#Our Flag Means Death Italia

[krystal280791]

[OFMD] Ed & Stede - Il Leone e la Gazzella (Eng Sub)

Last entry for the @ecclesiasticallatinfest. This funny video is the result of the collaboration between my friends from the OFMD Italia discord server *! 😊

For this we used a dialogue taken from the movie "Così è la Vita" by the comic trio Aldo, Giovanni and Giacomo where one of the main characters, to impress his date, tells a story suggested by his friends and despite the terrible attempt the scene ends with a passionate kiss between the two of them! 😁

* ↓

Se sei un fan italiano +18 di OFMD e vuoi unirti a noi, puoi accedere da qui: DISCORD 😉

[lyrasring]

Ciao gente! Abbiamo creato un gruppo su discord per fan italiani di OFMD. Siete tuttə benvenutə! ✨

[ofmditalia]

Sign ups are now open for Our Zine Means Italia, an OFMD inspired zine where the revenge sets sail for Italy for the first time.

The general guideline for the event is La Dolce Vita, but all submissions are welcome as long as our favourite pirates are getting up to some shenanigans. Ready to bring the series to Italy too? 🏴‍☠️

[actuallysara]

MY 2024 IN BOOKS 📚, MOVIES 📺 AND TV SHOWS 💻

JANUARY

💻 Blackbird (2022)

📚 Heartstopper: Volume Five (2023)

📺 Bottoms (2023)

📚 If We Were Villains (2017)

📺 Maestro (2023)

📺 Luca (2021)

📚 Circe (2018)

📺 Firebird (2021)

📚 On A Quiet Street (2022)

📺 The Good Nurse (2021)

📚 The Five People You Meet in Heaven (2003)

📺 The Hunger Games: The Ballad of Songbirds and Snakes (2023)

📚 I Feel Bad About My Neck (2005)

📺 Gifted (2017)

📺 To Catch a Killer (2023)

📚 First Lie Wins (2024)

💻 Skam Italia: Season 6 (2024)

📺 Wonka (2023)

📺 Joy Ride (2023)

💻 Queer Eye: Season 8 (2024)

📺 All Of Us Strangers (2024)

💻 Fleishman Is In Trouble (2022)

📺 Encanto (2021)

FEBRUARY

📚 The Mothers (2020)

📺 Past Lives (2023)

📺 Le Otto Montagne (2022)

📚 The American Roommate Experiment (2022)

📺 I, Tonya (2017)

📺 Midsommar (2019)

📺 Tenet (2020)

📚 The One (2016)

📺 Mean Girls (2024)

📺 The Holdovers (2023)

💻 True Detective: Season 4 (2024)

📺 Like Father (2018)

📚 The Quarry Girls (2022)

📺 Anatomy of A Fall (2023)

📺 Aristotle and Dante Discover the Secrets of the Universe (2022)

📚 Everyone On This Train Is A Suspect (2023)

MARCH

💻 Bad Sisters (2022)

📺 Poor Things (2023)

📚 None of This Is True (2023)

💻 Blood & Water: Season 4 (2024)

📺 Do Revenge (2022)

📚 The Last Time I Lied (2018)

📺 Lady Bird (2017)

📚 Final Girls (2017)

📺 Society of The Snow (2023)

📚 A Gentle Reminder (2021)

💻 Young Royals: Season 3 (2024)

💻 The Night Manager (2016)

APRIL

📚 Adelaide (2023)

📺 Dune: Part One (2021)

📺 Dune: Part Two (2024)

📚 The Good Samaritan (2017)

MAY

📚 What Lies Between Us (2020)

💻 Baby Reindeer (2024)

📚 La strana morte di Sir Lawrence Linwood (2022)

📚 Heracles' Bow (2012)

📺 Challengers (2024)

📚 A History of Wild Places (2021)

📺 The Idea of You (2024)

💻 Dead Boy Detectives (2024)

