#la doyenne

[perduedansmatete]

j'ai passé une super journée bien que fatiguante puisque pour la première fois de l'année je n'ai séché aucun cours de cette longue journée et que j'ai parlé avec beaucoup de gens mais je l'ai quand même fini en me retenant de pleurer parce que j'étais trop belle pour et surtout maquillée comme un petit cœur puis finalement j'ai abandonné j'ai pleuré comme une madeleine et du coup je sors plus ce soir j'ai mis mon pyjama et je reste en boule dans mon lit avec les yeux qui me piquent car se démaquiller en pleurant ça doit pas être super en terme d'efficacité et comme j'ai la flemme d'écrire dans mon répertoire de chouinades qui n'est pas à jour je n'ai plus pu me retenir parce que sans être où je devais aller je me sentais déjà de trop et que je manquais d'informations ce qui me stressait énormément et qui amplifiait le fait que je me sentais de côté et que je l'aurais été toute la soirée dans ma tête et que la personne qui voulait ma présence ce soir m'aurait dit que j'étais bizarre et m'aurais demandé si je faisais la gueule du coup parce que je n'arrive pas à lui expliquer donc en prévention pas la peine de sortir je ne veux pas lui gâcher sa soirée

[pigeonneaux]

Bonjour on a jamais parlé je crois mais automatiquement entre francophones on a un certain lien je pense - il me semble qu'on est à peu près du même âge donc je vais te demander, est-ce-que toi aussi Toboclic/Mobiclic c'était ton enfance?? Je suis retombée sur le générique et ça fait mais une dizaine d'années que le petit "comme les cinq doigts de la main nous sommes six très bons copains" me turlupine!! Si ça te dis rien désolée. C'est un plaisir de savoir que j'ai définitivement loupé un truc en regardant pas le VdF plus jeune (I think about that every time I see you lose your mind about it, and I know technically I could watch it now but it's not the same if it wasn't an adolescent obsession right? anyway) sinon tu dessines grave bien je sais plus comment elle s'appelle la meuf là mais IMPEC j'adore comment tu la dessine. Okay bonne journée!

Woah mobiclic jme souviens que je regardais une amie de la calendrete jouer a sos delphy sur l'ordi familial de chez elle. Le throw back aouh

Sinon mon enfance c'était plutôt Adibou et Marine Malice (celui la j'y ai jouer beaucoup trop de fois jle connaissais par cœur mais le fait que le coupable soit différent a chaque fin de jeu blew my mind as a kid)

Et je te rassure euuuh quand le vdf est sortie je jouais aux monster high et j'avais aucune idée de ce qu'était internet, mais j'ai une grande sœur qui m'avait montré les premiers ep vers 2012, ça m'avait pas marqué à l'epoque, j'aimais que les dessins animés mdr

Puis J'ai re-découvert (toujours un peu grace a elle) pour la première fois en juin (2022) et en entendant parler du trailer du film et de la hype entre KV1 et le VDF, good french movies era or whatever, I'm very proud

But yeah i am a fake fan i found out about it just before the movie came out et ç'a été l'obsession direct,

Et elle dur longtemps celle là parce que j'ai pu creer des souvenirs en lien avec qui sont super fort, parce que j'ai vraiment découvert au bon moment, un mois après que j'ai fini la série ils ont mis en vente les tickets d'avant premières, i was feral

C'est jamais trop tard pour commencer des trucs ya pas de date de péremption aux medias mais bref du coup bon voilà JSKDKSKD

Mais je comprends tellement, un truc nostalgique avec lequel on a grandis that def hits different

Et je ne sais pas de quel meuf tu parles mais vu que j'en dessine 3 max bein ça va je me doute de laquelle tu parles, merci !! :)!!

[fidjiefidjie]

Hommage à la doyenne du cinéma français, Micheline Presle🌹❤️🎈qu'elle repose en paix 🙏🕊

« Le cinéma est sans aucun doute la plus belle histoire de ma vie ». Micheline Presle sur la scène de la 29e Cérémonie des César lorsqu’elle a reçu un César d’Honneur pour l’ensemble de sa carrière.

