#anthony con h

[anthonyconh]

[andydrysdalerogers]

The Type You Save ~ A Bucky Barnes Detective AU

I posted this story on Wattpad and I’m bringing this over here. I wrote the story with specific actors in mind for roles. I hope you will enjoy this one. I haven’t decided what day I’m posting the chapters. If you have a favorite day let me know!

TW: mob, death, smut, rape intentions, angst, guns, family abandonment, dub-con, manipulation

I’ll be tagging my tag list at the bottom and it is open!

Preview is below the cut!

Detective James Barnes hasn't seen the love of his life in three years. Since the night she was almost caught stealing a painting. He knows it was her and she disappeared leaving him confused and heart broken.

Alexandra Richards never expected to be pulled back into her old life two years after she left it. She had found love and a home and was happy. Until a note blackmailed her to take one last job. Three years later she walked into the last person she expected to see in San Francisco. Because he lived in New York right?

They always put family before everything. And he would do anything to get his family back. Because she's the type you save.

Chapters:

O N E

T W O

T H R E E

F O U R

F I V E

S I X

S E V E N

E I G H T

N I N E

T E N

E L E V E N

T W E L V E

T H I R T E E N

F O U R T E E N

F I F T E E N

S I X T E E N

S E V E N T E E N

THE CAST

Anne Hathaway ~ Alexandra "Alex" Richards

"The Cat"

Sebastian Stan ~ James "Bucky" Barnes

Chris Evans ~ Steve Rogers

Scarlet Johansson ~ Natasha Romanoff

Anthony Mackie ~ Sam Wilson

Jamie Doran ~ Christian Grey

"The Boss"

Wyatt Russell ~ John Walker

"The Hand"

Chace Crawford ~ Nate Archibald

"The Snake"

Tag list

@patzammit @texmexdarling @slutforchrisjamalevans @amiquette @before-we-get-started @firephotogrl74 @tinkerbelle67 @bunnyforhim @alexakeyloveloki

[byneddiedingo]

Erich von Stroheim and Maude George in Foolish Wives (Erich von Stroheim, 1922)

Cast: Erich von Stroheim, Miss DuPont, Maude George, Mae Busch, Rudolph Christians, Dale Fuller, Albert Edmondson, Cesare Gravina, Malvina Polo, C.J. Allen. Screenplay: Erich von Stroheim; titles: Marian Ainslee, Walter Anthony. Cinematography: William H. Daniels, Ben F. Reynolds. Art direction: Richard Day, Elmer Sheehy, Van Alstein. Film editing: Arthur Ripley. 

Erich von Stroheim's reach exceeded Hollywood's grasp, though not without some initial encouragement by the studio heads. Universal eagerly promoted Foolish Wives as "the first million-dollar movie," and most of that sum was apparent on screen: the huge sets re-creating Monte Carlo that were built on the Monterey Peninsula in California. Some of it, too, wasn't visible: Stroheim reportedly insisted on having underwear created for his actors bearing the monograms of their characters. But there were limits to what the studio would do for the director: When Rudolph Christians, a key actor in the film, died in mid-filming, Stroheim proposed that his scenes be reshot with his stand-in, Robert Edeson, but was forced to give in to the studio's work-around: Edeson played the role in the remaining scenes with his back to the camera. But mostly, the studio's resistance was to Stroheim's vision of a movie that would run somewhere between six and 10 hours and be shown on two consecutive nights. He was forced to settle for a three-and-a-half-hour version, which was subsequently cut again under the instructions of the New York censors. More cuts by the studio followed after the film was a box office disappointment, so that what we see today is a reconstruction cobbled together from existing versions. But after that, what we have is a juicy, kinky melodrama about decadent Europe trying to corrupt innocent America. Stroheim plays a con man pretending to be an exiled Russian aristocrat, Count Sergius Karamzin, living with two women he says are his cousins: the phony princesses Olga Petchnikoff (Maude George) and Vera Petchnikoff (Mae Busch). They're out to milk whatever cash they can from suckers at Monte Carlo, and Sergius sets his sights on Helen Hughes (Miss DuPont), the wife of an American diplomat (Christians). In his down time from that seduction, he also pursues, with purely carnal intent, a hotel maid (Dale Fuller) and the pretty but mentally challenged daughter (Malvina Polo) of the man who counterfeits the money Sergius uses to bilk gamblers at the casino. There's a spectacular storm and an even more spectacular fire, too, before Sergius gets perhaps more than what's coming to him. Even in its truncated version, Foolish Wives is almost too much. 

[cffabioblog]

Grabacion en RCA Studio B Nashville

Referencia:

www.youtube.com/watch?v=JDewI1…

(© De Cadence Records / Michael Anthony / Michael J. Logiudice y Paul Kaufman. Alls Rights Reserved.)

El Video de referencia...

www.youtube.com/watch?v=Ai3HU3…

(© De TJL Productions.  Alls Rights Reserved.)

Versión:

Desde el Famoso RCA Studio B, in Nashville, Tennesse, vemos con un Ren Hoek de productor muy molesto y Beifong en la sala de mezcla y edición del estudio durante la grabación tipo cover de "Poetry In Motion" de Johnny Tillotson, pero de peor forma, como... "Chucheria En Movimiento" con Un Johnny Poeta (Che Copete). Dirigida Por Squidward Tentacles en la Dirección Orquestal, Miriam de Turning Red, afirmando las partituras del director, las del piano, un clásico, Jenna, del filme Balto De Universal junto con el Pianista Chileno SIR Valentín Trujillo.

En la Batería, pero no se nota, a cargo de SIR Ringo Starr, Bill Clinton como Saxofonista, Henry Hugglemonster, Berth y un delicuente muy peligroso como Guitarristas, Frei en el Contrabajo, Mr. Gus de Uncle Grandpa, Bunta de ShinChan, Red Guy de Cow & Chicken, Droopy y Johnny Bravo como Violinistas. Harold de Billy & Mandy, en la Tuba, William "Bill" Fontaine de La Tour Dauterive del King Of The Hill manejando el Clarinete, el Fagot, El Oboe y la Tromba, Merida de Brave en el Trombón, y "El Chacal De La Trometa", obvio, con su Trompeta.