📺 Good Grief (2023)

💻 Abbott Elementary: Season 3 (2024)

📚 The Quiet Tenant (2023)

📚 Happy Place (2023)

JUNE

📚 The Pact (2021)

📺 American Fiction (2023)

💻 Prisma (2022)

📺 Dream Scenario (2023)

📚 The Teacher (2024)

💻 Bridgerton (2020)

📺 The Fall Guy (2024)

📚 The Passenger (2019)

📺 Fire Island (2021)

📺 My Policeman (2022)

💻 The Bear: Season 3 (2024)

JULY

💻 Crashing (2016)

📚 How To Solve Your Own Murder (2024)

📺 Everything Everywhere All At Once (2022)

📺 Marriage Story (2019)

📺 Black Swan (2010)

📺 Foe (2023)

📺 Argylle (2024)

📺 I Am: Celine Dion (2024)

💻 After Life (2019)

📺 The Adam Project (2022)

📺 A Star Is Born (2018)

📚 The Reading List (2021)

📺 Guardians of The Galaxy Vol. 3 (2023)

📺 I Am Legend (2007)

📚 Funny Story (2024)

📚 Listen For The Lie (2024)

AUGUST

📺 Deadpool & Wolverine (2024)

💻 Eric (2024)

📚 Tear Me Apart (2018)

💻 The Umbrella Academy: Season 4 (2024)

💻 Elite: Season 8 (2024)

💻 Interview With The Vampire (2022) 

📚 Ask for Andrea (2022)

📚 Il Castello Dei Destini Incrociati (1973)

💻 Mary & George (2024)

📺 Matt Rife: Lucid (2024)

📺 Kevin Hart: Zero F**ks Given (2020)

📺 Damsel (2024)

📺 Nobody (2021) 

💻 Queen Charlotte (2023)

SEPTEMBER

📚 The Pairing (2024)

💻 Dear Child (2023)

📚 The Only One Left (2023)

📺 Twisters (2024)

📺 Am I Ok? (2024)

💻 Our Flag Means Death (2022)

📚 Hemlock (2023)

📺 A Quiet Place: Day One (2024)

📚 The Guest (2024)

💻 The Queen's Gambit (2020)

💻 Big Mood (2024)

💻 Anthracite (2024)

📚 Keep It In The Family (2022)

💻 Nobody Wants This (2024)

📚 The Family Experiment (2024)

💻 Presumed Innocent (2024)

💻 Monster: Season 2 (2024)

OCTOBER

📚 Once There Were Wolves (2021)

💻 Heartstopper: Season 3 (2024)

📚 Look Closer (2022)

💻 Red Eye (2024)

📚 The God of The Woods (2024)

📚 Daughter of Mine (2024)

📚 The Only Survivors (2023)

📺 His Three Daughters (2024)

📚 The Push (2021)

💻 Sweetpea (2024)

📚 Never Lie (2022)

📚 Seeds Planted in Concrete (2015)

📚 The Butterfly Garden (2016)

📚 No Exit (2017)

📺 The Substance (2024)

📺 It's What's Inside (2024)

📺 King Richard (2021)

📺 Venom (2018)

📺 Woman Of The Hour (2024)

💻 Only Murders In The Building: Season 4

💻 Agatha All Along (2024)

NOVEMBER

📚 All The Colors Of The Dark (2024)

📺 Nightcrawler (2014)

💻 Dispatches From Elsewhere (2020)

📚 Hidden Pictures (2022)

💻 Outer Banks: Season 4 (2024)

📚 Jar of Hearts (2018)

📺 Speak No Evil (2024)

📚 Paperweight (2015)

💻 Hanno Ucciso L'uomo Ragno (2024)

📚 The Last Party (2024)

📚 The Drowning Woman (2023)

CURRENTLY:

💻 Westworld (2016) dnf

💻 Abbott Elementary: Season 4 (2024)

