#Oliver Vogt

[technokopp]

Aufhetzen und Spalten à la Trump: „Esst Fleisch fürs Klima!“

Die gesellschaftsschädigenden Desinformationslügen von Marcus Söder (CSU), Hubert Aiwanger (Freie Wähler Bayern), Oliver Vogt (CDU), Eckhard Heuser (Hauptgeschäftsführer Milchindustrie-Verband), Peer Ederer (gekaufter Lobbyökonom) und Springer (BILD, Welt).

📺 ARD „Kontraste“ vom 15.6.2023

[vancouvertrueborns]

Les Vogt and the Prowlers, Vancouver’s first Elvis-style rock band, performs at a track meet pep rally held in John Oliver Secondary’s gym in 1956. Shortly after this photo was taken, the band opened for Bill Haley and the Comets at Kerrisdale Arena – Vancouver’s first rock concert. 

Unfortunately, the Prowlers did not ride the Comets’ plasma tail to success. The local heroes peaked in 1960, when Les Vogt’s song “The Blamers” knocked Elvis’ “It’s Now Or Never” from #1 on the C-FUN radio station’s Top 40 chart.

The Prowlers broke up and Les went on to become a nightclub owner (The Grooveyard, Purple Steer) and a concert promoter with Jaguar Enterprises, a company he co-founded with iconic Vancouver DJ, Red Robinson. Today, Les continues to stage concerts through his Legends of Rock and Roll series, that includes Elvis, Buddy Holly and Tina Turner tribute artists.

As for South Van and J.O. being the birthplace of Vancouver rock and roll, we shouldn’t be surprised. The entire southeast corner of the city was the epicenter for the region’s post-war baby boom. Large tracts of available land close to downtown quickly gave way to affordable housing and young families. For instance, Les grew up on the south slope, in the Fraserview neighbourhood – a sprawling government housing project comprised of 1,100 humble but functional bungalows. Each house had, in accordance with CMHC requirements, at least two kids in it, many had four to eight. Those youngsters had a lot of time to dream about rock stardom as they walked, biked or bussed to J.O. at 41st and Fraser. 

Killarney Secondary opened its doors in 1957 and David Thompson the following year, thus absorbing some of the talent from the school formerly known as South Van High.

[spieltagslyrik]

Mein Pitch für den deutschen Sommerkinohit 2024

RTL, DFB und Sodastream präsentieren: N11ie

Ronny (Til Schweiger) ist eine coole Socke. Immer einen lässigen Spruch auf den Lippen, bester Kumpel, macht die Weiber klar, aber auch fürsorglicher alleinerziehender Vater. Mit seinem losen Mundwerk gewinnt er bei der RTL-Gala "NU MACH DU!" (Moderator: Dieter Bohlen) den Job als Bundestrainer. Dabei hat er von Fußball keinen Plan.

Doch er stellt ein Team zusammen, das allem gewachsen ist: Seine besten Freunde Zipfel (Axel Stein, in jeder Szene eine Wurst essend), Hose (immer in zu knapper Sporthose: Matthias Schweighöfer) und Asi (Oliver Pocher) . Die Tochter Flocke (Emma Schweiger), die die krassesten Taktiken aus dem Internet lädt und die Nationalelf auf TikTok managt. Der ehemalige, unter Berti Vogts geschasste Motivations- und Fußballdichter Adalbert von und zur Edellatte (Dieter Hallervorden, jede Dialogszene ein Reim).

Heimlicher Star des Films ist jedoch Nelfie, ein etwas moppeliger Maulwurf (digital animiert mit dem Kopf von Chris Tall), der mit seiner Hundertschaft an Familie (alle gesprochen von Martin Semmelrogge) die Trainingsspiele der EM-Gegner ausspioniert und Ronnys Crew deren Spielzüge verrät.

Im Turnier geht es für unseren Helden gleich um alles - hat doch der fiese spanische Trainer Luis Enrico (Mario Barth mit Sombrero und hauchdünnem Oberlippenbart) , der uns bei der WM in Katar in der Vorrunde durch eine Niederlage gegen Japan hat verhungern lassen, Ronnys Ex Dörte (Jeanette Biedermann) ausgespannt. Kann die Liebe die Vorrunde überstehen?

Musik: "Push It" aus der Sodastream-Werbung, mit der offiziellen Fingermove-Kampagne auf Social Media (Zeige- und Mittelfinger drücken aneinandergepresst nach unten, Daumen dazu seitlich abstehend, Ringfinger und kleiner Finger geballt). Wird im Film bei jeder Torszene reingeschnitten.

[rithond]

Movies 2023

JANUARY / ENERO 6: L'Extraordinaire Voyage de Marona - Anca Damian (9/10) 6: Le Voyage du prince - Jean-François Laguionie & Xavier Picard (7/10) 10: Une histoire d'amour et de désir - Leyla Bouzid (9/10) 11: Les amours d'Anaïs - Charline Bourgeois-Tacquet (10/10) 11: Un cuento de circo & a Love Song - Demián Bichir (2/10) 12: Finlandia - Horacio Alcalá (10/10) 14: Ruido - Natalia Beristáin (10/10) 16: La La Land - Damien Chazelle (9/10) 18: Decision to Leave - Park Chan-wook (6/10) 19: Whiplash - Damien Chazelle (10/10) 22: Nos hicieron noche - Antonio Hernández (8/10) 22: Amor rebelde - Alejandro Bernal (8/10) 23: Malvada - J.M. Craviotto (5/10) 30: La panthère des neiges - Marie Amiguet & Vincent Munier (10/10) 30: Babylon - Damien Chazelle (7/10) TOTAL: 15

