#etienne leblanc

[alistairlowes]

"Keep asking me to come with you. And one day, if it's you that's asking, I just might."

[resetme]

HUGH LAURIE as ETIENNE LEBLANC -> All the Light We Cannot See (2023)

The human brain is locked in total darkness. Your brain floats in a clear liquid inside the skull, never in the light. And yet, in this darkness, the world the brain constructs is full of light. It brims with color and movement. What may be the most complex object in existence, one wet kilogram within which spins the universe. So how, children, does the brain, which lives without a spark of light, build for us a world full of light?

[incorrect-atlwcs]

young henri: what are you writing?

young etienne: the government wants to know what kind of weapons we have in the house. i'm letting them know it's private information.

young sophié, looking over etienne's shoulder: this just says 'fuck around and find out' in calligraphy

[hasretler]

[nerdynonbinarylife]

When I started watching House like 5 Months ago I was like: "Wow, that guy is attractive. But it's 15 years ago and he is over 60 now, so he probably isn't that attractive anymore."

Hugh Laurie over 60:

goddamn hugh laurie is so attractive

[socialoutsider1a]

Hugh Laurie’s 10 Best Movies & TV Shows, Ranked

By Ben Protheroe

Published Feb 15, 2024

Summary

Hugh Laurie's comedic sensibilities shine through in his deadpan expressions and impeccable timing, making him a comedic powerhouse.

Laurie's natural charisma allows him to play affable characters or charming rogues in dramatic roles, showcasing his versatility as an actor.

Laurie's most impressive skill is his ability to completely transform himself, abandoning his famous traits and disappearing into unexpected roles.

Hugh Laurie first established himself as a comedy actor, but he has also shown that he is a powerhouse performer in dramatic movies and TV shows. Laurie first rose to prominence alongside Stephen Fry, the other half of his popular double act. The duo starred in TV shows and movies together before developing successful careers on their own. Fry has become an author and a TV presenter as well as an actor, while Laurie has added more dramatic roles to his repertoire. Laurie is mostly known for his TV shows, but he has made some brilliant movies as well.

Hugh Laurie has acute comedic sensibilities, especially when playing the straight man. His deadpan expressions and trademark comic incredulity are among his best assets. However, he is also articulate and intelligent enough to make unusually verbose punch lines land without missing a beat. Laurie uses his natural charisma in dramatic roles to play a number of affable characters or charming rogues. What's perhaps most impressive about Laurie's acting skills is that he can abandon all of his most famous traits and disappear into unexpected roles.

10Peter's Friends (1992)

Roger Anderson

Peter's Friends is a somewhat forgotten comedy directed by Kenneth Branagh. Stephen Fry is the titular Peter, a man drifting through life who inherits a luxurious countryside manor and invites all of his old college friends back together for a New Year's Eve celebration. The old friends assemble from all over the globe, and their bright and shiny facades begin to crumble. Hugh Laurie plays Roger, a once-promising musician who sold out a long time ago to write advertising jingles. He's just one in a cast full of eccentrics, all of whom have a tenuous grip on reality.

9All The Light We Cannot See (2023)

Etienne LeBlanc

Based on the novel by Anthony Doerr, All the Light We Cannot See follows the lives of two teenagers caught on opposite sides of the Second World War. Marie-Laure is a blind French who uses her radio to broadcast messages of hope and resistance, and Werner Pfennig is a German soldier sympathetic to her cause but tasked with tracking her down. Hugh Laurie shines as Marie-Laure's great-uncle, a man with PTSD from the First World War who fights to overcome his condition to protect his family. All the Light We Cannot See delivers a powerful, uplifting message.

8Arthur Christmas (2011)

Steven Claus

Arthur Christmas is a festive adventure with a lot of heart and a lot of humor. Arthur is the son of Santa Claus, but he is forced to take on a delivery of his own after he discovers that one child didn't get their Christmas present. Hugh Laurie plays Steven, Arthur's business-minded older brother who wants to run Santa's workshop like a delivery warehouse or a military base. Arthur Christmas has all the charm usually associated with Aardman Animations, the studio most famous for claymation projects like Chicken Run and Wallace and Gromit.

