#Stuart Jeffries

[tepot]

Stuart Jeffries, Everything, All The Time, Everywhere (2021)

[dipnotski]

Stuart Jeffries – Büyük Uçurum Oteli (2024)

Yirminci yüzyılın en heybetli entelektüel hareketlerinden biri olan Frankfurt Okulu’nun tarihi hakkında harika bir çalışma. 1923 yılında bir grup entelektüel modern dünyanın işleyişini çözümlemek, kapitalist sistemin eleştirisini yapmak üzere Frankfurt’ta bir araya geldi. Sonraları Frankfurt Okulu olarak anılacak Marksist Araştırma Enstitüsü kurulduğu andan itibaren reel siyasete mesafeli, siyasi…

[kulturado]

The Story: ‘We don’t need more small-penis energy’… Sharon Stone on why she swapped acting for art

The Writer: Stuart Jeffries

(Sharon Stone photo: Eva Oertwig/Schroewig; Stone painting below: Please Don’t Step on the Grass)

[mira-wooster]

[xxweyussyenjoyerxx]

@jeffrey-combs-smash-or-pass taKE HIM AWAY FROM ME

[merinarasauce]

so i googled some stuff abt anish kapoor bc im not sure how i feel about the dude rn and apparently he said he has "no message for the world" but i also found a couple headlines, one based, the other extremely concerning

[ID: Interview headline that reads: "Anish Kapoor: 'The government is damn dangerous and a bunch of f***ing liars'".]

[ID: Interview headline that reads: "Anish Kapoor: 'If I was a young Muslim, would I feel angry enough to join ISIS? I would at least think about it'". The article is written by Stuart Jeffries.]

(worth noting that kapoor is not muslim, he is jewish)

[ulkaralakbarova]

The lives of two struggling musicians, who happen to be brothers, inevitably change when they team up with a beautiful, up-and-coming singer. Credits: TheMovieDb. Film Cast: Susie Diamond: Michelle Pfeiffer Jack Baker: Jeff Bridges Frank Baker: Beau Bridges Monica Moran: Jennifer Tilly Girl in Bed: Terri Treas Nina: Ellie Raab Lloyd: Xander Berkeley Charlie: Dakin Matthews Ray: Ken Lerner Henry: Albert Hall Vince Nancy: Gregory Itzin Earl: Bradford English Kid at Vet: David Coburn Theo: Todd Jeffries Man with Cleaver: Del Zamora Bathroom Attendant: Howard Matthew Johnson Veterinarian: Stuart Nisbet Laughing Bar Patron: Nancy Fish Waitress: Beege Barkette Bad Singer: Martina Finch Bad Singer: Wendy Goldman Bad Singer: Lisa Raggio Bad Singer: Vickilyn Reynolds Background Voice (voice): Tina Lifford Background Voice (voice): John Lafayette Hotel Masseuse: Gregory James Doorman: Robert Henry Eddie: Drake Film Crew: Producer: Mark Rosenberg Original Music Composer: Dave Grusin Writer: Steve Kloves Director of Photography: Michael Ballhaus Editor: William Steinkamp Producer: Paula Weinstein Production Design: Jeffrey Townsend Stunt Coordinator: Jon Conrad Pochron Executive Producer: Sydney Pollack Associate Producer: Robin Forman Unit Production Manager: Bill Finnegan Associate Producer: Julie Bergman Sender Casting Director: Wallis Nicita Costume Design: Lisa Jensen Executive Music Producer: Joel Sill Location Manager: Robin Citrin First Assistant Director: Charles Myers Second Assistant Director: Tracy Rosenthal-Newsom Key Grip: Steve Smith Set Decoration: Anne H. Ahrens Assistant Art Director: Michael Perry Hairdresser: Jeanne Van Phue Makeup Artist: Ronnie Specter Assistant Makeup Artist: Tammy Kusian Special Effects: Robert E. Worthington Sound Mixer: Stephan von Hase Supervising Sound Editor: J. Paul Huntsman Music Editor: Bunny Andrews Sound Effects Editor: John Haeny Stunts: Paul E. Short Movie Reviews:

[docrotten]

THE REVENGE OF FRANKENSTEIN (1958) – Episode 165 – Decades Of Horror: The Classic Era

“How can I do me dance without me legs?” Or how can you be a pickpocket without your arm? Dr. “Schtein” doesn’t seem to care. Join this episode’s Grue-Crew – Chad Hunt, Daphne Monary-Ernsdorff, Doc Rotten, and Jeff Mohr – as they take in the second of Hammer’s Frankenstein films: The Revenge of Frankenstein (1958).

