#charité spoiler

[mo0nchhild]

schwester therese i KNEW you were fruity

[eolewyn1010]

Charité, season 4 - episode 6

It was the best of times, it was the worst of times... No, it was just the worst, and there were spoilers in it.

You know, it shouldn't be so easy to hack the entire hospital's system. Because it shouldn't all be one centralized system! This is not safe, and I'm judging it.

Are we supposed to feel bad for Ferhat now? Cheer him on as he's struggling to rescue his patient, who's locked into his room and unable to call for help? Well. See. It was Ferhat who brought his patient into this situation in the first place.

If she can pursue her research anywhere, why does she need to leave Berlin at all...?

Poor Discount Daniel Sträßer looks like shit. Marlene, do you have a moment to help the more likable of your boyfriends?

What a perfect timing for Maral to be locked in with a woman who's on the verge of giving birth and thus would be Maral's wife's patient! Such a serendipitous cOiNcIdEnCe!! And then she says, "my baby isn't due before seven weeks from now" as if that wouldn't guarantee her to be in labor by the end of the scene.

"Photovoltaic systems are so last decade, honey!" I wish the oh-so-modern technology this season would be a little more than a shiny gimmick.

"My life is so haaaaard! And I won't acknowledge my part in that." Maral, would you like some cheese with that whine?

As for pregnant ginger lady, woman up and tell your boyfriend he's not the baby daddy.

This spiral staircase is stupid. I'm not even sure it was there before. This shot of Ferhat heaving himself upstairs is stupid. This architecture is stupid. Everything is stupid.

How. How did she go from first aches to full-blown 45-seconds labor pains in such a short time? They can't have been in there for longer than twenty minutes!? That ain't healthy.

"You've given birth already; you know how to do it" - oh, well, in that case! Why need gynecologists at all? *headdesk*

Remember season 1 when the midwife failed at an external cephalic version of Mrs. Ehrlich's baby? Yeah, so, Maral, who has zero gynecological training, succeeds with that. Cool. I'm still not sure how the baby doesn't strangle itself on the umbilical cord during this little twist maneuver.

Sitting through an external crisis together makes talking out your relationship issues and acknowledging the behavior you need to work on superfluous, you know? Marriage salvaged, Maral's character development = 0.

For being seven weeks early, that's a big baby.

For having just been given birth in, that hallway is remarkably clean. Did she just cross her legs on the placenta and shit?

Ferhat being all drama llama about saving his patient whom he's so close to, dragging him into his arms and all, was such a homoerotic set-up. And then he didn't even resuscitate him mouth-to-mouth. Cowards.

Nice of the systems to go back online before poor Minister Blowhard gets a scar from his surgery or something equally horrifying.

The Red Herring of Discount Daniel Sträßer being responsible for the hacker attack is out of proportion.

See? He wants to live after all! So Ferhat was right to do what he did and will suffer absolutely no negative consequences for being a horrid doctor and human being! ...I hate everything.

"annoying stubbornness"? Yeah, that and the violation of his patient's rights.

Oh, boy, where do I begin to count what is wrong with the big resolution of "Discount Daniel Sträßer's brain chip was hacked and he had no control of his own actions"?

It directly contradicts established canon. Remember Ferhat's "no one but yourself can enter your own thoughts" talk with that little trauma patient? Yeah. Apparently, the person-coded accessibility of cerebral technology doesn't apply when the plot says so.

This chip is programmed to intervene in the regions of his brain where the epileptic seizures occur. How, just how does that translate to hypnotic control of his actions and suppression of his ability to make conscious decisions? Has a neuroscientist had a look at this part of the script?

Obviously, it was the Evil Redhead SJW. We get it; you people think demonstrators = terrorists.

If this is something that is possible, why on earth are these chips legal at all? Are you telling me the doctors who developed this method of epilepsy control didn't know how extensive the chip's access to the brain is?

We can programme people to do our bidding from a distance. We can do surgery across two continents. We cannot call the godforsaken security in the building to tell them there's a terrorist attack going on and one already identified person needs to be restrained.

I expected them to at least dramatically slice out the chip.

For good measure, we get a scene of Dylan kowtowing before Maral and telling her that Charité neeeeds her. idgaf anymore.

Clichéd speech about charity, check.

Why does 2049's Yrsa wear a shoulder harness à la Daenerys?

"I can't get my will?? Inconceivable!" Ok, Rich Bitch's offended face is a little funny.

Discount Daniel Sträßer is now wearing a headband instead of the chip, as he was recommended way back when. Unhackable and dating! He and Ferhat each are holding hands with Marlene. Poly yes, gayness nuh-uh. Ah well, at least Marlene gets one person in her life that might be nice company. Not you, Ferhat.

This trophy is fugly. Is that art, or does it go into the trash?

Her son is in the audience, but I think the conflict about his choice of job doesn't get resolved.

"Some self-deprecating comments on myself in my speech and hypocritical blahblah about responsibility makes all my bad deeds undone!" Maral has the balls to talk about responsibility and welfare. Shoot me.

And now I'm supposed to read, too? Previous Charité protagonists had the decency to speak their epilogues themselves.

"ending the age of antibiotics" - no, honey, the age of antibiotics is ended by the spreading of multiresistant microorganisms. Gosio's, Ehrlich's, and Fleming's works aren't hypothetically supplanted by Little Miss Ego's success; they are very realistically endangered by the sheer speed with which bacteria mutate.