Le Diable au corps 📽 de Claude Autant-Lara avec Gérard Philipe

Bon Soir 🙋‍♀️

[carraways-son]

Mardi

Pas mal de flou ces derniers temps, au-dedans comme au-dehors. Sinon, la disparition d'une tante que j'aimais, doyenne de la famille, dont la vie était depuis toujours enlacée à la mienne ; des lectures qui se suivent sans se répondre ; deux bons et beaux films ("Past Lives" de Celine Song, et "Bonnard, Pierre et Marthe" de Martin Provost) ; et aussi des photos craquantes reçues chaque jour de Kyôto, des orgies de grosses prunes rouges, juteuses et sucrées, trouvées sur les marchés, des valises qui s'ouvrent à nouveau sur les lits, et la lune pour compagne de voyage annoncée...

[cheminer-poesie-cressant]

(petite scène de la ville quotidienne, la vie des villages)

« l’orage de septembre est plus dangereux ; il roule, il ne claque pas comme celui de l’été » ; parole de la doyenne du village relatant ce que disaient ses aïeux ; un orage qui dans son avancée devait donner l’impression d’entrainer avec lui les paysages eux-mêmes jusqu’à un point de chute, un point de non retour ; époque où on écoutait dans le moindre détail le son des éléments naturels pour décrypter leur évolution, leur origine, leur sens, où on écoutait les saisons autant qu’on les voyait ; mais ici dans cette phrase se ressent aussi et surtout la rupture climatique, dans les images convoquées ; les orages de septembre qui sont devenus simplement ceux communs, violents et soudains des étés du premier tiers du XXIème siècle ; l’été météorologique qui déborde désormais largement sur octobre ; et cet allongement de la saison éloigne un peu plus cette phrase dans un passé à jamais révolu qui n’existe plus que dans des fragments de mémoire de personnes sur le point de partir ; et avec leur départ c’est aussi le rythme des saisons qui nous quitte

le temps est devenu une variable du grand changement qui nous poursuit, créant à son tour de la nostalgie là où pourtant, lorsque nous sommes nés, l’immuable rayonnait

.

© Pierre Cressant

(mercredi 14 septembre 2022)

[denimbex1986]

'In one corner, veteran heavyweight Christopher Nolan. In the other, nimble visionary Greta Gerwig. Their big films come out on the same day – but whose will triumph at the box office?

We live in divisive times. Opinion is more tribal and entrenched than ever, the value of reasoned argument and willing compromise plummeting by the day. This volatility could spread to the multiplex next month, where a battle of the blockbusters is destined to make previous cinematic standoffs – Mothra v Godzilla, Alien v Predator, Kramer vs Kramer – look like games of playground pat-a-cake. Get ready, then, for Barbie v Oppenheimer.

Directed by celebrated auteurs (Greta Gerwig and Christopher Nolan respectively), and hyped by multiple trailers over the past year, both movies are scheduled to open on the same crowded day. Forget your QR codes: this is one time to buy a physical ticket and save the stub to show your grandchildren. Future generations will want to know where you stood on 21 July 2023 when Barbie met the bomb.

In the pink corner is Gerwig’s DayGlo toy story starring Margot Robbie as Barbie and Ryan Gosling as Ken, who while away their days happily but vacuously in Barbie-land. In a plot apparently borrowed from Enchanted and The Purple Rose of Cairo, with a dash of Don’t Worry Darling, they swap their cosseted fairytale existence for our harsh modern world. (The trailer shows Barbie having her police mugshot taken after walloping a Venice Beach groper in the face.) The cast incorporates hot young things Issa Rae, Simu Liu, Kingsley Ben-Adir, Jamie Demetriou and, most excitingly, the new Doctor, Ncuti Gatwa, as well as old hands Michael Cera, Kate McKinnon and Will Ferrell; Helen Mirren is on narrating duties.

The 39-year-old Gerwig is arguably as big a selling point as Robbie or Gosling, as well as a guarantor of quality control. The three-time Oscar nominee directed Lady Bird and Little Women, as well as co-directing with Joe Swanberg the long-distance love story Nights and Weekends, back in the days when she was the doyenne of the lo-fi indie “mumblecore” movement. Her co-writer on Barbie is her partner, the director Noah Baumbach, with whom she wrote gems such as Frances Ha and Mistress America. Back in 2010 when she was promoting Greenberg, the bittersweet Baumbach comedy which became her Hollywood springboard, she spoke of her childhood habit of jumbling up the letters in her name: “In second grade, I’d be writing ‘Great Gerwig, Great Gerwig’ on everything,” she said. These days, it’s more than just an anagram.

