#luciana angeli

[axolot-of-ideas]

SO I RECENTLY finally WATCHED LUCCIOLA AND ITS SO FUCKING GOOD

NOBODY in the fandom is talking about the bridge scene in Loop 14 (Im a whore for Debris okay) despite all the discussion of the bridge and its making me so upset- ITS SO GOOD

SHUT UP ABOUT THE BRIDGE SCENE IN AURORA ITS THE SECOND LOOP AND THE SECOND EPISODE

DEBRIS IS THE LIGHT ODYSSEY EPISODE- THEY DIE IN EACH OTHER’S ARMS-

The bridge has represented so much but in this one specifically its about communication and relationships-

AND IN RELATION TO LOOPS 11-13 THE PREVIOUS EPISODE AND HOW IN THAT ONE THE BRIDGE REPRESENTS LUCI MOVING FORWARD AND HOW IT FRAMED CALY AS HOLDING HER BACK OH MY GODS ITS SO ADSJFKLHKF

i AM going to not shut up about this pair of episodes because they are my favorites

Ep.6 (Ambush) WHICH IS A CALYPSO EPISODE BTW WHICH WITH HER CHARACTER ARC IS SO ASSFLKASHFSJ I DONT CARE ITS LOOPS 11-13 WHICH ARE LUCIANAS LOOP THIS IS LIGHT ODYESSEY’S EPS

BBYGIRL I LOVE YOU AND DEBRIS AND AMBUSH ARE YOUR EPISODES

The episode starts with luciana entering the practice room interrupting calypso practising but we can hear the song a few seconds before she gets cut off AND ITS THE PART WHERE CALYPSOS MELODY TURNS INTO THE CHILDHOOD MELODY- AND THATS WHEN LUCI WALKS IN

The loop continues as normal until the bridge! AND THEN IN THE NEXT LOOP- WE WATCH HER START PLAYING- WE HEAR LUCIANA’S MOTIF WE HEAR THAT LUCIANA IS PART OF THE SONG- and then caly starts to play her own motif but thats when it cuts and we see luciana trying the loop again, trying to take them down again!!! And just seeing the montage start with the music in the background,,,,,

AND THEN THEIR CHILDHOOD MUSIC STARTS WHEN WE SEE LUCI PASS THE PRACTICE ROOM- THE PLACE WHERE THE LOOP DIVERGES-  AND THEN WHEN LUCI STARTS RUNNING THE MELODY GOES TO A NEW ONE WHERE BOTH THEIR MOTIFS ARE THERE AND THEIR MELODIES ARE INTERTWINING- AND CALY GETS UP AND STARTS MOVING WHILE PLAYING AND THEIR MOVEMENTS MIMIC EACH OTHER

and then the bridge- BOTH FOR CALY WITH THE MUSIC AND LUCI WITH THE ACTUAL BRIDGE

the song is meeting its peak and then luci gets ambushed like she did in the previous loop but the way caly is dancing vs luci fighting and they’re so in sync but also its almost like they’re fighting each other

AND THEN THE BLAST HITTING LUCI AND CALY’S STRING SNAPPING AT THE EXACT MOMENT AND SHE JUST KNOWS WHAT HAPPENS AND SHE COLLAPSES AND THEN IT LOOPS-

and it seems like luciana’s perspective of the same loop but the music is quieter and luci’s melody is more prominent- AND THEN THE MOMENT IT SWELLS AND WE KNOW THIS IS WHERE IT LOOPED LAST TIME- AND SHE CLOSES HER EYES AND THEN CALYPSO’S MELODY AND SHE OPENS THEM AND CALYPSO IS THERE AND SAVED HER

AND WHEN LUCIANA AND CALYPSO HOLD HANDS AND THEIR RINGS ARE RIGHT NEXT TO EACHOTHER AS CALY IS THE ONE THATS SHOT AND LUCI IS IN THE POSITION CALY WAS LAST LOOP ON HER KNEES AND DEFEATED AUUUGGGHHH