💻 911 Lone Star: Season 5 (2024)

[in-art-be-liv]

Eng post description under the cut

Ma che Pirati?! - Le avventure del Pirata Gentiluomo

(Ovvero se Our flags means death avesse avuto una sigla stile Cristina D’avena)

per celebrare il rinnovo di Our flag means death ho pensato di postare questa sigla immaginaria per la serie. Quello di scrivere sigle di questo tipo è un mio hobby di cui fondamentalmente non posso fare a meno. se una serie mi piace mi viene in mente una sigla e quindi la scrivo. Da qualche parte in questo blog si può trovare anche la sigla di Voltron in questo stile. A breve cercherò di fare il reblog di questo post con il testo completo, spero anche di fare una versione registrata un po’ meglio (purtroppo non ho il tempo di produrre l’intera canzone come si deve), ma l’entusiasmo per il rinnovo mi ha spinto a condividerla con voi il prima possibile. Fatemi sapere che ne pensate, e se c’è una serie di cui vi piacerebbe avere una sigla stile Cristina. 

Grazie per l’ascolto e alla prossima!

Title in eng: Some kind of pirates?! - the adventures of the Gentlemen Pirate

Hello, If you’re an english speaking fan of Our flag means death, I’m truly sorry this joke is lost on you. In Italy we have this whole culture of cartoon opening songs, by popular singer Cristina D’avena, and they have a very specific sound that I recreated to make a fake italian opening for OFMD. It should be pretty funny, if you’re intrested to learn what the song says, stay tuned, cause I plan to reblog this post with the English traslation of the lyrics. At least you can get an Idea.

I was too happy about season two and wanted to share this with you. I’m going to try and make you understand the general tone of the song with a quote:

“Maybe Blackbeard has lost his compass*/instead of the north he follows the rainbow”

*losing one’s compass in italian is a way of saying you’ve gone crazy - like losing you marbles. 

Hope you like it anyway, thank you for listening. 

[camilleisback]

Motivi che mi trattengono dal vedere "Our Flag Means Death": c'è letteralmente un attore che sembra Ezio Greggio con la parrucca bionda.

[menacing-anon]

Around the end of season 7, I was upset about how it went, upset that it ended, and confused about what to want for the future. Here’s a bit from the first post:

“Don’t cry because it’s over, smile because it happened” — bet, I’m sad because season 7 is over AND because of the way that it went 😅

This time around, though, I’m not sad that the season is over — like a number of people, I’ve been thinking “end already” for a few weeks — but that this generation is, and the ending made me emotional. But for the show, an ending is for the best, as is, I suppose, the fact that I valued it way less for months before that ending because of how much it declined 😅 How much more would it hurt to part with DRUCK if we weren’t separated from Nora and Fatou’s seasons by over a year and two of DRUCK’s worst seasons, but instead an awesome Ava and Isi seasons were added on, for example?

Lots of people were upset with the change to a new generation and especially the way it was announced, but I bet the reason many of them gave it a shot is because until then, DRUCK was a good show! If DRUCK does a third gen, though, they’ll be changing to a cast viewers don’t care about yet AND their recent seasons won’t recommend them. A bunch of people left in the past few months with this familiar gen — how many will stick around for another?

I’m realizing the chances of that crowd including me are no higher than the show becoming good again. So unless I somehow get into SKAM Italia or France, this is almost certainly the end of my SKAMverse, predominantly-DRUCK era 🙁 As someone wrote at the end of season 4, I think, which I quote occasionally, “it’s been real, it’s been good, it hasn’t been real good.”