Doña Treme de Condorito, Heather de Dragons de DreamWorks, Han Hill del King Of The Hill, muy enojado y Makoto Kino de Sailor Moon en el coro.

Nota: para esta ácida cover de dicha canción, se duro 2 días y medio de grabación, es debido, a que hubo que hacer 1633 Takes, la Take N° 1634, fue la definitiva y perfecta.

Despues de ello, tuvieron que grabar las 990 Takes del Tema... "Disney's Princess" en ves de "Princess, Princess..." del Johnny Tillotson.

El Dicho Tema..

www.youtube.com/watch?v=FQ9YH2…

(© de Johnny Tillotson / Barnaby Records. Alls Rights Reserved.)

Copyrights

Red Guy

© David Feiss. Alls Rights Reserved.

Mr. Gus and Johnny Bravo

© Cartoon Network / MAXDiscovery. Alls Rights Reserved.

Harold

© Maxwell Attoms. Cartoon Network / MAXDiscovery. Alls Rights Reserved.

Droopy

© William Hanna / Joe Barbera / Hanna-Barbera / Cartoon Network / MAXDiscovery. Alls Rights Reserved.

Henry

© Disney / Noah N. Alls Rights Reserved.

Berth

© Sesame Workchop. Alls Rights Reserved.

Ren Hoek

© Viacom / Nickelodeon / John K. Alls Rights Reserved.

Toph

© Viacom / Nickelodeon / Di Damartino / Konyesco. Alls Rights Reserved.

Squidward

© Viacom / Nickelodeon / Steven H. Alls Rights Reserved.

Bill Fontaine And Hank Hill

© Disney / FOX / 21'Th Century / Micke J. Alls Rights Reserved.

Doña Tremebunda

© WorldEditords / Pepo.  Alls Rights Reserved.

Jenna

© Universal. Alls Rights Reserved.

El Chacal

© Canal 13 / Univision / Mario K. Alls Rights Reserved.

Makoto Kino

© Naoko Takeuchi / Toei. Alls Rights Reserved.

Heather

© DreamWorks Animation. Alls Rights Reserved.

Miriam Mendelsohn

© Pixar / Domee Shi. Alls Rights Reserved.

Merida

© Pixar / Brenda Chapman. Alls Rights Reserved.

[seph7]

J.T. Walsh (1999)

I like Oliver Stone movies, but I stayed away from his Nixon when it was in the theaters in 1995, and never rented it on video. As the child of good California Democrats, I grew up hating Nixon. When I was in my twenties and he was president, he gave me more reason to hate him than I ever wanted. When he died I didn’t want to think about him anymore.

One night, though, flipping channels after the late news had closed down, I happened onto Nixon running on HBO, and I didn’t turn it off. I was pulled in, played like a fish through all the fictions and flashbacks, dreaming the movie’s dream: waiting for Watergate.

It came into focus with a strategy session in the Oval Office. Anthony Hopkins’s Nixon is hunching his shoulders and look­ing for help. James Woods’s impossibly reptilian H. R. Halde­man is stamping his feet like Rumpelstiltskin and fulminating about “Jew York City.” Others raise their voices here and there—and off to the side is J. T. Walsh, the canniest and most invisible actor of the 1990s, doodling.

As almost always, Walsh was playing a sleaze, a masked thug, here a corrupt government official, White House adviser and Watergate conspirator John Ehrlichman—as elsewhere he has played a slick Hollywood producer, a college-basketball fixer, the head of a crew of aluminum siding salesmen, a porn king who makes home sex videos with his own daughter, a slew of cops (Internal Affairs bureaucrat on the take in Chicago, leader of a secret society of white fascists in the LAPD), and a whole gallery of con artists, confidence men who seem to live less to take your money than for the satisfaction of getting you to trust them first.

Walsh in the Oval Office is physically indistinct; he usually was. At fifty-two in 1995 he looked younger, just as he looked older than his age when, after eight years as a stage actor—most notably as the frothing sales boss in David Mamet’s Glengarry Glen Ross—he began getting movie roles in 1986. Except near the end of his life, when his weight went badly out of control, his characters would have been hard to pick out of a lineup. Like Bill Clinton he was fleshy, vaguely overweight, with an open, florid, unlined face, a manner of surpassing reasonableness, blond in a way that on a beige couch would all but let him fade into the cushions. He had nothing in common with even the cooler, more sarcastic heavies of the forties or the fifties—Victor Buono’s police chief in To Have and Have Not, say, or the coroner in Kiss Me Deadly, their words dripping from their mouths like syrup with flies in it. He had nothing to say to the heavies appearing alongside of him in the multiplexes—Dennis Hopper’s psychokillers, Robert Dalvi’s scum-suckers, Mickey Rourke, with slime oozing through his pores, the undead Christopher Walken, his soul cannibalized long ago, nothing left but a waxy shell.

Walsh’s characters are extreme only on the inside, if he allows you to believe they are extreme at all; as he moves through a film, regardless of how much or how little formal authority his character might wield, Walsh is ordinary. You’ve seen this guy a million times. You’ll see him for the rest of your life. “What I enjoy most as an actor,” he said in December 1997, two months before his death from a heart attack, “is just disappearing. Most bad people I’ve known in my life have been transparent. Not gaunt expressions—they’re Milquetoasts. It’s Jeffrey Dahmer arguing with cops in the streets about a kid he’s about to eat—and he convinces them to let him keep him. And takes him back up and eats him. What is the nature of evil that we get so fascinated by it? It’s buried in charm, it’s not buried in horror.”

Walsh’s charm—what made you believe him, whether you were another character standing next to him in a two-shot, or watching in the audience—was a disarming, everyday realism, often contrived in small, edge-of-the-plot roles, his work with a single expression or a line staying with you long after any memory of the plot crumbled. As a lawyer happily tossing Linda Fiorentino criminal advice while an American flag waves in the breeze outside his window, Walsh taps into a profane quickness that for the few moments he’s on-screen dissolves the all-atmosphere-all-the-time film noir gloom of John Dahl’s The Last Seduction. In The Grifters, as Cole Langley, master of the long con, he radiates an all-American salesman’s glee (“Laws will be broken!” he promises a mark) that makes the hustlers holding the screen in the film—Anjelica Huston, John Cusack, Annette Bening—seem like literary conceits. Yet it all comes through a haze of blandness, as it does even when Walsh plays a sex killer, a crime boss, a rapist, a racist murderer, as if at any moment any terrible impression can be smoothed away: How could you imagine that’s what I meant?