My final line would be: "Neither Maral Safadi nor Ferhat Williamson are ever held accountable for their respective malpractice."

I'm gonna write a little "Final Thoughts" bit as a summary of some points on the season and for additional notes. But overall, wow, the show really unlearned what made it strong in the first place. I was so sure I would hate the futuristic setting. I don't. I hate the character writing. These people suck.

[philcollinsenjoyer]

btw if stancy does end up happening i dont want to hear any jancy talking about how it was "forced" those in glass houses etc.

[harritudur]

“Madame de Lenverpré, I know I can’t make the bad experiences that happened to you go away. You’re right. But know that… if something bad comes again, I am gonna be next to you this time.”

Le Bazar de la Charité + THAT SEASON 2 WE WILL NEVER HAVE but we need b/c Adrienne deserves closure & peace and happiness with a honest man (hmm? like... the officer Célestin Hennion?)

9 episodes, during the tumultuous month of january 1898 ---Dreyfus affair, Zola trial, anarchists’ riots--- a period that Marc-Antoine takes advantage of to return and to claim what he thinks is his property: Adrienne & Camille.

*sigh* if only...

[lavender-lizzy]

I watched episode 2 of Le Bazar de la Charité and poor Rose. I am so sorry for her, Jean and Alice. They are now sure Rose is dead.

Adrienne, you should be more careful. (And Hugues Chaville is really good looking, but that's beside the point!)

On the other hand, I can't stand Julien (I doubt that anyone likes him, he is awful.) Alice was so right, and obviously now they think she is overreacting and that she has lost her mind.

It’s a bit soap-operish at times, but I love the costumes and I am so involved in the story. And I like the fact that they show the situation of women: they don't believe Alice, Adrienne has been faking her death just to escape her husband and see her daughter again, Odette is in the hands of an older, cruel woman who doesn't care a bit about her and has her replace her daughter (and why is that? I'll find out)

[moon-yean]

charité // season two, episode one

[fibula-rasa]

12 Christmas Films of a Century Past

For some reason, I thought it would be a good idea to watch somewhere around 50 Christmas and Christmas-adjacent silent films from before 1920 to put together a playlist for you all. So, I hope you enjoy!

I chose these twelve as a representative selection. My general criteria were:

Christmas should be central to the story

The plot should be novel to a modern viewer or something a modern viewer would be surprised to see so early on film

The list on the whole should have a variety of settings and narrative structures

Here’s a direct link to the YouTube playlist if you want to watch them all in one go. (They are all shorter than feature length!)

Two quick presentation notes: 1. Some of the videos have music and some don’t, so you may want to check your volume level. 2. The intertitles for some of these films are not in English, so be sure you have captions turned on for English translations.

See the whole list BELOW THE JUMP!

1. Santa Claus (1898) (UK)

Directed by George Albert Smith

Short and sweet, this film sees children put to bed by their nanny on Christmas Eve and Santa Claus coming down the chimbley to fill their dutifully hung stockings. Director G.A. Smith used his own patented technique of double exposure to show Santa’s arrival without cutting away from the children’s room. Santa Claus might not pack the punch of a Méliès trick film, but it’s a fun novelty and is purportedly the first appearance of Santa Claus on film.

2. The Little Match Seller (1902) (UK)

Directed by James Williamson

This one’s quick but effective adaptation of the Hans Christian Anderson tragedy featuring impressively well-coordinated superimpositions.

3. The Christmas Angel (1904) (FR)

Directed by George Méliès for Star Film Company

The Christmas Angel follows an impoverished girl driven into the city to beg on a snowy winter night. First she’s chased away from a church by more seasoned beggars; then she’s thrown out of a poultry seller and harassed by police. On the verge of falling asleep in the snow, a rag-and-bone man rouses her and offers her help. Later, the girl passes out beside a road but is luckily spotted by a wealthy couple on a car ride. When they learn of her plight, they bring her home along with food and gifts.

Though not as fantastical as some of Méliès’ more famous works, The Christmas Angel is still highly stylized (and stylish) and features special effects that photograph beautifully. It’s also worth noting that the version of the film included here is the American cut. The original French cut, titled Détresse et Charité (Distress and Charity), did not include the sequence with the wealthy couple and instead ends with the girl dying in the snow.

4. The Night Before Christmas (1905) (US)

Directed by Edwin S. Porter for Edison Manufacturing Company

This is the first time the poem “Twas the Night Before Christmas” was put on film. Loosely following the poem, we see Santa Claus prepare for his yearly trek while a middle-class family prepares for his visit. When Santa heads out, we are treated to an extended panning sequence with a fully painted backdrop for a mini Santa and his reindeer to glide across. When Santa arrives at the family home, he chaotically dumps presents and decorations around their living room and makes a large, decorated tree appear out of thin air. (Across many of the movies I watched to put this post together, this seems to be a favored scenario for the jolly fat man around this time–and it’s delightful.) The family then wakes to find their gifts and the film closes with Santa directly wishing us a Merry Christmas.

5. A Little Girl Who Did Not Believe in Santa Claus (1907) (US)

Directed by J. Searle Dawley and Edwin S. Porter for Edison Manufacturing Company

Even at the risk of this list being too Edison heavy, I couldn’t leave this great short out. While walking with his mother, a rich little boy encounters a poor little girl alone in the cold. They take her home to play and warm up. When the boy learns that the girl doesn’t believe in Santa because apparently Santa doesn’t visit poor children, he hatches a scheme. On Christmas Eve, the boy has a stake out near the fireplace and takes Santa hostage, tying him up and holding him at gunpoint. The boy then forces Santa to visit the girl–going so far as shimmying down the chimney himself to let Santa in the front door. When the girl wakes up to a beautifully decorated tree, new toys, and a full stocking, she can finally believe in Santa Claus. While I’m generally not so into stories about supposedly benevolent rich people, I do love the implications this story has on how Santa Claus works and I also find the means with which the boy gets his way hilarious.

