#jacob malin

[dove-da-birb]

My Makeup

People seemed interested, so this is a post of my makeup. I didn't include everything I have, as I have more moisturizers, setting powder, setting spray, and brushes. So yeah.

My favs will be bolded.

I use makeup for expression purposes; makeup has no gender babes.

People who seemed interested; @eynnwwyjth, @krenenbaker, @twistwonderlanddevotee, @silvers-numberonefan

Eyeshadow Palettes

Palette; Fierce by Nature from Morphe (I think it's out of circulation now)

1st Row; Trance, Consume, Frenzy, Power Play, Savage, The OG, Disrupt

2nd Row; Temptin', Flame Game, Ferocious, Come Alive, Major Hottie, Stun Wild, Embers

3rd Row; New Flame, Ball of Fire, Red Alert, Make Believe, Unstoppable, Explode, Hot Contents

4th Row; Domination, Full Blast, Ignition, Mesmerize, Inferno, In Command, Hypnotic

5th Row; Stamina, Warning Label, Combust, Outta Control, Smolder, Jolt, Smoked Out

Palette; Oh Boy by Morphe (out of circulation too I think)

1st Row; Hendrix, Derick, Benji, Maddox, Alexander

2nd Row; Jacob, Wyatt, Timmy, Carter, Liam

3rd Row; Max, Kai, Austin, Mace, Blake

4th Row; Bentley, Jax, Chris, Jonah, Oliver

5th Row; Paxton, Knox, Eli, Jace, Daniel

I only really have it to have a neutral palette just in case I need to do something more business or formal.

Palette; 18 Hit Wonder by e.l.f

1st Row; Supreme, Vibrant, Moss, Peachy, Quartz, Pave

2nd Row; Velvet, Electric, Evergreen, Solar, Heat, Candy

3rd Row; Royal, Shade, Element, Summer, Penny, Danger

I also use this to do some dorm-inspired makeup; plus look at that rainbow.

Single Eyeshadows (also blush and highlighters but I use them as eyeshadow too)

Starting at the top left;

Dito Galaxy Shade in Mars

Autobalm Day2Night in Lombard ST

Wander Beauty in Bouquet

Kaleido Cosmetics Skin Blush in Primadonna

Bottom row, left to right;

Nomad Cosmetics Desert Sands

Araceli Jalisco Eyes in Tequila

Estate Dew Me Baked Highlighter Powder in Lit

inmo cosmetics velveteen dream shadow in Kween Bee

Ciate London blush highlighter in Pinch Me

All from IPSY; why did they keep on sending me gold eyeshadows?

Foundations & Moisturizers

Left to right;

Camelina + Strobe Luminizing Primer (I use it as a highlighter)

tarte Maracuja Tinted Hydrator in 10N Fair Neutral

ColourPop Pretty Fresh Foundation in Light 40N

Formula 10.0.6 Thirst No More! Moisturizer

I mix the two shades together, but it also depends on the season. I don't wear foundation very often, so yeah.

Clear Lip Stuff

Left to right;

Bath & Body Works Pumpkin Cupcake

(Malin + Gotez) mojito lip balm

Ciate London Watermelon Burst Hydrating Lip Oil

Jersey Shore Cosmetics Watermelon Moisture Rich Hydrating Balm

Bath & Body Works Champagne Toast Lip Gloss

Lipsticks

Left to right;

e.l.f Sheer Matte Liquid Lipstick in Bright Poppy

Lottie London Slay All Day in Fleek

melt in rebound

Burt's Bees Tinted Lip Balm in Sienna Rose

e.l.f. Sheer Slick in Dragonfruit

bellapierre cosmetics Mineral Lipstick in Envy

Liquid Eyestuff

Left to right;

L.A. Colors Eye Marker in Blue

Covergirl Exhibitionist Lash Enhancing Liquid Eyeliner in Matte Black

Wet n Wild Mega Volume Mascara

item Lid Glaze in Lunar Drop

Kokie Profesional Crystal Fusion Liquid Eyeshadow in Polaris

[f-rg-tmigej]

Hahaha, Dimmu Borgir i Stockholm med Malin, Jesper, Johan, Antero och Jake (Jabo, Jacob) Fan vad kul vi hade 😍

27 Oktober 2003

[christophe76460]

Dieu est pour nous refuge et force,

Dans la détresse un secours toujours prêt.