In the Oval Office his Ehrlichman, whom America would encounter as the snarling pit bull lashing back at Senator Sam Ervin’s Watergate investigations committee, retains only the blandness, occasionally offering no more than “I don’t know if that’s such a good idea” before returning to his doodles. It was this blandness that allowed Walsh to flit through history—in Nixon playing White House fixer Ehrlichman; in Hoffa Team­ster president Frank Fitzsimmons, locked into power by a deal that Ehrlichman helped broker; in Wired reporter Bob Woodward, who helped bring Ehrlichman down—but as Walsh sits with Nixon and Haldeman and the rest you can imagine him absenting himself from the action as it happens, instead contemplating all the roles in all the movies that have brought him to the point where he can take part in a plot to con an entire nation.

What makes Walsh such an uncanny presence on-screen—to the degree that, as the trucker in the first scenes of Breakdown, or Fitzsimmons as a drunken Teamster yes-man early in Hoffa, he seems to fade off the screen and out of the movie, back into everyday life—is that while the blandness of his characters may be a disguise, it can be far more believable than whatever evil it is apparently meant to hide. Even as it is committed, the evil act of a Walsh character can seem unreal, a trick to be taken back at the last moment, even long after that moment has passed—and that is because his characters, the real people he is playing, can appear to have no true identity at all. You can’t pick them out of the lineups of their own lives.

At the very beginning of his film career, in 1987, in David Mamet’s House of Games, Walsh is the dumb businessman victim of a gang of con men running a bait-and-switch, then a cop setting them up for a bust, then a dead cop, then one of the con men himself, alive and complaining, “Why do I always have to play the straight man?” The straight man? you ask him back. In Breakdown, in a rare role in which he dominates a film from beginning to end, he first appears as a gruffly helpful trucker giving a woman a ride into town while her husband waits with their broken-down car. She disappears, and when the husband finally confronts the trucker, with a cop at his side, Walsh’s irritated denial that he’s ever seen his man before in his life seems perfectly justifiable—even if, as Walsh saw it, that scene “had a residual effect on the audience. ‘Don’t catch me acting’—when I lied, deadpan, on the road, you hear people in the audience: ‘He’s lying!'”The moment came loose from the plot, as if, Walsh said, “I’m not just acting”—and that, he said, was where all the cheers in the theaters came from when in the final scene he dies. He had fooled the audience as much as the other characters in the movie; that’s why the audience wanted him dead.

Walsh’s richest role came in John Dahl’s Red Rock West. The mistaken-identity plot—with good guy Nicolas Cage mis­taken for hit man Dennis Hopper—centers on Walsh’s Wayne Brown, a Wyoming bar owner who’s hired one Lyle from Texas to murder his wife. As Brown, Walsh is also the Red Rock sheriff—and he is also Kevin McCord, a former steelworks bookkeeper from Illinois who along with his wife stole $1.9 million and was last seen on the Ten Most Wanted list. Walsh plays every role—or every self—with a kind of terrorized assurance that breaks out as calm, certain reason or calm, reasoned rage. He’s cool, efficient, panicky, dazed, quick, confused. You realize his character no longer has any idea who he is, and that he doesn’t care—and that it’s in the fact that they don’t care that the real terror of Walsh’s characters resides. You realize, too, watching this movie, that in all of his best roles Walsh is a center of nervous gravity. His acting, its subject, is all about absolute certainty in the face of utter doubt. Yes, you’re fooled, and the characters around Walsh’s might be; you can’t tell if Walsh’s character is fooled or not.

At the final facedown in Red Rock West, all the characters are assembled and Dennis Hopper’s Lyle is holding the gun. “Hey, Wayne, let me ask you something,” he says. “How’d you ever get to be sheriff?” “I was elected,” Walsh says with pride. “Yeah, he bought every voter in the county a drink,” his wife sneers—but so what? Isn’t that the American way? Get Walsh out of ‘this fix and it wouldn’t have been the last election he won.

Watching this odd, deadly scene in 1998, I thought of Bill Clinton again, as of course one never would have in 1992, when Red Rock West was released and Clinton was someone the country had yet to really meet. In the moment, looking back, seeing a face and a demeanor coming together out of bits and pieces of films made over the last dozen years, it was as if—in the blandness, the disarming charm, the inscrutability, the menace, the blondness, moving with big, careful gestures inside a haze of sincerity—Walsh had been playing Clinton all along. He was not, but the spirit of the times finds its own vessels, and, really, the feeling was far more queer: it was as if, all along, Bill Clinton had been playing J. T. Walsh.

[joseandrestabarnia]

Sir Anthony van Dyck La reina Enriqueta María con Sir Jeffrey Hudson, 1633 Medio: óleo sobre lienzo Dimensiones: total: 219,1 × 134,8 cm (86 1/4 × 53 1/16 in.) enmarcado: 261,62 × 173,99 × 14,6 cm (103 × 68 1/2 × 5 3/4 in.) Línea de crédito: Colección Samuel H. Kress Número de acceso: 1952.5.39