Decades of Horror: The Classic Era Episode 165 – The Revenge of Frankenstein (1958)

Join the Crew on the Gruesome Magazine YouTube channel! Subscribe today! And click the alert to get notified of new content! https://youtube.com/gruesomemagazine

ANNOUNCEMENT Decades of Horror The Classic Era is partnering with THE CLASSIC SCI-FI MOVIE CHANNEL, THE CLASSIC HORROR MOVIE CHANNEL, and WICKED HORROR TV CHANNEL Which all now include video episodes of The Classic Era! Available on Roku, AppleTV, Amazon FireTV, AndroidTV, Online Website. Across All OTT platforms, as well as mobile, tablet, and desktop. https://classicscifichannel.com/; https://classichorrorchannel.com/; https://wickedhorrortv.com/

Having escaped execution and assumed an alias, Baron Frankenstein transplants his deformed underling’s brain into a perfect body, but the effectiveness of the process and the secret of his identity soon begin to unravel.

  Directed by: Terence Fisher

Writing Credits: Jimmy Sangster (written by); Hurford Janes (additional dialogue by); George Baxt (additional dialogue) (uncredited)

Produced by: Michael Carreras (executive producer); Anthony Hinds (producer); Anthony Nelson Keys (associate producer)

Music by: Leonard Salzedo

Cinematography by: Jack Asher (director of photography)

Editing by: Alfred Cox

Production Design by: Bernard Robinson

Makeup Department: Philip Leakey (makeup artist) (as Phil Leakey)

Selected Cast:

Peter Cushing as Doctor Victor Stein

Francis Matthews as Doctor Hans Kleve

Eunice Gayson as Margaret Conrad

Michael Gwynn as Karl (New Karl)

John Welsh as Bergman

Lionel Jeffries as Fritz

Oscar Quitak as Dwarf (Original Karl)

Richard Wordsworth as Up Patient

Charles Lloyd Pack as President

John Stuart as Inspector

Arnold Diamond as Molke

Marjorie Gresley as Countess Barscynska (as Margery Gresley)

Anna Walmsley as Vera Barscynska

George Woodbridge as Janitor

Michael Ripper as Kurt

Ian Whittaker as Boy

Avril Leslie as Girl

It’s Doc’s choice of films for this episode, so it should be no surprise the film chosen is the Hammer/Peter Cushing classic The Revenge of Frankenstein (1958). A rare event for Hammer, this feature is a direct sequel to its predecessor, The Curse of Frankenstein (1957), beginning with Victor Frankenstein escaping the guillotine. A dastardly chap, that Frankenstein. A new series of shenanigans begins as Frankenstein, now known as Doctor Stein, continues his experiments. A surprisingly serious take on the character and Shelley’s story follows Peter Cushing’s Doctor Frankenstein instead of Christopher Lee’s Monster. Check out what the Grue Crew shares about this fantastic early Hammer horror entry.

At the time of this writing, The Revenge of Frankenstein is available for streaming from multiple PPV sources. It is also available on physical media as a Blu-ray in the Hammer Films – Ultimate Collection, a 20-film set from Sony. 

Gruesome Magazine’s Decades of Horror: The Classic Era records a new episode every two weeks. Up next in their very flexible schedule, as chosen by Chad, is Fiend Without a Face (1958)! The Grue Crew can’t wait!

Please let them know how they’re doing! They want to hear from you – the coolest, grooviest fans: leave them a message or leave a comment on the Gruesome Magazine YouTube channel, the site, or email the Decades of Horror: The Classic Era podcast hosts at feedback@gruesomemagazine.com

To each of you from each of them, “Thank you so much for watching and listening!” 

Check out this episode!

[denimbex1986]

'Charged with hindsight and consequence, the origin stories of landmark inventions make up, at this point, a genre of their own (e.g. The Imitation Game, The Social Network, and Hidden Figures). Any film that attends to a STEM breakthrough in particular has to deal with a daunting problem: how do you dramatize an esoteric subject for a general audience?

The STEM movie of the summer, Oppenheimer, seems to decide early on that its audience cannot understand physics, much less evaluate its protagonist’s skill as a physicist. Instead, Oppenheimer’s intelligence is asserted by way of what I can only classify as weird flexes: reading the Bhagavad Gita in Sanskrit mid-coitus, or giving a lecture in Dutch, later telling a colleague that he had learned the language in six weeks for the occasion. That there are no subtitles during his lecture, that the formulas he writes on chalkboards are shot out of focus and garnished with music, conveys the degree to which the audience is asked to believe in Oppenheimer’s competence but not to worry over the particulars—the particulars, which for me, lay the foundation of pleasure in any great film about craft.