6. Il Natale di Cretinetti / Foolshead’s Christmas (1909) (IT)

and Come fu che l’ingordigia rovino il Natale di Cretinetti / How Greediness Spoilt Foolshead’s Christmas (1910)

and Il Natale di Cretinetti (1911)

Directed by Andre Deed for Itala Film

This entry is a three-for, which I hope you’ll excuse, but I couldn’t decide which Cretinetti Christmas to share! Cretinetti, the comedic persona of filmmaker Andre Deed, is an absolute agent of chaos.

In the 1909 film, Cretinetti attempts to bring a tree home for a Christmas party. The destruction escalates wildly, culminating in an entire building falling to pieces.

If you can believe it, the stakes are even higher in the 1910 film, when Cretinetti can’t resist sneaking out of bed on Christmas Eve to snack on the candy decorating the tree. When Santa sees what Cretinetti has done, he chides him and takes him back to his workshop, which is apparently in heaven. Destruction ensues. Cretinetti then proceeds to cause havoc for Saint Peter, annoying god so much that he calls the devil to come get Cretinetti. Cretinetti is then chased to hell where demons try to cook him alive. Thankfully, spoiler alert, it was all a bad dream and he wakes up on Christmas morning with a terrible stomach ache.

The 1911 film returns to localized chaos. Cretinetti has a run-in with a mail carrier and his Christmas packages get mixed up with one of the carrier’s parcels. The parcel contains three bottles of ether which then begin to emit gasses in the middle of the family Christmas party.

I wasn’t familiar with Cretinetti before reviewing films for this list, but I’m definitely going to seek out more of Deed’s movies. Each of these films had well-executed chaotic slapstick; over-the-top in all the right ways.

7. Making Christmas Crackers (1910) (UK)

Produced by Cricks & Martin Films for Clarke, Nickolls, & Coombs Confectionery

To start, if you’re not sure what a Christmas cracker is, it’s a colorfully decorated paper tube that makes a cracking noise as you pull it open. Inside the tube is a paper hat, a joke, and/or a small toy. It’s a traditional part of UK Christmas celebrations.

This short starts as a documentary of the workers at Clarke, Nickolls, & Coombs constructing the crackers. It’s a fun thought that as early as 1910, people were interested in watching how mass-produced consumer goods were made. It’s also fun to see these skilled workers ply their trade so deftly (even though I’m sure wages and working conditions were less than ideal). The film ends with a family celebrating around a Christmas tree topped with a functional giant cracker.

8. A Christmas Carol (1910) (US)

Directed by J. Searle Dawley for Edison Films Manufacturing Company

There are so so so many film adaptations of Charles Dickens’ A Christmas Carol made before 1920 that it was hard to choose which one to include on this list. In the end I chose this 1910 version for its economy of storytelling, fluid use of special effects, and for Marc McDermott’s great performance as Scrooge.

9. Broncho Billy’s Christmas Dinner (1911) (US)

Directed by Gilbert M. Anderson (Broncho Billy) for The Essanay Film Manufacturing Company

Gilbert M. Anderson was an incredibly prolific and popular filmmaker and star of early American film, particularly in his role as Broncho Billy. As was typical for Anderson, he’s pulling triple duty on Broncho Billy’s Christmas Dinner as the star, director, and producer. The film features a simple and heartwarming story.

On Christmas, Billy comes across a young woman in peril as her horses got startled and are now pulling her cart along wildly. Billy manages to wrangle the horses and in gratitude she invites him to Christmas dinner at her parents’ home. Unfortunately, her father happens to be the sheriff. But, all is well, as it turns out that Broncho Billy’s been given a pardon and the sheriff welcomes him to the table gladly.

The enduring appeal of outlaws or criminals getting into the Christmas spirit is fascinating to me and it’s cool to see such an early instance of the story!

10. Le Noel de la princesse / The Little Princess’s XMas Gift (1911) (FR)

Produced by Société Générale des Cinématographes Éclipse

In all honesty, this is the least Christmassy of all the films I included here, but its style and novelty stood out. The sets, costuming, and production design are lush. It might also be one of the weirdest Christmas stories I’ve even encountered.

After Lord Othberg passes away, the conniving Otto plans to assassinate the baby prince in order to inherit the lordship himself. He poisons the baby, but the princess prays for her baby brother to come back to life as her Christmas gift. An angel appears to her and they summon Jesus, who resurrects her baby brother. Of course, they then place the revivified baby in the castle’s nativity scene, to the joy of all but Otto.

11. Ida’s Christmas (1912) (US)

Directed by Van Dyke Brooke for Vitagraph Company of America

With a more classic Christmassy story, Ida’s Christmas tells us of a family who are facing hard times. Ida (played by a very small Dolores Costello) has her eyes on a pricey doll. Meanwhile, her mother seeks out employment with a wealthy family. The matriarch of the wealthy family overhears Ida’s wish and decides to buy the doll for her as a surprise. Later, Ida is distraught to find that the doll has been purchased but comes across a wallet that someone has dropped. She considers taking the money, but chases down the owner instead. The old man gives her some reward money for returning the wallet. Ida rushes to see if she can buy the doll, but has second thoughts when she thinks about how much her family could use the money. She arrives home with the money just in time for a Santa-esque old man to show up bearing packages and an assurance that the wealthy family has work for her father. The film ends with the family celebrating an unexpectedly Merry Christmas.

