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officialwagnerrant · 3 years ago

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Wagnerrant Review #2: The sea on land

Work: Der Fliegende Holländer House: Klaipėda State Music Theatre Date of performance: Streamed on Operavision on 02.04.2021

Team: Director: Modestas Pitrenas Conductor: Gediminas Šeduikis With: Almas Švilpa, Sandra Janušaitė, Tadas Girininkas, Andris Ludvigs, Rafailas Karpis, Dalia Kužmarskytė.

Review: @dichterfuerstin

If just one of Richard Wagner’s operas is fit for outdoor performances, it is with no doubt Der Fliegende Holländer. Set at the sea, it almost demands a production staged open air, with the sea or any kind of water as it’s backdrop. Not much surprisingly, the Klaipėda State Music Theatre’s production of Der Fliegende Holländer is by no means the first of it’s kind. But But while other opera houses, for example the Theater Regensburg in southern Germany, went for semi-staged or even concertant productions, the Klaipėda State Music Theatre put on a fully staged and choreographed Holländer. The outcome is visually impressive.

To be frank, the production wouldn’t bet that special if it was just your normal indoor staging. Two big scaffolds, one on each side of a big platform, mark the stage, some seemingly actual harbour buildings work as a backdrop. The Dutchman himself appears on a boat. This ship is not on the water, as far as one can see it on the video it’s on railroads. The setting in a harbour is established by gold being transported in an elevator and the women unloading boxes from a boat. And in terms of Personenregie and choreography for the sailor’s chorus, director Modestas Pitrenas uses quite simple tricks as well: Senta and Erik having their emotional duets on oposite sites of the stage, to show how far away they are from each other, giving Senta big movements for her first aria, making it a dramatic storytelling. The sailors perform a little dance for Steuermann lass die Wacht. What Pitrenas does works, but it isn’t special.

It’s the water that makes on wish to have seen the production live. Not one scene of the opera is played on actual water, it’s all on land, but it doesn’t matter, theatre is about the illusion and the illusion works. The art of director Modestas Pitrenas and probably even more of stage-designers Dalius Abaris and Sigita Šimkūnaitė gets the sea on land. They create a storm-shaken ship by having water running through the scaffolds, making sure nobody stays dry during the entire first act of the opera. This feeling of being on the stormy sea doesn’t only work for the audience at the scene. It translates strikingly through the recording as well and makes a captivating video. In person, it must have been breath-taking.

Unfortunately however, the performance of the singers cannot quite hold up to the impressive stage design. Some things can of course be excused, for example that the opera is slightly shortened. It doesn’t hurt. It’s also okay for the singers and the orchestra using microphones. The production was open-air after all and cannot profit from theatre acoustics, it even has to accommodate possible wind and other negative weather situations. A big problem when playing open-air is also the placement of the orchestra. There’s a reason for why the pit is usually located beneath or in front of the stage. In Klaipėda, the orchestra sits on a small platform next to the stage. The sound is well mixed and everything is nicely audible using earphones. For me as a German listener the strong accents many of the performers have are distracting as well. However one has to consider that the production was not made for German people and most of the audience members probably did not even notice the accents. Unfortunately, though, not all of the performers seem to be opera singers. Many lack vibrato or have a strong wobble, sound strained and audibly struggle to hit their respective role’s notes, something that cannot be helped by giving them microphones. Notable exceptions of this are Daland (Almas Švilpa) and Erik (Andris Ludvigs). The orchestra on the other hand, especially the soli, played beautifully. Personally I found them a little too soft at the parts where the music has to explode, for the storm- and Holländer-motif. It could’t really match what was going on on stage. But it was pleasant to listen to, and maybe sounded more impressive live.

Overall this Holländer is very nice to look at. However it does not seem to be marketed at opera fans, more at theatre- or just event people that want to see a nice open air spectacle. If you have a free evening I’d recommend giving it a shot anyway. I had fun, even though I did not always like the singers.

#wagnerrant reviews #Der Fliegende Holländer #Richard Wagner #opera #Wagner Opera #review #klaipeda state theatre #not a rant

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maxbernini · 4 years ago

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i know you’re probably asleep now, i don’t know your exact timezone. but anyway i thought of a thing; if you were to guess, if skamfr was airing at that time, do you think lola will acknowledge daphnes bday (may 3rd) or do you think they will forget? bonus question: do we know lola or any lamifex bdays? 🤔🤔

hiii ludvig 😚🥰 i’ll answer your other ask in a sec!! i think s8 will air around may, like s6 did, so potentially yes but i wouldn’t count on it!! i’m guessing she’ll either post an old selfie flavie and lula took during s6, or some sister-related meme like daphné did once

about lamifex’s bdays: the only officially canon one is max (january 4th aka capricorn). i saw someone on twitter say they asked the head writer about jo’s bday and it’s april 1st aka april fool’s day which i love, meaning she’s an aries. according to the skam france wikia, the internet’s most reliable site lmaooo, lola is a capricorn (jan 17th), maya is a virgo (august 23rd), redouane, sekou & bilal don’t have bdays yet, and tiff is also an aries (april 5th). but also the network last season said lola was a scorpio so [oprah voice] what is the truth?? i mean i trust teens moderating a fan wiki more than i trust francetvslash personally 😭

#also maya is apparently 17 and not 19 like we all thought !#ask #lucassdemaury

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2bstudioblog · 4 years ago

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Konami’s wheels are turning... slowly

Lot’s of interesting news heading to our heads this Monday from what I heard from Yong Yea’s video about Konami wanting to outsource their IP’s to 3rd parties.

Obviously, Akira Yamaoka has kinda given away a strong hint that he’s working on a project with Bloober which in this case would be the long awaited SH remake or the direction they had with PT before it got cancelled. Akira Yamaoka also decided that (too late) he wanted to amend the article from his interview and release it later down the line. It’s very unusual that these news happen, but we all know Yamaoka is most famous for his music in Silent Hill.