A craft movie, as I’ll refer to them here, is a drama about a person who wants to be great at their trade. Sports movies and workplace movies fit into this category, as would a movie following an artist, chef, dressmaker, musician, hitman, ballerina, or stripper, so long as the work itself is central to the plot. The best craft movies replicate the pleasures of learning a craft yourself. You become conversant with a new world. You begin to recognize its values and customs...

The latest film from writer-director Christopher Nolan is a craft movie insofar as its central drama involves talent, work, and the pursuit of greatness, but it doesn’t leave me feeling like I have been brought into the fold. Most notably, I don’t feel prepared, or even invited, to evaluate J. Robert Oppenheimer as being uniquely capable at physics. Instead, I am handed other people’s evaluations of him and asked to accept them at face value. From the outset, the film proclaims Oppenheimer’s status as Promethean, leaving me, as a viewer, with nowhere to go, little to determine.

Oppenheimer is not the first movie about a man in STEM to hurry through the technical stuff. As Stuart Jeffries observed for The Guardian in 2016, math movies often have “a black hole where the maths should be.” So extensive are the precedents that Oppenheimer is not even the first movie with Matt Damon and Casey Affleck to fit this bill. Watching Oppenheimer, Good Will Hunting springs to mind, in which Damon’s Will Hunting develops his skills as a mathematician, yet his most memorable show of prowess, the one that leads his friend Morgan (Affleck) to boast—“My boy’s wicked smart”—concerns not math but early American history, as if expertise in one, conceivably more accessible field of study can stand in for another...

As is the case with any biopic or adaptation, Oppenheimer makes me curious about the logic governing Nolan’s choices of what’s left out and what goes in. A lot of names and terms populate the movie’s first act: quantum physics, fission, fusion, Albert Einstein, Niels Bohr, Enrico Fermi, Werner Heisenberg, Richard Feynman. (A “Sea of Scientists and Soldiers,” Vulture called it.) It leaves me both tired and disoriented, as though I have just read aloud the complete list of rules to a board game but am no closer to understanding how the game is played. We see, sporadically, through Oppie’s point of view, vibrating slinkies that represent the idea of energy. We watch him throw stemware into the corner of his room, where it breaks on the floor. I think we are meant to think something like, “Ah, yes. Physics.” Beyond that, the line between the slinkies and the glass and the bomb remains tenuous, associative at best.

Perhaps the intention is to overwhelm, to make the viewer feel small and unable to keep pace with the person whom the movie, and its source material, casts as Prometheus. I find it uncomfortable to be forced into a posture of reverence toward a man whose invention, regardless of its theoretical impact, killed hundreds of thousands of human beings. I’d rather be trusted to make up my own mind...

In the case of Oppenheimer, the one salient physics idea we need to hold onto is already there, within the noise: the chain reaction. As Oppenheimer tells Albert Einstein (Tom Conti), “When we detonate an atomic device, we might start a chain reaction that destroys the world.” This “troubling possibility” adds to the already high stakes of the Trinity explosion.

The chain reaction concept is doubly pertinent as a way to situate the Manhattan Project in the fuller context of history. Where does Oppenheimer’s culpability start and end? Is he a demigod, or is he a domino? To what degree was the bomb inevitable, with or without him, after the atom split? The presence of retired Einstein, who says, “Now it’s your turn to deal with the consequences of your achievement,” makes the frame of the story more cyclical and expansive.

Oppenheimer chafes when it uses scientific settings only as texture, when its digressions lean irrelevant, hagiographic, and intentionally showy. But when Oppenheimer lets us in on the work itself, when it lets us assess the goals, risks, and costs of the Manhattan Project, and with that knowledge, reach our own conclusions about the person in charge (that is, if are able to tune out the voices calling him things like “actually important” or “a prophet”)—that’s when the movie finds its groove. When Oppenheimer maps out a town in Los Alamos to be populated by scientists; when, using glass jars of marbles, he visualizes the amounts of uranium and plutonium that have been produced thus far; when, nonchalant, he explains the possibility of total atmospheric ignition: these moments work because of what they accentuate: the collision of the ego and the actual job.

Feynman, who is known for his work at Los Alamos as well as his contributions to the fields of quantum computing and nanotechnology, writes, “[A] kind of intense beauty that I see given to me by science is seen by so few others, by few poets and, therefore, by even fewer more ordinary people.” It is this visionary capacity that excites me most about craft movies and especially STEM movies. I want such a film to initiate me, if only for a few hours, into another way of reading the world.'