It’s a sweet story that hits so many beats of what we now consider traditional Christmas tales.

12. Rozhdestvo obitateley lesa / The Insect’s Christmas (1913) (RU)

Directed by Władysław Starewicz for Khanzhonkov

Fair warning, if you thought The Princess’s XMas Gift was odd, you might need to ready yourself for this one. Stop-motion virtuoso Władysław Starewicz (Ladislas Starevich) spins a tale about a tiny ornament of Santa/Ded Moroz coming to life on Christmas and going out into the wild to bring Christmas joy to creatures small and smaller, including a frog and a ladybug. Starewicz’s animation is as impeccable as ever and the short is imaginative and quirky.

[bookshelfdreams]

Charité S2 and the rule of three

(I told you I wasn’t done talking about this)

To put it briefly, the rule of three is a narrative device where the same scene is used three times with slight variations. The first two build up tension, the third releases. You have almost definitely encountered it before, in fairy tales, jokes and other stories; stand up comedians love it because it is very simple to put to use and very hard to screw up.

In Charité, it is a major part of the plot structure and used (rather cleverly I think) to make a point about power, complicity and resistance.

(beyond this point there be spoilers)

The first time goes like this. Psychiatrist Max de Crinis wants to evaluate amputee Paul Lohmann because he suspects him of self-mutilation. From his first second on screen, de Crinis is set up to be surgeon Ferdinand Sauerbruch’s antagonist, who did the amputation and assures us that de Crinis “wouldn’t dare” actually accuse Paul of anything. Sauerbruch thinks he is outside the system; that his reputation and his skill put him in a little bubble where the regime can’t reach him, nor anyone he decides to let into that bubble. The manner in which Paul is introduced leads us to believe that he is a main character (indeed the first episode seems to set up a completely different story than what the season ends up being, and that’s super interesting but also a rant for another day). He’s also a war hero and someone the regime doesn’t have a grudge against. One of our focal characters, Otto, rushes in to save him! Things look good!

But Otto, who does not know how to work in the system, blunders it. And Paul is murdered.

This is how “subverting expectations” can be done right; not “hah, bet you didn’t see this coming!” but “what did you expect. This world is cruel and no one is safe. Wake up”. It is also our first hint that in this world, no one can remove themselves from the system. People who are willing to serve the regime are granted power; anyone else is fair game.

Later in the show, we meet Hans von Dohnanyi, a resistance fighter, who Sauerbruch takes on his ward to free him from prison. He is very sick, he had a stroke, and Sauerbruch vows to protect him. He still believes in his bubble - as long as he is there, nobody will dare touch von Dohnanyi. But once, more the regime sends its loyal servant de Crinis to evaluate him (this time it is about whether von Dohnanyi can be transported back to prison). We up the stakes; this is not a common soldier who may or may not have shot himself, but an actual enemy of the state. This time, two people try to speak for the patient; one is de Crinis’ predecessor Karl Bonhoeffer. He fails, because the regime has taken all power from him, and also, because de Crinis is petty and insecure. The other is Sauerbruch himself, who barges in to rescue his patient. He realizes now that he cannot just throw his name at people and expect to get his way. He strokes de Crinis’ ego and subtly threatens him, and he seems to succeed.

However, we (the audience) know it’s hopeless. We know what Sauerbruch doesn’t want to believe: that his power is an illusion. We also have the hindsight of history and know that Hans von Dohnanyi eventually was murdered by Nazis. As soon as Sauerbruch is not physically present at Charité, de Crinis writes his evaluation and von Dohnanyi is taken away to his eventual death.

This is the second time.

Then, towards the end, Martin Schelling is arrested for being alive while queer. De Crinis is once more tasked with evaluating someone; this time, he will send Martin to a KZ to be murdered. Things have never looked more bleak. He may be one of Sauerbruch’s favourite employees, but no one (neither the characters nor the audience) believes this provides safety anymore. Except for an offhand comment, Sauerbruch isn’t even a part of this story line. Nobody barges into the interrogation, and Martin is not an important person like von Dohnanyi or someone the NS regime might find valuable, like Paul. Then there’s also the wider cultural context in which the story is told - we (the audience) are very aware of the Bury Your Gays trope. We are also aware of narrative parallels and foreshadowing, and we know that death in a KZ would be a well-estabished ending for Martin. So, this is definitely it. His life is over. Nobody can save him now.

But then, our other focal character Anni Waldhausen comes into play. And she, who cannot leverage her name or expertise to force de Crinis to let Martin go, nonetheless succeeds. Because she has recognized what a fraud de Crinis is and knows exactly how to play him. Because she is able to leverage her status as a loyal servant of the regime (and because she knows keeping up appearances is the only way for her to protect her daughter and brother). It works, but only because de Crinis is already thinking about a possible future where the NS regime might collapse. He knows he is not only complicit but guilty; and Martin is insignificant enough that the possible advantages of showing him mercy outweigh the satisfaction of sending him to his death.