Which brings me to a funny story about my own involvement of a Silent Hill game. I mentioned this on a podcast that I was part of 2 Konami-owned IP’s that went into another direction and killing off their franchises which have been like dead bodies in a morgue for the last 7 years.

I got the request to write industrial-metal music for a Silent Hill (of course at this time I only knew the IP and their most famous version of the game has been Silent Hill 2.) game. First I was of course very excited to be part of the series, but I jumped to early until I found out it was a Pachinko-machine (A japanese style pinball-game mixed with a touch-screen and a one-armed bandit and a slot-machine in one.), and my heart sank a little. I think I produced 4-5 cues for the machine, but I’m glad that nobody will be able to hear my “mediocre” masterpieces because all you would hear are metal-balls falling into a tray. But the thing about this machine, it had taken cut-scenes from Silent Hill 2, upscaled or even re-mastered/remade the graphics which would have looked great if it was its own game. But it was the same thing they’ve done with all their other IPs when those transfer over to this kind of entertainment. All what was left of it, Jim Sterling turned the game into a Meme and all I can hear is the -”HIT THE LEVER!” and the effects overpowering the music behind it. But I’m glad it didn’t go further then that. Technically here, Silent Hill(s) died with the arrival of the pachinko-slot machine and the series have tried to re-establish itself ever since.

Another game I was a part of was a Castlevania (Dracula in Japan) themed Pachinko-slot machine, with the revolutionary phrase “Erotic Violence” in it’s PR material and video-commercial. I mean, they took the music production part of this machine very seriously because I wasn’t aware of the “EV” part. I just thought it would be a machine praising the history of Castlevania. I was assigned to re-write and re-orchestrate a few songs from Neo-classical Metal music into more Progressive Metal style, and I was super-proud of this one because they had the sheet-music already available for me. All I had to do was re-arrange some parts for a string-quartet (1 cello, 2 violins and 1 viola) and I believe it was engineered and recorded by famed engineer Kenji Nakai who was under and working with famed engineer Mr Bruce Swedien (Michael Jackson, Quincy Jones).

From that moment me and Mr. Nakai stroke a friendship because he has a passion for Progressive Metal and he asked me if I could send more songs his way. From this we both have been incredibly busy on both of our ends, but I hope we can be able to work on something in the future. I have a feeling that might be soon.

So a long story short, Konami spent a lot of money for recording, they approved everything and we were done. But when it turned out to be a pachinko-machine and not a world-wide videogame release, I just had to facepalm myself, asking the question why they keep doing so many poor decisions. Why leaving all those fans out in the cold and really start making Castlevania mean something. This void of “lots of fancy things, but no substance” started right here...

Konami are turning their wheels a little bit too late and too slow until now. After they got rid of Hideo Kojima (Who I believe was thinking of the international-market rather than the domestic one), Konami had only one thing on their minds: Making money quick and domestically. No more wasted time on translations, straight for the gambling crowd. No need to write interesting stories. No need to introduce kids to this adult material. They wanted to earn it back as fast as possible. But we all see their decisions put them on the map as a “black-company”, who mistreat their staff, shaming them out in the office for overstaying their lunch-breaks. Moving staff from one business to another, from a programmer to a Konami-fitness Center-staff, or as a toilet-cleaner at a Konami-owned pachinko-slot gambling hall. The management of the company has been horrendous for the full-time employee. I’m glad I was not part of these later projects and only wrote stuff for them for Pro Evolution Soccer series from 2009-2012. (My work on 2010-2012 was unfortunately un-credited work. :(

Metal Gear Solid V - The Phantom Pain In My Ass

When the playable teaser called Metal Gear Solid - Ground Zeroes, came out on the PS3 and later on the PS4, it was an introduction for the new graphics engine designed by Hideo Kojima’s team, simply called The FOX-Engine. Basically this “game” was more of a demo rather than a full-product. But it looked great and with a fantastic score by Akihiro Honda, Ludvig Forssell and Harry Gregson-Williams, it had everything going for it to become something really awesome. It became a standard approach from Hideo Kojima now to produce “Playable Teasers” to show a great concept while offering a 3-4 hour short campaign, showing off the engine’s graphical capabilities.

Still, the story was under progress and I knew early on that Hideo Kojima really didn’t want to do it after he always felt that Metal Gear Solid 4 was final. But here is the curse of the die-hard fans, and I’m sorry to say it. No matter how many Iron Man movies Marvel crams out, at the 3rd movie, I started to feel “This does not feel like Iron Man anymore”. But that’s what the fans wanted and is a standard in the movie industry. Always produce a trilogy. Indiana Jones has always been the 3 movies from 1981-1989. The 4th one doesn’t really need to be called Indiana Jones at all. It was there I felt, just like with Metal Gear Solid V, they were beating a DEAD RACE HORSE.

I can’t deny the talents on display for Metal Gear Solid - Ground Zeroes. It laid down some really cool foundations for the gameplay, but I still believe the better game-series for stealth was beaten by the likes of Splinter Cell and most recently Thief. Stealth in MGS has always felt a little bit childish and I only really enjoyed MGS 1, MGS 2, tried to play MGS 3 (still have it one my Vita!) and will try to finish it. MGS 3 has felt like the TRUE Zeroes experience, with the inception of the story and lore behind the cloning of Big Boss. MGS 4 finally brought it all to a great finale and I felt, there is NOTHING more to tell. MGS 1, 2 and 4 is the Trilogy, MGS 3 serves as the Prequel and I see nothing wrong with that.

Mission - Erase Kojima’s Legacy

The making of MGS V - The Phantom Pain is kinda true to it’s title. Can you feel the nostalgia? Or are we just imagining the sensation of a Metal Gear Solid game past it’s prime? The missing link? The missing limb? And with the worlds biggest cop-out of everything that had to do with story was completely missing.

Each mission is playing out every time the same, with an intro to a TV-show, giving away massive spoilers to who would appear in the mission, you do your thing (not so much of story, just a “go-here, do that approach, sneak back out, head to pick-up) rinse and repeat. I wonder how much of this was Kojima’s fault? I don’t think he was up to it. I’m sure he fought for more story but the big heads didn’t want to listen to what makes a MGS game a MGS game. The new management had now already played the hand to disown the man who put Konami on the map for games since the mid 80s.