Descripción general En 1632, Anthony van Dyck fue invitado a Inglaterra para trabajar en la corte del rey Carlos I y la reina Enriqueta María. En Van Dyck, la pareja real y la aristocracia inglesa encontraron un artista cuyos dones coincidían perfectamente con sus sensibilidades artísticas, así como con sus necesidades y aspiraciones políticas. Van Dyck infundió a sus retratos del rey y la reina, incluida esta representación de la reina Enriqueta María a los 24 años, una ternura y una calidez de expresión que transmiten plenamente los ideales de paz y armonía que subyacen a su filosofía del derecho divino a gobernar. Carlos I no solo encargó a Van Dyck que pintara retratos para su propia colección, sino también como obsequio para cortesanos leales, embajadores y gobernantes extranjeros. Este magnífico retrato de la reina es el tipo de pintura que el rey tradicionalmente regalaría a un favorito de la corte con fines políticos. Enriqueta María, hija del rey Enrique IV de Francia y hermana del rey Luis XIII, ejerció una fuerte influencia en la moda y el protocolo de la corte, e introdujo las modas continentales y los jardines italianos en Inglaterra. Van Dyck la retrató vestida para la caza con un brillante traje de montar de satén azul con un delicado cuello de encaje en lugar de la rígida y formal gorguera isabelina que todavía se usa ampliamente. Mientras que la pose elegante y la expresión recatada de la reina son a la vez regias y entrañables, su elegante sombrero negro de ala ancha con plumas y su vestido brillante crean una sensación de vitalidad y vitalidad. El amor de la reina por el entretenimiento está simbolizado por la presencia de Sir Jeffrey Hudson, de 14 años, y el mono Pug, ambos favoritos reales. Hudson había ofrecido sus servicios a la reina cuando era un niño. Poseía un ingenio rápido y se convirtió en uno de los consejeros de confianza de la reina, incluso se unió a ella en el exilio en Francia en los primeros años de las guerras civiles inglesas (1642-1651). Este retrato demuestra magníficamente los métodos de trabajo de Van Dyck y las razones de su fenomenal éxito. Aunque el retrato muestra a una mujer alta con un rostro ovalado, barbilla puntiaguda y nariz larga, se dice que la reina era pequeña, con una cabeza redonda y rasgos delicados. Van Dyck la idealizó mucho en el retrato, y este halago artístico debe haberla complacido. Para acentuar aún más su estatus, Van Dyck retomó una idea compositiva que desarrolló por primera vez en Génova a principios de la década de 1620 con su retrato de la marquesa Elena Grimaldi Cattaneo: retrató a la reina de pie justo detrás del pórtico de una imponente estructura arquitectónica. La columna estriada enfatiza su altura ya exagerada, y la corona y el paño de oro enfatizan su realeza. En la preparación del retrato, Van Dyck debe haber realizado un estudio cuidadoso de la cabeza de Henrietta Maria, pero como probablemente posó solo brevemente para un boceto de la composición general, es probable que pintara el retrato real a partir de una modelo o maniquí vestido con el traje de la reina. El naranjo detrás de Henrietta Maria, que recibió el nombre de su padre, Enrique IV de Francia, y su madre, María de Médici, rinde homenaje visual a sus poderosos antepasados ​​florentinos. El escudo de los Médici contiene cinco bolas de oro, que se cree que representan naranjas de la famosa colección de árboles cítricos de la familia. El naranjo, símbolo de pureza, castidad y generosidad, también se asociaba con la Virgen María, la santa patrona de Henrietta Maria. Colección: Colección Samuel H. Kress de la Galería Nacional de Arte

[juarezesdeporte]

LO MEJOR ESTÁ POR VENIR!!

El "¡Play ball!" anuncia el comienzo de los Playoffs de las Grandes Ligas.

Con la lista completa de invitados, tras la confirmación de Mets de Nueva York y Braves de Atlanta, se levanta el telón en el diamante de la Postemporada para la Ronda de Comodines, la cual se disputará a partir de hoy y hasta mañana -de ser necesario- y avanzarán aquellas novenas que ganen 2 de 3 juegos.

lDel lado de la Liga Americana, los enfrentamientos serán protagonizados por Astros de Houston frente a Tigers de Detroit y los Orioles de Baltimore van contra los Royals de Kansas City.En la primera llave, el pitcheo hará la diferencia, pues los felinos enviarán al montículo a Tarik Skubal, ganador de la Triple Corona, con una efectividad promedio de 2.39, mientras que los texanos contarán con Framber Valdez, un experimentado lanzador que terminó la campaña regular con 2.91 de promedio de carreras limpias (ERA).

La otra combinación también promete espectáculo con la explosividad en los bates Baltimore, encabezados por el campocorto Gunnar Henderson, y la fe de los Royals tras volver a los Playoffs después de 9 años, la última vez fue en 2015.

En la Liga Nacional, Cerveceros de Milwaukee tiene la misión de acabar con los Mets de Nueva York, quienes les complicaron su clasificación a la Postemporada.Padres de San Diego, que finalizaron detrás de Dodgers en la División Oeste con marca de 93-69, no tienen inconvenientes de medirse con Bravos de Atlanta, última novena en agenciarse su boleto.

lAunque hay claros favoritos, en octubre pueden suceder muchas cosas, así como en 2023, que el Clásico de Otoño se definió entre Rangers de Texas y Diamondbacks de Arizona, dos franquicias comodines.Grandes Ligas Ronda de Comodines Juego 1

LIGA NACIONAL

Atlanta @ San Diego

18:30 h / Fox Sports 2Favorito: Padres- San Diego presume el tener en su lineup a Luis Arráez, tres veces ganador del título de bateo de las Grandes Ligas de manera consecutiva (2022 a 2024).- El primera base terminó con .314 de promedio de bateo y superó al japonés Shohei Ohtani, de los Dodgers.- Manny Machado, Jurickson Profar y Jake Cronenworth son otros referentes con el bate.- Jugador a seguir: Fernando Tatis Jr.