FEBRUARY / FEBRERO 7: Aftersun - Charlotte Wells (10/10) 8: Knock at the Cabin - M. Night Shyamalan (7/10) 8: Alcarràs - Carla Simón (10/10) 8: Corsage - Marie Kreutzer (7/10) 11: El suplente - Diego Lerman (8/10) 11: Les Magnétiques - Vincent Maël Cardona (8/10) 13: Armageddon Time - James Gray (9/10) 15: The Whale - Darren Aronosfky (10/10) 15: Winnie the Pooh: Blood and Honey - Rhys Frake-Waterfield (6/10) 20: Rimini - Ulrich Seidl (8/10) 23: The Banshees of Inisherin - Martin McDonagh (10/10) 27: Missing - Nicholas D. Johnson & Will Merrick (10/10) 28: The Fabelmans - Steven Spielberg (9/10) 28: Till - Chinonye Chukwu (8/10) 28: Pearl - Ti West (9/10) TOTAL: 15

MARCH / MARZO 1: Huesera - Michelle Garza Cervera (8/10) 1: Women Talking - Sarah Polley (10/10) 4: Manto de gemas - Natalia López (7/10) 4: Close - Lukas Dhont (10/10) 11: Perfume de violetas - Maryse Sistach (10/10) 13: Puss in Boots: The Last Wish - Joel Crawford (10/10) 15: Living - Oliver Hermanus (10/10) 16: Tár - Todd Field (10/10) 16: 1976 - Manuela Martelli (9/10) 20: À plein temps - Eric Gravel (10/10) 20: Tár - Todd Field (10/10) 22: Everything Everywhere All at Once - Daniel Kwan & Daniel Scheinert (10/10) 22: Women Talking - Sarah Polley (10/10) 25: The Piano - Jane Campion (10/10) 29: ¡Que viva México! - Luis Estrada (4/10) TOTAL: 15

APRIL / ABRIL 3: Dos estaciones - Juan Pablo González (9/10) 3: Last Film Show - Pan Nalin (9/10) 7: Klondike - Maryna Er Gorbach (8/10) 7: Estación catorce - Diana Cardozo (9/10) 8: Sobre las nubes - María Aparicio (9/10) 8: Concerned Citizen - Idan Haguel (10/10) 9: Laila in Haifa - Amos Gitai (6/10) 11: EO - Jerzy Skolimowski (8/10) 11: Asia - Ruthy Pribar (9/10) 12: Last Film Show - Pan Nalin (10/10) 12: Holy Spider - Ali Abbasi (10/10) 13: Triangle of Sadness - Ruben Östlund (10/10) 13: Dalva - Emmanuelle Nicot (10/10) 14: Godland - Hlynur Pálmason (9/10) 15: Vicenta B. - Carlos Lechuga (10/10) 15: Sick of Myself - Kristoffer Borgli (10/10) 15: La double vie de Véronique - Krzysztof Kieślowski (8/10) 20: Sparta - Ulrich Seidl (10/10) 23: Feature Film About Life - Dovilė Šarutytė (10/10) 26: Infinity Pool - Brandon Cronenberg (5/10) 26: Dead Bride - Francesco Picone (3/10) TOTAL: 21

MAY / MAYO 1: Evil Dead Rise - Lee Cronin (6/10) 3: La Usurpadora: The Musical - Santiago Limón (5/10) 4: Jirón - Christian Cueva (10/10) 4: Trigal - Anabel Caso (8/10) 9: Les cinq diables - Léa Mysius (10/10) 13: Huesera - Michelle Garza Cervera (9/10) 16: Brujería - Christopher Murray (8/10) 16: Firebird - Peeter Rebane (10/10) 17: Beau Is Afraid - Ari Aster (4/10) 17: Eami - Paz Encina (7/10) 17: The Innocents - Eskil Vogt (10/10)

[checkthefeed]

[ Lenny Oliver | Full Part 2024 ]

Lenny Oliver grew up in Les 2 Alpes, France. He stoped the contest scene a few years ago to focus on video.

After a bad back injury in December 2022, he came back stronger and filmed street and backcountry around France, Italy and Spain last year.

Here is his first real video part. Produced by BangingBees

Supported by Salomon Snowboards, Volcom, Vans, Nixon, Electric Editing: Damien Rousse Filming: Damien Rousse, Eliot Pentecote, Hugo Monmont, Oscar Ney, Julien Mounier, GB Maleto, Maxime Vogt, Jaime Castro

[filmbrainbmb]

On the latest episode of The Film Brain Podcast, I'm joined by Oliver Harper, Jonathan Burdett, and Lasse Vogt to talk about Zack Snyder's Justice League and how it rewrites the past in detail, looking at the two versions, the DCEU, and its place in comic book movies!

[thecomicon]

JumpTales Reveals Full Lineup For New Western Manga Magazine

JumpTales Reveals Full Lineup For New Western Manga Magazine

JumpTales, the upcoming indie comics magazine, has revealed its full slate of series for its initial serialization. The magazine, made by and for fans of shonen manga, features a host diverse, up-and-coming creators each bringing their own style and talent. Jump Tales is an endeavor to capture the feeling of Japanese manga magazines including Shuiesha‘s Shonen Jump series. Each issue, released…

[why-bless-your-heart]

The List of Indispensable Science Fiction Literature for the Compleat Lady.

Inspired by my former professor's list for the compleat gentleman. There is some overlap.

I should like to note that this is a list for the compleat lady, not a compleat list.

Frankenstein, by Mary Shelly

The Strange Case of Dr. Jekyll and Mr. Hyde, by Robert Louis Stevenson

Rappaccini's Daughter, by Nathaniel Hawthorne

The Time Machine, by H.G. Wells

The Invisible Man, by H.G. Wells

The Island of Doctor Moreau, by H.G. Wells

The Ball and the Cross, by G.K. Chesterton

Do Androids Dream of Electric Sheep? By Philip K. Dick

Alas, Babylon, by Pat Frank

A Canticle for Leibowitz, by Walter M. Miller Jr.