The game is no longer marketed like before. The tagline “A Hideo Kojima Game” no longer exists and will never be part of Konami’s mission of erasing the person who gave them their fame and the recognition that a game carrying the name Konami was a brand of quality for any gamer out there. Me myself, personally only played PES because of the stellar animations, but its recently since 2012, I stopped playing the series. FIFA had already cheapened itself, PES likewise. Updating the graphics, but the same old animations have been recycled back to the PES3 days. Maybe there’s been an update in the collision engine, but otherwise everything stayed the same, with the huge amount of data collected from previous years of motion-capture, why do it all over when its all about the brand recognition? Saving money on processes wherever possible. Simple Math. And here it is. MGS V is not a MGS game.

We already knew it was going to be a massive budget behind the game of MGS V. But what can Konami do to save money on MGS V? They already have the Fox Engine running from Ground Zeroes. The assets for “Snake” (I’ll let you know why I put quotation-marks around it) and standard models will extend somewhat. Oh, yes, let’s save money on a character that doesn’t speak (Quiet), over-sexualize the character to start a fan-base of people who just dig character design, animated a sexy “shower” routine for the character for boys to go nuts over. What about voice? Let’s not really try to sync the voices to the mouths. Let’s have the guy from “24″ record his performances onto tape-logs. Kiefer Sutherland would have been a good “Snake”, but I understand now that you are not “SNAKE”. The game explains pretty soon at the end that you are just a Medic and all the tapes you’ve been listening to is the original Big Boss. You never where the character of Snake. Even though this all could have been handled better, Konami wanted to save money wherever possible. We also knew David Hayter was not asked or put forward to return as “The Voice of Snake”. But in this case I start to wonder myself, David Hayter might have dodged the biggest bullet in the most expensive, commercial and very controversial game of all time once Konami decided to kill everything that built up their reputation.

Even during production Kojima managed to start working on PT. The game Konami “silenced” after it was released on the PS-store. Guillermo Del Toro and his friendship with Hideo Kojima’s dream-game was put on ice. All because Kojima was about to get frozen out of the company that was according to Konami “Wasting too much bloody money”. I might get blacklisted for saying this, but once the new management started to mess with the other IPs for just domestic/gambling market, that’s where everything went sideways. Konami wasn’t treating their heritage with respect.

It took them 7 years to realize their mistake! And now, for those who wants to be part of 3rd party developers who would get a crack at a new Castlevania, a new Metal Gear Solid (remake I hope), Konami has realized that the only way they will survive (Yeah, Metal Gear Solid Survive killed them HARD) is to let other’s take over. Maybe my dream of scoring a Metal Gear Solid game would be somewhat more possible now rather than working in the confined space of limitations posed by the higher ups at Konami. Let 3rd party developers breathe life into the IPs because I know there are smarter ways to tell a story and I would gladly like to see the return of David Hayter in the seat, without having to deal with the blank-face approach that he was faced with every time he had to audition for Snake in MGS 2, 3 and 4! David Hayter is a fantastic writer, actor and voice-actor. He has the chops and I think we are all ready for either a re-make or a better follow up to MGS 2 and the time between that one and MGS 4.

#Metal Gear Solid V #the phantom pain #Konami #Hideo Kojima #Akira Yamaoka #Yong Yea #Castlevania #Pachinko #Silent Hill #PT #Ground Zeroes #harry gregson williams #ludvig forssell #3rd Party #Bloober team #remake #Metal Gear Solid Remake

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queeniewriteshockey · 4 years ago

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for the Atlantic division asks. sabres, Tampa bay, and panthers. (smiley-svechnikov)

buffalo sabres: who in the 2019 draft class are you most looking forward to see make it in the NHL? - John Ludvig, Captain of the Portland Winterhawks and signed Panthers prospect and Reece Newkirk, assistant captain of the Portland Winterhawks and unsigned prospect of the New York Islanders (I don’t want to talk about that). Roddy Ross former goalie for the Seattle Tbirds and now Regina Pats (I think its the pats?? is that where he got traded to? @pdxwinterhawks @ethan-bears )and prospect of the Philadephia Flyers. (I got a few and they all from the WHL)

florida panthers: do you follow any other sports in the off-season? I am a huge baseball and football fan when hockey isn’t on.

tampa bay lightning: what’s something that happened in hockey or to your team that you still aren’t emotionally over? The canes being swept in the playoffs last year :(. Nolan Patrick being injured and missing his whole season. Came back to us Patty! Be healed and prove to all the naysayers you aren’t finished with the Broadstreet bullies. I believe in you bby!

#queenie talks #thanks sweets <3 #drew-starkey

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eagles-translated · 5 years ago

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Q&A answers from creator and producer Stefan H. Lindén!

Here are the answered questions that all you guys sent in to Stefan. I’d like to thank all of you who sent in questions, and I’d also like to thank Stefan for being the one who offered to do a Q&A and taking the time to answer all the fans’ questions. This post got really long (almost 5000 words including your questions haha) so I put a keep reading line on this. Anyway, Stefan’s answers were super interesting to read, so enjoy! 🥅🏒

Thanks for your question. My idea has always been that Ludde was blown away by Felicia and that he really likes her but that they both initially interacted and met to go swimming because Felicia knew it would piss her dad off and Ludde knew that it might throw Elias off, since they were competing for the same position in the team. However after that, they really fell for each other. So he is very interested in her and so is she – however as of now in Season 2, Felicia’s behavior has thrown Ludde off since Felicia is still very angry with him due to Halloween and the reveal at Christmas.

Without telling to much on what’s ahead, the build up of Elias and Amies potential relationship from season 1 does matter and will play a role down the line of the series. But with that said Eagles has always, in my vision for the series been a 4-5 season concept. I did answer the question regarding Amie and Elias below in a longer format – it contains a little more info on the matter.