And once more, our expectations are subverted, and this time it really is the cheap “Hah, bet you didn’t see this coming ;)” variant. Because this time, it is not about shocking us into realizing how cruel this world is; it is about making us realize that it is up to us to change it. It is about showing that ultimately, inhumane ideologies will always be their own downfall. It is about saying yes, horrible people did horrible things, but it is up to you to do what you can to save even just one person. To make the world a tiny bit better.

[elliepassmore]

Charité: Hoffnung und Shicksal Kritik

5/5 stars Empfohlen für Leute, die mögen: Charité (TV show), Medizin, mehrere Gesichtspunkte, historische Fiktion 5/5 Sternen Empfohlen für Leute, die mögen: Charité (TV-Show), Medizin, mehrere Gesichtspunkte, historische Fiktion Notiz: ich lese Deutsch viel besser dann ich es schreibe, diese Kritik darf Fehler enthalten. Ich begrüße Kommentare mit Verbesserungen. Ich mag die Charité TV Show auf Netflix und war sehr glücklich zu ein Charité Buchserien gefunden. Hoffnung und Shicksal beginnt 1831 in Berlin und folgt vier Hauptcharaktere über einige Jahre. Der Überblick erwähnte nur die Cholera-Epidemie, was mich sehr interessiert hat, aber es war nur ein kleiner Teil des Buches. Meistens passiert es nach der Epidemie, was in Ordnung ist…aber es erzeugt falsche Erwartungen, wenn nur die Epidemie erwähnt wird. Ich lese jedoch gern darüber die Charaktere und die Medizin. Das Lesen über die medizinischen Neuerungen war sehr interessant und aufschlussreich. Ich mag Medizin aber ich weiß nur ein bisschen Krankengeschichte, so bot dieses Buch (und die Notiz des Autors) einen Einsicht an. Wir sehen die Operationen und die Bedingungen im Krankenhaus. Natürlich es ist meistens von dem Gesichtspunkt von Ärzten und Pflegerin, aber auch es gibt einige Patienten Gesichtspunkte. Für Charaktere, Elisabeth ist eine neue Pflegerin und weihte sehr mit ihre Arbeit ein. Es ist klar von Anfang, dass sie klug ist und ein großes Herz hat. Sie ist gut mit ihren Patienten, die Schweikert als ein Gegensatz zu anderen Pflegern benutzt. Auch sie hat ein intuitives Verständnis der Medizin. Ich mag das über sie, aber der Gegensatz mit anderen Pflegern macht eine bisschen ‚Mary Sue‘ Rolle für sie. Sie ist nicht gänzlich eine ‚Mary Sue‘ und sie macht Fehler und hat Tiefpunkte wie die anderen Charaktere. Wirklich, ich fühle mich schlecht für sie, besonders mit ihrer Familie, und verstehe warum sie die Entscheidungen trifft, die sie trifft. Ich denke, ihr Ende war gut und es passt sie. Martha war eine Hebamme in Berlin, die bald ihre Arbeit in die Charité anfing. Ihr neuer Job war eine komplette Umkehrung von einer Hebamme sein, was mir gefiel. Ihre Aufgabe wie die „Totenfrau“ war auch etwas mir gefiel. So kaum sehen wir Frauen in dieser Aufgabe, besonders nicht, wenn es so verschmutzt ist sie wie im Buch, also war es schön zu gesehen. Ihre Beziehung zu ihrem Sohn ist sehr stark und deutlich wird sie etwas für ihm tun. Ich liebe auch ihre und Elisabeths Freundschaft. Die beiden leisten gute Arbeit, um sich gegenseitig zu unterstützen, was angesichts des Altersunterschieds besonders schön war. Ich liebe auch Ludovica. Wie die anderen Charaktere war sie sehr intelligent und neugierig. Sie hat eine Lebensfreude, die im Gegensatz zu ihrer unglücklichen Ehe steht. Ich denke, sie hätte weit gehen können, besonders wenn, wie Elisabeth und Martha, sie die Chance zu Medizin üben hatte. Ich mag ihre und Dieffenbachs Freundschaft sowie ihre und Elisabeths wachsend Freundschaft. Aber, es ist so unfair wie ihre Geschichte endet. *SPOILER, SKIP TO NEXT PARAGRAPH* Ich bin eigentlich etwa sauer über es. Ihr Tod ist das blödeste Ding. Ein Pferdtritt? Wirklich?! Und, hätte unter so vielen Kleidungsschichten wirklich es Haut gebrochen? Und warum besucht ein anderer Arzt nicht? Es fühlt wie ein fauler Weg zu ihre Geschichte einzumummeln. *SPOILER END* Ich mag und mag nicht Dieffenbach. Er ist einen guten Arzt, aber einen schlechten Ehemann. Er ist ein besserer Mensch im Krankenhaus denn zu Hause. Er ermutigt Arzte und Pfleger*innen gleicherweise. Auch war er in Gesundheitswesen und er könnte tatsächlich etwas dagegen tun, weil seine Aufgabe wie Geheimrat. Ich denke, hätte Alexander die wenigste Erzählkapitel. Er ist rau an dem Anfang, aber er erwacht in einer besseren Person hinein. Ich werde sagen: er ist sehr von seinem Privileg bewusst. Er kennt das er hat Möglichkeiten, die andere nicht haben, weil er ein Mann ist. Ich mag sein und Elisabeths später Interaktionen. Sie machen zusammen Sinn. Jetzt habe ich eine Ausflucht zu Charité die Fernsehsendung reden! Weiß nicht wenn es auf den Bücher gründet oder andersherum. Trotzdem, wenn Sie dies Buch mögen, mögen Sie die Fernsehsendung. Jede Staffel ist einzige Zeitspanne und, wie das Buch, manche Menschen sind echt und manche sind fiktional. Es ist angemessene genug mit Repräsentation; alle drei Staffeln haben LGBTQ+ Charaktere. Sie alle haben auch gute Behinderungen-Repräsentation; Staffel 1 hat Abhängigkeitssyndrom, Staffel 2 hat Prosthese-Benutzer und Geisteskrankheit, und Staffel 3 hat unheilbare Krankheit. Ich vorschlage es definitiv.