Station Eleven, by Emily St. John Mandel

Return from the Stars, by Stanislaw Lem

The Sparrow, by Mary Doria Russell

A Wrinkle in Time, by Madeline L'Engle

Never Let Me Go, by Kazuo Ishiguro

The Children of Men, by P.D. James

Fahrenheit 451, by Ray Bradbury

The Illustrated Man, by Ray Bradbury

A Sound of Thunder, by Ray Bradbury

The Hitchhiker's Guide to the Galaxy, by Douglas Adams

Out of the Silent Planet, by C.S. Lewis

Perelandra, by C.S. Lewis

That Hideous Strength, by C.S. Lewis

Eilfelheim, by Michael Flynn

The Green Hills of Earth, by Robert A. Heinlein

Orphans of the Sky, by Robert A. Heinlein

Shadow & Claw, by Gene Wolf

Sword & Citadel, by Gene Wolf

The Left Hand of Darkness, by Ursula K. Le Guin

Flowers for Algernon, by Daniel Keyes

The Dead Past, by Isaac Asimov

The Naked Sun, by Isaac Asimov

The Martian, by Andy Weir

Santiago: A Myth of the Far Future, by Mike Resnick

Whatdunits, edited by Mike Resnick

Ender's Game, by Orson Scott Card

Brave New World, by Aldous Huxley

1984, by George Orwell

Unearthly Neighbors, by Chad Oliver

Lost in the Cosmos: The Last Self-Help Book, by Walker Percy

The Thanatos Syndrome, by Walker Percy

The Weapon Shops of Isher, by A.E. van Vogt

Declare, by Tim Powers

Jurassic Park, by Michael Crichton

The Taking, by Dean Koontz

Elantris, by Brandon Sanderson

Defending Elysium, by Brandon Sanderson

The Practice Effect, by David Brin

Slaughterhouse-Five, by Kurt Vonnegut

Dune, by Frank Herbert

[aibidil]

Ray Bradbury, “Dusk in the Robot Museums: The Rebirth of the Imagination,” 1980

For some ten years now, I have been writing a long narrative poem about a small boy in the near future who runs into an audio-animatronic museum, veers away from the right portico marked Rome, passes a door marked Alexandria, and enters across a sill where a sign lettered Greece points in across a meadow.

The boy runs over the artificial grass and comes upon Plato, Socrates and perhaps Euripides seated at high noon under an olive tree sipping wine and eating bread and honey and speaking truths.

The boy hesitates and then addresses Plato:

"How goes it with the Republic?"

"Sit down, boy," says Plato, "and I'll tell you."

The boy sits. Plato tells. Socrates steps in from time to time. Euripides does a scene from one of his plays.

Along the way, the boy might well ask a question which hovered in all of our minds the past few decades:

"How come the United States, the country of Ideas on the March, for so long neglected fantasy and science fiction? Why is it that only during the past thirty years attention is being paid?"

Another question from the boy might well be:

"Who is responsible for the change?

"Who has taught the teachers and the librarians to pull up their socks, sit straight, and take notice?

"Simultaneously, which group in our country has backed off from abstraction and moved art back in the direction of pure illustration?"

Since I am neither dead nor a robot, and Plato-as-audioanimatronic lecturer might not be programmed to respond, let me answer as best I can.

The answer is: the students. The young people. The children.

They have led the revolution in reading and painting.

For the first time in the history of art and teaching, the children have become the teachers. Before our time, knowledge came down from the top of the pyramid to the broad base where the students survived as best they could. The gods spoke and the children listened.

But, lo! gravity reverses itself. The massive pyramid turns like a melting iceberg, until the boys and girls are on top. The base of the pyramid now teaches.

How did it happen? After all, back in the twenties and thirties, there were no science-fiction books in the curricula of schools anywhere. There were few in the libraries. Only once or twice a year did a responsible publisher dare to publish one or two books which could be designated as speculative fiction.

If you went into the average library as you motored across America in 1932, 1945, or 1953 you would have found:

No Edgar Rice Burroughs.

No L. Frank Baum and no Oz.

In 1958 or 1962 you would have found no Asimov, no Heinlein, no Van Vogt, and, er, no Bradbury.

Here and there, perhaps one book or two by the above. For the rest: a desert.

What were the reasons for this?

Among librarians and teachers there was then, and there still somewhat dimly persists, an idea, a notion, a concept that only Fact should be eaten with your Wheaties. Fantasy? That's for the Fire Birds. Fantasy, even when it takes science-fictional forms, which it often does, is dangerous. It is escapist. It is daydreaming. It has nothing to do with the world and the world's problems.

So said the snobs who did not know themselves as snobs.

So the shelves lay empty, the books untouched in publishers' bins, the subject untaught.

Comes the Evolution. The survival of that species called Child. The children, dying of starvation, hungry for ideas which lay all about in this fabulous land, locked into machines and architecture, struck out on their own. What did they do?

They walked into classrooms in Waukesha and Peoria and Neepawa and Cheyenne and Moose Jaw and Redwood City and placed a gentle bomb on teacher's desk. Instead of an apple it was Asimov.

"What's that?" the teacher asked, suspiciously.

"Try it. It's good for you," said the students.

"No thanks."

"Try it," said the students. "Read the first page. If you don't like it, stop." And the clever students turned and went away.

The teachers (and the librarians, later) put off reading, kept the book around the house for a few weeks and then, late one night, tried the first paragraph.

And the bomb exploded.

They not only read the first but the second paragraph, the second and third pages, the fourth and fifth chapters.

"My God!" they cried, almost in unison, "these damned books are about something!"

"Good Lord!" they cried, reading a second book, "there are Ideas here!"

"Holy Smoke!" they babbled, on their way through Clarke, heading into Heinlein, emerging from Sturgeon, "these books are-ugly word-relevant!"

"Yes!" shouted the chorus of kids starving in the yard. "Oh, my, yes!"