Will try to avoid potential spoilers but I can confirm that from the beginning of development of the series and the first version of the storyline a triangle drama was at some point intended for season 1 but later removed – however when creating the characters, Ludvigs skill in music and arts was always there from the beginning so by knowing that, we always knew that interactions would appear between them. When looking back at Season 1, in the first scene by the lockers when Amie tells Felicia who Ludvig is, she does know exactly who he is and she is well aware of that his friend Tobias is a music guy that Amie wants to get to know. Also when looking at it, when I was the same age as Ludvig and Amie I, and I am sure a lot of people can relate to it, fact is that we never really knew if it was love or friendship in the beginning.

Actually my favorite NHL-team is the Boston Bruins and when writing the first version of the pilot episode for the show Boston was my choice of team. Back when I graduated high school my girlfriend, now my wife was an Au-pair outside of Boston so I visited the city for a couple of months. Later when I studied in Los Angeles I had a friend playing hockey in New Hampshire, where me and my wife spend one Christmas and paid regular visits to Boston. So it’s a town that I share a special connection with and that have a hockey team that I really love.

Thanks for your question, hope you watch season 2 soon. In my opinion her storyline is clearer this season than it was in the previous season and since Yandeh Sallah, who plays Amie is such an excellent actress I always wish for more scenes with her but I also do wish for that with all of our main characters – it’s time to fit them all in sometimes because our format is so short.

Bringing Jack in was actually originally not my idea, it came from my writer colleagues after that they revised my storyline notes for Season 2, while I was still down in Oskarshamn shooting Season 1.

We had always intended for a character to come in and raise the stakes but I never imagined it to be Jack. When we started to develop the character, we all started liking him so he was kept in the story. Like with any new character we never really know who they are and what point of them for coming in is, so to not spoil anything I will let your question be unanswered, sorry.

But what I can say is that Jack does have a backstory and a character arch that will answer a lot of questions about him and who is, it may not all be explained in Season 2, but hopefully if we get commissioned for a Season 3, you will get to know more about him.

I would say many of the storyline bits are loosely inspired on things/events that were in my surroundings when growing up, mainly I would say that the characters all have bits and pieces from friends or people I knew, but would definitely not say that the main storyline or the characters’ lives are based on my life or me growing up. When we started to work with the series in a writer’s room after having it commissioned and when summarizing the research, the original storyline was revised, updated and changed a lot in terms of drama and conflict. When me, Anton, Michaela, Fanny and season 1 director Amanda all came together we shared a lot of similar stories, experiences and of course some unique stories that were later all kind of built in to our characters and the show’s storyline. Same thing happened when our season 2 director Carl-Petter entered the Writers Room. To summarize I’d say that some things that could definitely be recognized from my teenage years, only that they are a wee bit heightened in order for it to be a good dramaturgy. But it is fun to think that there actually is a combination of people out there, that I knew or know that laid the basic foundation for Ludvig, Felicia, Amie, Elias, Klara, Andreas, Tobbe and the parents.

I will not spoil anything but let me put it like this and like I said above. Eagles will always have room for more than just one love saga and the things established in season 1 is not something that we will ever just throw away. However, in the storyline as it evolves some things may take longer than other and some things may happen faster than others. When working with such a short format as 8 or 10x20 minute episodes our job as a creative team has always been having to cut away pieces and push them forward in our story archs – with that said Eagles have according to my vision for the series always been a 4 to 5 season concept. In the Marvel Cinematic Universe it took about 21 films before Cap got Agent Carter – so even if you see things that you unlike that happens now, don’t forget that I and our team always follow our fans’ thoughts and that everything will hopefully make sense in the end. Also saying if everything just happened straight away – it wouldn’t be as exciting to watch. But to give one spoiler, there’s a thought-out path for them down the line, but can’t tell you more than that at the moment.

Thanks for your question and wow, what a tough one to answer. To me it’s a little like answering which one of your children you love the most. I have always been very protective of Ludvig and Felicia and it was quite tough for me to let other creatives come in and have opinions there – but I believe when letting my guard down and having to change a certain way that I had imagined them to be, act and behave, it changed my opinion a lot for the better.

Having had all these characters in my head for so many years then having actors coming in, claiming them, changing them, making them their own was quite scary for me – however they all kind of blew my mind away which was one of the most amazing feelings I have ever experienced, and that goes for all of them. I feel so fortunate to get to work with such a talented cast and they still blow my mind with their talent every day on set.

Thanks for your question, have received a few of these questions and answered one with quite a long answer but eventually, yes. It might take a while due to all the things that has happened to the characters with Felicia and Amie and since Elias has developed feelings for Klara – but nothing in Season 1 was for nothing and like said above – there’s a thought-out path for them down the line.

I have answered the question regarding Amie and Elias and their potential romance and well, we are aware that many of you are rooting for them but we will always try to make choices that effect all of characters in the greater story arch and what in the storylines and the archs that make sense for them for the time being in their lives, in the series. I will not tell what the future plans for the characters are since SVT would probably kill me if I did – but if we get renewed for a season 3 and if we’re lucky enough to get to make a season 4 and that the actors still want to play their characters in the series, our intention will be to have Amie and Elias remain in the show up until the grand finale.

In addition, our plan for all of the characters in the series will always be to have them evolve within themselves and not only in their relationship with or to another character. Love and friendship will be always be the most important themes of Eagles but our goal is to show that no character or person is 1-dimensional being, but rather 3-dimensional and have different sides to their personalities that make them act the way they do.

Thanks for your questions and love that you share potential theories. Unfortunately I cannot reveal what is about to happen and what role they all play or how things evolve – what I can say is that most of your questions and raised concerns will be answered or dealt with in the course of this season and the ones that don’t won’t be forgotten and will eventually come to a resolution or maybe end up in an even bigger conflict.

The answer to the question in short is, yes, it’s super difficult.