7Jeeves & Wooster (1990-1993)

Bertie Wooster

Stephen Fry and Hugh Laurie's TV adaptation crystallized two classic comic characters for an entire generation.

P.G. Wodehouse's "Jeeves" stories have been extremely popular in Britain for decades, and Stephen Fry and Hugh Laurie's TV adaptation crystallized two classic comic characters for an entire generation. Hugh Laurie plays Bertie Wooster, a wealthy young man who is affable and optimistic but somewhat thick. Stephen Fry plays Jeeves, his intelligent valet with a sardonic wit. As Bertie tangles himself up in problem after problem, it's often down to Jeeves to extricate him from his troubles as painlessly as possible. Jeeves aims a couple of barbs at his employer, but he makes sure they sail over Bertie's head.

6The Night Manager (2016)

Richard Roper

The Night Manager pairs Hugh Laurie with Tom Hiddleston and Olivia Colman, and all three actors deliver brilliant performances. Laurie plays Richard Roper, an amoral, psychopathic arms dealer who is under investigation by the British Foreign Office. Hiddleston plays a hotelier in Cairo who is enlisted to infiltrate his inner circle. Based on the novel of the same name by John le Carré, The Night Manager is a suspenseful thrill ride with an ordinary man placed in extremely deadly situations. Hugh Laurie's performance as the villainous Roper is a great showcase for his talents as a dramatic actor.

5A Bit Of Fry & Laurie (1989-1995)

Various characters

Hugh Laurie's first TV show alongside his comedy partner Stephen Fry was the BBC sketch show A Bit of Fry and Laurie. Their deadpan British wit combines with absurdist Pythonesque sketches where Laurie typically plays the sarcastic straight man. Fry and Laurie's sketches often poke fun at the rigidity of British society by introducing elements of the surreal, and they frequently use innuendo and puns to spin ordinary situations into farce. A Bit of Fry and Laurie also gave Hugh Laurie a platform to demonstrate his talents as a musician with plenty of comedy songs on guitar or piano.

4Sense & Sensibility (1995)

Mr. Palmer

Sense and Sensibility is one of the best Jane Austen movie adaptations, starring and adapted by Emma Thompson. She plays Elinor Dashwood, one of three sisters who find themselves in dire financial straits and plot to find wealthy men to marry. Despite the jeopardy of this premise, Thompson's script captures Austen's dry wit and upbeat tone. Hugh Laurie plays a supporting role as Mr. Palmer, a comfortable member of high society whose privilege allows him to freely dispense erudite one-liners without needing to fear the repercussions. Laurie helps revitalize Austen's humor for the modern era.

3Veep (2012-2019)

Tom James

Laurie is one of very few actors in the show who can go toe-to-toe with Louis-Dreyfus in full comedic flow.

Julia Louis-Dreyfus is the star of Veep as the cynically ambitious career politician Selina Meyer, but she has an outstanding supporting cast to back her up. Veep's best seasons come after the show takes some time to assemble its funniest characters. Hugh Laurie plays Tom James, the charismatic senator who sucks all the attention away from Selina on the campaign trial, even though he is brought in as her running mate. Laurie is one of very few actors in the show who can go toe-to-toe with Louis-Dreyfus in full comedic flow.

2Blackadder (1983-1989)

Prince Ludwig the Indestructible, Prince George, Lt. The Hon. George Colthurst St. Barleigh, other minor characters

The BBC historical sitcom Blackadder hops to a new time period each season, starting in the Middle Ages and ending in the trenches of the First World War. Hugh Laurie plays a different character in each season, starting with one of the show's most cunning villains, Prince Ludwig the Indestructible, in season 2. His most memorable performances come after he joins the main cast as the upper-class twit, George. Prince George and Lieutenant George are both stupid but boundlessly optimistic, and they consistently rub Rowan Atkinson's Blackadder the wrong way.