And the teachers began to teach, and discovered an amazing thing: Students who had never wanted to read before suddenly were galvanized, pulled up their socks, and began to read and quote Ursula Le Guin. Kids who had never read so much as one pirate's obituary in their lives were suddenly turning pages with their tongues, ravening for more.

Librarians were stunned to find that science-fiction books were not only being borrowed in the tens of thousands, but stolen and never returned!

"Where have we been?" the librarians and the teachers asked each other, as the Prince kissed them awake. "What's in these books that makes them as irresistible as Cracker Jack?"

The History of Ideas.

The children wouldn't have said it in so many words. They only sensed it and read it and loved it. The kids sensed, if they could not speak it, that the first science-fiction writers were cavemen who were trying to figure out the first sciences-which were what? How to capture fire. What to do about that lout of a mammoth hanging around outside the cave. How to play dentist to the sabre-tooth tiger and turn him into a house-cat.

Pondering those problems and possible sciences, the first cavemen and women drew science-fiction dreams on the cave walls. Scribbles in soot blueprinting possible strategies. Illustrations of mammoths, tigers, fires: how to solve? How to turn sciencefiction (problem solving) into science-fact (problem solved).

Some few brave ones ran out of the cave to be stomped by the mammoth, toothed by the tiger, scorched by the bestial fire that lived on trees and devoured wood. Some few finally returned to draw on the walls the triumph of the mammoth knocked like a hairy cathedral to earth, the tiger toothless, and the fire tamed and brought within the cave to light their nightmares and warm their souls.

The children sensed, if they could not speak, that the entire history of mankind is problem solving, or science fiction swallowing ideas, digesting them, and excreting formulas for survival. You can't have one without the other. No fantasy, no reality. No studies concerning loss, no gain. No imagination, no will. No impossible dreams: No possible solutions.

The children sensed, if they could not say, that fantasy, and its robot child science fiction, is not escape at all. But a circling round of reality to enchant it and make it behave. What is an airplane, after all, but a circling of reality, an approach to gravity which says: Look, with my magic machine, I defy you. Gravity be gone. Distance, stand aside. Time, stand still, or reverse, as I finally outrace the sun around the world in, by God! look! plane/jet/rocket—80 minutes!

The children guessed, if they did not whisper it, that all science fiction is an attempt to solve problems by pretending to look the other way.

In another place I have described this literary process as Perseus confronted by Medusa. Gazing at Medusa's image in his bronze shield, pretending to look one way, Perseus reaches back over his shoulder and severs Medusa's head. So science fiction pretends at futures in order to cure sick dogs lying in today's road. Indirection is everything. Metaphor is the medicine.

Children love cataphracts, though do not name them thusly. A cataphract is only a special Persian on a specially bred horse, the combination of which threw back the Roman legions some long while ago. Problem solving. Problem: massive Roman armies on foot. Science fiction dreams: cataphract/man-on-horseback. Romans dispersed. Problem solved. Science fiction becomes scientific fact.

Problem: botulism. Science fiction dreams: to someday produce a container which would preserve food, prevent death. Science-fictional dreamers: Napoleon and his technicians. Dream become fact: the invention of the Tin Can. Outcome: millions alive today who would have otherwise writhed and died.

So, it seems, we are all science-fictional children dreaming ourselves into new ways of survival. We are the reliquaries of all time. Instead of putting saints' bones by in crystal and gold jars, to be touched by the faithful in the following centuries, we put by voices and faces, dreams and impossible dreams on tape, on records, in books, on tv, in films. Man the problem solver is that only because he is the Idea Keeper. Only by finding technological ways to save time, keep time, learn from time, and grow into solutions, have we survived into and through this age toward even better ones. Are we polluted? We can unpollute ourselves. Are we crowded? We can de-mob ourselves. Are we alone? Are we sick? The hospitals of the world are better places since TV came to visit, hold hands, take away half the curse of illness and isolation.

Do we want the stars? We can have them. Can we borrow cups of fire from the sun? We can and must and light the world.

Everywhere we look: problems. Everywhere we further deeply look: solutions. The children of men, the children of time, how can they not be fascinated with these challenges? Thus: science fiction and its recent history.

On top of which, as mentioned earlier on, the young people have tossed bombs into your nearest corner art gallery, your downtown art museum.

They have walked through the halls and dozed off at the modern scene as represented by sixty-odd years of abstraction super-abstracting itself until it vanished up its own backside. Empty canvases. Empty minds. No concepts. Sometimes no color. No ideas that would interest a performing flea at a dog circus.

"Enough!" cried the children. "Let there be fantasy. Let there be science-fiction light." Let illustration be reborn.

Let the Pre-Raphaelites re-clone themselves and proliferate!

And it was so.

And because the children of the Space Age, and the sons and daughters of Tolkien wanted their fictional dreams sketched and painted in illustrative terms, the ancient art of story-telling, as acted out by your caveman or your Fra Angelico or your Dante Gabriel Rossetti was reinvented as yet the second giant pyramid turned end for end, and education ran from the base into the apex, and the old order was reversed.

Hence your Double Revolution in reading, in teaching Literature and pictorial Art.

Hence, by osmosis, the Industrial Revolution and the Electronic and Space Ages have finally seeped into the blood, bone, marrow, heart, flesh and mind of the young, who as teachers teach us what we should have known all along.

That Truth again: the History of Ideas, which is all that science fiction ever has been. Ideas birthing themselves into fact, dying, only to reinvent new dreams and ideas to be reborn in yet more fascinating shapes and forms, some of them permanent, all of them promising Survival.

I hope we will not get too serious here, for seriousness is the Red Death if we let it move too freely amongst us. Its freedom is our prison and our defeat and death. A good idea should worry us like a dog. We should not, in turn, worry it into the grave, smother it with intellect, pontificate it into snoozing, kill it with the death of a thousand analytical slices.

Let us remain childlike and not childish in our 20-20 vision, borrowing such telescopes, rockets, or magic carpets as may be needed to hurry us along to miracles of physics as well as dream.