The reason why it’s difficult is because hockey in real life and hockey in storytelling is a lot different and to me working out the esthetics of the hockey was very important when pitching the show. I come from Oskarshamn myself and have a lot friend who plays or have played ice-hockey growing up – to me the goal was to make them feel like they could recognize themselves in the universe of the hockey and that it would feel real enough – also my goal was that people with a hockey interest would like the hockey action sequences. Meanwhile we also had to make sure that we created a hockey universe on the rink that people who doesn’t like hockey could understand and grasp and that the hockey action sequences would be interesting for someone who doesn’t like hockey as well. So it was quite difficult where to start.

Before even being commissioned I had a long dialogue with one of my good friend and colleague Simon Ekbäck Nordström who is a former hockey player, and had played at junior elite level, who also work as a Technical Director and 1:st AD in the industry, to have him on the show and to build this universe together with him if the show would go into production. When we did and when season 1 director Amanda came in our biggest task was to find a cinematographer who could film on ice. When meeting with Gabriel Mkrttchian who I had worked with before he introduced a camera rig set up called a DJI Ronin that would be able to make us follow players on the ice as Gabriel would be able to skate with them. We tested it, and we loved it! That and an combined research where I and writer Anton met with players between the ages of 15-35, really gave us an understanding of what things in the culture of ice hockey that people had in common and what was more local to Oskarshamn. In the process we even met with former NHL-players, only to understand how Mats would feel having ended a successful career and how it was to leave the sport behind him to move back to Sweden.

After that followed a long work of preparing how to film the scenes in the shortest amount of time and make them as visually astonishing as possible. Simon and Gabriel worked long hours to do maps of plays that the players would do and how we would capture it, also with the account that we had to have images shot when the actors are seen combined with scenes that are done by bodydoubles – believe me it was a puzzle, but a fun one to lay out. When going into season 2 our goal was to take what we had created and expand it, something that both me and Simon feel that we did, especially with the end scene of Episode 5.

This might be a very long answer to your question but yes, its difficult but it’s also extremely fun. Like Simon told me before we shot the hockey scenes for the first season: “Let’s go out and invent the wheel”. In Season 2, we tried to improve that wheel and for a hopeful season 3 we hope to perfect it.

Yes, they do know that, which we tried to portray by having Klara being quite lonely in the start of season 2, she and Amie doesn’t talk, Felicia’s look angry at a nervous Klara when she returns to school – Amie also says after having had food thrown on her by Felicia, and Klara asks if she’s fine: “Are you happy now” as an indicator that this is all Klara’s fault. One might feel that she didn’t get to pay the consequences yet, maybe she will, maybe she won’t – can’t tell what will happen but we as a creative team has always said that Klara wasn’t really the worst person in that specific plot point, Ludvig and Amie, not telling Felicia was a lot worse. With that said Klara could’ve definitely had done it nicer.

Yes, I would say it was. To me it was obvious that having the Kroons separated from each other was inevitable when Elias signed for another team and in order for the story to include all of our main characters and to be able to move forward in our storyline without being stuck in the aftermath of season 1 for to long with so few episodes in a season, we felt that we did needed for some time to pass in order to get story going again.

I think if you went into the writers room of Eagles and asked all of us what really happened in that room we would all have different answers. I know what happened, but I’m not sure we will ever truly know for sure, unless Ludvig or Amie eventually are open enough to admit to anyone what really happened.

He does and so does Felicia. As we know Felicia doesn’t like Klara, but what we do know is that she hates Ludvig and Amie even more now. Like the old saying goes: Don’t kill the messenger.

Regarding if Klara is going to become a better person. Klara is and has always been thought of to be quite a complex person – when we did our research and met with teenagers during the development of season 1 and when started to develop Klara, me and my colleagues all had known or did know a Klara kind of person. When growing up I knew a lot of people that were kind of like Klara and I didn’t like them but when getting to know them later on in life it always showed out that these people came from carrying quite heavy loads and came from complicated lives – when they grew older some of them changed some of them didn’t. Klara however is a mirror of a person that my goal as creator and that I share with my colleagues, is to be more than what meets the eye. In the end she is, just like everyone around her , trying to find a way to be – she was raised to be a certain way, the way she is and hopefully she will understand that there’s other ways to be, that are nicer and better. But like I said, some learn, some don’t. Some react different to the fear of losing a friend, Klara’s reacted like she did. Some react on being betrayed by throwing food on them – what is right what is wrong is a very individual thing. The thing is we know why Felicia did embarrass Amie – but we might not know all that we need to know about Klara to fully understand why she is like she is yet.

Our initial goal was to connect the IG to the show, however a tight budget and regulations from SVT since they’re a public broadcaster has not made it possible for us to do as much as we wanted. Hopefully though as the series evolve, we will be able to connect the two. It would be amazing if that could happen.

Well they all kind of had a great conflict that lead to quite complicated relationships to each other in the end of season 1 and now slowly interactions will start coming to life, some mending will be done and some will wait – but eventually down the line we will have them all together, under whatever circumstances that forces them to be together – but that is a spoiler for a much longer arch.

The answer is there will be scenes with them – they might not be like you all thought they would be – but I can tell you that the story of Amie and Elias in Eagles is far from over.

Well, I have answered most of the questions and there is a plan, maybe sooner, maybe later. Will use a Swedish saying: Den som väntar på något gott, väntar aldrig för länge which means ”The one who waits for something good, does never wait for too long” – I have always rephrased it to say “The one who waits for something good, always wait for too long” and with that said we have not seen the last of Amie and Elias.

Thank you so much for this question. I am very happy you asked about this scene, because to me it’s a very personal scene. In one of the questions above I was asked if there’s anything in the storyline that is inspired by my own time growing up in Oskarshamn and I answered that there are bits and pieces. This is one of those bits and pieces.

To answer your question as clearly as possible before broadening my view on the meaning of the scene I’d like to say that the scene could mean both. To me that’s the beauty of creating stories and having an audience view it - because our intention for a scene does not always have to match the way you as an auditor view or interpret it.

So for the long answer with trivial content for the one who has an extra minute :P.