AND THEN LOOP 14 I WONT EVER SHUT UP ABOUT DEBRIS

Its a luciana episode and has her waking up before calypso as always- the way she looks at her sleeping though always gets me and the camera lingering on her,,,, aaaaaaaa- AND LUCIANA TAKES OFF HER RING- you think it represents her not being held back caly and breaking out of her loop,,,, and the loop is pretty normal for this point but Luci is obviously like super out of it and barely says a word all episode and the sound effect usages are so good in this ep especially

and its such a slow episode but that makes it nerve wracking tension filled episode because she isn’t saying anything and is clearly affected still

And then we watch her walking to the bridge with the step sounds aadshehdjajhdjxhshgkdl

and the slow pan up to Calypso there and shes so bbygirl sad and the soft “Please just let me help you” while they’re on other ends of the bridge

AND THEN LUCI SUMMONING HER BLADE AND JUST “THIS IS FOR YOU …All i’ve done” WITH HER MOTIF AND THEN IT KICKS INTO CALYS MOTIF AND THEN ITS THEIR SONG FROM LAST EP JUST FUELED WITH SO MUCH MORE

MORE ANGER MORE LOVE MORE *THEM* ITS SO- BUT THEY’RE FIGHTING EACH THEIR MOVEMENT STILL SO IN SYNC YET AUUGGGHHH- AND THE DIALOGUE- THE ONLY DIALOGUE THE WHOLE EPISODE- the pauses between the strumming of Caly’s magic and the clangs of Luci’s blade for their soft words to each other-

“THIS IS WHAT WE TRAINED FOR- WHY WONT YOU JUST LET ME HELP-” “BECAUSE EVERYTIME I DO- YOU DIE AND I LOOP-” “SO YOU’LL JUST KEEP DOING SUICIDE MISSIONS?" “BECAUSE I CANT LIVE WITHOUT YOU… And not just because of the loop” “Please- Let me help-” “NO- I WONT STOP UNTIL YOU ARE SA-” “I CANT LOSE YOU-  “I AM LOOPING BECAUSE I KEEP LOSING YOU” “AND I CANT KEEP LOSING YOU AGAIN EITHER” “...again?-” “I AM LOOPING BECAUSE OF YOU” “Calypso..”

AND THE PAUSE AS THEY LOOK AT EACHOTHER Just steps from the center of the bridge and eachother- and luci finally seeing the tiredness in caly’s form,,,, THEN CALYPSO PULLING OUT A TARNISHED GOLD NECKLACE WITH BOTH THEIR RINGS ON IT

THEN THE BOLT THAT KILLED THEM BOTH IN THE PREVIOUS LOOPS HAPPEN AND KILLS THEM BOTH AT THE SAME TIME- CALY FALING INTO LUCIANA AND THE ZOOM IN TO THEIR HANDS BOTH HOLDING THE NECKLACE- THEIR RINGS AND LOOPS NOW INTERTWINED

AND THE WAY THE CAMERA LINGERS LIKE IT DID AT THE BEGINNING-

THE BRIDGE REPRESENTING COMMUNICATION BETWEEN THE TWO AND THEIR RELATIONSHIP- EPISODE 7 BRIDGE IS ABOUT THEIR LOVE AND THE CONFESSION OF LOVE (I can’t live without you) AND OF LOOPS

[owenxbentley]

Luciana: You keep saying that. I'm starting to think you will. Luciana: I mean, you could find someone. A guy like you can get anyone they want Owen: I am gonna, I will find away to help you. You are doing amazing and should have the freedom to go places. Owen: Maybe but not that I want to find anyone else... I like my Mon ange' best.