1House (2004-2012)

Dr. Gregory House

House gave Hugh Laurie his most famous role, and he took it with both hands. The character of Gregory House is based on Sherlock Holmes. He has a genius-level intellect and remarkable powers of deduction, but he's misanthropic and he struggles with substance abuse. House's best episodes delve into obscure medical mysteries, as House and his team work around the clock to diagnose their patient. House's methods are unethical, and he often treats patients like puzzles rather than human beings, but his results speak for themselves. 20 years on, House is still an unbeatable medical drama.

[funkymbtifiction]

All the Light We Cannot See: Etienne LeBlanc [INTP 5w6]

MBTI Type: INTP Etienne has a highly abstract mind, and frames everything in terms of abstract concepts, even what he has to say about his death – that when your soul is leaving your body, you will know because your life passes before you in a series of separate images. He tells Werner to tell Marie that a tiger is happier dead than in a cage, implying that he is grateful to her for getting him…

[jacquelynlscott]

🧐 What is Characterization in Literature?

In literature, writers use characterization to teach readers about a character. There are two main elements of characterization: Direct and indirect.

🫵 Direct Characterization

Direct characterization means the writer directly tells a reader about a character. When characterized directly, there is little to no room for reader interpretation. Direct characterization examples include physical descriptions or the author outright stating facts about a character, like their job, relationships, etc.

📚 For example, from Anthony Doerr’s All the Light We Cannot See:

“In a corner of the city, inside a tall, narrow house at Number 4 rue Vauborel, on the sixth and highest floor, a sightless sixteen-year-old named Marie-Laure LeBlanc kneels over a low table covered entirely with a model.”

Doerr directly characterizes Marie-Laure LeBlanc as a sightless sixteen-year-old. There is nothing up for interpretation about where she lives, her blindness, or her age.

👉 Indirect Characterization

Indirect characterization reveals information about a character through their actions, dialogue, thoughts, etc.

📚 For example, again from All the Light We Cannot See:

“All evening she has been marching her fingers around the model, waiting for her great-uncle Etienne, who owns this house, who went out the previous night while she slept, and who has not returned.”

In this passage, readers learn more about Marie-Laure: she is patient and focused, maybe even a little obsessive.

You may have noticed that Doerr mixes direct with indirect characterization in this passage, as writers often do. While readers learn more about Marie-Laure through her actions, Doerr also directly tells readers that her great-uncle owns the house.

🥸 Physical Descriptions

Physical descriptions of characters can work on three levels:

They tell readers what a character looks like.

They tell readers a little about what a character is like.

They tell readers more about the main character because of what they’re choosing to notice about other people.

🫠 When writing descriptions, keep in mind that it’s not really interesting to describe characters by their hair color or their eyes. Those kinds of descriptors don’t tell readers anything about the character.

Instead, try focusing on interesting or unique bits of the character. For example, you could talk about the ash between a character’s fingers. While strange, it gives readers a visual to latch onto while also indicating that this character must wash their hands a lot and not follow up with lotion. Are they OCD? Do they work in the medical field? But also, why is your MC noticing this? Are they judgmental?

The point is small, strange details can generate questions and intrigue, whereas “The woman had brown hair” does no work for any kind of character development. However, if that woman had blonde hair with ends so fried you can see them crunching and breaking off and brown roots two inches thick, that kind of hair description says a lot about who that character is as a person.

⛔ Characterization Don’ts

New writers often introduce characters in cliché ways. Here are some characterization mistakes to avoid:

Letting your character introduce themselves directly to your readers. For example, “Hi, my name is Mary, and I’m 53.” This might work for children’s or middle grade books, but otherwise, it’s best to avoid it.

Information dumping. In real life, people get to know each other over time, learning bits of information every time they see each other. Your characters should do the same.

Introducing your main character’s physical appearance by looking in a mirror or at a picture of themselves.

Introducing your main character as they start their day, such as waking up or showering. Instead, start your story in media res, which is Latin for “in the midst of things.” Start your story when the action begins.

[soviet-sin-corner]

All the light we cannot see (Movie review)

quick note: when I say 'genre' I mean WW2 movies, this is wholly just my very much fallible opinion, I literally just watched the movie this is in no way wholly comprehensive and thought through AND I have not read the book. Oh and spoilers

I just finished 'All The Light We cannot Sea' not that anyone asked for my opinion, but it was a really cute story! I love the connection between Marie and Werner through the Professor though in terms of the romance aspect... I feel like they sort of threw away Marie's character for the sake of it. Werner being head over heels fully make sense even if it is not logical seeing as for him she is the embodiment of 13.10 and therefore all the hope, care and love that it represents. That aside, love the fact that reference was made to the elite schools. Since it's been something I'd been itching to see depicted more often in second world war era movies ever since I watched 'Napola; Before The Fall', though it is validly and naturally not referred to/depicted that often seeing as there are more interesting/important stories to tell.

Either way I do wish that the season was a bit longer there was a lot of potential in terms of building tension and suspense with Werner and the curly haired liar and there would have been more time to potentially flesh out Marie and Werner's dynamic, but then again this is probably just due to the fact that I'm comparing this to the pacing of other war series (e.g Das Boot 2018) which really take their time lathering on suspense and have a much longer run time. So, the shorter run time of this series taken into account, the pacing was simply fine. Though I liked the series over all it was in a sense (for me) truly mediocre.

The story line with Marie and her father, Etienne Leblanc's whole shebang and Werner's back story were all very interesting, but (and again this is purely and wholly my own opinion, I literally just finished the season and decided to write this no deeper thought or analysis has been put into this) the individual aspects merge, however cohesively, only to still outshine the overarching plot or rather perhaps more correctly, the present of the story. It is much more about characters going through a plotline set in a war than a war movie... If that makes any sense? The focus is very much on the past and the characters individually, much more than the current events and actions and though they are in no way unimportant or underplayed, they definitely play second fiddle in my opinion. This is more prominent in the 2nd episode onwards.

This isn't a bad thing by any means, but if you're going into this with your focus on the war aspect of the film then you won't be disappointed and not really underwhelmed but simply... well, whelmed, I suppose. I wouldn't say to go into this expecting a love story either, because it is... at least to me, not. Rather this movie is more a 'connection two people (unknowingly) share and their development and life up until they meet, oh and also its set in a war' type movie. There's a lot of focus on the softer human aspect (which we love to see) and the before/leading up to aspect, but without building a lot suspense which one may expect from a war movie (not that there wasn't suspense just not that much again in comparison to other war series like Das Boot 2018).

Somethings I really loved about this movie though was Etienne and his whole deal (simply because it's something I know and enjoy encountering in this genre), Marie and her father, like fr fr that whole storyline was actually perfect beginning to end and lastly Marie's blindness was perhaps the best most new and most refreshing and truly and addition to this genre on a whole. I'm not saying that the experience of being blind was well portrayed, seeing as I myself am not and have never been blind, but in a genre that is allergic to diversity it's always nice to see the portrayal of experiences that deviate from the 'norm'. ESPECIALLY, representation of people with disabilities and not just a oh look at this poor soldier who just got shot will never walk again we're just going to push him off screen, pretend he doesn't exist and get back to the boy with guns. I'd love to see more representation of disabled people being people and not just something to be pitied in this genre.

My biggest problem with this film is it all being in English. I love it when the respective characters speak their respective languages. But also it made some part a little unclear as to who could understand what and what language was actually currently being spoken. But that's really just me being nitpicky its fine as is just not what I prefer, lol.