According to my personal relationship to the scene and what our intention was, I’d say that is connected to her parents' situation. The basic foundation for this scene was actually born outside of the writers room when we had just finished the storyline for Season 2. I was sitting with our Technical Director and 1:st AD, Simon Ekbäck at his home as we started to lay out a possible shooting schedule for the season. Together we imagined the scenes together and tried to envision them in front of our eyes and how they would cut together. I remember shutting my eyes and telling Simon that the episode should end with Leila and Felicia pulling the car aside by the water and that Leila wouldn't be able to hold her tears in anymore - and that Felicia would witness this, try to hold her tears back and then fail at holding it in. The original scene as it had been discussed in the writers room was that they would cry in the car on the driveway, but I felt like they needed to get out of there and that this was a scene needed to take place somewhere else, somewhere more private. When later watching the final scene one could have copied my imagination of how the scene would look and pasted it in - that happens very rarely, that something becomes just like you imagined it. But for this scene it did happen, much thanks to Simon, Kristoffer, Carl-Petter and of course Alva and Charlotta.

My personal attachment to the scene and what it really means doesn’t have directly to do with Felicia being sad over her parents' situation, because it would be too soon for her to truly realize what Leilas decision means. When I was 21, a bit older than Felicia, my parents seperated and I remember talking to my mother alot, watching her crying, having to comfort her and carry her weight and that made me feel very uneasy. When later talking about this with friends and processing it, I was told and have come to the realisation that we as children in the best of worlds should never have to carry the weight of comforting our parents in a divorce - which so many of us are forced to do. This has been a lesson and realization that I’ve taken in as something to carry with me, since I have just become a father myself.

I mean even if our parents when we’re growing up are looked upon by us, their children as superheroes, they are only human in the end. Growing up makes us realize this and that has always been an important theme of Eagles, to see the true colors of our parents.

Comforting my mother during my parents' separation was tough, because I felt sad as well but had no room to express it - even though that I might have needed it. I was old enough to handle it, but many teenagers are a lot younger than I was, and for many children these situations can be very tough.

To summarize, the idea of the scene has always been that Felicia is forced to be the comfort to her mother's pain. When her mother shows her vulnerability in front of Felicia Felcia tries to remain strong and hold her tears in - but eventually the situation gets too personal and she can’t, but she tries to hide it from her mom, thus looking the other way, out from the window so that Leila won’t see her crying.

To me the scene is not meant to be a critique towards parents but rather a depiction of when it happens and is as important for the young and older audience to see and reflect about - because divorces happen all the time, and way to often children are forced to carry their parents when according to me, parents should remain strong and carry the weight for their children instead.

Long answer to a short question, but yet again thank you for bringing this scene up. I hope you are satisfied with the story of the scene and my view of its meaning.

Thank you so much for all of your questions - hope that my answers will make you happy. Since we’re in the middle of a season it’s hard for me to answer some of them since they would contain spoilers. I also want to thank director Carl-Petter Montell who added a few notes in my answers.

Last but not least I wanna thank Eagles-translated for all the great work that is done in gathering fans for the series - I also wanna thank all of you, fans who follow the series. To me as a creator producer of a series I always say that without you, we as a creative team and we as a series would be nothing. A series without an audience is no series - so thank you again for watching, sharing and caring about our work!

#svt eagles #eagles svt #stefan h lindén #i'd love to do more q&a's since this was really interesting!

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sabrinacat · 4 years ago

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Serenity

Full Name: Serenity Dáae

Age: 17

Height: 6.1ft

Heritage: British

Gender: Bigender (She/her or They/them pronouns)

Sexuality: Bisexual

Species: Spotted Bat

Personality: Serenity is like a wild mustang. A reckless teen who’s ready to kick some butts and break all the rules no matter the consequences. Despite her eccentric nature, Serenity is very open towards people, even when it comes to being blunt with insults and taunts. But that’s her way of being honest, just less subtle. She’s pretty fun and laid-back to hang out with once you get to know her better. But anyone who tries to go up against one of her family members (Except for Edward) gets a taste of her fist.

Likes: If there’s anything Serenity loves, it’s going out breaking the rules and playing loud rock & roll music with her two band members, The Apex Predators, past midnight. They’re always at Dimitri’s nightclub, drinking fruit punches and other exotic drinks and dancing the night away. But besides all that, Serenity still cares about her family and is willing to put herself on the line of danger to protect them.

Dislikes: Serenity always hated her older brother’s bossy attitude, especially with all the rigid rules he inputted for her. Ranging from her curfew hours to locking her up in her room till she finish her homework. Her relationship with her sister’s husband, Ludvig, is a bit shifty due to their differences in interests. She’s also not a fan of Felicia Bellemore either and is willing to talk sh*t about her. Even in front of her face any chance she gets.

Strengths: As suggested by her name, Serenity is a really good singer. Her voice can go higher. Her voice can go up to several decimals to the point of breaking any nearby glassware or speakers. Being a bat grants her the ability to fly, or rather to take huge leaps. Melee weapons are always her forte. Baseball bats, chair, golf clubs, suitar, pipe, pole, crowbar, anything she can get her hands on to bash someone’s head in.

Weaknesses: While she’s a tough gal to deal with, Serenity focuses more on her guts than brains. In other words, she acts before thinking, which is usually the reason why she gets into trouble daily. Not to mention that she’s very easy to pick up...if you can handle the constant scratching, kicking, and foul mouth screaming. Serenity doesn’t have her driving license yet either, so she has to rely on her friends or other adults to give her a ride.

Backstory: Born a month after her father passed away, growing up without one was difficult for Serenity. Especially under the care of her older brother, Edward. Years of strict parenting from him while her mother was grieving over the loss of her husband made Serenity into a rebel as she got older. By the age of 13-16, she has become one of the city’s many young rogues. Spraying graffiti art, hanging out with her friends at night clubs, and ditching school. Serenity plans on running away from home and go on a road trip that she and her gals planned to go on at the age of 18.

Fun Facts:

While she’s not afraid to do/say anything she wants, Serenity keeps her sexual preference private. Mostly because of her brother.The only people who know about her sexuality are: Elizabeth, Sabrina, her bandmates, Dimitri, and later Ludvig.