The Double Revolution continues. And there are more, invisible, revolutions to come. There will always be problems. Thank God for that. And solutions. Thank God for that. And tomorrow mornings in which to seek them. Praise Allah and fill the libraries and art galleries of the world with Martians, elves, goblins, astronauts, and librarians and teachers on Alpha Centauri who are busy telling the kids not to read science fiction or fantasy: "It'll turn your brains to mush!"

"Go, children. Run and read. Read and run. Show and tell. Spin another pyramid on its nose. Turn another world upsidedown. Knock the soot off my brain. Repaint the Sistine Chapel inside my skull. Laugh and think. Dream and learn and build."

"Run, boys! Run, girls! Run!"

And with such good advice, the kids will run.

And the Republic will be saved.

[filmspun]

Oscars: Full List of Nominations - 2022

'The Power of the Dog' leads nominees for the 94th annual Academy Awards with 12 noms. Other top-nominated films were 'Belfast,' 'Dune,' 'King Richard' and 'West Side Story.'

BEST PICTURE Belfast (Laura Berwick, Kenneth Branagh, Becca Kovacik and Tamar Thomas, Producers) CODA (Philippe Rousselet, Fabrice Gianfermi and Patrick Wachsberger, Producers) Don’t Look Up (Adam McKay and Kevin Messick, Producers) Drive My Car (Teruhisa Yamamoto, Producer) Dune (Mary Parent, Denis Villeneuve and Cale Boyter, Producers) King Richard (Tim White, Trevor White and Will Smith, Producers) Licorice Pizza (Sara Murphy, Adam Somner and Paul Thomas Anderson, Producers) Nightmare Alley (Guillermo del Toro, J. Miles Dale and Bradley Cooper, Producers) The Power of the Dog (Jane Campion, Tanya Seghatchian, Emile Sherman, Iain Canning and Roger Frappier, Producers) West Side Story (Steven Spielberg and Kristie Macosko Krieger, Producers)

BEST DIRECTOR Paul Thomas Anderson (Licorice Pizza) Kenneth Branagh (Belfast) Jane Campion (The Power of the Dog) Ryûsuke Hamaguchi (Drive My Car) Steven Spielberg (West Side Story)

BEST ACTRESS Jessica Chastain (The Eyes of Tammy Faye) Olivia Colman (The Lost Daughter) Penélope Cruz (Parallel Mothers) Nicole Kidman (Being the Ricardos) Kristen Stewart (Spencer)

BEST ACTOR Javier Bardem (Being the Ricardos) Benedict Cumberbatch (The Power of the Dog) Andrew Garfield (Tick, Tick … Boom!) Will Smith (King Richard) Denzel Washington (The Tragedy of Macbeth)

BEST SUPPORTING ACTRESS Jessie Buckley (The Lost Daughter) Ariana DeBose (West Side Story) Judi Dench (Belfast) Kirsten Dunst (The Power of the Dog) Aunjanue Ellis (King Richard)

BEST SUPPORTING ACTOR Ciarán Hinds (Belfast) Troy Kotsur (CODA) Jesse Plemons (The Power of the Dog) J.K. Simmons (Being the Ricardos) Kodi Smit-McPhee (The Power of the Dog)

BEST COSTUME DESIGN Cruella (Jenny Beavan) Cyrano (Massimo Cantini Parrini and Jacqueline Durran) Dune (Jacqueline West and Robert Morgan) Nightmare Alley (Luis Sequeira) West Side Story (Paul Tazewell)

BEST SOUND Belfast (Denise Yarde, Simon Chase, James Mather and Niv Adiri) Dune (Mac Ruth, Mark Mangini, Theo Green, Doug Hemphill and Ron Bartlett) No Time to Die (Simon Hayes, Oliver Tarney, James Harrison, Paul Massey and Mark Taylor) The Power of the Dog (Richard Flynn, Robert Mackenzie and Tara Webb) West Side Story (Tod A. Maitland, Gary Rydstrom, Brian Chumney, Andy Nelson and Shawn Murphy)

BEST ORIGINAL SCORE Don’t Look Up (Nicholas Britell) Dune (Hans Zimmer) Encanto (Germaine Franco) Parallel Mothers (Alberto Iglesias) The Power of the Dog (Jonny Greenwood)

BEST ADAPTED SCREENPLAY CODA (Screenplay by Siân Heder) Drive My Car (Screenplay by Ryusuke Hamaguchi, Takamasa Oe) Dune (Screenplay by Jon Spaihts and Denis Villeneuve and Eric Roth) The Lost Daughter (Written by Maggie Gyllenhaal) The Power of the Dog (Written by Jane Campion)

BEST ORIGINAL SCREENPLAY Belfast (Written by Kenneth Branagh) Don’t Look Up (Screenplay by Adam McKay; Story by Adam McKay & David Sirota) King Richard (Written by Zach Baylin) Licorice Pizza (Written by Paul Thomas Anderson) The Worst Person in the World (Written by Eskil Vogt, Joachim Trier)

[danicavogt]

[image source] // Letter post with permission from Josephine Adler’s player. 

The letter sent was visibly written with different pens. The ink was all black but there’s a definite difference in the way letters are shaped.

Danica Vogt, 

I completely forgot that I signed up for the Letters from Home Program, I almost threw your letter in the bin! Usually all I get through the post are orders from my captain and reports from my soldiers which are far less interesting than a letter from a stranger. 

Since the first thing you’ve mentioned is your son you are inquiring, indirectly, as to the state of my womb! I regret to inform you that I do not have children! Seventeen is a man grown. Is he going to be studying further with the Priory or other scholarly organizations? Maybe he wants to be an adventurer? I have no idea what appeals to children but, since his father is a Minister that he’s been granted the ability to choose. 

