#Dylan Corbett-Bader

[milliondollarbaby87]

A Haunting in Venice (2023) Review

Post World War II in Venice, Italy a now retired Poirot reluctantly attends a seance he had been quite happy in exile and living alone. When a murder occurs he must revert back to being the famed detective once more. ⭐️⭐️⭐️⭐️ Continue reading Untitled

[ken-branagh]

King Lear curtain call

William Shakespeare's King Lear (directed and played by Sir Kenneth Branagh) at Wyndham's Theatre in London's West End, October 22 - November 2 2023.

Playing from October 21 - December 9 2023, 50 performances only. Ken (King Lear) is joined by Mara Allen as Curan, Deborah Alli as Goneril, Raymond Anum as Burgundy, Melanie‑Joyce Bermudez as Regan (RADA graduate 2023, professional debut), Doug Colling as Edgar, Dylan Corbett‑Bader as France, Eleanor de Rohan as Kent, Chloe Fenwick‑Brown as Oswald (RADA graduate 2023, professional debut), Joseph Kloska as Gloucester, Corey Mylchreest as Edmund, Hughie O'Donnell as Cornwall, Caleb Obediah as Cornwall, Jessica Revell as Cordelia / The Fool (RADA graduate 2023).

Source: Jenny_McShane, theothersophiet (via coreymbrasil), zerrintekindor, core_mylchreest

[gameofthunder66]

'A Haunting in Venice' (2023) film

-watched 8/21/2024- 3 stars- on Hulu

75% Rotten Tomatoes

[mariacallous]

Every generation gets the King Lear it deserves. Kenneth Branagh, who stars in a precipitate production that recently opened at the Shed, has given us an Ozempic-thin rendition of Shakespeare’s sprawling tragedy, one that privileges aerodynamic efficiency over depth. At the heart of this staging—directed by Branagh, Rob Ashford, and Lucy Skilbeck—is the strikingly hale actor, who struggles to embody “a very foolish fond old man, Fourscore and upward, not an hour more nor less.” In a recent interview, Branagh said that “the starting point for this new version was to have an emotional immediacy, to have youth and the impatience of youth at the center of things.” He could have been describing the buzzy new Broadway run of Romeo + Juliet, which boasts a clubby aesthetic and features a constellation of spirited stars. To underscore youth in Lear, though, is to look through the wrong end of the telescope. Its last lines, as spoken by Edgar, are a paean to “the oldest,” who “hath borne most.”

The current show, presented by the Shed, KBTC, and Fiery Angel, transports us to a Neolithic Britain sparsely populated by fur-clad characters wielding spears. Designed by Jon Bausor, the set features massive slabs of stone that link up in a semicircle and calve apart, while a circular screen (or is it a lidless eye?) hovers above the stage, displaying swirling galaxies, star systems, and planets. Ironically for a play presided over by a vaguely celestial donut, the script’s commerce with the supernatural is downplayed: in his fury, Lear does not call upon “Hecate and the night” or invoke “the operation of the orbs.” The Game of Thrones–like costumes may be period-appropriate but are something of a liability: on the day I was in the audience, the actors’ fur coats seemed to occasionally muffle their microphones, resulting in uneven sound quality. So much for Dolby Atmos’s immersive audio technology.

The greatest handicap, however, is not the youth-centric vision or the spotty sound but the cuts to the text. A director who makes drastic reductions to a Shakespeare play should be prepared to compensate for the elisions through gestural or subverbal means. Unfortunately, that never happens in this production, which is reduced to two intermission-less, complexity-killing hours. The opening scene bypasses the original prologue—which helpfully adumbrates many of the play’s central themes—and leaps directly to Lear commanding his three daughters to take turns professing their love for him. Regan’s (Saffron Coomber) overture is reduced by half, rendering her protestations of adoration less fulsome, more Cordelia-like in their brevity. Gone too are the youngest daughter’s asides: in the original, Cordelia ruminates that “I am sure my love’s more ponderous than my tongue.” Absent such internal quibbles, here she verges on mere tactlessness. Any sympathy one may feel for Lear’s favored child is bullied into us by prior acquaintance with the story—not by Jessica Revell’s by-the-book performance. Omissions accrue apace. Where lines are not redacted, they are, in many cases, reordered, misappropriated by different speakers, or unwisely edited so they are leached of Shakespeare’s unusual imagery. Thus—in a subplot about a nobleman in Lear’s court and his two sons, Edgar and the bastard Edmund—instead of lamenting that Edmund “did bewray [Edgar’s] practice,” the Earl of Gloucester (Joseph Kloska) tonelessly utters, “He did expose the evil.” The result is a kind of poetic vitiligo.

A treasonous letter, allegedly written by Edgar (Doug Colling), in which he plots to overthrow his father, is read silently rather than aloud, depriving the audience of a greater sense of Edmund’s villainy. The “bastard” (Dylan Corbett-Bader) is more of a brute than an Iago-like schemer; he doesn’t offer his father the chance to obtain “auricular assurance” of Edgar’s disloyalty and is overly hasty in assenting to Gloucester’s negative impression of his brother. Lear’s eldest daughter, Goneril (Deborah Alli), and his second, Regan, are even less realized and fatally fungible in their lust for Edmund.

