#Harold Copping

[captainfantasticalright]

Good Omens: A companion to Owls- biblical-cinematographical references.

Since Cecil B. DeMille played such a big role, here are some side by side scenes from The Ten Commandments and A Companion to Owls.

And most importantly, side by side scenes with the Book of Job and A Companion to Owls.

[fuckyeahgoodomens]

(GO2 trailer discussio ) In the scene where Crowley bursts in and announces "I'M BACK," Aziraphale is sitting at his desk with the familiar book display stand next to it. In season 1, that book was usually/always displaying art of Adam and Eve. But it's turned to a different page this time! But I can't read it! But I'm so interested I had to tell someone!

Hiya! :) Yess, I wonder what it is! :)

Edit:

Oh twitter identified it! :)

[random-brushstrokes]

Harold Copping - The Dunce (1886)

[twirld]

Harold Copping  (detail)

[christliche-kunstwerke]

Der Brunnen von Sychar von Harold Copping (Undatiert, lithograph)

[septembergold]

The biblical legend of Esther and Ahasuerus, Harold Copping,1927

[monkeyssalad-blog]

1925 illustration by Harold Copping by totallymystified Via Flickr: For the story Her First Appearance by Marie Collier. From The Girl’s Own Paper And Woman’s Magazine.

[dog-house-riley]

Charles Cheeryble, with his twin brother Edwin (Ned), were benevolent businessmen who employ and befriend Nicholas Nickleby and his family. Frank Cheeryble, who marries Kate Nickleby, is their nephew.

"He was a sturdy old fellow in a broad-skirted blue coat, made pretty large, to fit easily, and with no particular waist; his bulky legs clothed in drab breeches and high gaiters, and his head protected by a low-crowned broad-brimmed white hat, such as a wealthy grazier might wear. He wore his coat buttoned; and his dimpled double chin rested in the folds of a white neckerchief—not one of your stiff-starched apoplectic cravats, but a good, easy, old-fashioned white neckcloth that a man might go to bed in and be none the worse for. But what principally attracted the attention of Nicholas was the old gentleman's eye,—never was such a clear, twinkling, honest, merry, happy eye, as that. And there he stood, looking a little upward, with one hand thrust into the breast of his coat, and the other playing with his old-fashioned gold watch-chain: his head thrown a little on one side, and his hat a little more on one side than his head, (but that was evidently accident; not his ordinary way of wearing it,) with such a pleasant smile playing about his mouth, and such a comical expression of mingled slyness, simplicity, kind-heartedness, and good-humour, lighting up his jolly old face, that Nicholas would have been content to have stood there and looked at him until evening, and to have forgotten, meanwhile, that there was such a thing as a soured mind or a crabbed countenance to be met with in the whole wide world."

extract from Nicholas Nickleby [Charles Dickens]

image by Harold Copping 1924

Colour lithography Approximately 7 x 5 inches (17.9 x 12.4 cm)

From Character Sketches from Dickens, facing p. 50 (illustrating Nicholas Nickleby)

[kickbutts-singsongs]

Okay but why did they never have any holiday themed POI episodes?

More specifically, how come they never had a Halloween episode and played “Somebody’s Watching Me” by Rockwell in the background?

[there-are-many-ways-to-smile]

Oooo new goosebumps is smart.

Firstly they immediately tried to escape “door door door door door door”

Secondly Biddle using their Face ID to unlock their phones. Since he’s technically a teenager, and teens are usually fast on the uptake with anything technology based. I understand how’d he manage to do that. He’s also taken over someone’s body so he probably took the chance to either learn or he’s been haunting the place for a second.

[twilightcunt]

I’ve been rewatching Person of Interest and I’ve finally reached that episode in season 3. I can’t believe they fucking kill her 😭😭😭😭😭 It’s been haunting my mind since halfway through season 2 and now I’m gonna have to see it all over again.

[willowmosby]

Listen I told my self that I wasn't going to get invested enough in Person of Interest to talk about here but here I am anyway. It was chugging along being a good background show with Some really fun, if a little trope-y, cop characters and watching Harold Finch and John Reese act kinda gay and stop crime. I'm a big Amy Acker fan ( that's actually why I even started the show) so I wasn't upset about the shift in focus towards Root and Shaw a little bit as I entered season 3.

The problem I have actually run into is fucking season 3 episode 9: The Crossing. It just made me angry at a show's choices in a way I haven't felt in a while - please note I haven't watched past that episode as of writing this but I will eventually do so.

An the assumption that she really is dead( that looked pretty fucking fatal) I will miss Joss Carter a lot but that's not necessarily what made me angry. It seemed to me that the writers knew that the actor wanted out of the show from the start of the season as the whole season 3 arc was a seemingly slow moving suicide. It wasn't poorly written but it was obvious that this was a different type of Joss Carter than season 1 & 2.