Her opponent is the 52-year-old Nolan, a five-time Oscar nominee who has heft on his side. His is the weightier directing CV (12 films), with Oppenheimer his longest yet: he recently confirmed that it is “kissing three hours”, which makes it more than an hour longer than Barbie. This is serious, spectacular event cinema, shot with Imax cameras and booked long ago into all that format’s venues – to the apparent chagrin of Tom Cruise, whose latest Mission: Impossible adventure opens a week earlier but will be relegated to smaller screens the instant Oppenheimer drops.

Nolan’s cast is every bit as impressive as Gerwig’s; as well as the perpetually haunted Cillian Murphy as the physicist Robert J Oppenheimer, father of the atomic bomb, Nolan has assembled Florence Pugh, Emily Blunt, Matt Damon, Rami Malek, Robert Downey Jr, Gary Oldman and Kenneth Branagh. The chances of any of them rollerblading à la Gosling in Barbie are negligible, which may help explain why Gerwig’s film is on track to have the more impressive opening weekend. Not that Oppenheimer will exactly bomb.

Barbie also has the edge when it comes to marketing opportunities, as might be expected of any movie adapted from merchandise. This goes way beyond the valley of the dolls: among the many tie-in products is an inflatable Barbie pool-float golf-cart, a Barbie dog’s basket, and an electric toothbrush capable of 36,000 sonic vibrations a minute – the same effect you get from watching Oppenheimer in Imax.

Unlike Barbie, Nolan’s film probably doesn’t have its own Exclusive Oral Beauty Partner, though given his protagonist’s chain-smoking tendencies there may be a teeth-whitening deal in the offing. And we shouldn’t rule out Oppenheimer throwing its hat in the ring when it comes to headgear. As far back as 2010, one plaintive user on thefedoralounge.com was searching “for a lid like the one the famous nuclear physicist wore,” citing a “2½-inch snap brim and a very thin ribbon” and concluding that “such a hat would be positively atomic”. Factor in the Cillian Murphy effect – this is the man who helped popularise the Peaky Blinders newsboy cap/undercut combo – and the Oppenheimer fedora and brown wool coat could be the look to replace Barbie’s summery pink once the nippier months roll around.

Some mild shade has already been thrown between the film’s respective camps on social media. “Greta Gerwig could do Oppenheimer but Christopher Nolan couldn’t do Barbie,” observed one tweet. Another overreached by proposing that “Margot Robbie could do Oppenheimer but Cillian Murphy couldn’t do Barbie” – clearly the work of someone who has never seen him in Breakfast on Pluto or Peacock. But the encouraging thing about the Barbie v Oppenheimer discourse is that, by and large, it has not followed the contours that often prevail in our online interactions. For anyone who loves cinema, the vibe feels closer to a cuddle than a cage fight.

There is real genius in this tactic of opening films catering for different audiences on the same day (known as counter-programming). The canny part is not what separates Nolan and Gerwig but what unites them: despite a clear contrast of style and sensibility, both directors possess a comparable skill, intelligence and passion, and tend to inspire loyalty in their fans. This same situation could never have arisen had Oppenheimer been pitted against, say, The Super Mario Bros Movie. Though that film is a smash, having grossed more than $1bn worldwide to date, it has nothing in it to propel cultural conversation along with profits.

Opening two films together that share similar DNA would also produce less of a spark. The experience of going to an afternoon screening of Ghostbusters on opening day in December 1984, then coming out and going straight back in to see Gremlins at teatime, was thrilling for my friends and me as 13-year-olds (especially as Gremlins was rated 15), but it was a routine sort of double bill on reflection: both were comedies that trafficked in the scary or supernatural.