Despite missing out on her school days, Serenity does have two mentors: Dimitri and Sabrina.

- Dimitri is considered as their music teacher. Since she and her bandmates are regulars at his club, they’re free to come in any time to perform onstage and party. He even tutors them during their rehearsals and practice sessions.

- Sabrina is a close family friend to the Dáaes. At least on Elizabeth’s side since she accompanies her after work whenever walking back home. For Serenity, think of their relationship as Harley Quinn and Cassandra Cain from “Birds of Prey”.

Voice Sample: Demi Lovato

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Theme Song:

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Other Band Members:

Roxanna

Gamila

#sly cooper #sly cooper oc #Dr.Ludvig #Elizabeth Daae #spottedbat #bio #my art #my artwork #microphone #dyed hair #piercings #Youtube

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doomedandstoned · 5 years ago

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Hazemaze Explore the Dark Side of Humanity in their Finest Album Yet

~Doomed & Stoned Debuts~

Artwork by Nick Potts

Sweden's HAZEMAZE are as smooth as a black cat dancing on jade in the pale moonlight. In other words groovy, man, groovy. Hailing from Stockholm, Ludvig Andersson (guitar, vox), Estefan Carrillo (bass), and Nils Ein (drums) have been doing their thing since the spring of '16, jamming away at sweet doom-touched retro riffs. Their Wicked Ways EP was followed two years later by an eponymous full-length debut on the Kozmik Artifactz label -- a long-awaited revelation for fans of fuzzed-out '70s vibes.

Now Hazemaze turns the page on a new chapter in their story, with "a record that is far heavier, darker, and doomier than its predecessor," the band reveals. "Shadow In The Night" kicks off 'Hymns of the Damned' (2019) with an undeniable headbanging beat, joined in short order by dreamy, haze-laced singing. You'd have to be brain dead not to be infected by this rhythm-driven Behemoth. It'll get under your skin quickly!

"Morbid Lust" continues the onslaught with a Goatsnake-like vibe that's as wicked as you could ask for. Just two songs in and I have to say, I'm damned impressed with the passion, focus, and determination that Hazemaze have put into these songs. Tight, I believe, is the word I'm looking for. Hazemaze has never sounded better.

The driving beat of "Thrill Seeker" and that awesome Anthrax-esque guitar hook guarantees this song will make any crowd rowdy that Hazemaze plays for. Fans of bass-heavy leads will be first in line to volunteer for "Lobotomy" next, as the song tools around with your prefrontal lobe to make you a slave to the riff.

Much like Church of Misery, Hazemaze has drawn inspiration from the darkside of the human experience for Hymns of the Damned. It doesn't take much imagination to recognize the imagery that songs like "Solicitor of Evil," "Green River," and "Reverend Death" draw from. This makes the album doubly fascinating, egging the listener on in search for references to the misdeeds of human history.

The album closes on an up-tempo note with "Forever Trapped in Hell," which would pair well with any of your Uncle Acid & the deadbeat records. Fantastic solo work from Ludvig, btw. Produced, mixed & mastered by Joonas Hassinen at Studio Underjord, the album is beautifully recorded, full-bodied with plenty of presence

If you thought it was time to close the books on 2019, think again. Hazemaze has saved the best for last. Hymns of the Damned will see the light of day on November 22nd 2019 via Cursed Tongue Records (vinyl), Ripple Music (CD), and Stoner Witch Records (cassette). In the meanwhile, you can hear it all right here, right now, as Doomed & Stoned presents Hazemaze's new masterpiece in its entirety.

Give ear...

Follow The Band

Get Their Music

#D&S Debuts #Hazemaze #Stockholm #Sweden #Doom #Metal #Stoner Rock #Cursed Tongue Records #Ripple Music #HeavyBest19 #Doomed & Stoned

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visariga-blog · 8 years ago

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Supernova 2017: Live and In Person

By now, it's perfectly clear to anyone who's been reading this blog for a while that I'm an unabashed, unapologetic fan of Supernova, Latvia's yearly contest show that selects the country's entry into the Eurovision song contest. Created in 2015 in order to end six straight years of Latvia failing to qualify for the Eurovision “grand final,” the show's winners so far have found success on the continental stage with a 6th place finish in 2015 and a 15th place finish in 2016. 2017's winner will be chosen out of eight semifinalists that were selected from two quarterfinal rounds that were broadcast on February 5th and February 12th.

This year, it was time to take my fandom to the next level. Instead of simply writing another blog post about this year's competition, I set my mind on getting into the live studio audience for one of the show's four broadcasts. Thankfully one of my high school students who is connected with Latvia's music community showed me how to acquire tickets, and suddenly I found myself with two passes to the February 12th quarterfinal episode. So yeah, that's me you see in the grey shirt in the top right of the first photo.

Līga doesn't quite share my level of enthusiasm for cheesy TV song contests, plus she was probably worried that I would do something stupid to get on TV (a perfectly justified fear on her part). Luckily, her sister Vita agreed to go with me, who you can see with purple hair to my right in that first picture. Since she was coming from Jelgava, we agreed to meet at Centrala Stacija (Central Station) at 20:00 in order to make it to the studio for 20:30 when doors were supposed to open. I was excited to finally have an excuse to take the mysterious #20 trolleybus for the first time in my life.

We were joined by only six other passengers, all of who were headed precisely where we were. The journey took just over ten minutes, bringing us across Salu tilts (Island Bridge) to the towering LTV headquarters on Zaķusala (Rabbit Island).

Built between 1979 and 1986, the 22-story building stands impressively in the middle of the Daugava and is visible from much of Rīga's southern and central regions. I was excited to finally have a reason to visit the city's 17th tallest structure I had admired so much from afar, and now we were just in front of it. Unfortunately, my sub-standard phone camera wasn't able to take an acceptable picture of the building at night, so here's one I took during the day a few years ago for you to get an idea of what it looks like:

We followed a group of fans to the main entrance in the back. Inside, fans and contestants alike sat in funky chairs and sofas chatting and, of course, watching LTV as we all waited for the doors to the studio to open. A Russian-speaking journalist enthusiastically buzzed around asking audience members about their favorite participants, although I didn't recognize the logo on his microphone. A few people were also enjoying drinks and food from a fancy-looking café just next to the studio entrance.