I’ll be around for at least a few days, given I have a bunch of season 7 and 8 posts to reblog and a handful of other things in my drafts. Maybe in the not-so-distant future, I’ll want to post along with other shows, and rebrand as an account for those 🙂 Heartstopper and Our Flag Means Death hold my passion right now, so maybe their next seasons 🤗

[justforbooks]

Franco Zeffirelli dies at 96

Franco Zeffirelli, the Italian director and designer who reigned in theater, film and opera as the unrivaled master of grandeur, orchestrating the youthful 1968 movie version of “Romeo and Juliet” and transporting operagoers to Parisian rooftops and the pyramids of Egypt in productions widely regarded as classics, died June 15 at his home in Rome. He was 96.

A son, Luciano, confirmed the death to the Associated Press but did not cite a cause.

Mr. Zeffirelli — a self-proclaimed “flag-bearer of the crusade against boredom, bad taste and stupidity in the theater” — was a defining presence in the arts since the 1950s. In his view, less was not more. “More is fine,” a collaborator recalled Mr. Zeffirelli saying, and as a set designer, he delivered more gilt, more brocade and more grandiosity than many theater patrons expected to find on a single stage.

“A spectacle,” Mr. Zeffirelli once told the New York Times, “is a good investment.”

From his earliest days, he seemed to belong to the opera. Born in Italy to a married woman and her lover, he received neither parent’s surname. His mother dubbed him “Zeffiretti,” an Italian word that means “little breezes” and that arises in Mozart’s opera “Idomeneo,” in the aria “Zeffiretti lusinghieri.” An official mistakenly recorded the name as “Zeffirelli.”

Mr. Zeffirelli grew up mainly in Florence, amid the city’s Renaissance riches, and trained as an artist before being pulled into theater and then film by an early and influential mentor, Luchino Visconti. Mr. Zeffirelli matured into a sought-after director in his own right, staging works in Milan, London and New York City, where he became a mainstay of the Metropolitan Opera.

His first major work as a film director was “The Taming of the Shrew” (1967), a screen adaptation of Shakespeare’s comedy, starring Elizabeth Taylor and Richard Burton. But Mr. Zeffirelli was best known for the Shakespearean adaptation released the next year — “Romeo and Juliet,” starring Leonard Whiting and Olivia Hussey in the title roles.

He reportedly reviewed the work of hundreds of young actors before selecting his two stars, both of whom were still in their teens. With a lush soundtrack by Nino Rota, and with its equally lush visuals, the film won the Academy Award for best cinematography and was a runaway box office success. Film critic Roger Ebert declared it “the most exciting film of Shakespeare ever made.”

It “is the first production of ‘Romeo and Juliet’ I am familiar with in which the romance is taken seriously,” Ebert wrote. “Always before, we have had actors in their 20s or 30s or even older, reciting Shakespeare’s speeches to each other as if it were the words that mattered. They do not, as anyone who has proposed marriage will agree.”

In the opera, an art form already known for its opulence, big voices and bigger personalities, Mr. Zeffirelli permitted himself to be deterred by neither physical nor financial constraints. “Opera audiences demand the spectacular,” he told the Times.

Mr. Zeffirelli had notable artistic relationships with two of the most celebrated sopranos of the 20th century, Maria Callas and Joan Sutherland. But certain Zeffirelli sets seemed to excite the opera world even more than the performers who sang upon them.

One such example was his production of Puccini’s “La Boheme,” an extravaganza set in 19th-century Paris and famous for its exuberant street scene and magical snowfall. After its 1981 premiere at the Met, it was said that the audience lavished on Mr. Zeffirelli a grander ovation than the one reserved for conductor James Levine and the singers who played the opera’s bohemian lovers.

“For the first time,” Mr. Zeffirelli told the Times, “audiences will have a sense of the immensity of Paris, and the smallness of this little group’s place — the actual space of a garret. The acting is now intimate and conversational, which is exactly what Puccini wanted. Since the garret is raised, every whisper and gesture will come across clearly in the theater.”