It must’ve been hard to leave your home for your husband’s job. I can’t imagine working directly with my partner. Does your husband often tell you that you do your best work under the desk? You know how men are! If I had a silver for every time I heard that; I’d be filthy rich. Speaking of not being filthy rich, I also own a farm on the opposite side of Queensdale. Olive orchard, seventy acres. Not sure I’d be willing to leave it if I were in your position or even that it would be financially feasible. Owning land without having that land vomit up a profit sounds difficult. Sure, there’s upkeep costs and labor costs but there’s also taxes. I hate taxes. Military pay’s not nearly as heavily taxed. Did you know that?

Since you don’t mention having any family in any military organization and you’ve offered to send food you appear to believe that soldiers don’t get to eat anything that doesn’t taste like ashes, gunpowder, blood, and dirt. And, for the rank and file, that can certainly be true! Doubly so on deployments and even more so on longer deployments. However, officers like myself get a lot of privileges: privacy, dignity, respect, better food, better accommodations, a lack of pointless menial labor and the ability to compel everyone else to suffer from experiencing the joy of what little they have stripped away. It’s the difference between being valued as a bullet sponge and a human being with a functioning mind. A useful mind. I rose through the ranks quite quickly, in part due to previous family service of some renown, but mostly due to my own merit. So I do not need anything you can provide. I am rarely uncomfortable to the point of it causing even the slightest amount of frustration. 

However, Ms. Vogt, if you do desire to help the Seraph with your labor my men could use socks or sweaters or armor padding. The socks would be easiest. Due to a range of shapes and sizes amongst us, whatever you make is bound to fit someone. If you desire measurements, let me know. I can have that done. 

Related, if you wish to cook for us, I will be giving that to my men as well. My company is about the size of a family gathering so, if you make some kind of baked good it should be able to be shared with everyone.

Don’t thank me for my service. It’s trite and pandering. Considering you’re a politician’s wife, I understand that you have to pay lip service to the Seraph so you can get him brownie points by proxy and he can get reelected so you can both enjoy the privileges and power that come with his position. I’ve never bothered to go to a Ministry session myself (I’d rather drink bleach) but I do read the paper regularly as my job requires some political involvement since a politician's decision can affect how the military operates. 

Since I somehow got into politics might as well go all the way. That’s not against the rules. Were you there when the Ministry Chambers were attacked? What do you think about that Minister from Doric challenging the sitting Vice-Legate? 

I’m looking forward to hearing from you again, Josephine Adler

[equalv]

Glee (2009-2015)

Adam Crawford (gay) - Oliver Kieran-Jones

Alistair (mlm) - Finneas O’Connell

Blaine Anderson (gay) - Darren Criss

Brittany S. Pierce (bisexual) - Heather Morris

Chandler Kiehl (mlm) - Justin Castor

Cody Tolentino (bisexual) - Bryce Johnson

Danielle “Dani” (lesbian) - Demi Lovato

David Karofsky (gay) - Max Adler

Elliot “Starchild” Gilbert (gay) - Adam Lambert

Eli. C. (mlm) - Ian Gilligan

Elaine (wlw?) - Kayla Kalbfleisch

Gavroche (gay) - Caden Michael Gray

Hiram Berry (gay) - Jeff Goldblum

Jan (lesbian) - Patty Duke

Jeremiah (gay) - Alexander Nifong

Kurt Hummel (gay) - Chris Colfer

LeRoy Berry (gay) - Brian Stokes Mitchell

Liz Stevens (lesbian) - Meredith Baxter

Quinn Fabray (bicurious) - Dianna Agron

Rick Denham (mlm) - Tyler Vogt

Santana Lopez (lesbian) - Naya Rivera

Sebastian Smythe (gay) - Grant Gustin

Sheldon Beiste (trans man) - Dot-Marie Jones

Spencer Porter (gay) - Marshall Williams

Unique Adams (trans woman) - Alex Newell

genre: comedy, drama, music | us

[synergyhq]

mwm and mwf canons and fcs?

mwm: kirk langstrom, oliver queen, arthur curry, zachary zatara, jonathan kent, john stewart, guy gardner (for dc), eli bradey, david alleyne, t’challa, nathan summers, logan howlett, daken akihiro, sam wilson, the vision, bruce banner, miles morales, noh-varr, charlie cluster-7, wade wilson (for marvel), shadow moon, five hargreeves, hellboy, abe sapian (for darkhorse) !! 

mwf: alex danvers, maggie sawyer, cindy burnan, maxine hunkell, tora olafsdottir (for dc) rachel summers, yelena belova, riri williams, raven darkholme, jennifer walters, jubilation lee, melinda may, elena rodriguez, karen page, dinah madani, kamala khan, irene adler, america chavez, alison blaire, nadia van dyne (for marvel), vanya hargreeves, lila pitts, the hander (for darkhorse) !!

face claims: chyler leigh, ariana debose, emma lahana, sarah shahi, jameela jamil, gemma arterton, felicity jones, anya charlotra, cierra ramirez, eiza gonzalez, herizen guardiola, cody christian, noah centineo, joshua bassett, nick vogt, taron egerton, henrik holm, amber rose revah, gugu mbatha-raw, rachel weisz, harrison ford, eva green !!

hope these help !!