NY Mets @ Milwaukee

15:30 h / Fox Sports PremiumFavorito: Brewers- Milwaukee necesita romper con su maldición en los Playoffs.- Aunque es su sexta aparición en la Postemporada, desde 2018 no ganan una serie en esta instancia, así que la presión por revertir ese panorama puede jugarles en contra.- La actuación de sus cañoneros Willy Adames y William Contreras debe ser perfecta, al igual que sus pitchers Freddy Peralta y Colin Rea.- Jugador a seguir: Willy Adames

LIGA AMERICANA

Detroit @ Houston

12:30 h / ESPN 2Favorito: Astros- Después de un duro arranque de campaña, Houston encontró el equilibrio para cerrar con fuerza la fase regular y meterse a su - Postemporada número 9 en los últimos 10 años. Además, saborean lo que es ganar una Serie Mundial recientemente, pues se coronaron en 2017 y 2022.- En cuestión de números, registraron 88 victorias por 73 derrotas en la campaña regular, una marca similar a la de Detroit, la cual es de 86-76.- Pelotero a seguir: Justin Verlander

Kansas City @ Baltimore

14:00 h / ESPN 3- Favoritos: Orioles- Pese a no replicar las 101 victorias de 2023, los Orioles no perdieron de vista el objetivo de alcanzar los Playoffs con un róster que combina experiencia y juventud.- El jardinero Anthony Santander, con 44 cuadrangulares en su cuenta y 102 carreras impulsadas, es de los hombres que comanda la ofensiva.- Gunnar Henderson, campocorto, suele responder en los momentos precisos.- Jugador a seguir: Jackson Holliday

(Sineli Santos/Agencia Reforma)

[themovieblogonline]

Avengers Doomsday: Only Stephen McFeely Returns

When it comes to the Marvel Cinematic Universe (MCU), few things surprise fans more than casting rumors and unexpected character arcs. The upcoming "Avengers Doomsday" is no exception. With Stephen McFeely stepping up as the sole writer, this movie promises to be both a thrilling continuation of the Avengers saga and a bold new direction. But the absence of Christopher Markus, McFeely's longtime writing partner, raises eyebrows and questions alike. Stephen McFeely Avengers Solo Venture Stephen McFeely's return to the writer's seat is exciting, yet bittersweet without Christopher Markus. The duo, known for penning "Captain America: The Winter Soldier," "Captain America: Civil War," "Avengers: Infinity War," and "Avengers: Endgame," brought a depth and cohesiveness to the MCU that fans adore. McFeely's solo run on "Avengers Doomsday" marks a significant shift, one that might bring fresh perspectives to the franchise. The Plot Thickens: Doctor Doom and the Fantastic Four Speculation around "Avengers Doomsday" is rampant, especially with the tantalizing hint of Robert Downey Jr.'s potential return, not as Iron Man, but as Doctor Doom. This alternate-universe twist could provide the perfect new wrinkle for Downey's MCU return, blending nostalgia with fresh intrigue. While nothing is confirmed, the idea of seeing Downey as a villain, especially one as iconic as Doctor Doom, has fans buzzing. Adding to the excitement, Marvel Studios has confirmed that the new cast of "The Fantastic Four: First Steps" will appear in both "Avengers Doomsday" and "Avengers: Secret Wars." This lineup includes Pedro Pascal as Reed Richards/Mister Fantastic, Vanessa Kirby as Susan Storm/Invisible Woman, Joseph Quinn as Johnny Storm/Human Torch, and Ebon Moss-Bachrach as Ben Grimm/the Thing. Their involvement promises a crossover that could redefine the MCU's landscape. Directorial Dynamics: The Russo Brothers Return Joe and Anthony Russo, the dynamic duo behind some of the MCU's most successful films, are back to direct "Avengers Doomsday." Their return is a comforting constant in a sea of changes, bringing their unique vision and storytelling prowess to the next chapter of the Avengers' saga. In a Hall H panel at San Diego Comic-Con, the Russos hinted at a "very special story" that convinced them to rejoin the MCU, setting the stage for another epic installment. The Future of the Avengers As we gear up for "Avengers Doomsday," the MCU's future looks both thrilling and unpredictable. With new faces joining old favorites and potential twists like Robert Downey Jr.'s Doctor Doom, the film is set to challenge and excite fans. Stephen McFeely's Avengers solo writing venture, coupled with the Russo Brothers' directorial expertise, ensures that "Avengers Doomsday" will be a landmark event in the Marvel saga. Whether you're here for the action, the drama, or the possibility of a villainous Iron Man, one thing is clear: the MCU is far from done surprising us. Read the full article

[ulkaralakbarova]

Two street basketball hustlers try to con each other, then team up for a bigger score. Credits: TheMovieDb. Film Cast: Sidney Deane: Wesley Snipes Billy Hoyle: Woody Harrelson Gloria Clement: Rosie Perez Rhonda Deane: Tyra Ferrell Robert: Cylk Cozart Junior: Kadeem Hardison George: Ernest Harden Jr. Walter: John Marshall Jones Raymond: Marques Johnson T.J.: David Roberson Zeke: Kevin Benton Dwight ‘The Flight’ McGhee: Nigel Miguel Willie Lewis: Duane Martin Self: Bill Henderson Self: Sonny Craver Self: Jon Hendricks Tony Stucci: Eloy Casados Frank Stucci: Frank Rossi Duck Johnson: Freeman Williams Eddie ‘The King’ Faroo: Louis Price Himself: Alex Trebek Reggie: Reggie Leon Etiwanda: Sarah Stavrou Tad: Reynaldo Rey Lanei: Lanei Chapman Real Estate Agent: Irene Nettles Tanya: Torri Whitehead Alisa: Lisa McDowell The Bank: Dion B. Vines Malcolm: David Maxwell Tournament Announcer: Bill Caplan Tournament Referee: Richard James Baker Big Guy’s Girlfriend: Amy Golden Little Guy’s Girlfriend: Jeanette Srubar Sponsor: Zandra Hill Sponsor: Fred P. Gregory Pickup Truck Driver: Carl E. Hodge Ruben: Ruben Martinez Oki-Dog Businessman: Gary Lazer Yolanda: Donna Howell Jake: Don Fullilove Jeopardy! Announcer: Johnny Gilbert Dr. Leonard Allen: Leonard A. Oakland Rocket Scientist: Allan Malamud Dressing Room Staffer: Jeanne McCarthy Cop: John Charles Sheehan Leon: Gregg Daniel Gambler: Carl A. McGee NBA Announcer: Chick Hearn NBA Announcer: Stu Lantz Ballplayer: Ronald Beals Ballplayer: Joe Metcalf Ballplayer: Mahcoe Moore Ballplayer: Mark Hill Ballplayer: Eric Kizzie Ballplayer: Chalmer Maddox Ballplayer: Leroy Michaux Ballplayer: Joseph Duffy Ballplayer: Pete Duffy Ballplayer: Gary Moeller Ballplayer: Daniel Porto Ballplayer: Lester Hawkins Ballplayer: Jeffrey Todd Film Crew: Producer: Don Miller Director: Ron Shelton Producer: David V. Lester Editor: Kimberly Ray Director of Photography: Russell Boyd Editor: Paul Seydor Costume Design: Francine Jamison-Tanchuck Production Design: J. Dennis Washington Art Direction: Roger G. Fortune Executive Producer: Michele Rappaport Casting: Victoria Thomas Unit Production Manager: Ed Milkovich Set Decoration: Robert R. Benton Sound Re-Recording Mixer: Gregg Rudloff Makeup Department Head: Stephanie Cozart Burton Hair Department Head: Sterfon Demings Makeup Artist: Patricia Messina Hairstylist: Kenneth Walker Second Assistant Director: Robert J. Metoyer First Assistant Director: Richard Alexander Wells Sound Editor: Patrick Bietz ADR Editor: Barbara J. Boguski Sound Editor: Robert Bradshaw Sound Re-Recording Mixer: David E. Campbell Sound Editor: Larry Carow Foley Editor: Bill Dannevik Foley Editor: Michael Dressel Supervising Sound Editor: Gordon Ecker Supervising Sound Editor: Bruce Fortune Sound Mixer: Kirk Francis Foley Editor: Leslie Gaulin Sound Editor: Howell Gibbens ADR Editor: Holly Huckins ADR Mixer: Doc Kane Sound Editor: John Kwiatkowski Sound Editor: Kimberly Lowe Voigt Sound Editor: Anthony Milch ADR Editor: Michele Perrone Sound Re-Recording Mixer: John T. Reitz Foley Editor: Steve Richardson Sound Editor: Steve Schwalbe Foley Editor: Shawn Sykora Sound Editor: Richard E. Yawn Stunts: Gary Baxley Stunts: Simone Boisseree Stunts: Mike Johnson Stunt Coordinator: Julius LeFlore Stunts: Scott Leva Casting Associate: Jory Weitz Costume Supervisor: Betty Jean Slater Camera Operator: Mike Benson Steadicam Operator: Michael Meinardus Gaffer: Patrick Murray Grip: Mark Pearson Grip: Ty Suehiro Grip: Clay H. Wilson Grip: Edmond Wright Movie Reviews:

[lavelled]

doubles matches, multiplication tables.

Will: In terms of getting caught being the co-captor of interlocking an underage girl, being the co-treasurer of circulating private letters and family photographs to star-wars pals without her consent; thereby stealing any career and domestic life, ruining her educated dreams and forcing her to explain to family members, throughout the decades, why she never amounted to anything, despite colleagues in her graduating class and beyond who became news-worthy successful mothers all the while expecting sex from said girl as a reward—is the stuff of knighthood.

Let’s breakdown the tight-rope, gang-rape verbiage.

Took a toll on her health—you think it’s a valued warning about a paid-for, pure-hearted sexual liaison.

It’s not.

You and your brother didn’t purchase a go-to ticket to heaven. That is pedophilia and inhumane. Where in heaven have you been that it required money and a ticket? Fortunately, what the royal press, who, again, works on my behalf, is actually messaging out is that you, the eldest, are admitting to acquiring, long ago, an unreciprocated sexual awakening with a nobody nothing girl who never signed any paperwork and whom you won’t touch.

Chemotherapy isn’t true. Your mate is not sick. The royal press secretary, who only works with my best interests in mind, acquiesced to your disparaging and outright false canning storyline, not for socio-cultural mundanity, but to loudly express through all communications and multimedia that is shared widely on the internet, the intentions of two gravely-ill con men.

Rapeyness is in the word. Think of it as a distant cousin to chemo.

The UK Mother’s Day photo of your mate and children features a knob, amongst other oddities, which is British slang for you’re a pig. The family photograph is a Getty Image, yet is attributed to you instead. If I only knew what my staff was conveying.

Hissing Evil Muppet: I wish I could continue in parallel emasculation, but to survey your falsely exuberant matrimonial photos is like pulling out teeth and nails. Your press releases ran amok with the usual mischief, detailing something about being homesick, a book, and you and Rachel very much in love. Firstly, your loyal press officials are only loyal to me and are describing you, in quite serviceable refined prose, as a mental colonic in need of a hospice.

That’s the nature of the homesickness headline.

You instruct a creeping assault; they protect a nobody nothing girl and spin it so that your reputation suffers under the misogyny and violence that you mapped out a long time ago.

The loved-up phrase is my printable media rolling their eyes at the request to glorify what is a kiddo operation. This assertion that, well, everyone in this town does it. Or, it’s just business. Ah yes. I’ve read that you’re famous for theatre, dance, and operatic standards. Your public persona, revision after revision, from rebellious prince to Girl-Dad feminist advocacy charity doting love-journeyed husband who rushes back from across the pond to a wife you clearly detest and still don’t live with whilst stalking a different woman all her life whom you’ve tethered and put into wrists bondage and mime stabbing, is not exactly empowering.

Your goodreads-rating book reference is about Spare, which is an anagram of Rape.

If you’re not hurting me with your snaked lies, if you and your brother don’t cause daily global tragedy, then why can’t I talk to my young friend, Madeleine Cusack? What was she trying to tell me? (You’re a psycho.)

Where is Caroline Flack (lock)? Can I have tea with her? Where’s my mum, Sinéad O’Connor? I have a question for food guru, Anthony Bourdain, where is he? I wonder what the significance is with the hotel and the city in France where he hurt himself.

All this can be boiled down to one basic idea: I’m just a nobody nothing woman and you won’t get within touching distance.

I meant to include horse trainers in my plea for those in the public eye who shouldn’t hurt themselves—I just read we lost one in Greece—if you participate in dressage or horse racing in some form, any form, you are the cure, don’t leave.

K

[anthonyconh]

Cuando te acerques a conocer a alguien, pregúntale: '¿Qué te hace sentir incómodo?' y presta atención a su respuesta

[giosport1973]

La grande meta della vita non

è la conoscenza, bensì l'azione

Anthony Robbins

#teamgiòsport #gymlife

#bodybuilding #nolimits

GIÒ SPORT GYM

VIA BALDEDDA N°12\A SS

BODY BUILDING

CON IL M° Giovanni Murgia

H 10/12 💛 🖤

#giòsport #gym #istruttoriesperti

[denimbex1986]

'“Be yourself," goes Oscar Wilde's famous quip*, "everybody else is already taken."