Staffel 1 *SPOILER* hat der ‚begrabe die Schwulen‘-Tropus *SPOILER END*, aber das ist die einzige Staffel mit das und die drei Staffeln nicht verbinden, so es ist einfach zu vermeiden.

Abzug-Warnung/TW: Staffel 2 beschäftigt sich mit Nazi medizinischen Experimenten, meistens mit Kindern.

[definitely-not-an-alb]

Also, and I’ll shut up then, I dislike this reccing culture by the authors’ and characters’ demographics and nothing else so much, but especially in science fiction. Listen. I get it in dramas and romance and such. THUG being written by an American Black Woman is relevant af to THUG. The gays being gay in Charité is relevant to the series about Nazis being homophobic. Sometimes, it’s going to be relevant to Sci Fi, too. Like fuck yeah Octavia Butler being Black is relevant to most of her work. Except Bloodchild is also choke full of stuff about gender and trans-ness imo.

But quiet frankly, I (primarily) pick my genre fiction on theme and quality of execution, and I recc on theme, because that’s the thing I’m going to take away from it. If the demographics are relevant (eg, this is transhumanist sci fi with a trans disabled mc!), add it, but, like, include the theme/subject maybe? It’s wlw! cool. what is it about. It’s wlw in space! yes but what is it about. it’s wlw necromancers! So is it about ... death? life? grief? bodies and our relation to them? transhumanist themes? what happens to grief in a world where people can come back? something entirely different? From what I can tell until now, it’s about religion. should I read it because of the world building? because of the characterisations? because of the plot?

Like, I can’t recc anyone anything anymore because I’ll describe the actual book (’So they have these machines that download peoples memories and then transfer them to a new person, kind of like Trill but not, I don’t want to spoiler it, but the author does some very interesting things about personhood and self with that! Adn I’d love to discuss that with you if you read it, too’) and they won’t even listen to me until I say ‘also it’s wlw’, even tho it’s completely irrelevant to the book. Literally I cannot explain how much this book is exactly the thing everyone’s always on about about ‘casual’ representation, except for how it ties into the IMAGOs and advanced medicine creating ... interesting af implications about gender and sexuality (do people perceive themselves as gendered in a world where roles of mother and father become detached and fluid, where women don’t ‘have’ babies anymore, etc? What does this do to concepts of family? How does having a bunch of people and their memories and feelings in your brain affect your sexuality and love life?). And idk, often I get the vibe they kinda. Forget all the themes and warnings I told them before? And, personally more annoying, I can’t find anything to read, because I genuinely do not give a shit who the mc is snogging if it’s not a) about specifically that thematically or b) a romance or c) at that point, probably, both.

And also, again, often themes double as warnings, and I’m tired of walking into shit blind-sided. Not knowing what it’s about might upset or trigger me, but it also makes reading/watching/listening less enjoyable, because idk wtf I’m supposed to be looking for! Is this a horror movie? Do I have to watch the background for ominous shapes? Is this tech thematically relevant, a plot device or just set dressing? Are we on a desert planet because the story expects me to know Dune? Is it about Iraq? Am I supposed to ignore the fucking desert because it’s just Romance In Space anyways?

And maybe this is a very mean opinion, but if your speculative fiction has nothing going for it except the romance, it’s bad and also not speculative fiction. Like that’s a romance novel with a sci fi or fantasy setting right there, and those are great, but if you market that as Sci Fi (with romance) you’re just trying to crawl from one ghettoized genre into another one and also congrats, you’re the Nicholas Sparks of Sci Fi. Except none of these books ever are! They have great things going for them! It’s a fucking disservice and insult to the book and the author to recc them exclusively by who’s putting their lips on whom and what skin colour and mental and physical state they have while doing it!

‘well but people just want to read books about people like them for once, alb. you have to understand alb. it’s for social justice, alb. you’re being regressive by insisting speculative fiction by marginalized authors and/or about marginalized characters should be read on the merits of it’s speculative elements, alb.’

:/

[this-is-a-name-dont-worry]

Kaamelott reincarnation AU - Reinkaarnation (Liste Persos)

because i can (spoiler: nobody is straight) (aussi y a une vingtaine de persos, so il y a un “afficher plus”)

Lancelot - Lance Delarive

Panromantique Ace

26 ans

Bénévole pour différentes charités

Douche with a guitare à ses heures perdues

Dame du lac - Vivianne Pond

Lesbienne, trans mtf

25 ans

Bénévole pour différentes charités

Perceval - Percy Gallet

Pan

24 ans

Étudiant en mathématiques

Autiste

Karadoc - Kristoff Vans

Aro Ace

26 ans

Critique culinaire

Mevanwi - Maeva Gardel

Bi

28 ans

Influenceuse

(still une morue)

Bohort - Bart Jones

Bi

36 ans

Styliste

Is like. Super famous.