Anyways all in all the series was a solid 7.5/10 and again I was beyond stoked to see more Elite school depiction and the story truly was very cute (Also if you really liked the suspense and war aspect of this series then watch Das Boot 2018 you'll love it, season 1 was prime television)

[ilcovodelbikersgrunf]

Tutta la luce che non vediamo (All the Light We Cannot See) è una miniserie televisiva statunitense del 2023 ideata da Shawn Levy e Steven Knight.

Marie-Laure Leblanc (Aria Mia Loberti) è una ragazza cieca che vive a Parigi con il padre Daniel. L’occupazione nazista la costringe a fuggire a Saint-Malo, ospitata da uno zio. Padre e figlia scappano portando con loro un leggendario diamante per evitare che cada nelle mani dei nazisti.

Dalla cittadina bretone, Marie legge alla radio brani tratti da 20.000 leghe sotto i mari.La trasmissione ha un duplice scopo: spera di raggiungere il padre (Mark Ruffalo), scomparso misteriosamente, e lo zio Etienne (Hugh Laurie), dai quali è stata separata, e svolge un’azione di supporto alla Resistenza, utilizzando il romanzo classico per inviare messaggi in codice alle forze alleate.

[resetme]

ALL THE LIGHT WE CANNOT SEE (2023) • Episode 3.

I think you know the reason I don't go out. But there is no reason in it. The past is done and gone. I thought you believed in science. Marie, why don't you just imagine that I am like one of these oysters? I'm stuck inside my shell. But you're not an oyster, Etienne. Whoever heard of an oyster wearing lilac cologne, riding on a motorbike with girls screaming?

[eat-pray-cry]

All the Light We Cannot See: In Defense of the Netflix Adaptation (Part 3)

PART 3: CHANGES - THE BAD

WARNING: SPOILER ALERTS

Okay, let’s talk changes. First, let me clarify that all the changes were, in my opinion, justifiable. Did I like all of them? No. Can I see why they were made? Yes.

That said, behold my list of the bad (but not quite ugly) changes, and why I didn't mind them.

In the book, Verner destroys the radio, much to Jutta’s dismay. In the show, Verner continues listening to the radio, against Jutta’s wishes. I actually thought this change was delicately executed. The only difference I see here is that in the show, Jutta cautions against the dangers of listening to the radio, whereas in the book, she cautions against becoming misinformed. In the end, she is still established as a voice of reason, while simultaneously reinforcing that Verner was deeply attached to the Professor’s lessons.

The journey to Saint-Mailo, where Marie and Papa steal a car instead of enduring the grueling journey by foot. Two reasons why I think this is justified, both of which are technical. (1) Time. Keep in mind that a visual platform has limited time, so context had to be condensed as much as possible. To me, this scene was meant to convey that Daniel LeBlanc had a way of creating the charm and humor out of a bad situation. We saw this throughout the book, the show conveyed it in this scene. (2) Tone. Bear in mind that the show was aiming for a more hopeful tone, so the tragedy needed to be concentrated in certain scenes. This was not one of them. Showing a long and grueling journey would have made the show lean more towards the likes of All Quiet on the Western Front.

Verner’s time in Schulpforta is condensed. This makes sense to me. Again, the show had to condense a lot of context, so it had to be done here. Nevertheless, I thought they condensed it beautifully. The scene with Verner running from his ‘traditional welcome’ was heartbreaking.

Random details - omission of the model as a puzzle, addition of von Rumpel’s lady friend and Captain Schmidt. These, to me, were just tools for condensing the story. Am I sad that the house as a model wasn’t featured? Yes. The model, to me, was a very important indicator of Marie’s cleverness. Not to mention her connection with Verner, as Verner was the only other character in the book who was able to open it. But, simply put, the show did not have space for this detail. As for von Rumpel’s lady friend and Captain Schmidt, they were just mere tools for condensing the story. The lady friend was used to explain von Rumpel’s motivations, just as Captain Schmidt was used to show how badly Verner wanted to protect Marie.