C'est pourquoi nous ne craindrons point,

Quand même la terre serait bouleversée,

Et que les montagnes chancelleraient au cœur des mers.

Que les flots mugissent et jettent leur écume,

Que les montagnes soient ébranlées par le soulèvement des vagues...

[L'Eternel des armées est avec nous,

Le Dieu de Jacob est notre haute retraite.]

Il est un fleuve dont les bras réjouissent la cité de Dieu,

Ce lieu saint des demeures du Très-Haut.

DIEU EST AU MILIEU D'ELLE : elle n'est point ébranlée,

Dieu lui donne secours dès le retour du matin.

Les nations s'agitent, les royaumes s'ébranlent...

Qu'il fasse entendre sa voix, la terre se fondra.

L'Eternel des armées est avec nous,

Le Dieu de Jacob est notre haute retraite.

LA BIBLE PSAUME 46.2-8

DIEU EST LA , ne nous laissons pas intimider, ni abuser par le malin❗ Enracinés et solides en CHRIST nous ne craignons RIEN ❗

- PROVERBE 18.10 - Le nom de l'Eternel est une tour forte; Le juste s'y réfugie, et se trouve en sûreté.

Bonne soirée à tous. Restons dans SA paix. 🙋‍♀️ 🌻 🌈 😘 🙏

[ladderswithoutpools]

Concept

Alphabet legacy but kinda the opposite where names of each gen have to end with the same letter, each generation moving through the alphabet i.e Luca, Annabella and Ezra then Jacob and Robb ect.

Inspired by my current household with their kids Senan, Malin and Quinn. Guess its names ending in O for the next gen :p

[amirmalin]

Amir Malin: Navigating the Intersection of Creativity and Business in the Film Industry

There is perhaps no greater test for the union of art and business than making a hit movie. It’s a storytelling on a global scale that costs millions of dollars and faces fierce competition for consumers’ discretionary dollars. In fact, it’s the very tension between artistic directors and finance-minded executives that often leads to box office bombs. 

But for industry veteran Amir Jacob Malin, the challenge of marrying creative work to business sense has always been the best part of his job. 

Throughout his decades-long career in the entertainment sector, Malin has consistently managed to straddle the line between left- and right-brained thinking to deliver both commercial and critical successes. 

During his tenure, he helped transform a home video company into a hit studio, shepherded directors’ careers from obscurity to mass appeal, produced hit movies, and led companies to unprecedented success. 

The making of a great executive 

How does he do it? Perhaps it’s the unique approach Amir Malin has taken throughout his career that allows him to consistently make decisions that are both lucrative and artistically compelling. 

Malin talked about his background at a finance panel discussion at the Cannes Film Festival in 2003. That approach was shaped early. While his professional training comes from Brandeis and Boston University School of Law, his artistic sensibility was shaped in screening rooms on Long Island. 

A native of Great Neck, New York, Malin grew up around the children of movie executives in the days before the industry was completely rooted in Los Angeles. Many of his fondest memories involve watching yet-to-be-released films in the comfort of his friends’ homes. 

During these special viewings, something about the art form connected with him, and Malin soon found himself spending his high school weekends driving to Manhasset to watch movies by Truffaut, Polankski, or Hitchcock play at the local art house theater. 

As the years passed, his youthful sense of wonder crystallized into a deep passion for movies. But it was the time spent learning from his father, an entrepreneur, that revealed his natural acumen for business. He knew early on he wanted to combine both sides of himself into a career. 

A vision for success

One of the clearest examples of Malin’s two-sided approach to movie industry came from the 1999 dark horse blockbuster, “The Blair Witch Project.” Famously shot on a paltry budget by three University of Florida students, the movie almost didn’t see wide distribution. It was only thanks to Malin and his colleagues at Artisan, who were the first executives to recognize the film’s commercial appeal.

Just hours after seeing “Blair Witch” at the Sundance Film Festival, Malin and his team inked a $1 million deal with the filmmakers for the rights to the film. There was just one problem—everyone thought they were wrong. 