Yes, yes... it’s funny because it’s true. Except, strictly speaking, it's not true. It discounts the quite practical possibility of murdering someone you idolise in cold blood, destroying the body and assuming their identity to enjoy their life for the rest of yours. The rest is mere details: forge some utility bills, change your appearance and mannerisms, decipher their social media passwords and convince the people who love them that they’ve done a runner.

Yes, you’d have to spend the rest of your life looking over your shoulder. And yes, you'd probably have to murder anyone who gets too close to the truth. But what price is that to pay for the life you’ve always wanted?

That’s the trick according to Tom Ripley, the eponymous psychopath at the centre of Netflix’s new series Ripley, based on the bestselling set of novels by Patricia Highsmith.

The limited series, starring one-time ‘hot priest’ Andrew Scott as our life-shifting antihero, is a moody, noirish, slow-burn of a TV show, shot entirely in black and white with a score that oozes over the action like Marmite.

Scott's portrayal of Tom Ripley is as haunting as it is enthralling, capturing the character's complex layers of manipulation and inner turmoil. And unlike Anthony Minghella’s sun-drenched 1999 adaptation, starring Matt Damon and Jude Law, it’s much closer to the book’s dark and morally ambiguous tone, delving deep into the psyche of literature’s most loveable psychopath.

First published in 1955, The Talented Mr Ripley was a massive hit, immersing readers in her murky world of deception and consequence, where the line between right and wrong swirls into a murky grey. And, as decades passed, more books followed, deepening Highsmith's exploration into the lengths one man will go to escape his own identity and fulfil his desires.

So what are the books, and how should they be read? The short answer is that, while each novel can be read as a standalone story, they are interconnected and depict the evolution of Ripley's character over time. So it's best to read them chronologically.

Read on for more (WARNING: this article may include spoilers).

*There is no substantive evidence that Wilde ever said this, but it sounds like a witticism he could have said, so the attribution has stuck.

1. The Talented Mr. Ripley (1955)

In the first novel of the series, we meet Tom Ripley, a down-on-his-luck con artist living off his wits in Italy. But, in a chance encounter with the rich and classy Mr Greenleaf, he finds himself on a mission to coastal Italy to persuade Greenleaf’s loafer son to return to the U.S. and get serious.

Does he fall in love with Greenleaf Jr himself, or just with his lifestyle? It’s hard to tell. But gradually he inveigles himself into the doomed playboy’s world and, in doing so, into our sympathies.

But here's the thing: Tom is so damn likeable. He’s self-effacing, shy and charmingly naïve about the ways of the wealthy – an orphan with a hard past who, through graft, charm, and sheer force of personality, beats the odds to make a success of his life.

It's just that... the thing he's really successful at is getting away with murder.

2. Ripley Under Ground (1970)

Years have passed, and Ripley – despite Highsmith’s multiple hints that he is gay – has settled down with a wealthy French heiress and is moonlighting as a counterfeit art dealer.

But paranoia over his past is setting in. A loose thread from a past art forgery threatens to unravel the life he’s forged for himself. To silence a hungry collector, Ripley improvises a deadly gamble. The move backfires, pulling him towards a closing net.

A relentless detective digs into a missing person's case, and a ghost from Ripley's bloody past emerges. Can he silence them before his house of cards collapses, revealing the killer beneath the gentleman's facade?

3. Ripley's Game (1974)

Living the wealthy life in France, Tom Ripley craves excitement. When a shady associate asks him to arrange a murder, Ripley hatches a twisted plan. He convinces a sickly neighbour, Jonathan Trevanny, that the Mafia wants him dead.

Ripley orchestrates a chilling game, manipulating Trevanny and relishing the chaos. But the thrill turns deadly when the real Mob, suspicious of Ripley's involvement, sends hitmen. Now Ripley, forced to confront his past sins, must fight for his own survival in a deadly game of his own making.

4. The Boy Who Followed Ripley (1980)

Living the quiet life in France, Ripley's world is shaken by a teenage runaway named Frank. The boy harbours a dark secret: he killed his wealthy father. As Ripley recognises a kindred spirit in Frank, they form a twisted bond.

But that bond unravels when Frank inadvertently learns of Ripley's criminal past. So, in a bid to control the situation, Ripley kidnaps Frank to stop him from talking. Suddenly, Ripley finds himself drawn into Berlin's criminal underworld as he is forced not only to confront dangerous men, but also the lengths he is prepared to go to save his own skin.

5. Ripley Under Water (1991)

In his French chateau, Ripley cultivates a garden as scrupulously as his stolen life. Yet, a weed of suspicion sprouts. A new neighbour, the obnoxious Pritchard, seems fixated on Ripley's past.

As Pritchard probes further, the ground under Ripley's feet begins to give way. A tenacious detective from Ripley's past stirs, and a witness emerges from the shadows. Can Ripley silence the hum before it becomes an alarm, exposing the blood on his manicured hands and the chilling truth beneath his masquerade?'