[vibe-stash]

Sense and Sensibility (1995)

Director: Ang Lee DOP: Michael Coulter Production Design: Luciana Arrighi

[fibula-rasa]

Ritratto di donna velata: Prima puntata (1975)  

[letterboxd | imdb]

Director: Flaminio Bollini

Cinematographer: Guido Caracciolo

Performers: Daria Nicolodi, Nino Castelnuovo, Manilo De Angelis, & Luciana Negrini (cat uncredited)

[hqton]

𝐌𝐀𝐘𝐅𝐀𝐈𝐑 𝐈𝐒 𝐏𝐋𝐄𝐀𝐒𝐄𝐃 𝐓𝐎 𝐖𝐄𝐋𝐂𝐎𝐌𝐄 : isla macintosh ( matilda de angelis ), violet balfour ( emilia clarke ), luciana rodriguez ( marina moschen ), gisela hohenzollern ( laura harrier ), angelo orsini ( luke pasqualino ) and rhys hardy ( charles melton ). becca, please have a look at our checklist and send in your accounts within the time frames specified !! we cannot wait to have you on the dash !!

[melis-writes]

So Victoria’s babies?

with Michael

Niccolò (Nick)

Verona (Vera)

Vincent (Vince)

James (Jamie)

with Sonny

Angelo (Ange)

Luciana Ludovica (Lulu)

Isabella Carmela (Bella)

Emilia Victoria (Millie) / Xavier Vittorio (Xavi)

Maybe a fourth Victonny baby to make it equal 😏

OH NO, WE'VE REPLACED BABY EMILIA AS SONNY'S CHILD NOW?!?! 👀👀👀 That's a whooooole lot of love babies! 😅

[byneddiedingo]

Emma Thompson and Hugh Grant in Sense and Sensibility (Ang Lee, 1995) Cast: Emma Thompson, Kate Winslet, Hugh Grant, Alan Rickman, Gemma Jones, Greg Wise, Harriet Walter, James Fleet, Robert Hardy, Emilie François, Imogen Stubbs, Imelda Staunton, Hugh Laurie, Elizabeth Spriggs, Richard Lumsden, Tom Wilkinson. Screenplay: Emma Thompson, based on a novel by Jane Austen. Cinematography: Michael Coulter. Production design: Luciana Arrighi. Film editing: Tim Squyres. Costume design: Jenny Beavan, John Bright. Music: Patrick Doyle. Jane Austen's novel Sense and Sensibility is a less accomplished work than Pride and Prejudice, and Ang Lee's film of Sense and Sensibility is a less polished one than Joe Wright's Pride & Prejudice (2005). Yet I can't help thinking Lee's the better film, largely because Emma Thompson labored to bring her screenplay for Sense and Sensibility, an early and somewhat formulaic novel, up to the standards set by Austen's later work, trimming and tightening and giving a better focus to the narrative. And there's something about the casual, good-natured approach to the novel by Lee and his cast that shows up Wright's film as a bit too slick and opulent and self-conscious. I can, and do, quibble with some of the casting: Hugh Grant's Edward Ferrars is a little too goofy and shy to have won the heart of a woman so intelligent as Thompson's Elinor Dashwood. And because Tom Rickman's usual screen persona is often a forbidding one, the film doesn't do enough to establish what Marianne eventually finds so attractive in him. But the whole thing is kept aloft by bright performances, a witty script that embroiders neatly on top of Austen's wit, and by the production design and costuming and especially Patrick Doyle's lovely score.

[anyroads]

I went on vacation to Devon last year and we stayed in the house where Ang Lee shot Sense and Sensibility so here’s a long photo post that’s like a year overdue

I’m putting it under the cut because I don’t want to clog up anyone’s feed, but basically I went around the house trying to recreate shots to see what Ang Lee and Luciana Arrighi (the production designer) did. Full disclosure: I’m not a huge Jane Austen fan, and though I’m very very fond of Ang Lee, I wouldn’t have gone on holiday to this house just to stalk his shot list. The film did inspire us to look into staying at Efford House, though, because it’s unbelievably gorgeous there and it’s the perfect place to go on vacation during a pandemic and I still can’t believe we got to spend a week in this place:

Anyway, if you want to talk directing and production design choices, please @ me, but unfortunately I can’t offer you much in the way of Jane Austen nerding out, sorry to disappoint.