Inspired in part by the movie’s creative “found footage” style of filmmaking, Artisan spearheaded an innovative rollout plan. Under Malin’s guidance, the studio curated and spread an unofficial mythology of the film, using the early internet of 1999 as the grounds for a guerilla marketing campaign that carefully implied the movie was real recovered footage from a young documentary team. 

Malin also made sure the movie opened slowly, showing on very few screens in major metropolitan areas in order to build buzz and attract excitement. 

The stunts worked. 

Despite its low budget, untested filmmaking team, and lack of interest from any major studio, “The Blair Witch Project” went to net $140 million at the American box office. It also cemented Artisan as a serious studio and Malin as a sharp executive with a keen artistic vision. 

The end result

Building off the success of “Blair Witch,” Malin went on to secure or produce a series of independent and off-beat movies. Hits like “Requiem for a Dream” and “Van Wilder” followed, further establishing both him and his company as leading voices at the cutting-edge of filmed entertainment. 

Financial success followed close behind. When Artisan was finally sold to Lions Gate Entertainment in 2003, Malin had presided over an unprecedented turnaround. The final sale brought a nearly 700 percent return for the original Bain Capital led shareholder group. 

Just as remarkable as his success was his process. Despite working in the movie industry, Malin largely avoided Hollywood. He continued to live in New York, preferring to take trips to the West Coast when they were necessary. His position outside the bubble of Los Angeles allowed him to see the industry more clearly from afar. 

Like all of his decisions, it was both shrewd and creative, the perfect blend of artistic vision and business knowhow. 

[sinceileftyoublog]

Winnetka Music Festival: 6/16-6/17

Alejandro Escovedo

BY JORDAN MAINZER

Unlike summer street festivals in other “affluent” Chicago suburbs--Alejandro Escovedo’s words, not mine--the Winnetka Music Festival chooses established and up-and-coming independent, original artists in favor of the usual rotation of the same five cover acts. 

The Wallflowers

Friday night, the headliner was a band that unexpectedly signed with New West two years ago: none other than The Wallflowers, the long-running project of singer-songwriter Jakob Dylan. Yes, they played the major songs from beloved major label sophomore record Bringing Down the Horse: the eternal “One Headlight”, the Adam Duritz-featuring “6th Avenue Heartache”, the “Sweet Jane”-riffed “Three Marlenas”, blasted jam “The Difference”, and Southern rocker “God Don’t Make Lonely Girls”. Though the aforementioned Counting Crow was nowhere to be found, the rest of the band brought down the horse house. Ben Peeler’s shimmery steel guitars shined alongside the churchy keys of the band’s biggest hits. If Dylan’s voice was raspy and understated, the instrumentation delivered the emotional punches, especially on songs from their latest Exit Wounds like “Roots and Wings”, where Dylan reflects on where he came from and what’s allowed him to move beyond. And the encore contained two covers of songs by Tom Petty and the Heartbreakers; considering Dylan’s father played in a band with the late, great Petty, it (perhaps unfairly) feels like The Wallflowers covering Petty is more appropriate than a version from any other Americana band. They were certainly crowd pleasers. After a speech about the paradox of “rules are meant to be broken,” Dylan proclaimed one mantra he’s learned to follow: “If you got a good thing, keep it going.” I can’t think of a better phrase to sum up everything about The Wallflowers, from that one set to their entire career.

The Dip

Proceeding The Wallflowers on the same stage was another singalong-friendly band, Seattle R&B/funk septet The Dip. Yes, they were masters of style and tempo. Jacob Lundgren’s prickly guitars propelled the existential “Crickets”. Mark Hunter’s bass and Jarred Katz’ drums buoyed the strut of “She Gave Me The Keys”. The fluttery horn section--trumpeter Brendan Carter, tenor saxophonist Levi Gillis, and baritone saxophonist Evan Smith--were given ample space to solo and meander through the extended jams of “She Gave Me The Keys” and “Sure Don’t Miss You”. Throughout, Tom Eddy’s soulful lead vocals and charismatic banter and context helped make a decidedly retro band sound fresh and contemporary.