At just about 20:50, thirty minutes before the show was to begin, the doors opened and people began to file upstairs to the studio. Some men just outside the studio checked our bags and took our tickets just as they would at a concert or festival, and then we were able to walk right on in.

I have to give Vita a lot of credit for not immediately bailing on me as soon as we walked in, as I probably seemed a bit too overly enthusiastic. This was my first time inside a TV studio, let alone for a show that I actually regularly watched, so it was a bit overwhelming at first. About ten minutes before the broadcast began, Rīgas Bebrs (beaver), Latvia's Eurovision mascot, came onstage and politely told us to stand in place while the show was live and to cheer enthusiastically after each song. While this may seem like a no-brainer, Latvian audiences have a reputation for being overly polite and quiet.

Although we were simply trying to find the spot with the best view, as it turned out we stood in the perfect position behind the judges to be quite visible on TV every time they commented after a song. This week the celebrity jury included Prāta Vētra drummer Kaspars Roga, former Eurovision contestant Intars Busulis, DJ Rudd from Latvijas Radio 5, and songwriter Guntars Račs.

Unfortunately, I was under the incorrect impression that we were not allowed to take photos or videos while the broadcast was in progress, so I don't have any cool behind-the-scenes pictures of the performances themselves. That might be all for the better though, because I wasn't there to watch the performances through a small screen and there's no way my phone camera would have captured anything revelatory.

The night was kicked off by Katrina Lukin's upbeat ballad Silhouette, which was pleasant but not memorable enough to make it to the next round. This was followed by poor Markus Riva's third consecutive attempt to make it to the final round, “Dynamite.” Markus Riva is a complete mystery to me: he is massively popular in Latvia and had by far the most enthusiastic fanbase in the studio, but he consistently fails to make it to the final round in a vote-by-SMS popularity contest. Līga was telling me that there's a saying in Latvian going around on Facebook along the lines of “on a scale from one to Markus Riva, how persistent are you?” At least that's something to show for all that effort...

After a commercial break during which we were entertained by Rigas Bebrs' attempt at creating poetry, Toms Kalderauskis and his group continued with the Imagine Dragons-esque anthem, “We Won't Back Down,” before things got weird with Up's Kill Bill-inspired “One By One” in which she stood still for three minutes threatening to kill people as interpretive dancers pranced sensually across the stage. Although the performance went over like a lead balloon with the audience and judges, I thought it was one of the more memorable songs from this year. In fact, I was a bit disappointed by 2017 in general that there really wasn't anything as over-the-top ridiculous as Electrofolk's corny “Miracle Drums” or refreshingly different like Catalepsia's pop metal “Damnation” from 2016 aside from last week's off-the-wall Bjork meets the xx “Escape” by Crime Sea. While there were much higher highs and lower lows in 2016, this year there was mostly a sea of pleasant but forgettable cuts, such as Miks Galanovskis' funky “Runaway” which led us into the second commercial break.

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After being taught how to create paper fans by the beaver, the contest continued with the Russian-language “Taju ot Lubvi” by The HiQ, an epic, saxophone-tinged Indie folk song that wasn't quite able to make it to the next round. Then the completely previously unknown Santa Daņeļeviča proceeded to blow the audience's socks off with her amazing pipes, becoming the first musician of the night to make it to the semi-finals. The video doesn't quite capture just how powerful and impressive her voice was in person; it permeated every corner of the room. I wasn't surprised to learn later that she made it to the second round, and I fully expect to see her in the finals.

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Next up were Laura Lo and graduate from the school I teach at in Jelgava Chris Oak with the cutesy "Little Weird,” a performance that wasn't quite enough to qualify for round two. After a commercial break in which the ever-instructive beaver taught us how to make an actually-sort-of-nice-looking elephant mask from a cardboard box, we were back to the final three songs, all of which qualified for the semi-finals. I don't know what it is about going at the end, but last year's first place “Heartbeat” by Justs was also the final song of his round. Maybe since it's at the end it's easy for voters to remember? Maybe the producers save the best for last? Anyway, up first were Supernova veterans MyRadiantU who bounced back from last year's final four performance “We Will Be Stars” with the indie pop rocker “All I Know.”

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Next up was 16-year-old student The Ludvig's slinky electro ballad “I'm In Love With You.” The judges and audience alike were impressed by the teenager's voice, and I'm sure that regardless of how he does in the competition that this isn't the last we'll be hearing from him.

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Unfortunately we had to leave the studio before the final song, so we missed Triana Park's colorful pop banger “Line.” The band is pretty popular and has a well-established fanbase, so it wasn't much of a surprise that they made it to the second round. I didn't think it particularly stood out among the other songs this week though, so I will be surprised if it goes much further than the semi-finals.

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And that was it for us! Luckily public transit was still fully running when we left (around 11:45) and it was no problem getting home. I tried taking one last picture of the view from the island of the night skyline, but of course my phone camera was not up to the task.

All in all, watching Supernova live and in person was a fantastic experience that I will definitely do again next year. Maybe next time I can even convince Līga to go with me! In the meantime, you can catch the semi-finals next Sunday at 21:25 (I know it's a weird starting time) either on LTV1 or as a live webcast here. Alone with the four songs chosen at the episode Vita and I went to, another four from last week will compete as well: Mīks Dukurs with “Spiritual Priest,” Lauris Valters with “Magic Years,” Franco Franco with “Up,” and Linda Leen with “Who's In Charge?” Take care!

#Eurovision #Supernova #Eurovision 2017 #eurovision song contest #Eurovision Latvia #Eurovision Ukraine #Latvija #Latvia #Riga #Rīga #Eirovizija #markus riva #Латвия #Рига #Latvian TV #Latvian

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