[mellybearlovesmarshmellows]

Just added to my tracks on Spotify "Without Love" by Garrett Clayton, Maddie Baillio, Ariana Grande, Ephraim Sykes, Joshua Alexander, Will Bell, Helene, Riley Costello, Kelli Ann Erdmann, Sam Faulkner, Marissa Heart, Joanna Jones, Jacque Lewarne, Tommy Martinez, Tiana Okoye, Amos Oliver III, Re'Sean Pates, Katherine Roarty, Rhon Saunders, Ricky Schroeder, Heather Tepe, Mason Trueblood, Karl Skyler Urban, Paul Vogt https://ift.tt/2g7uzoy

[letstraveltoorion]

Histoires de planètes

Bibliography

  Histoires de planètes

ANTHOLOGIE

 Textes réunis par Jacques GOIMARD & Demètre IOAKIMIDIS & Gérard KLEIN

 Science Fiction - Cycle : La Grande anthologie de la science-fiction vol. 7

 Illustration de Pierre FAUCHEUX (1st cover - 1975) & Éric SEIGAUD (2nd cover - 1985)

 LIVRE DE POCHE, coll. La Grande anthologie de la science fiction n° 3769, 1er trimestre 1975

448 pages, catégorie/prix : 4, ISBN : 2-253-00723-4

 Autres éditions :    LIVRE DE POCHE, 1976, 1977, 1985, 1997

Stories:

 1 - Jacques GOIMARD & Demètre IOAKIMIDIS & Gérard KLEIN, Introduction à l’anthologie, pages 7 à 14, Introduction (lire ce texte en ligne)

2 - Demètre IOAKIMIDIS, Préface, pages 15 à 32, Préface

3 - Jack VANCE, Le Diable de la colline du salut (The Devil on Salvation Bluff), pages 33 à 64, trad. Simone HILLING

4 - Michael SHAARA, La Planète Greenville (Greenville’s planet), pages 65 à 83

5 - Ian WILLIAMSON, La Nef engloutie (Chemical plant), pages 85 à 115, trad. Paul HEBERT

6 - Robert SHECKLEY, Les Monstres (The Monsters), pages 117 à 131, trad. Alain DORÉMIEUX

7 - Chad OLIVER, L’Objet (Artifact), pages 133 à 163, trad. Bruno MARTIN

8 - Lester DEL REY, Stabilité (Stability), pages 165 à 188, trad. Michel RIVELIN

9 - Roger DEE, Le Robinson de l’espace (Man Friday), pages 189 à 224

10 - James Henry SCHMITZ, Le Garde (Caretaker), pages 225 à 244, trad. Arlette ROSENBLUM

11 - Alfred Elton VAN VOGT, Le Village enchanté (The Enchanted Village/The Sands of Mars), pages 245 à 267, trad. Richard CHOMET

12 - Robert A. HEINLEIN, Oiseau de passage (The Menace from Earth), pages 269 à 309, trad. Roger DURAND

13 - Fritz LEIBER, La Forêt enchantée (The Enchanted Forest), pages 311 à 340

14 - Robert F. YOUNG, La Déesse de granit (Goddess in Granite), pages 341 à 373, trad. Catherine GRÉGOIRE

15 - Philip José FARMER, Attitudes (Attitudes), pages 375 à 404

16 - Idris SEABRIGHT, Se battre et mourir (Brightness falls from the air), pages 405 à 415

17 - Edmond HAMILTON, La Planète morte (The Dead Planet), pages 417 à 434, trad. Bruno MARTIN

18 - Dictionnaire des auteurs, pages 435 à 443, Dictionnaire d’auteurs

 Data taken from the NooSFere database (https://www.noosfere.org/icarus/livres/EditionsLivre.asp?numitem=1870)

 Histoires de Planètes (or Stories of planets) is a collection of small stories and novella regrouped around a common thematic, in this case, planets. I picked up that book while I was a teenager back in high school. I remember, at that time, I was reading every story I could find that were labelled as science fiction, at my local library. Although, I was enjoying what I was reading most of the time, it’s only now I realized that I was taking every science-fiction story as some extra flavoured adventure stories. Today, I recognized that in most cases, I never really quite understood what I was reading … which means that I have a much better appreciation of what I’m currently reading now, than 40 years ago.

 Of the stories collected in this book, here those that impressed me and the reasons why:

 Le Diable de la colline du salut (The Devil on Salvation Bluff–1952) by Jack Vance : I didn’t like this story at first; but now I grasped its importance. The story is about human settlers trying to adapt to their new colony which is orbiting around multiple suns. I did not understand then the true meaning of this story until I went to Afghanistan. Only then did I remember this story and everything became clear to me. As I came off the plane in Kandahar, I was hit by the hostile conditions of the place: The stench in the air, the blazing heat of 38℃ at 08h00 am, the noises and, of course, the military conditions… I was a stranger in a very alien land! The psychological shock was quite evident and it took me about 6 weeks to adapt to the local conditions (and don’t get me starting on the jet lag). What helped me were the sounds the birds were making which were the same as at home. Then it hit me like a train: the birds (sparrow) were the same as the ones at home because those at home WERE IMPORTED BY THE FIRST EUROPEAN COLONIST who came to North America. They brought those birds with them because it reminded them of the home they left … their old life. Those sparrows served as psychological support for the colonist to adapt to their new environment; not realizing the ecological disaster they nearly created. In the story the colonist finally accepted their new world once their symbol of normality (the central clock) got destroyed.

 In retrospect, Jack Vance, here, raised up the issue of mankind adapting to their new environment and the psychological stress they will face. Today, we are perfectly adapted to Earth and it is quite easy to figure out what is good for us and what could constitute a threat. On an alien world, where everything will be different (The air, the light, the day time, the flora and fauna), how will the colonist know what is good and what is not? If you heard a cat purring, you know there is no threat … but if you hear the roaring of a lion or the howling of a wolf, notice your heart will start racing immediately. This why this story is a good one for any sci-fi setting (2300 AD or any other).

 La Planète Greenville (Greenville’s planet - 1952), by Michael Shaara: I remember this story caused me a shock when I read it due to its lack of a happy ending. Because I read it while I was a teenager, it was my first exposure to this kind of story. And to be frank, I didn’t know how to handle it. The story is about the exploration of an uninhabited planet covered almost entirely by water aside two very tiny islands. The moral of the story is because a planet appeared to be uninhabited, it might not be the case … and the local inhabitant might not be where you’ll expect to find them or may not even share the same environment as you are.