No my problem wasn't necessarily her death. It's the "romantic" declarations of the episode. Now before you look back at the start of this and post and think I'm just mad because it wasn't my very unlikely to ever be a cannon ship that got confirmed, well you're only partially right.

Yes I'm a Rinch shipper( if follow my blog at all you've probably put together that I often root if the queer ships) but I genuinely would have been fine resigning myself to fanfiction while they get hopelessly paired up with some unsuspecting women. I understand that's how crime drama TV operates. And you know I actually like John and Zoe as a ship, if they were developed a bit more I think they could've been a lot of fun.

My problem is not that the whole you "saved me from commiting suicide" speech John gives Carter is equally, if not more, applicable to his relationship with Finch. Well, okay my problem is not only that. My problem is where was any of the romantic build up between Carter and John, like literally anything? They work great as narrative foils when Carter was still on the "the law is the only law" train. And they work great as friends as Carter steps more into the "some minor crime for the greater good is okay" camp. But not once did I think " oh these two are about to fall in love". Not even when Shaw asked about it earlier in season 3 did I think the show was going to actually pair them up like this. Now I hear you when you say that there are examples of characters with less chemistry have become couples. It's just, I'm not sure what the narrative gain is here. They had to know they were killing off Carter that same episode and this "revelation" doesn't add anything to the character. If anything it doesn't make sense with the revenge for Cal Becher (Beacher? Beecher?- You know who I'm talking about) angle that the writers have been using all season. And if it's about furthering John's character that's just dumb. I wouldn't consider it fridgeing as I'm pretty sure this is an actor who wants an out of contract situation(feel free to correct me if I'm wrong), but that doesn't excuse it as a narrative choice. John unequivocally cares about Carter and would be upset about her death regardless or romantic inclinations, as would Lionel and Finch. They already have an in on the revenge story line (which is where I assume they are going with this). Why bother with the romance especially when John already has the lost love story in his background. Like what Jessica isn't enough of a dead romance they needed to shoe in Joss as well.

Anyway I also wish this was like a mid season finale not episode like 9. Like bro why are you putting away one of your biggest villains so far and this is only a third of the way in the season.

And I wish that Lionel wasn't just suddenly back in the plot, like I know you have a bigger cast now and I m glad he's here but build the guy up a little bit better please.

I also think the Root in a cage thing is a little weird like I know all of these people are chugging the " the ends justify the means" juice but it still seems like there are other options Finch would choose. ( that being said Root and Finch's conversation about the machine somehow come off like " I had sex with your daughter, and I don't care if you know” which was hilarious to me)

Anyway sorry for the rant thanks for listening and I do hope the show gets back into a groove.

[laufire]

[christliche-kunstwerke]

Maria und Elisabeth von Harold Copping (lithograph)

[myimaginaryradio]

Axel F - Harold Faltermeyer

Good morning and happy Friday.

Watched the new Beverly Hills Cop movie and I was inspired to do a full day of songs from 80s movies. Things might get weird. Sit back, relax and enjoy the show.

Be Safe Be Kind And Be Awesome

[cantsayidont]

MONA LISA AND THE BLOOD MOON (2021): This heady, disjointed supernatural drama-thriller is I guess Ana Lily Amirpour's take on the YA modern fantasy genre: A previously near-catatonic young woman called Mona Lisa Lee (Jun Jong-Seo), imprisoned for 12 years in a New Orleans asylum, escapes after discovering that she has the power to psychically control the minds of others. Lost in a world she barely understands, Mona falls in with a hard-bitten stripper named Bonnie (Kate Hudson), who immediately realizes she can use Mona's power for scamming and petty crime, and befriends Bonnie's 10-year-old metalhead son Charlie (Evan Whitten) while being pursued by a cop named Harold (Craig Robinson), who knows what Mona can do because she previously forced him to shoot himself in the leg.

Less deliberately sketchy than Amirpour's previous features (characters even have names most of the time!), MONA LISA is still awfully thin on plot, relying more on mood, atmosphere, and the protagonist's longing to be somewhere other than she's been; its vivid strangeness is kind of compelling, although at points the lack of direction leaves it feeling threadbare.

Of the central characters, Charlie is well-drawn, a latchkey kid who's had to develop his own strategies for giving himself the emotional regulation his mother doesn't provide, but Mona's idiot savant blankness is sometimes uncomfortable (although Jun does as well as she can with a difficult part), and the story is meaner about Bonnie than I think was really called for. Even more than in the 2016 THE BAD BATCH, I was uneasy with the film's treatment of its Black characters — none of them are killed this time, but most get battered and humiliated for comic relief — which is starting to seem like a problem for Amirpour. CONTAINS LESBIANS? After seeing Bonnie dance, Mona says she's pretty, but it's otherwise pretty hetero. VERDICT: If you catch it in the right mood, you may dig its seriocomic fever-dream vibe, but its scattershot story and uncomfortable character choices sometimes frustrate.