His production of Verdi’s “Aida,” performed at Milan’s La Scala in 1963 with soprano Leontyne Price and tenor Carlo Bergonzi, featured 600 singers and dancers (including scantily clad belly dancers), 10 horses, towering idols, palm trees and sphinxes littering the expanse of the stage. “I have tried to give the public the best that Cecil B. DeMille could offer,” Mr. Zeffirelli told Time magazine, referring to the Hollywood director’s biblical epics, “but in good taste.”

It was sometimes said that Mr. Zeffirelli was beloved by everyone except music reviewers, some of whom disparaged his style as excessive to the point of taking attention away from the music. Writing in the Times, Bernard Holland panned Mr. Zeffirelli’s set for Puccini’s “Turandot,” set in China, as “acres of white paint and gold leaf topped by the gaudiest of pagodas” and quipped that “if the gods eat dim sum, they certainly do it in a place like this.”

In time, the Metropolitan Opera replaced some of Mr. Zeffirelli’s productions, although the modernistic newcomers — notably Luc Bondy’s dreary “Tosca” in 2009 — did not always prove as popular.

“It’s like somebody decides that the Sistine Chapel is out of fashion,” Mr. Zeffirelli told the Times. “They go there and make something a la Warhol. . . . You don’t like it? O.K., fine, but let’s have it for future generations.”

As for those who had criticized his direction of “Romeo and Juliet” for similar reasons, he retorted, “In all honesty, I don’t believe that millions of young people throughout the world wept over my film ... just because the costumes were splendid.”

Mr. Zeffirelli was born in Florence on Feb. 12, 1923. His father, Ottorino Corsi, was a Florentine businessman, and his mother, Alaide Garosi, was a fashion designer. Her husband was a lawyer, and he died before Mr. Zeffirelli was born.

His mother continued a fraught relationship with Corsi, once attempting to stab him with a hat pin. “The opera? My destiny?” Mr. Zeffirelli observed in a 1986 autobiography, “Zeffirelli.” “I think there is a case to be made.”

After the death of his mother when he was 6, he became the charge of an aunt. He recalled his upbringing in the 1930s in the semi-autobiographical film “Tea With Mussolini” (1999), which he directed and which starred Maggie Smith, Judi Dench and Joan Plowright as English expatriates in Florence who take in a parentless child during the era of fascist rule.

Mr. Zeffirelli attended art school before studying architecture at the University of Florence. His studies were put on hold during World War II, when he fought alongside antifascist partisans. His interests shifted more toward film, particularly after he saw Laurence Olivier star in the 1944 Technicolor film adaptation of Shakespeare’s “Henry V,” which Olivier also directed.

“The lights went down and that glorious film began,” Mr. Zeffirelli recalled in his memoir. “I knew then what I was going to do. Architecture was not for me; it had to be the stage.”

He met Visconti while working in Florence as a stagehand. Visconti, with whom he lived for a period, gave him his push into professional work, hiring him to work as a designer for an Italian stage production of Tennessee Williams’s “A Streetcar Named Desire” in 1949.

Mr. Zeffirelli soon began designing and directing at La Scala and later the Met. He designed, directed and adapted from Shakespeare the libretto for the production of Samuel Barber’s “Antony and Cleopatra” that opened the Met’s new opera house at Lincoln Center in 1966.

Mr. Zeffirelli said he found it invigorating to shift from one art form to another. His theatrical productions starred top-flight actors including Albert Finney and Anna Magnani. On television, he directed “Jesus of Nazareth,” an acclaimed 1977 miniseries with a reported price tag of $18 million and a cast that included Robert Powell as Jesus, Hussey as the Virgin Mary, Olivier as Nicodemus, Anne Bancroft as Mary Magdalene and James Earl Jones as Balthazar.

Mr. Zeffirelli received a best director Oscar nomination for “Romeo and Juliet.” (He lost to Carol Reed for the musical “Oliver!”) He also garnered a nomination for best art direction for his 1982 film adaptation of Verdi’s opera “La Traviata,” starring Teresa Stratas and Plácido Domingo, one of several such operatic film adaptations he made.