Leodagan - Louis Carren

Pan

47 ans

Militaire

Séli - Sally Carren

Bi

50 ans

Politicienne

Guenièvre- Gwen Carren

Bi

25 ans

Étudiante en organisation d'événements

Yvain - Yvan Carren

Bi

19 ans

Musicien

A une chaîne youtube pour sa musique où il fait des pranks et réactions

Gauvain - Gavin Dorc-Tangled

Gay

19 ans

Étudiant en gestion d'entreprise

Fait de la musique avec Yvan

Loth - Leo Dorc

Aro Bi

49 ans

Politicien

Anna - Anna Tangled

Lesbian

45 ans

Femme d'affaire

La vraie personne derrière les manoeuvres politiques de Léo

Ygerne - Geranium Telgan

Bi

65 ans

Sans emploi

Is rich as fuck

Merlin - Merlin Deruid

Bi

33 ans

Travaille dans une réserve animale

Elias - Elliott Kellys

Bi

30 ans

Docteur

Kid genius

Maître d'armes- Armand Master

Aro Ace

51 ans

Prof de sport

Père Blaise - Basile Pertz

Pan

32 ans

Illustrateur

Particulièrement doué pour représenter des scènes médiévales, *somehow*

Manilius - Manuel Appsodium

Bi

24 ans

Sans emploi

Venec - Sven Crooker

Pan

27 ans

Commerçant

In shady shit

Arthur - Ressuscité, donc still Arthur Pendragon

Bi

25 ans again

Caissier au commerce de Sven

Utilise des faux papiers que Sven lui a fait

Meleagant (you thought he was gone? HA. bitch is immortal.)

Mondial cryptid

[fanpersoningfox]

So I got tagged by @dichterfuerstin !

Favorite color: sunshine yellow and night sky blue (yes, I know, yes, it's a coincidence)

Last song: The Kids from Yesterday (My Chemical Romance)

Last movie: Get Smart

Last TV show: Charité (not finished yet, no spoilers pls!!)

Spicy, sweet or savory: all of them. I just like food.

Sparkling water, tea or coffee: I like all three but coffee

Three ships: schoethe, superbat, mcspirk

Currently reading: The Watchmaker of Filigree Street

Tagging: @marie-curie @honig-prinzessin @soineffablygay @veilchenjaeger @mi-milkenwood @mutantenfisch

[eolewyn1010]

Charité, season 4 - episode 5

*chanting* We will, we will spoiler you! *clap! stomp-stomp clap! stomp-stomp clap!* We will, we will... Oh, yeah, the episode!

Yay, Maral was right all along and there will be no consequences for her selfish and dangerous behavior. Oh jooooy.

"You're not in a physical state to treat him." ??? Dylan, how about she's still suspended and not allowed to treat him?

Why is Dylan the one who is told that he was all about his ego? While Maral will be celebrated as a selfless heroine of modern science. And doesn't even need to lie in a quarantine tube.

Good of her to remember she has a family. And nice of her to lie to her dying father.

Heh, Seda and Nils make for such bitchy exes. They must have been one hell of a couple.

I admire Julia for her restraint. I would have slapped her.

One two-faced hypocrite is not enough; we also need Emilia!

A big chunk of Germany is on fire, but they expect me to believe that climate refugees go there to escape fires in the US. Sure.

They also expect me to believe that Maral is all about family suddenly when she ignored her wife for most of the season, was having shouting matches with her mom, forgetting to talk to her kid about his poor life choices, and snapping at her father.

"It's all about meeeee! Wahwahwah! If it isn't about my heroic deeds, it's about my tragic errors!"

I'd like to point out that Ferhat just stole his completely paralyzed patient's talking device and locked him into his room. This man should not be a doctor. This man should be in prison.

I'm ever so impressed with the subtlety with which they're trying to convince me that Discount Daniel Sträßer is in cahoots with the Evil Redhead SJW.

"I look like 100 years old." Yeah, and you behave like 5.

Ah, this season's Yrsa von Leistner! I was wondering where my jarringly random, not-contributing-to-the-plot thread was. Took me a while to understand she wasn't a hallucination of Maral's.

She even sounds like Yrsa von Leistner back in season 2.

"Stop the aging process" - she's quoting the most whacko of election advertisement, and I'm supposed to take her seriously? Nevermind that she's very visibly one of the 1%; of course, we're talking treatment for the rich and beautiful elite. And tbh, I just don't think highly of people who strive for immortality beyond a long and healthy life. Age with dignity, maybe?

Minister Blowhard is ignoring the nurse to talk about the doctor's achievements. I hate him already; you needn't be so in-your-face.

Are the demonstrators throwing blood bags!? What a waste of limited resources.

Ferhat is one more of those "it's about me" types. Marlene's patient just died on her in surgery; maybe notice that she's down instead of going on about your unethical handling of your patient?

Does anyone actually expect Maral to work for Miss Neverage? She is already exasperated with her, which, finally I agree with the main protagonist on something!

It couldn't last longer than a moment. See, when Maral attempts a risky treatment on a patient, it's better to try than do nothing. When Seda does the exact same thing - she's a horrid egotistical bitch who just wants to be right. Ladies, gentlemen, and gentlefolk, our protagonist is the most self-unaware, self-righteous hypocrite I have seen in a long-ass time.

I also have second thoughts about Maral being able to remote-activate Seda's locator. There's massive stalking potential in that use of technology.

"killed the person most important to me" - way to prioritize your loved ones, dickhead. That's a rude thing to say to your mother. You also wanna tell your kid and your wife that they come in second-place?