Like I said, I tried to recreate every shot that was filmed in the house. I’m not posting every single one because this post would be a thousand miles long, and it’s worth noting that while I did my best to line up the shots, I was working with a different lens and camera size than Michael Coulter (the cinematographer) so they aren’t always perfect.

First, here’s the house as it is in the film:

And as it is now:

You can see they added some columns over the front door for the film to age the house a bit architecturally, and put shutters on the ground and top floor windows to make the house look smaller. The place is actually fairly large, it sleeps 12, and I remember reading about Ang Lee having to work around the size issue to make the place feel more cramped and small enough to fit the story. There are no shots in the film of the side of the house, and with good reason:

I don’t know if production design put in a gate at the front of the house for filming, I haven’t found much information on what changes they made, but this fence and gate:

are not there anymore. There are also paving stones leading up to the house that can be seen in the film, which aren’t there (and would be visible as the lawn is cut short now). There’s a hedge, but yeah, no gate. If there’s a wooden fence under there, I couldn’t find it.

There’s something that looks like it once was a gate in its heyday being eaten up slowly by plant life on the ground next to the hedge:

Weirdly enough, it’s not the same one as in the film (the wood slats are assembled in a different pattern). So, you know. ¯\_(ツ)_/¯

The interior of the house is wildly different now, not least of all because there’s carpeting everywhere. The most impressive thing production design did was in the larger of the two sitting rooms, but we’ll get to that in a sec.

There’s now a second door at the front entrance (and it’s good there is, the house gets COLD), but you can see that doorknobs are still the same and are probably what were originally installed when the house was built. I don’t know for sure, I’m not a doorknob historian.

Don’t quote me on this, but I’m guessing the wood paneling on the bottom half of the walls was put there by production design. It’s seen throughout the house in the film and I found them nowhere when we were there, except in the smaller sitting room where it looked exactly the same as in the film (photos further down). It’s possible production design used the bit in the smaller sitting room as inspo for the rest of the house, or that the house was renovated and most of this paneling was removed (though why, I don’t know, it looks great and you can put little things on top of it or rest picture frames, why would you remove it???).

They only shot in three rooms of the house - the two sitting rooms and one of the upstairs bedrooms - and one scene on the stairs of the first floor. The upstairs bedroom was used for both Eleanor and Marianne’s bedroom, as well as a washroom:

The fireplace was almost definitely a prop. There was no visible sign of one behind the wardrobe, and no fireplace to share a flue on the other side of the wall. That wall is completely flat, in fact, so production design really went all out with this room. And you can see the door just at the edge of the shot of Marianne washing Margaret that’s in the picture below it. There’s no other room in the house with this configuration, and with two large windows and plenty of floor space, the room is perfect for shooting. Again, no sign anymore of the wood paneling. 

The camera turned around and the room was re-dressed with a bed and hangings etc. to look like the Dashwood girls’ bedroom:

You can just make out the door over Emma Thompson’s shoulder, and the window and seat are the same. Here, too, shutters were added to the windows to give the space a slightly more cramped feel (I assume. Again, I haven’t found any info on renovations, but I don’t see why window shutters would have been removed, and they’re a great way to make the house feel smaller, which was Ang Lee’s goal).

And my faaaaaavorite shot:

I wouldn’t be at all surprised if Ang Lee used natural light for this shot. I’ve been in love with it for years - the way the light seems to almost drape over the space, this beautiful diffused British light that trails Eleanor through the whole film, always just out of reach. And then in this shot it wants to envelop her, and she blocks it out with her hat. Love it. LOVE IT. Anyway, I couldn’t wait to find this spot in the house when we arrived, and as soon as I did, I looked up and realized: there’s a skylight! It’s just perfect. Emma Thompson wrote this scene into the script, and tbh I was surprised when I read it because if you’d told me Ang Lee decided when he scouted the location that he had to do something with this literally glorious light and made her add this moment in, I would believe it. Also, I’m assuming production design added the larger, more square bits to the banister to give them a more period look. Unless someone decided to renovate specifically that bit of the house in the last 25 years, which seems... unlikely.