With other productions of Lear, it has often crossed my mind that the tragedy of the tale is raveled up in the notion that one’s children are biological prostheses of oneself. When Lear deputizes Regan and Goneril as his “guardians” and “depositaries,” he scarcely expects them to defy his requests for superfluities. Whether out of benignant paternalism or not-so-benign blindness, he anticipates that they will gladly countenance all his desires, no matter how reasonable. What accounts for the harshness of his subsequent pronouncements—Lear calls upon Nature to dry up Goneril’s “organs of increase” and “into her womb convey sterility”—has partly to do with the terrible realization that his daughters have their own spheres of existence. The interpretation only tenuously applies to this British import.

Throughout, Branagh and his codirectors have prioritized action over interiority, and the pacing intensifies the feeling of hollowness at the show’s core. When Branagh’s Lear curses Regan and Goneril for having the temerity to ask him to reduce his retinue by fifty men, then seventy-five men, his feelings come not from the marrow of his bones but from pique. “Reason not the need,” the king chastises his daughters, yet his need, especially in the context of this austere production (Lear’s train of rowdy men is as notional as the play’s deluges and “hurricanoes”), comes across more as greed. The scene on the stormy heath—which ought to be a showcase for Lear’s headlong descent into lunacy—fails to strike the right note of pathos. A platform at the center of the stage tilts up at an acute angle for Lear’s meltdown in the maelstrom (the same platform is later used for the Dover cliff episode), but rather than evoking an “extreme verge,” the awkwardly inclined surface recalls a utilitarian loading dock. Equally prosaic, this Lear never calls on thunderbolts to ���singe my white head,” but does suffer from some ill-timed aneurysms.

An excellent comedic actor, Branagh is fitfully compelling in his declamations. A lighthearted tone too often prevails where gravity should; the moment when Lear meets a raving Poor Tom and asks him, “Didst thou give all to thy daughters?” should not elicit a big laugh from the audience. On more than one occasion, Branagh’s Lear is fogged by a forgetfulness redolent of Lockhart, the milk-livered professor the actor played in Harry Potter and the Chamber of Secrets. Even in his final moments, as he cradles Cordelia’s lifeless body, his presentation feels frustratingly recitational, a mere quotation of more lived-in performances. To quote a line originally spoken by Regan and excised from this mutilated play, this Lear “hath ever but slenderly known himself.”

[shamelessrabbithole]

Hi Bunny! I used to ask a lot of questions here but I took a break when I got a bit too intense with following the NYC updates. Glad to be back. So I got my own hypothesis that Cam is still in NY and maybe trying out for Broadway/off Broadway or maybe he has gotten involved in trying to make The Nursery happen in other locations. Basically behind the scenes work that he wouldn't update us on unless there's something confirmed (auditions, meetings, networking, etc). I don't have much to support my theory though, just him not being around his usual friends/Madison on LA (that I know of, because I don't have insta). Maybe he could have met with Kit Connor or at least got to see him at his play? Not having any Halloween updates is a bit weird though. I was ready to get my heart broken over a couple costume this year. But we still have some hours to go lol

So, firstly, what I would like to know is how many people on here call me Bunny? I was assuming it was just one, but now I'm not so sure? 😝

Second, I am also wondering a bit about Cam's current whereabouts. In the past, when he's vanished without a trace, he's often turned up in the UK. 🙃 I have no reason to suspect that he's there now, but the suspicious lack of updates, especially around his favorite holiday of the year, are bizarre to me as well. The pic he posted is extra shaky and tells us nothing except that wherever he is, the trees are still green. New York City qualifies. It's close to 80 degrees there today.

It does seem that he's been following Broadway actors lately and people connected to his go-to New York boxing gym. This is true. Dylan Corbett-Bader, an actor he just began following, is going to be in a Shakespearean revival. (Cam talked about doing something in June in NY that was Shakespeare-related on the podcast with Natalie.) However, he also listed an unnamed Disney film project at the top of his resumé—this also has me wondering if there's some kind of connection to Cameron that way.

Lastly, you mentioned couples costumes with Madison. I can't predict whether we'll get that or not. I'm thinking probably not at this point. But, what I have noticed with her is that all of her latest follows are stunt performers and she's been spending time at parkour gyms taking workshop classes with them. Could be nothing, but I wonder if she'll be trying to get into film/fight choreography more as a potential career move. It's neither here nor there, but something that's been on my radar.

[superpoweredfancast]

A Haunting in Venice - A Fancast Review

A Haunting in Venice 20th Century Studios Written by Michael Green (Based on the novel by Agatha Christie) Directed by Kenneth Branagh Starring Kenneth Branagh, Michelle Yeoh, Jamie Dornan, Tina Fey, Dylan Corbett-Bader, Amir El-Masry, Riccardo Scamarcio, Camille Cottin, Kelly Reilly, Jude Hill, Rowen Robinson, Emma Laird and Fernando Piloni Rated PG-13 In post-World War II Venice, Poirot,…

[tctmp]

A Haunting in Venice: Directed by Kenneth Branagh. With Kenneth Branagh, Dylan Corbett-Bader, Amir El-Masry, Riccardo Scamarcio. In post-World War II Venice, Poirot, now retired and living in his own exile, reluctantly attends a seance. But when one of the guests is murdered, it is up to the former detective to once again uncover the killer.