What makes the combination of Barbie and Oppenheimer sing is that it is unlikely but not nonsensical. And though the films’ subjects are markedly different, there will be some overlap between their audiences. The major Rorschach test of our era, one Twitter user has suggested, will be whether you follow Oppenheimer with Barbie or vice versa. It’s no longer the case of “either/or” that it first appeared to be but rather “which one first?”. The Picturehouse chain is even extending the double bill idea by screening a selection of both directors’ past work in the coming weeks; audiences can see Lady Bird take flight alongside Interstellar, or pair Little Women and Dunkirk in a double bill of wartime stories, albeit from different wars.

Contrary to the way the rivalry was initially framed, this is no replay of the hostile Blur v Oasis Britpop war of the mid-1990s. Even the formulation of Barbie v Oppenheimer misrepresents the tenor of this unusual pairing: shouldn’t it be the more harmonious Barbie x Oppenheimer, in the style of today’s brand collaborations? Whichever film prevails financially, the result will be less meaningful to audiences than what these movies represent in a post-pandemic landscape that has seen famished exhibitors begging for new product.

Next month’s clash only came about in the first place because of Nolan’s commitment to cinemas over streaming. He would likely have set up Oppenheimer at his usual home, Warner Bros, had that studio not instigated a policy in 2021 (no longer in force today) of releasing its films simultaneously in cinemas and on HBO Max, in response to uncertainty during the pandemic. (Nolan, remember, had ruled out a streaming release for his previous film, Tenet, back in 2020 when cinema exhibition was at its most precarious.) Warner Bros still hopes to woo him back. Barbie is a Warners film, and if the studio had been distributing both pictures, they would never have let them go out on the same day. But Nolan took Oppenheimer to Universal – hence the scheduling pile-up.

No matter. The impact of Covid and the streaming revolution have been bruising, even in some cases annihilating, to parts of the industry. But contrary to the tagline from Alien Vs Predator – “Whoever wins … we lose” – the outcome of Barbie opening in lockstep with Oppenheimer can only be positive. Whichever one triumphs, cinema rules.'

[detournementsmineurs]

La doyenne des comédiennes française Micheline Presle est partie à 101 ans (1922-2024).

[justforbooks]

Best crime and thrillers of 2023

Given this year’s headlines, it’s unsurprising that our appetite for cosy crime continues unabated, with the latest title in Richard Osman’s Thursday Murder Club series, The Last Devil to Die (Viking), topping the bestseller lists. Janice Hallett’s novels The Mysterious Case of the Alperton Angels, which also features a group of amateur crime-solvers, and The Christmas Appeal (both Viper) have proved phenomenally popular, too.

Hallett’s books, which are constructed as dossiers – transcripts, emails, WhatsApp messages and the like – are part of a growing trend of experimentation with form, ranging from Cara Hunter’s intricate Murder in the Family (HarperCollins), which is structured around the making of a cold case documentary, to Gareth Rubin’s tête-bêche The Turnglass (Simon & Schuster). Books that hark back to the golden age of crime, such as Tom Mead’s splendidly tricksy locked-room mystery Death and the Conjuror (Head of Zeus), are also on the rise. The late Christopher Fowler, author of the wonderful Bryant & May detective series, who often lamented the sacrifice of inventiveness and fun on the altar of realism, would surely have approved. Word Monkey (Doubleday), published posthumously, is his funny and moving memoir of a life spent writing popular fiction.

Notable debuts include Callum McSorley’s Glaswegian gangland thriller Squeaky Clean (Pushkin Vertigo); Jo Callaghan’s In the Blink of an Eye (Simon & Schuster), a police procedural with an AI detective; Scorched Grace by Margot Douaihy (Pushkin Vertigo), featuring queer punk nun investigator Sister Holiday; and the caustically funny Thirty Days of Darkness (Orenda) by Jenny Lund Madsen (translated from the Danish by Megan E Turney).

There have been welcome additions to series, including a third book, Case Sensitive (Zaffre), for AK Turner’s forensic investigator Cassie Raven, and a second, The Wheel of Doll (Pushkin Vertigo), for Jonathan Ames’s LA private eye Happy Doll, who is shaping up to be the perfect hardboiled 21st-century hero.