Escovedo

If there was an outlier in not just the bands I saw but the whole festival, it was Alejandro Escovedo. He admitted it, noticing that unlike The Wallflowers and that night’s main headliner, Michael Franti & Spearhead, “We don’t get you movin’ and dancing.” The band took their time to sort through some sound issues and eased into their set, beginning with the languid “Wave” and echoing “Sometimes”, respective showcases for synthesizer/keyboard player Scott Danbom and drummer Mark Henne. Eventually, Escovedo and company became energized, laying down power pop burner “Break This Time” and Escovedo’s two most popular tunes, Chuck Prophet co-write (and dedicated to the hurting Jesse Malin) “Always a Friend” and “Castanets”. But it was the tunes in between that stood out. Escovedo introduced “Dearhead on the Wall” as “a song about taxidermy and Buddhism”; as he’s aged, the way his voice trembles on his more contemplative tunes is almost gothic in character, effective even if not purposeful. He muffled his vocals on “Sally Was a Cop” and “Teenage Luggage”; non-fans, town locals, and passersby likely didn’t expect to hear the words, “America's a blood-stain in a honky-tonk kill” emanating from the stage as if through a megaphone. Then again, with a discography like Escovedo’s, nobody knew what to expect, and he delivered a masterfully taut collection of his finest songwriting, leaving the band the opportunity to straight up choogle.

So, yes, the Winnetka Music Festival, which is presented in collaboration with SPACE in Evanston, is not your average Chicago suburban street festival, and certainly not one I would have expected even 10 years ago, let alone growing up on the North Shore of Chicago.

[princesssarisa]

Hmm...

*Salzburg Festival, 1987 (Michael Hampe production – Samuel Ramey, Ferruccio Furlanetto, Anna Tomowa-Sintow, Julia Varady, Kathleen Battle, et al. conducted by Herbert von Karajan)

*Metropolitan Opera, 2000 (Franco Zeffirelli production – Bryn Terfel, Ferruccio Furlanetto, Renée Fleming, Solveig Kringelborn, Hei-Kyung Hong, et al., conducted by James Levine)

*Festival Aix-en-Provence, 2002 (Peter Brook production – Peter Mattei, Gilles Cachemaille, Alexandra Deshorties, Mirielle Delunsch, Lisa Larsson, et al, conducted by Daniel Harding)

*Innsbruck Festival, 2006 (Vincent Boussard production – Johannes Weisser, Marcos Fink, Malin Byström, Alexandrina Pendatchanska, Sunhae Im, et al., conducted by René Jacobs)

Basically, I like productions that, while not strictly traditional per se, aren't too distractingly avant garde, and strong singing actors who offer fresh, vivid, complex characterizations. A production that doesn't try to glorify Giovanni – even if it does give him some faintly sympathetic qualities – and that doesn't insult the female characters is a bonus too.

I'll leave it at these four for now, but I'm planning to do a marathon viewing very soon of all the productions I can get my hands on, whether on DVD or online.

pst what are your guys' favorite don g productions

[zuulosdovah]

The Malin cousins! From left to right: Danni, Kettil, Tea, Mats, Idmon and Kaina.

Character introductions under the cut

Daniella “Danni” Malin-Flett (née Malin) Born: 1956

First child of Hakon and Lone Malin. With both her sibling being rather non-conforming according to pureblood standards, Danni took it upon herself very early to be the picture perfect daughter and heir so that Tea and Kettil could continue to be themselves in any way they wanted to. As such, she sets higher standards for herself than her parents ever could, and even though she’s the epitome of maturity and composure, as well as a largely successful duelling champion, nothing she does will ever be good enough to her. Her earrings change according to the phases of the moon.

Tea Malin Born: 1958

Second child of Hakon and Lone Malin. Tea (pronounced Te-ah) is very much a free spirit and a traveler at heart. She hardly spends any time at home, choosing instead to travel the world to experience as much of it as it as she can, both muggle and magic. When she runs out of money, she goes home and works at her uncle Viljar’s shop Olivkvisten until she has the funds to travel again. She runs by her own clock - always late, but never failing to show up in the end. Quite adept at broom-racing. Has a scary accurate gut-feeling when it comes to the weather.