These unclad ceilings are fugly. Why are all the pipes and wires out in the open? Is that safe?

Is that a coffin? Why is it, like, a glowy egg?

See, Ferhat's ability to move autonomously takes precedence over his patient's ability to move autonomously.

"I'm not happy with you." Standing ovation to Julia!

And the eeeeevil demonstrators prioritize their anti-reform message over human lives. Lest we forget that people who want social equity are terrorists. But honestly, Minister Blowhard has been set up as such an unlikable character that I don't have a lot of sympathy for him.

I'm a tad less exasperated than I was at the end of the last episode, but that's probably because now that Maral has been proven right, she stops being so obtrusively annoying because the writers remembered that they have to twist her around to a Happy End. Still incredibly rich of her to call Seda self-centered.

[ana-actually]

Listening comprehension: auf Deutsch (intermediate-advanced)

A few of my favorites for listening comprehension, vocabulary, slang, etc. in German.

TV

*This should go without saying, but if you’re working on your German listening comprehension, put your subtitles on in German.*

Dark: I don’t know how to describe this one without spoilers. Just take a look.

Babylon Berlin: Crime drama, somehow both gritty and glamorous, set in 1920s Berlin. Some interesting dialects/accents. Bonus: one of the creators is Tom Tykwer (see: Lola Rennt ). 

Charité: Set in the late 19th c. at Berlin’s Charité hospital. Great for learning about how vaccines are developed and picking up a lot of medical terminology.

News/Podcasts

Das Coronavirus-Update: Reinforce that medical vocabulary you are learning while watching Charité with this podcast--and get a German perspective on the pandemic. Note: the podcast is on hiatus for the summer. 

DW Deutsch Lernen: Langsam gesprochene Nachrichten: The news in German but at a slower speed. Some stories also have an “Originaltempo” version which is a little faster.

Smarter Leben (Spiegel Audio): Discussions on various topics about living smarter (i.e., “better”). 

[harritudur]

célestin hennion, 1x02

[freyjalion]

Le Bazar de la Charité, version roman

J’ai terminé ma lecture de la version roman du Bazar de la Charité. Soyons d’accord, ce n’est pas de la grande littérature, mais je le savais avant même de le lire, ce n’était pas ce que je recherchais. Je voulais passer un peu plus de temps avec des personnages que j’avais bien aimé....

Il y a de nombreuses différents entre la série et sa version roman. Si la fin reste la même, les événements qui y conduise divergent de bien des manières.

SPOILERS ALERT!

En premier lieu, nous avons des personnages inexistants dans la série:

- Lucile, journaliste indépendante, filleule d’Hennion.

-Matteo, un pompier et amant de Lucille.

- Dr Oscar Oscar, le dentiste du tout Paris....

- Emeline, une jeune anarchiste (quoiqu’elle apparaisse rapidement dans la série, mais dans un rôle très très secondaire).

- La baronne de Chapuis et sa famille.

Je crois que je n’en ai pas oublié....Evidemment, ces personnages changent pas mal la donne par rapport au scénario de la série. Lucille, au final, prend une grande part du rôle d’Adrienne. C’est Lucille qui fait tomber De Lenverpré. Adrienne ne cherche jamais à faire “tomber” son mari, elle ne cherche qu’à récupérer sa fille et à s’enfuir. L’Adrienne de la série est finalement est mixe de l’Adrienne de la version papier et de Lucille. L’incendie est entièrement vécue par les yeux de Lucille et Matteo. Ce qui est assez intéressant quand on a vu la série, cela évite le bis repetita.

Emeline, l’anarchiste, avait bien placé une bombe au Bazar, mais qui n’a pas explosé. La bombe retrouvée alimente la thèse de l’attentat, bien qu’Hennion soit dubitatif.

Au final, au niveau de l’enquête et de l’avancée de certains événements, la version papier apporte des réponses sur des choses laissées floues dans la série (et ça, j’ai plutôt bien aimée).

Jean, le mari de Rose, ne travaille jamais pour le mari d’Odette. Il reconnait sa femme lorsqu’il amène son patron à la soirée organisée chez Mme Huchon. J’avais trouvée très belle la scène des retrouvailles entre Jean et Rose dans la série (c’était mon couple préféré, je trouvais leur amour tellement beau!) mais le déroulé me semble un peu plus réaliste et moins romanesque sur la version papier (oui la série peut être assez romanesque....)

Il y a beaucoup plus d’éléments historiques dans la version papier au final. Comme le décès de la soeur de Sissi dans l’incendie, les avancées technologiques et médicales de l’époque...Et ouais, j’aimais bien.

Au niveau des personnages que l’on connaît. J’ai contente de voir que De Lenverpré était vraiment amoureux d’Adrienne. Je le percevais dans la série, mais c’est clairement dit ici, et il est vraiment effondré par sa mort. Ca n’enlève rien au fait qu’il est horrible, mais ça le rend un peu moins manichéen. Pareil pour Hugues, ou pour moi, sa relation avec Adrienne n’était pas toujours claire. Histoire d’amour? De sexe? De désir? Un moyen de s’échapper pour elle? Hugues est clairement amoureux sur la version papier et incapable de résister à Adrienne. Quand à elle, elle me semble aussi plus attachée à lui que dans la série.

L’ordre des événements changent aussi parfois.

Je crois que j’ai à peu près tout dit....

J’étais malgré tout contente de cette lecture, et de passer plus de temps avec ses personnages. Et surtout avec Hennion, dont le personnage est très bien complété dans cette version papier!