Other must-reads for fans of American crime fiction include Ozark Dogs (Headline) by Eli Cranor, a powerful story of feuding Arkansas families; SA Cosby’s Virginia-set police procedural All the Sinners Bleed (Headline); Megan Abbott’s nightmarish Beware the Woman (Virago); and Rebecca Makkai’s foray into very dark academia, I Have Some Questions for You (Fleet). There are shades of James Ellroy in Jordan Harper’s Hollywood-set tour de force Everybody Knows (Faber), while Raymond Chandler’s hero Philip Marlowe gets a timely do-over from Scottish crime doyenne Denise Mina in The Second Murderer (Harvill Secker).

As Mick Herron observed in his Slow Horses origin novel, The Secret Hours (Baskerville), there’s a long list of spy novelists who have been pegged as the heir to John le Carré. Herron must be in pole position for principal legatee, but it’s been a good year for espionage generally: standout novels include Matthew Richardson’s The Scarlet Papers (Michael Joseph), John Lawton’s Moscow Exile (Grove Press) and Harriet Crawley’s The Translator (Bitter Lemon).

Historical crime has also been well served. Highlights include Emma Flint’s excellent Other Women (Picador), based on a real 1924 murder case; Laura Shepherd-Robinson’s story of a fortune teller’s quest for identity in Georgian high society, The Square of Sevens (Mantle); and SG MacLean’s tale of Restoration revenge and retribution, The Winter List (Quercus). There are echoes of Chester Himes in Viper’s Dream (No Exit) by Jake Lamar, which begins in 1930s Harlem, while Palace of Shadows (Mantle) by Ray Celestin, set in the late 19th century, takes the true story of American weapons heiress Sarah Winchester’s San Jose mansion and transports it to Yorkshire, with chillingly gothic results.

The latest novel in Vaseem Khan’s postcolonial India series, Death of a Lesser God (Hodder), is also well worth the read, as are Deepti Kapoor’s present-day organised crime saga Age of Vice (Fleet) and Parini Shroff’s darkly antic feminist revenge drama The Bandit Queens (Atlantic).

While psychological thrillers are thinner on the ground than in previous years, the quality remains high, with Liz Nugent’s complex and heartbreaking tale of abuse, Strange Sally Diamond (Penguin Sandycove), and Sarah Hilary’s disturbing portrait of a family in freefall, Black Thorn (Macmillan), being two of the best.

Penguin Modern Classics has revived its crime series, complete with iconic green livery, with works by Georges Simenon, Dorothy B Hughes and Ross MacDonald. There have been reissues by other publishers, too – forgotten gems including Celia Fremlin’s 1959 holiday‑from-hell novel, Uncle Paul (Faber), and Richard Wright’s The Man Who Lived Underground (Vintage). Finished in 1942 but only now published in its entirety, the latter is an account of an innocent man who takes refuge from racist police officers in the sewers of Chicago – part allegorical, part brutally realistic and, unfortunately, wholly topical.

Daily inspiration. Discover more photos at Just for Books…?

[eucanthos]

Stephen Jones OBE (UK, 1957)

Drama, satin organza beret. A/W 2004, La Prima Donna collection, inspired by Canessa, doyenne of ‘60’s Roman milliners.

https://showstudio.com/projects/tumblr-takeover-stephen-jones/day-1

[wittson]

It’s La Doyenne time 🚴💨

Events such as the Liège-Bastogne-Liège Challenge will keep us thrilled and excited all year around. The idea of this event is to do the same route of the renowned pro spring classics Liège-Bastogne-Liège, just with open participation for amateur cyclists from around the globe 🗺️

No matter what is your challenge we are here to build you a bespoke machine to concur it‼️

📸 Michael Ritzke

[perduedansmatete]

est-ce que ma seule copine de master sera la doyenne de 50 ans ? possible

[jojobegood1]

💘💐🌈

[brownpaperhag]

my beloved @briarhips tagged me in this just a moment ago 🍊

i. name: baya :)

ii. sign: ryby 𓆝𓆟

iii. height: tall

iv. last google search: "define doyenne" (wanted to make sure i had it right)

v. song in my head: and. is. THIS. what you wanted??? to be TRAPPED. in a HOUSE. that is haunteeeed... by the ghost... of you and me??? and iiiis this. what. you wanted. to be TRAPPED in a house that is haaaunteeed... by the ghost... of YOU AND ME.