Kettil Malin Born: 1961

Third child of Hakon and Lone Malin. Everyone was convinced Kettil (pronounced Shet-ill) was a squib until he finally displayed magic at the late age of 13. What people don’t know is that he bargained with a spiritus to get those abilities - a dark creature who stole them from someone else to give to Kettil - in a moment of fear, as he was a squib born to a very traditional pureblood family during the first wizarding war. The white of his hair is a result of his body trying to reject the foreign magic - something that still causes him to have spouts of accidental magic and fainting spells. That hasn’t put a damper on his spirit though (unfortunately). He’s still as smart-mouthed as he is accident prone, happily talking back to the wrong people and tripping over air like it’s his day job. Has a huge interest in magic artifacts, dark ones especially. His favourite is a Troll Ball he’s affectionately named Trulsa and uses to torment his sisters with constantly.

Mats Seipel Born: 1971

While technically not related to the Malins, Mats’ folks have always been neglectful of him, so he’s come to strike up a strong father-son relationship with Viljar that has him invited to all the family gatherings. Even so, he’s a rather private person who’d rather not talk about himself if he can help it. Slow to trust and used to his own company, it takes a while for Mats to open up and make nice with strangers, but for the ones who break through his standoffish exterior, he makes for a very loving and trustworthy friend. Has heterochromia, but despises the attention it attracts, so he keeps his left eye hidden behinds his bangs. He could use glamours to hide it, but his skin is overly sensitive to them - they make him break out in hives.

Jacob “Idmon” Malin Born: 1965

First child of Sigurd and Lucy Malin. They say Idmon used to be remembered fondly among his peers, before the Cursed Vaults drove him mad. The truth, naturally, is a bit more complex than that. While kind-hearted, Idmon also suffered from severe anxiety that gradually turned him into a chronic liar and people-pleaser who changed personality and opinion on the fly based on who was around to hear. It wasn’t a thing done out of malice, but rather a fear of rejection and confrontation. Between that, his natural legilimency, the Cursed Vaults, and R, it was really no wonder he ended up a nervous, paranoid mess. To himself, he’s twenty nervous habits and one hell of an obsessive personality trait crammed into a gryffindor uniform that ultimately feels undeserved. Everything about him is fake, fake, fake, he’s tricking everyone into thinking he’s a good person when in reality he’s a manipulative coward, oh Merlin, he’s awful-- 

Drakaina “Kaina” Malin Born: 1973

Second child of Sigurd and Lucy Malin. Kaina is very bold in everything she does. She’s a dangerous combination of being brave to the point of stupidity, having a strong sense of what's "right," and no regards for authority figures or rules. She’s social and loud and for the most part optimistic and happy, but with a temper that can swing to all kinds of extremes at the drop of a hat. Emotionally driven and good at reading people thanks to her natural legilimency, Kaina is just content with surrounding herself with people. She has a strong protective streak as well as obsessive tendencies, and needs to be needed, otherwise she’s not happy. Unfortunately, this can make her pushy, since she doesn’t really know how to be a friend without having something to fix, so she often inserts herself in situations where she isn’t wanted and doesn't belong.

[softfairies]

I JUST LOVE HIM TOO MUCH???

I really love him??? I love all the headcanons you created for him @zuulosdovah and his personality, design???? And I love his relationship with Kaina??? I also love her a lot, I'll draw her later I can garantee you that for sure!!!! I just love that Gryffindor girl so much,,,

I hope it's okay I draw a little portrait of him?? And I hope you like it 💖 I really enjoyed drawing him, it was a lot of fun!!! And his hair after being in the Cursed Vaults?? Iconic.

💓💞💕💗💖✊💝

[holly-mckenzie]

You’re nothing if not persistent. I had hoped you had reconsidered my proposal. Unless you had considered the obstacle too great.

Benjamin Fuchs & Satu Järvinen in A Discovery of Witches (3.04) 

[pleasereadmeok]

Matthew scene by scene in  season 3

Episode 6 Scene 4 -  Stand up and face me!

If you haven’t read these before don’t expect any other character arcs - forget it.  Matthew all the way here. AND this is distinctly ‘shallow end’ stuff that is not to be taken too seriously.

SPOILERS if you haven’t seen episode 6!  Book spoilers in here as well. 

Matthew is sitting quietly looking at Philippe’s watch.  Is that a slight smile as we hear that Benjie is back?  “It still keeps perfect time.” is his opener.  No ‘Hi son - long time no see.  Prepare to die.’  Seriously if Matthew is gonna end Benjie - just get it over already and cut the chat!

Benjie looks a bit pleased that Daddy has come to visit. “Father, you’re finally here.”   Matthew pokes the bee hive and trashes Benjie’s addiction to ‘cruelty and obscenity.’  Ouch - but probably deserved.  

 “That you would choose this place” - this was where Philippe was held prisoner.    I think Matthew has already figured out that Benjie had a role in Philippe’s torture but his ‘son’ is actually proud of it.  “Some of my best work.”   Oh oh - Matthew is standing up. 😱 Watch out Benjie you little shit!

Benjie is provoking Matthew - talking about how well he was rewarded by the Nazi’s for the info’ he got from Philippe.  Nah!  You got NOTHING mate.  Philippe fed him false info!  Go Phil.  👏

Matthew is really going for it now -  the way he says Benjie’s name with absolute disdain is icy cold.  Ben - ja -min.  He reckons Benjie has a major chip on his shoulder about being “The wronged son.”  

“I am exactly what you made me.”

Well actually Matthew - Benjie has a point about that.  You turned him into a vamp and let him loose to figure how to deal with it himself.   Also - while we are on the subject.  So Benjie betrayed your family - wouldn’t it have been easier to punish him by killing him then the problem is solved forever?  But Noooooooo - that would have been too easy and far less dramatic!  

Matthew regrets that now.  Benjie reckons that daddy didn’t have the courage to just kill him outright - instead he destroyed him “One day, one drop of blood at a time.”   Oh and of course he passed on his blood rage to Benjie.  

Matthew was glad that he did.  OK, Matthew - how many innocent humans were killed by Blood Raged Benjie?  Did you ever think of that?  🤬   But I forgive him coz of the gratuitous neck shot ...  I thank you.  

Moving on - Benjie doesn’t reckon that blood rage is a curse - 

“It’s a gift.  The only thing of worth you gave me.”   Matthew doesn’t react to that - instead there is something else he wants to know.

“Tell me, I’m intrigued, why now?”  Benjie is obviously a VERY patient vamp coz he’s been planning this for CENTURIES.  “I had to wait....for you to be happy.”

This is all very civilised so far but now Benjie goes way too far - he wants Diana.  I mean he WANTS her to give him children.  Oh crap Benjie has really pulled the pin from the grenade now.  

FIGHT!!!!!

Oh yeah - Benjie is launched through a wall and general fisticuffs ensue.

Actually this is brutal.  Neither of these vamps is holding back - they are vicious, animalistic and fuck me, Matthew is growling again.  I felt that head butt Matthew gives Benjie.   It’s game of cat and mouse that ends in a vicious fight when Benjie whacks daddy off his feet with an iron bar and they brawl in one of the cells. There are sparks, because of course there are, as we see a blur of bodies fighting for their vampy lives.   Who will come out of that room alive? 

[Side note -   You don’t often see no holds barred fighting on screen so I bet these two had great fun with this.]  

Matthew is the victor and we see him dragging Benjie out into the corridor.   Why?   Why not just end him in the cell?  I guess they couldn’t fit the camera in there....   Anyway, Matthew drags Benjie out by his coat - yes his coat.  

You know the one that Lena borrowed... 🤔  Oh well - Benjie probably has a few of them for every occasion - a witch raping coat, a torturing coat,.... a killing daddy coat.

Matthew throws Benjie in a heap on the floor.   “Stand up and face me!” 

OH for god sakes GET ON WITH IT MATTHEW!   But NOOOOOOOOO!  Coz this is Matthew Clairmont with his Catholic guilt and his conscience so at the very last moment he goes soft.  🤬

“It’s not your fault that I wasn’t a good father.”

WTF? BIG mistake.  HUGE mistake.  Coz ZAP!  Matthew is gripped by a witchy spell by Satu. 

🤦🏻‍♂️

Book spoilers - Satu had no involvement in the Chelm fight.  Knox was the witch that Benjie got help from.  I like this change.  Coz we got Knox being dealt with by Sarah instead of Diana - loved that. Justice!  Benjie has manipulated Satu into helping and Satu is so damn desperate with jealousy of Diana that she will do anything to prove that she is ‘top witchy’.  I think she has deluded herself into believing that she is an all powerful coz she’s been taught to weave by her mummy.  She has NO idea that Diana is way ahead of her and has been trained by far more powerful witches back in 1590.   But I’m jumping ahead to stuff that happens in the next ep so I’ll stop there. 

Next up: I thought you might like to say goodbye.

📷 ADOW S3:06 unedited screenshots - see how dark these are. 

[ladycibia]

Gryffindor kiddos (1/2), starring @angie-draws-sometimes, @neonbluewaves, @wickedica, @firefighter01, @migui-s18 and @zuulosdovah’s amazing mcs!! I hope you don’t mind if I borrowed your children, and if you do (or if you don’t like the final result or I’ve messed this up etc.), I’m sorry! :c I tried my best!

[montdiarts]

F.R.I.E.N.D.S AU

"The one where Uriel moved"

I love that series

Drakaina Malin @zuulosdovah

Ethren Whitecross @hogwartsmysterystory

[christophe76460]

ANYIGBA NYUI

Jeudi, 1er février 2024

"Il dit encore: ton nom ne sera plus Jacob, mais tu seras appelé Israël; car tu as lutté avec Dieu et avec des hommes, et tu as été vainqueur."

Genèse 32, 28 (LSG)

De Jacob à Israël, l'histoire d'un combat

Jacob, le malin, l'usurpateur, pour arriver à ses fins a mainte fois usé des artifices. Par exemple, il n'a pas hésité à tromper son vieux père aveugle pour prendre la bénédiction de son frère. Cet acte plein de ruse et de mensonge va le conduire en exil loin de la terre promise chez Laban, son oncle maternel. Mais le temps est venu pour qu'il rentre à la maison afin que la promesse de Dieu s'accomplisse. Il doit donc rencontrer son frère dont il a volé la bénédiction et qui a promis de se venger de lui en le tuant à la première occasion (Genèse 27, 41-42) . Jacob est confus et angoissé. Dans quel état d'esprit Esaü va-t-il l'accueillir, lui qui lui a fait tant de mal ? Il faut coûte que coûte qu'il fasse quelque chose.

D'abord, il prie Dieu de leur épargner, lui et sa famille, la colère d'Esaü (Genèse 32, 11). Ensuite il envoie des présents, deux cents chèvres et vingt boucs, deux cents brebis et vingt béliers, trente femelles de chameaux avec leurs petits qu'elles allaitaient, quarante vaches et dix taureaux, vingt ânesses et dix ânes (lire Genèse 32, 14&15), à Esaü pour l'apaiser. Pour finir, il sépare sa famille en deux, au cas où Esaü décide de tuer tout le monde, il en échappera un groupe.

Cependant, l’angoisse étreint encore son cœur ; la pensée du massacre qui le menace, lui et les siens, ne le quitte point. Il a tout fait, mais il sent que rien n’est fait. Il lui manque cruellement quelque chose pour se libérer du poids de son passé infâme. Mais au lieu d'un consolateur, voici un inconnu vient lui livrer combat toute la nuit. Pourquoi Dieu a-t-Il donc opté pour un combat au moment où Jacob attendait une consolation ?

Bien-aimé(e), Il y avait en Jacob deux types de personnalité : d’un côté, l'homme de Dieu, objet des promesses divines ; de l’autre, l’homme naturel, rusé et trompeur. Dieu, tout en voulant sauver et bénir le premier, veut faire périr le second. De cette lutte terrible va sortir un Jacob purifié et béni : Israël, celui qui ne connait plus d’autre force que celle de Dieu. En effet, Jacob résiste farouchement jusqu'à l'aurore à l'homme mais il reçoit un coup à l'emboîture de la hanche qui l'aneantit vraiment. Jacob affaibli, s'accroche quand même à son adversaire, cependant il est obligé de le prier de le bénir. C'est alors que l'inconnu change son destin en lui changeant de nom : "...ton nom ne sera plus Jacob, mais tu seras appelé Israël..."(verset du jour).