Extra nazis, and all of them were “comically evil”. I’m only mentioning this because I’ve heard this comment several times. Let me start by giving credit where credit is due. Yes, the book was masterful in portraying nuance, and that included the nazi figures in Verner’s life. The thing is, subtlety doesn’t play out as well in a visual platform. It’s a show. Condensed, visual tension was necessary. As a result, the nazi figures had to be greatly dramatized compared to the figures in the book. 

Etienne is a badass. Okay, okay, I admit that even I felt iffy about this one, but I managed to make it make sense. First, keep in mind that the Etienne we met at the beginning of the show is PRESENT Etienne. He had already evolved. He’s had time to become brave. This is further reinforced by the flashback where we do see the Etienne that we knew from the book - the hermit suffering from PTSD - and we see the precise moment he grows out of it (aka “a tiger you will be again”). If anything, my only complaint is that he was already quietly involved in the Resistance by the time we meet him.

[thejoyofviolentmovement]

With the release of 2014’s critically applauded mini-album/EP Traitement Deuxluxe, Montréal-based psych rock duo Les Deuxluxes — vocalist and multi-instrumentalist Anna Frances and multi-instrumentalist and vocalist Etienne Barry — quickly exploded in their native Québec. Building upon a rapidly growing profile across the province, the duo followed up with their critically applauded full-length debut, 2016’s Springtime Devil. Continuing upon that momentum, the French Canadian duo released a French translation of Springtime Devil album title track “Springtime Devil,” “Diable du pringtemps.” The band supported their efforts by making their way across the provincial festival circuit with stops at Montréal Jazz Fest, Festival d’été de Québec, Pop Montréal and M for Montréal. They’ve also opened for Lisa LeBlanc,��Marjo, and Jon Spencer among others. They closed out 2016 with a mini-tour of South America that included stops in Santiago, Chile, Valdivia, Chile, Buenos Aires and São Paulo. The duo isolated themselves in a 19th century church in the remote Québec countryside to write and record 2020’s sophomore album, Lighter Fluid. The album featured material anchored around classic and beloved, power chord riffage and classic psych rock vibes that channeled the likes of AC/DC, White Mystery, The White Stripes and on and on. Throughout their run together, they’ve also collaborated with a handful of boundary-pushing acts across the province, including ALIAS, Larynx and others. But this year, sees the Montréal-based duo in a period of reinvention: They founded their own label Noble Shit Records, which will release their future releases, including their forthcoming four-song EP, Pleasure Doing Business — and guarantee them much more creative freedom. Slated for an April 19, 2024 release, the entirely self-produced effort will feature the duo’s latest single “Always on the Run,” a collaboration with fellow Montréal-based rock outfit Les Shirley — Raphaëlle Chouinard, Lisandre Bourdages and Sarah Dion. “Always on the Run” further cements Les Deuxluxes’ swaggering hook-driven, barroom blues take on psych rock — but the addition of Les Shirley add a bit of playful pop-leaning muscle to the proceedings.

[incorrect-atlwcs]

marie-laure: there was a motor close to where i am right now

daniel: a motor-? a motorcycle?

marie-laure: oh, sorry. a murder

etienne: that escalated quickly

[hasretler]

[stagred]

　ANONYMOUS CALLED IN! : Just curious… If nineteen is your count for women, what's your count for the men-folk? Or was it ONLY women…

　" Oh, please, I'm not that cruel! I tried my best to be equal, despite my preference for the performance the ladies gave over the men! Jack Montgomery, Thomas Baker, Henry LeBoeuf, John Broussard, Pierre LeBlanc, Louis DesJardins, Marc Sant - Michel... oh, how could I forget! Etienne Landry, my very first! What a sweet boy he was, mm... I'd have evened up the numbers if I had the chance, though! "