[diarioelpepazo]

Desplegó todo su poder ante Toronto. El jardinero venezolano sigue aumentado su nivel ofensivo en lo que va de entrenamientos primaverales de la Gran Carpa con los Orioles. Wilmer de Jesús Flores, por su parte, durmió a los Mets de Nueva York con espectacular trabajo monticular. El derecho, de apenas 23 años de edad, se gana el respeto en el actual Spring Training. Actuó por espacio de 2.0 entradas y concedió un solo inatrapable. utlizando mayormente rectas de cuatro costuras y sliders. Los seis outs conseguidos fueron por roletazos, de sus 17 lanzamientos 12 fueron strikes. "Tan eficiente como lo ha sido esta primavera. El calentador alcanzó un máximo de 99", explicó.   I.Verde/M. Gil La organización de los Orioles de Baltimore tiene uno de los núcleos más importantes de cara a esta nueva temporada 2024 de la Major League Baseball, por lo que han mejorado considerablemente su rendimiento en los últimos años. Con esto, una de las principales razones de este éxito, tiene que ver con el jardinero, Anthony Santander. El pelotero de 29 años se ha convertido en una clave constante para su equipo, siendo uno de los bateadores más productivos de las Grandes Ligas, lo que le ha dado la oportunidad de posicionarse entre las mejores listas de bateo en el último tiempo. Con todo lo antes mencionado, es uno de los grandes protagonistas del juego frente a los Toronto Blue Jays de este domingo 10 de marzo, gracias a que mostró todo su poder de ambos lados del plato al conectar dos kilométricos cuadrangulares. El primer batazo de vuelta completa se generó en su primer turno y desde el lado derecho de los bateadores, por lo que pudo sacar la pelota por todo el jardín central para convertirse en el segundo de estos entrenamientos primaverales. Por su parte, el segundo jonrón se efectuó en el cuarto episodio y desde el lado izquierdo del plato, dejando sin palabras a todos los presentes al ver su capacidad de batear con poder desde ambos lugares de la caja. Sin duda alguna, es uno de los mejores jugadores al máximo nivel en su posición y puede ser fundamental para cada uno de los objetivos que plantee su cuerpo técnico para este año en la División Este de la Liga Americana. Wilmer de Jesús Flores con relevo dictatorial [caption id="attachment_105536" align="aligncenter" width="1155"] Wilmer de Jesús Flores. Foto: Detroit Tigers[/caption] El relevista venezolano de los Tigres de Detroit, Wilmer De Jesús Flores, se encuentra viendo acción en su primer Spring Training de las Grandes Ligas. El derecho, hermano del infielder de los Gigantes de San Francisco, Wilmer Flores, ha venido de menos a más en su rendimiento sobre el morrito. Con 23 años de edad, el oriundo de Valencia, estado Carabobo, no ha realizado su debut en la Gran Carpa, pero poco a poco empieza a ganarse el respeto del staff técnico y un posible ascenso hasta la categoría Triple A. En el 2023 llegó hasta Doble A y dejó registro de 5-3 con 3.90 de efectividad, 72 incogibles permitidos, 35 rayitas libres de suciedad, 32 pasaportes negociados y 82 ponches propinados en 80.2 capítulos de trabajo, además, tuvo un WHIP aceptable de 1.29. Con el uniforme de los felinos en los actuales entrenamientos primaverales, ha subido al montículo en cuatro ocasiones. Su más reciente labor fue en la jornada dominical de este 10 de marzo, en la que se enfrentó a la toletería de los Mets de Nueva York. Actuó por espacio de 2.0 entradas y concedió un solo inatrapable. Según el reporte del periodista Chris McCosky, utilizó mayormente rectas de cuatro costuras y sliders. Los seis outs conseguidos fueron por roletazos, de sus 17 lanzamientos 12 fueron strikes. "Tan eficiente como lo ha sido esta primavera. El calentador alcanzó un máximo de 99", explicó. La velocidad acompaña al criollo en estos retos antes de la campaña regular y no es descabellado que sea llamado al máximo show en cualquier momento de la temporada, si el equipo necesita un brazo de ese calibre en el bullpen.

Para recibir en tu celular esta y otras informaciones, únete a nuestras redes sociales, síguenos en Instagram, Twitter y Facebook como @DiarioElPepazo El Pepazo/Meridiano

[unblogparaloschicos]

Cine: Personajes gays en "Pump Up the Volume" (1990)

La idea del conductor del programa radial que, con su lenguaje disruptivo, incentiva pensamientos o comportamientos revolucionarios y transformadores, no es nueva. Quizás esté más fresca en la memoria el telefilme de Disney "Radio Rebel" (2012), pero ya antes estuvo "Buenos días, Vietnam" (1987) o "La radio ataca" (1988), entre otros exponentes.

En "Suban el volumen" (título latinoamericano) o "Rebelión en las aulas" (según su versión española), Mark Hunter (Christian Slater) compone a un adolescente retraído que se destapa cada noche, cuando su alter-ego, Hard Harry, lidera "Happy Harry-Hard-On", un programa de radio pirata que emite mensajes airados sobre la "Hubert H. Humphrey High School", su cuerpo educativo y su política de expulsar "alumnos problemáticos" a la menor oportunidad (como el caso de una chica embarazada). La fama del programa es tal que es comercializada en el instituto mediante casetes de audio (centennials, googleen), lo cual despierta la reacción restrictiva de las autoridades.

Mark, cuya labor es secreta, aún para sus padres, conmina a su audiencia a escribirle (evidentemente, las cartas llegan a una dirección secreta) sobre sus pensamientos y vidas. Así, se comunica con Malcolm Kaiser (Anthony Lucero), un joven depresivo que le comunica su deseo de suicidarse. La conversación demuestra que Mark no se toma muy en serio la gravedad de la situación, lo cual lamentará mucho más tarde: el muchacho acabará matándose y desatando, con su partida, un caos creciente en la escuela, a tal punto que involucrará a los medios locales y a la policía.

Según el sitio "The Ringer", que puedes leer aquí (si sabes inglés), Malcolm Kaiser fue pensado como un adolescente gay, pero Island Pictures, una de las posibles compañías productoras, se negó a aceptarlo.

Allí, cuando se debate sobre los alcances de su responsabilidad, Hunter recibe la carta de un adolescente, a quien llama. No hay cómo identificarlo más que como el joven rubio que, en las imágenes, prosigue al angustiado Malcolm. Su historia es igualmente brutal: gay asumido y orgulloso, algunos meses antes había sido citado por un atleta estrella del instituto, a quien le confiesa que estaba enamorado de él. Sin embargo, lo que parecía una declaración con esperanza romántica devino en algo más siniestro cuando se le aparecieron algunos de sus amigos.

Allan Moyle se despacha con un relato descarnado sobre la adolescencia y la educación estadounidense, esencial y furioso, en el que pone especial foco en la desatención de los adultos frente a problemáticas juveniles. Aquí, un informe en el sitio web "The Ringer" sobre la vigencia del filme: