direction. Production and Release Date The production of "Criminal" kicked off in April 2024 in Portland, Oregon. Though Amazon Prime Video hasn’t confirmed an exact release date, we can expect the show to drop sometime in 2025. So, mark your calendars and get your popcorn ready because this series is going to be a wild ride. The Hunnam Effect: Why We Love Charlie Charlie Hunnam has a knack for choosing roles that resonate with audiences. From his iconic portrayal of Jax Teller to his recent stint in "Shantaram," Hunnam embodies complex characters with ease. His return to TV in "Criminal" is highly anticipated, not just because of his acting chops but also due to his ability to bring depth and nuance to every role. Hunnam knows how to pick projects that showcase his talents, and "Criminal" seems to be another perfect fit. His character, Leo, is a departure from the typical tough-guy persona. Instead, he’s a thinker, a planner, and a man trying to carve out his path in a world filled with danger and deception. What Can We Expect? from Criminal While we await the trailer, one thing is certain: "Criminal" will be packed with suspense, drama, and stellar performances. The dynamic between Leo and his father, the tension among criminal families, and the strategic heists will keep viewers on the edge of their seats. So, whether you’re a die-hard Charlie Hunnam fan or just love a good crime drama, "Criminal" is set to be your next TV obsession. Stay tuned for more updates, and keep an eye out for the latest Charlie Hunnam news. (Source: Uproxx) https://www.youtube.com/watch?v=yNWrQgi0uVE