[a-haunting-venice-stream-deutsch]

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A Haunting in Venice (2023) Ganzer Film Deutsch: Kinostart, Besetzung & Kritik

VIDEOS: TRAILERS, TEASERS, FEATURETTES Veröffentlicht: 2023-09-13

Genre: Mystery, Drama, Krimi, Sterne: Kenneth Branagh, Kyle Allen, Camille Cottin, Jamie Dornan, Tina Fey, Jude Hill, Ali Khan, Emma Laird, Kelly Reilly, Riccardo Scamarcio, Michelle Yeoh, Dylan Corbett-Bader, Amir El-Masry, Fernando Piloni, Lorenzo Acquaviva, David Menkin, Yaw Nimako-Asameah, Clara Duczmal, Rowan Robinson, Stella Harris, Emilio Villa-Muhammad, Vanessa Ifediora, Esther Rae Tillotson, Winnie Soldi, Richard Price,

INHALTSANGABESVier Der berühmte Detektiv Hercule Poirot, der inzwischen im Ruhestand und im selbstgewählten Exil in Venedig lebt, nimmt nur widerwillig an einer Halloween-Séance in einem verfallenen Spukpalast teil. Als einer der Gäste ermordet wird, gerät der Detektiv in eine düstere Welt voller Schatten und Geheimnisse...

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Streaming media is multimedia that is constantly received by and presented to an end-userwhile being delivered by a provider. The verb to stream refers to the process of delivering orobtaining media in this manner.[clarification needed] Streaming refers to the deliverymethod of the medium, rather than the medium itself. Distinguishing delivery method fromthe media distributed applies specifically to telecommunications networks, as most of thedelivery systems are either inherently streaming (e.g. radio, television, streaming apps) orinherently non-streaming (e.g. books, video cassettes, audio CDs). There are challengeswith streaming content on the Internet. For example, users whose Internet connectionlacks sufficient bandwidth may experience stops, lags, or slow buffering of the content. Andusers lacking compatible hardware or software systems may be unable to stream certaincontent. Live streaming is the delivery of Internet content in real-time much as livetelevision broadcasts content over

the airwaves via a television signal. Live internet streaming requires a form of source media(e.g. a video camera, an audio interface, screen capture software), an encoder to digitize thecontent, a media publisher, and a content delivery network to distribute and deliver thecontent. Live streaming does not need to be recorded at the origination point, although itfrequently is. Streaming is an alternative to file downloading, a process in which the end-user obtains the entire file for the content before watching or listening to it. Throughstreaming, an end-user can use their media player to start playing digital video or digitalaudio content before the entire file has been transmitted. The term “streaming media” canapply to media other than video and audio, such as live closed captioning, ticker tape, andreal-time text, which are all considered “streaming text”.

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Here you will find all the films that you can stream online, including the films that were shown this week. If you’re wondering what to see on this website, you should know that it covers genres that include crime, science, fi-fi, action, romance, thriller, comedy, drama, and anime film. Thanks a lot. We inform everyone who is happy to receive news or information about this year’s film program and how to watch your favorite films. Hopefully we can be the best partner for you to find recommendations for your favorite films. That’s all from us, greetings! Thank you for watching The Video Today.

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[mastersoftheair]

vincent londez as (possibly) jean jules robert achten (i only say “possibly” bc there was more than one person named jean achten living in belgium at the time, but i’m pretty sure it’s this one, namely bc of his role in the war and how he helped a couple members of the 100th. you can read a translated letter by him here)

phillip lewitski as lieutenant francis s. harper (harper was an indigenous american from alaska and lewitski is of indigenous descent himself! and just like with sergeant haley, i think it's important to show that more than just white men fought for america in the second world war)

as for unspecified/speculated cast members, there’s ian dunnett jr., dylan corbett-bader, cayvan coates and j.b. moore. there’s also some extra roles, such as adam kaluski as a member of the british royal navy, conor litten as a dance band saxophonist and mia-rose lightfoot as a military daughter.

[philsharp]

Dylan Corbett-Bader @dylancorbett_bader @cvgg_ltd - - - - - - - #proportrait #headshotslondon #portrait_page #portrait_planet #withhumans #actorslife #headshot #headshotlondon #headshotphotographer #londonheadshots #headshotnyc #headshotsla #actorsheadshots #portraitfolk #portrait_star #portraitvision_ #portsinspired #portrait_today #cityports #portraitsfromtheworld #flakphotorecs #gfx100s #portsinspired #fotoroom #photoplan #saturdaysmag #btsphotoshoot #portraitgreatness #tappancollector #framesmag (at The Archives London) https://www.instagram.com/p/CifcsBwMbLW/?igshid=NGJjMDIxMWI=