His other notable films included “Hamlet” (1990) starring Mel Gibson and Glenn Close. Less acclaimed was “Endless Love” (1981), starring Brooke Shields and Martin Hewitt in a tragic story of teen romance, which Mr. Zeffirelli admitted was “wretched.”

Politically, Mr. Zeffirelli positioned himself on the right, serving as a senator in the political party Forza Italia. “I have found it an irritating irony that those who espouse populist political views often want art to be ‘difficult,’ ” he wrote in his memoir. “Yet I, who favor the Right in our democracy, believe passionately in a broad culture made accessible to as many as possible.”

He described himself as homosexual, preferring not to use the word “gay.” In 2000, he adopted two adult sons, Pippo and Luciano, both former lovers, according to the newspaper the Australian. A complete list of survivors was not immediately available.

Looking back on his life and career, Mr. Zeffirelli once told The Washington Post that he was struck by “how much is risked to become something” — “to make something of his life,” he continued, speaking of himself in the third person. To show that “he’s not a bastard.” 

Daily inspiration. Discover more photos at http://justforbooks.tumblr.com

[jaxstuart]

Lockdown in Trieste Day 23

The number of new cases is back up today, to 4,782, the number of new deaths continues to shock Italy - 727 in the past 24 hours. The number in intensive care has not changed much since yesterday, still just over 4,000.

There are 92 new cases in our region bringing the total to 1,685, and 9 new deaths bringing the total to 122.

The latest news from the authorities is that we will be on lockdown until April 13th, after which the restrictions will be reduced. They intend to keep adequate and proportional prevention measures to prevent new outbreaks. What that will mean for us remains to be seen. Roberto Speranza, the health minister said the phase of coexistence with the virus will have to be managed with great caution. He spoke of the need to maximise and speed up diagnostic capabilities.

I had a Skype call with my colleagues, then attended three webinars this morning. The first was a conference with the head of all American chambers of commerce in the EU. She spoke of five years to recovery.

The second was less optimistic. It was hosted by an economist specialised in central eastern Europe. He describes this as the worst economic crisis for 500 years.

The third was the investment committee of the American chamber of commerce in Ljubljana, of which I am a member.  Nobody was optimistic of course, but I have to say that Slovenes are good in a crisis. The government very quickly adopted broad measures to protect companies and the investment committee was mainly in agreement that with a few exceptions, the strategy is good.

Slovenia’s central bank issued a paper based on three different scenarios, 6, 10 and 14 weeks of lockdown. They predict the economy will shrink between 6.2% and 16.1% this year. And that consumption will drop between 2.4% and 9%. They predict that coronavirus will take a higher toll on the economy than the 2008 global financial crisis, and they believe unemployment will more than double.

They said the launch of the new investment cycle will depend on the ability of both companies and banks to survive the period of the restrictive measures.

I went shopping for my friend who just got released from hospital, then cooked lunch and ate late. Then I had a beautiful walk in the park with Bluebell and enjoyed one hour sitting in the sun in the rose garden. I was still there at 18h, the time for our livestream flashmob concert. Laura joined me from the Netherlands, she was also outside and we enjoyed comparing the the sounds of the birds in the different locations. We concluded that Italian birds chirp more beautifully than Dutch birds. In my opinion everything is more beautiful in Italy than elsewhere. We sang ‘Daniel’ by Elton John.

The image today is a video clip of a skydiver carrying a huge Italian flag. Forza Italia!

[ofmditalia]

Noticed any more similarities that you'd like to share? Join us and tell us all about it! Sign ups are still open! :D

[ofmditalia]

Le iscrizioni per il primo zine italiano di Our Flag Means Death sono aperte!

Il tema generale, da seguire quanto o quanto poco si voglia, è La Dolce Vita, ma è ben accetto tutto ciò che includa i nostri pirati preferiti. 🏴‍☠️ Pronti a portare la serie anche in italia?