vi. number of followers: idk man

vii. amount of sleep: ten hours a night thank you very much

viii. lucky number: what are you a cop

ix. dream job: autumn leaf enjoyer

x. currently wearing: black trousers and black silk pyjama blouse (unbuttoned to expose a tasteful amount of bra), architectural silver earrings, three bangles + one chain bracelet + one decorative bracelet, four silver rings of varying sizes, one silver and ivory ring, one silver and amber ring. fuzzy slippers.

xi. stories that summarize me: maharani, by ruskin bond. acceptance, by jeff vandermeer. we have always lived in the castle, by shirley jackson. la casa de bernarda alba, by federico garcia lorca. jonathan livingston seagull, by richard bach.

xii. favourite song: i've never been able to choose!

xiii. favourite instrument: cello... piano... oud... theremin. but my actual favourite is voice <3

xiv. aesthetic: scholar-in-residence of an ancient alien sex temple.

xv. favourite authors: toni morrison. n.k. jemisin. jeff vandermeer (NOT a white man). yah yah scholfield. ursula le guin. umm. laurie colwin. arundhati roy because/although she makes me puke. margaret atwood for a few years there (sorry). isabel allende but only the good ones. etcetera.

xvi. favourite animal noise: pigeon coos & joyce didonato on slow middle notes.

xvii. random: my mama was a wolf therapist in my toddler years so all my childhood friends are. wolves.

tagging @butchniqabi, @fluoresensitive, @scoobydoo2002, @drbronnerbutch, @rotmance, @helenfrankenthaler, and, you know, everyone... i forget. OH @mossycoat of course and @apyltree. and @sawasawako. ok im done good night my darlings 🍂🌔🕯

[conatic]

La doyenne de l'humanité est décédée. Elle était Espagnole et avait 117ans.

[fucknewsfrance]

La #doyenne de l’#humanité, l’Espagnole #MariaBranyas, est morte à 117 ans, confirme l’analyse au « #carbone14 »

L'article sur bit.ly/3BpAdZO

Toutes nos fucknews sont tirées de faits réels

[jogallice]

Comme indiqué ce matin, j’ai passé une bonne partie de la journée avec ma nageuse préférée, ce que je fais régulièrement depuis de nombreuses années chaque 15 août 😍 De 8h à 15h ce jeudi car pour elle, la Traversée du lac d’Annecy, c’est le Graal ou un truc dans le genre 😎

Sur la photo, vous pouvez la voir en pleine conversation avec Yohann Ndoye Brouard, notre champion annécien de natation, médaillé de bronze aux JO de Paris 2024 en 4x100 mètres 4 nages et licencié aux Dauphins d’Annecy 🤩 Un grand merci Yohann d'avoir pris le temps, c'était top 👌

Claudette Belleville n’avait de yeux que pour Yohann Ndoye Brouard mais il y a aussi sur la photo Catherine Allard, maire-adjointe en charge des sports et des associations sportives, également nageuse qui a découvert aujourd’hui que Claudette est ma tante 🏊🏻‍♀️

En tout cas, ma tante, bientôt 88 années au compteur, est une véritable sportive. Elle l’a été toute sa vie, c’est avec elle que j’ai fait du sport dès mon plus jeune âge, randonnée, course à pied, natation, ski, vélo. Une sacrée sportive toute sa vie durant, qui nage chaque jour 💪

Claudette a appris à nager aux Dauphins d’Annecy et sa première Traversée du lac date de 1948, à 11 ans. Elle a toujours nagé, il y a encore quelques années, elle faisait 1,6 km (je n’ai jamais compris ce chiffre) chaque jour, maintenant, elle ne fait plus qu’un km (en crawl) 💓

C’est la doyenne de l'évènement annécien et ce petit moment de bonheur annuel lors de chaque édition, ce sont ses vacances à elle chaque été, un instant dont elle profite pleinement, merci à toutes celles et tous ceux qui ont eu des mots gentils, Yohann, Catherine, tout le monde 🥰

Annéciennement vôtre,

J.-O.

📷 JamesO PhotO à Annecy le jeudi 15/08/24 📸