[shamyfanficfeed]

The Shell Shock Reverberation

by credencebvrebxne After witnessing a horrific event, the UK military honorably discharges Lance Corporal Sheldon Lee Cooper. He is battle scarred, traumatized, and depressed. That is, until he meets a woman who is studying the effects of shell shock working at the same university he does. Words: 2570, Chapters: 1/?, Language: English * Fandoms: The Big Bang Theory (TV) * Rating: Explicit * Warnings: Graphic Depictions Of Violence, Major Character Death, Rape/Non-Con * Categories: F/F, F/M, M/M * Characters: Sheldon Cooper, Amy Farrah Fowler, Leonard Hofstadter, Penny (Big Bang Theory), Bernadette Rostenkowski, Howard Wolowitz, Rajesh Koothrappali, Arthur Jeffries, Mary Cooper (Big Bang Theory), Missy Cooper, George Cooper Jr., Wil Wheaton, Stuart Bloom, Mrs. Wolowitz (Big Bang Theory) * Relationships: Sheldon Cooper/Amy Farrah Fowler, Leonard Hofstadter/Penny, Bernadette Rostenkowski/Howard Wolowitz * Additional Tags: Angst, Romance, World War II, Tragedy, Character Death, Major Character Injury, Whump, Post-Traumatic Stress Disorder - PTSD http://dlvr.it/SvtFgB

[howardhawkshollywoodannex]

Marc John Jeffries as Isaiah in his film debut Losing Isaiah (1993). Marc has 71 acting credits through 2023. His other notable credits include two episodes of Cosby, voices in Monsters Inc, and Stuart Little 2, Brown Sugar, Friday After Next, Charlie's Angels: Full Throttle, The Haunted Mansion, 16 episodes of The Tracy Morgan Show, Spider Man 2, Get Rich or Die Tryin, Dexter (2 episodes), Notorious, Treme (8), and Big Momma: Like Father Like Son.

[liliannasprereadmediathek]

Ahoy once more! 🏴

(emoji for black flag)

The flag you’ve spotted in the distance is no illusion – we’re finally releasing another episode on Black Sails 🏴‍☠️🏝️⚓ (emojis for pirate flag, island, anchor)

This month, we’re training our spy glasses on Season 1, Episode 2. Whether it’s tits or fruit, our main focus is VALUE – we’ll be digging into how ideas around value operate within pirate stories with their tropes of buried treasure, gold coins, and treasure maps. And as always, we’ll be exploring the influence of Empire on how worth is ascribed to the objects, places, and people of Nassau. 🗺✖️💰

(emojis for map, an ex, and a bag of money)

So pour yourself a shot of rum and join us over on Spotify, Apple Podcasts, or wherever you find your podcasts ☠️🦜⚔️⛵🌊︎︎

(emojis for skull and cross bones, parrot, crossed swords, sailing boat, and wave)

Link in bio 🔗

(emoji for chain link)

Both the Writers Guild of America (@wgaeast, @writersguildwest) and the Screen Actors Guild - American Federation of Television and Radio Artists (@sagaftra) are on strike right now. Key issues involve residuals and use of AI among others. Please check the link below to both WGA and SAG to see their demands and support them when you can. Remember! DO NOT! CROSS THE PICKET LINE!

Check SAG’s rules for influencers here (https://www.sagaftrastrike.org/influencer-faqs) and do not perform covered services for a struck company during the strike!

https://www.wgaeast.org/https://www.wga.org/

#WGAStrike #SAGAFTRAstrike #WGAStrong #MoviePodcast #LiliAnnaPod #LiliAnnasPrereadMediathek #queer #FeministPodcast #QueerPodcast 

#BlackSails #TreasureIsland #Pirates #CharlesVane #MaxBlackSails #BillyBones #CaptainFlint #MrScott #AnneBonny #JackRackham #LongJohnSilver #EleanorGuthrie #BritishEmpire #RobertLouisStevenson #JessicaParkerKennedy #TobyStephens #HakeemKaeKazim #LukeArnold #HannahNew #ZachMcGowan #TomHopper #ClaraPaget

📝 Shownotes: 📝

📼 Preread text (Rowan Ellis, https://youtu.be/SMFll3aIbmo)

Primary Sources:

📺 “Black Sails” (2014-2017) (Robert Levine and Jonathan E. Steinberg) 📚 “Treasure Island” (1883) (Robert Louis Stevenson) 📺 Kunst und Krempel (1985-present) (BR Fernsehen)

Secondary Sources:

📚 “Why We Love Pirates” (2020) by Rebecca Simon 🎮 “The Last of Us” (2013) (Naughty Dog) (Sony Computer Entertainment) 📜 Jeffries, Stuart. “Woke the plank! Were pirate ships actually beacons of diversity and democracy?” (https://www.theguardian.com/artanddesign/2023/apr/04/woke-plank-pirate-ships-diversity-democracy-cornwall-exhibition)

🎞️ “Pirates of the Caribbean” (2003-2017) (dir. Gore Verbinski, Rob Marshall, Joachim Rønning, Espen Sandberg, 📜 Ted Elliott and Terry Rossio, Jeff Nathanson) 📼 “Jonathan Ross Interviews Keira Knightley part 1” (goldenultra, https://www.youtube.com/watch?v=WGJ_atmr4c0&t=284s) from 4:43. 🎞️ “Cutthroat Island” (1995) (starring Geena Davis) (dir. Renny Harlin, 📜 Robert King, Marc Norman) 🎞️ “Romancing the Stone” (1984) (dir. Robert Zemeckis, 📜 Diane Thomas) 🎞️ “Indiana Jones: Raiders of the Lost Ark” (1981) (dir. Steven Spielberg, 📜 Lawrence Kasdan) 🌐 The Bechdel Test (https://en.wikipedia.org/wiki/Bechdel_test) 📺 Game of Thrones (2011-2019) (David Benioff and D. B. Weiss) 🌐 Mr Scott (https://black-sails.fandom.com/wiki/Mr._Scott) 📼 “Don’t be creepy, Emma Thompson” (verilybitchie, https://youtu.be/acccffJnr5A)

Recommendations:

🪧 SAG-AFTRA on why the strikes are imperative for the survival of the acting profession (https://www.sagaftra.org/were-fighting-survival-our-profession) 📜 FAQs for Influencers (https://www.sagaftrastrike.org/influencer-faqs)

Lili’s recommendations: 🎞️ “Little Shop of Horrors” (1986) (dir. Frank Oz, 📜 Howard Ashman) 📼 “The Musical That Changed Disney: Little Shop of Horrors” (Dreamsounds, https://youtu.be/esiADqA2FXU)

📱Social Media Handles📱:

IG:     https://www.instagram.com/liliannapod/ Twitter:     https://twitter.com/liliannapod Tumblr:    https://www.tumblr.com/blog/liliannasprereadmediathek

🎹Intromusic🎹: "Wall" by Jahzaar, licenced under Attribution-ShareAlike 4.0 International (CC BY-SA 4.0)  

🎹Outro Music🎹: “Waterbeat” by DJ Lengua, licenced under Attribution 3.0 Unported (CC BY 3.0)

🎹Transition Music🎹: “Page Turns, Book Close” by Pixabay – Pixabay “Counting Me Shillings” by Pixabay – Pixabay “Sea Waves” by Pixabay – Pixabay “Sound Effect Seagulls” by ScottishPerson – Pixabay “Chest Opening” by Pixabay – Pixabay “sword against sword” by Pixabay – Pixabay “Apple Bobbing in a Gymnasium” by Pixabay – Pixabay

[paoloferrario]

Max Horkheimer (1895-1973), Theodor Adorno (1903-1969): La bella vita dei filosofi di Francoforte che volevano fare la rivoluzione vista oceano, di Simone Regazzoni, in La Stampa/Tuttolibri, 1 luglio 2023. Sul libro: Stuart Jeffries, Grand Hotel Abisso, Edt, 2023, pp. 536

letto in edizione cartacea cerca in https://www.lastampa.it/tuttolibri/2023/07/01/recensione/la_bella_vita_dei_filosofi_di_francoforte_che_volevano_fare_la_rivoluzione_vista_oceano-12883545/

[salonnierealexis]

Ephemeral is right: Slade estimates that pirates lasted on average two years at their illegal trade before being hanged, drowned or sensibly retiring. In some iterations, the Jolly Roger flag includes not just skull and crossbones but an hourglass, to make the point that the life of the pirate was nasty, brutish and – even if an adrenaline-fuelled rollercoaster – short. Welsh pirate Bartholomew Roberts (AKA Black Bart or, in Welsh, Barti Ddu) died aged 39 after seizing 400 prizes, possibly a pirate world record. Legend has it that Teach wove hemp into his beard and set it alight before battle in order to intimidate his enemies. Fear, as much as cutlasses and gunpowder, was a leading weapon.

Woke the plank! Were pirate ships actually beacons of diversity and democracy?

Stuart Jeffries

Tue 4 Apr 2023 10.30 EDT

https://www.theguardian.com/artanddesign/2023/apr/04/woke-plank-pirate-ships-diversity-democracy-cornwall-exhibition