Cher(e) ami(e), Dieu a un projet pour tout un chacun de nous, bien entendu un projet de paix et non de malheur (lire Jérémie 29, 11). Cependant il arrive qu'Il nous arrête dans notre marche quand nous privilégions notre propre volonté à la sienne. Alors Il nous enlève notre énergie charnelle afin de nous donner sa puissance.. Mais comment réagissons-nous dans ces moments de dures épreuves ? L'apôtre dit : "...je prends plaisir dans les faiblesses, dans les outrages, dans les contraintes, dans les persécutions, dans les détresses, pour Christ. Car lorsque je suis faible, alors je suis fort"(2 Corinthiens 12, 10). Tel aussi est ton cas ou lâches-tu souvent prise ? Souviens-toi de Jacob et de Peniel : après le combat son âme a été sauvée et le soleil s'est levé pour lui. Alors il ne craint point de rencontrer Esaü.

Amen !

Exhortation : Fais preuve d'endurance dans le combat spirituel

Texte du jour : Genèse 32, 23-33

Edoh Nicolas

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[strictlydelicious]

(via zuulosdovah) For the rakepick thing you posted: “You’ve inspired me, professor. You know what, I WILL learn the cruciatus curse. And the killing curse. And imperio too, just so I can make you apologise to Bill and Merula for what you did to them. And then I’ll make you do a little tapdance. It’ll be fun!”

@zuulosdovah

[amirmalin]

From Artisan to Qualia: Amir Malin's Journey of Building and Nurturing Media Ventures

There’s an old saying that no one in Hollywood has a crystal ball. But entertainment industry executive Amir Jacob Malin has caused more than a few folks to question that assumption, thanks to his uncanny knack for having a strategic vision of the future. 

After all, what else could explain his record? Over the last few decades, at four different and varied companies, Malin has overseen an enviable list of successful film productions, rights acquisitions, publishing deals, and distribution contracts that is lauded in the industry. 

He has discovered and nurtured overlooked auteurs, breathed new life into a failing company, and managed to successfully guide libraries of movies profitably through the transition from analog to digital with ease. 

As the CEO of Artisan Entertainment, Malin led the studio to new levels of success by using innovative marketing ideas and novel business approaches. Now, as the Managing Principal of the media investment firm Qualia Capital, he continues to build a new model of success—despite operating in a very different realm of business.  

What’s in a name?

Early in his career, Malin made a name for himself in the world of art-house cinema. In 1982, he co-founded and oversaw Cinecom Pictures, which produced hits like “A Room with a View” and “Stop Making Sense.” He then presided over product acquisition, distribution, and strategic initiatives at October Films. 

But it wasn’t until 1997, when he joined Artisan Entertainment by new owner Bain Capital, that he began working on behalf of more general audiences. 

And he started with a name change. 

When Bain acquired Artisan, the company was known as LIVE Entertainment. The studio’s main business was video cassettes, but it had recently opened a theatrical division that produced low-budget genre films. Hoping to steer the company toward wider, more discerning viewership, the management team jettisoned the company’s old name in favor of Artisan. 

The new name signaled that the company would be handling more daring, director-led features. That was a departure from the mid-90s status quo, when movie studios relied on producing formula-based films. But Artisan saw an opportunity to bring a new kind of movie to audiences, which he believed had an unmet appetite for art-house sensibilities that wasn’t being met. 

The studio bought and released “Pi” by Darren Aronofsky to a warm critical reception. It followed that success by securing rights to the auteur’s next movie, “Requiem for a Dream,” which starred Jared Leto, Marlon Wayans, and Ellen Burstyn and became both a critical and commercial success, resulting in a slew of awards. 

Artisan’s strategy of building relationships with unknown and overlooked directors paid off. Under his guidance. Artisan releasing a string of innovative and successful films, such as “The Blair Witch Project,” and “Van Wilder” 

Beyond the movie business

After six years of running Artisan, Malin left the movie industry. Malin sold the studio to Lions Gate Entertainment for a 700 percent return on investment.

With time to think about his next move, Malin decided to take on a different challenge and co-founded the media investment firm Qualia Capital LLC. The new company looked beyond film to other aspects of the industry, such as music publishing and TV. 

In those areas, too, he showed rare foresight. 

Soon after the company launched, it acquired the libraries of Gaylord Entertainment and Rysher Entertainment, which mostly consisted of older TV shows like Nash Bridges, Hogan’s Heroes, and Sex and the City. At the time, these titles were primarily shown in reruns and sometimes sold on DVD. 

He believed tectonic shifts were in store for the entertainment industry. With more outlets internationally and the advent of streaming and video on demand, history proved him right.

Crystal ball or not, that’s good business.