 La Nef engloutie (Chemical plant - 1950), by Ian Williamson : I really enjoyed this story … although the French translation of the title has nothing to do with the original text … but in retrospect, translating the original title into French would not have made sense either. The story is about a search and rescue operation for a starship that has crashed on an unexplored planet. Their only clue: the ship attempted to crash land near a red lake. I won’t say more as you need to read this story to better appreciate it. If you are into sci-fi RPG, this could be a great plot for a campaign either 2300 AD, Traveller or any other similar setting…  

 Les Monstres (The Monsters - 1953) by Robert SHECKLEY: A sentient alien species attempts to deal with their first contact with humans. One thing I remember of this story is that some biological imperatives might be at the core of cultural behaviours or way of thinking … or both. This is an important clue if you want to write about an alien species. When I read that story for the first time, I thought the whole concept as quite stupid but now, after I gained experience on other cultures (through my travels) I think that Robert Sheckley was bang on! The biological imperative of any sentient species will have a direct impact on their cultures and way of thinking … to fail in understanding this will result in conflict that will make the North American Natives’ genocide look like a garden party.

 Le Robinson de l’espace (Man Friday - 1954), by - Roger DEE: This story started as its name indicate, as a sci-fi take on the classic Robinson Crusoe’s story. However, as you move forward into the narrative, you’ll start to realize that in the relationship between Robinson and Friday turned out to be not what you expected to be at the beginning. I must say that even today, this is a twist that I that I haven’t seen in use in many stories.

 Morale of the story, never assume that mankind is the most advanced or intelligent species when we will encounter another sentient being… Especially if that alien “look” more primitive than us.

 Le Village enchanté (The Enchanted Village/The Sands of Mars - 1950), by Alfred Elton VAN VOGT: An astronaut, Bill Jenner, is the only survivor of a ship that crashed on Mars. After many days and seeing is resources in food and water dry up, he came upon a small Martian village on the edge of the desert (1950, remember). After he reached the location, nearly dead from hunger and thirst, he quickly realizes the village IS trying to help him but his biology was too different from the ones whom the village was built for … thus forcing him to adapt … adapt???

 What I liked about this story is the fact that A.E. Van Vogt had a genial idea to show us that what we take for granted or logical might not be so. If we build stuff to fit our needs and logic, an alien civilization will indubitably do so to fit THEIR needs … not ours … so let’s not assume that what can be applied to us will also be the same for them.

 Oiseau de passage (The Menace from Earth) by Robert A. HEINLEIN, The story is set in the near future when the Moon is colonized with people living in underground cities. The “menace” of the title is a glamorous woman tourist who visits the Moon colony. She is assigned a young guide named Holly, a 15-year-old girl and aspiring starship designer who is the first-person narrator. Holly’s best friend Jeff develops a crush on the “groundhog” visitor, Ariel. As Jeff spends more time with Ariel, Holly becomes jealous and begins to doubt his friendship (source Wikipedia).

 I could not have written this any better than this. What I liked about this story is the way Heinlein described the Lunar colonies … not as advanced outposts from mankind but as a regular place where people have adapted and used the characteristic of their environment to create new form of entertainment and culture. I really enjoyed the detail he placed on how to wear a space suit and the little details you have to think of just to be comfortable in it. The fact that it was written from a woman’s perspective is a plus.

 La Déesse de granit (Goddess in Granite - 1957) by Robert F. YOUNG : I must credit Robert F. to have written a story in which I still remember the emotion it transcended in such a way that I still remember it forty years after I’ve read it. Only because of the location in which the story takes place was the reason why this short novella ended up in this collection … the rest is more of an internal journey than a sci-fi story. Somewhere, on a small planet, a civilization has sculpted an island in the shape of a woman. A masterpiece of craft whose hair was made by a forest and the eyes, two perfect lakes (artificial?).

 Today, I realize this story would have been impossible since only a human would have created such a sculpture and not a mysterious, long dead, alien civilization. Yet, the idea of some kind of macro engineering for the purpose of art … is an interesting idea. Indeed, why always assume that ruins and artefacts were created for the sole purpose of religion, habitation and … maybe some type of industrial process? Art in itself can become a purpose and the human is probably not the only one who has some.

 La Planète morte (The Dead Planet - 1970), by Edmond Hamilton : This story is probably the main inspiration for the story I’m currently working on. At the edge of the galaxy, a damaged explorer ship is forced to crash land on a dead planet orbiting an agonizing star. Miraculously, they survived but their ship was severely damaged, stranding them there. As the crew started looking for some mineral deposit to help them in their repairs, they stumbled, instead, upon a lifeless domed city under the ice. Who build it? When was it built? But more importantly, what kind of security system was left behind?

 This story impressed me at the time because of the concept it brought to me: Up to this point, when I thought of ruins and archaeology, I immediately thought of old stones and primitive technologies (thanks in part to Indiana Jones) … but what about an advanced civilization? This story made me realize that if a civilization had the power to create self-repair machines powered by a near limitless energy sources, there was a chance their technology and creation might still be around even if their creators were gone since the dawn of time.

 Also, I did not realize immediately … in fact I only found out 2015 or so (and I read that book back in the ’80s); but Edmond Hamilton was also one of the writers of one of my most beloved childhood heroes: The Capitaine Flam (Originally Capt Future). Of course, how could I’ve guessed at the time, that the cartoon by TOE ANIMATION (Japan), I was watching was from the same person? Only through the lens of the internet I was able to make the connection. In retrospect, learning this only made me appreciate the serial Capt Future even more.

 In conclusion, this anthology confirmed that even old stories that, in many ways, could be considerate as “obsolete,” could still hold sparks of genius if someone cares to take a second look without any prejudice. Not all of the stories were good, or aged well, but each one of them has the merit to ask some very tough questions that warranted some explorations. Which, in fact, is why I keep those stories around … as they could always use a second look.

[filmbrainbmb]

Now on Patreon, I'm joined by Oliver Harper, Jonathan Burdett, and Lasse Vogt on The Film Brain Podcast to talk about how Zack Snyder's Justice League rewrites the past, comparing the two versions, and more!