I MEAN. After a week there I could tell you exactly what time of day that scene was shot and in what weather (though to be fair, we stayed there in late May, which overlapped with the 1995 shooting schedule, as it turns out. I found a copy of Emma Thompson’s production diary a few years ago and it’s fantastic).

Next I have to include this mostly because it’s just stunning:

This is what you see when you open the front door. I have no idea how anyone got me to leave this place. I think there are still claw marks in the door from where I tried to hang on and stay there forever. And just a fun thing:

I think that’s the same chair? It was in the sitting room, but I wouldn’t be surprised if it had been in the house a couple decades ago and someone grabbed it and stuck it back there just to crowd the background subtly and, again, make the house look more cramped than it is. So I moved it into the stairwell for a photo (oh yeah, that door leads to the main stairs, there’s also a second set of stairs further back which would have been for the servants and leads from the kitchen).

Anyway, hello chair!

Moving on, again, you can see there’s a second door at the front entrance. The doors and their frames are the same, and you can see the shelves of the smaller sitting room through the doorway:

The other end of this room is the most interesting bit of set dressing in the film:

You can see in both these shots that there’s a large grey fireplace with two built-in shelves on either side of it. (Also, I don’t know how Michael Coulter got that shot of Greg Wise, I could barely recreate it with an iphone and just myself pressed against a wall. How he did that with a film camera  is beyond me, because they couldn’t remove the wall obviously and there’s maybe three feet between the wall and where Greg Wise would have been sitting at that angle??) Anyway, here’s the room as it is:

That entire wall was fake! It was a magnificent lie! What! You can see the indent in the wall where there would have been room to install a false front with fake built-in shelves. In the shot below, the shelves are flush with the wall, but you can just make out a shadow between them and where the real wall ends:

Also, if you look really closely at the fireplace in the screenshot from the film, it’s more spacious than in real life, because the entire thing is covered in the false wall and a fake fireplace that has been aged to look more careworn (and isn’t made of wood).

In reality, the door on the right leads to a toilet and sink that runs the length of the room and since there are no signs of an addition to the house and the door and handle look fairly old, I think it’s fair to assume that this door was also covered up by the false wall and shelving. It’s a brilliant aesthetic move that adds balance to the room, as well as paralleling it with the other sitting room (keeping in line with the sensibility theme that runs through the film), as well as aging it and giving it character.

Honestly, I love the idea that Luciana Arrighi looked around this room and went, “ok, this doesn’t work, so we’ll just make this entire part of the room ourselves.” I think the cast didn’t even know it was fake? Emma Thompson wrote in her diaries about how she knew the production design team did a massive amount of work on the house, but she didn’t list any specifics. I also think it’s great that the truth of this space is that where you see a beautiful pre-regency built-in shelf in the film, in real life there’s a door to... a toilet.

Finally, there’s the smaller sitting room:

Those built-in shelves are real and probably original to the house (again, also not a shelf-historian). You can see the detail work on the fireplace down to the pattern carved into it and see it’s the same, and the wood paneling that shows up in the rest of the house in the film but not in present day runs along this wall too.

Again, you can see the wood paneling. Ang Lee really darkened the room with those window shutters. It’s clearly bright in here, especially since the current wallpaper is beige with stripes, and the light grey in the film would have reflected light better with all the windows exposed. If you look closely, again, the doorknob is still the same.

The shutters make a huge difference, both in the sense of space and the amount of light. 

And finally, the view and the front lawn, just because it’s stunning and because I love this tree more than any other tree I’ve ever loved:

Margaret’s tree house isn’t there anymore, of course, but neither are the two pines (I think?) that it was built onto. I hope they’re OK (they’re probably not OK). There are even lawn chairs for when you and a friend are recovering from your bout of dramatic, near-fatal illness:

Bonus content: 

I really love this little moment of Margaret being Margaret and was super jealous because that estuary looked like it had some good poking mud.

It’s seductive but treacherous non-ground. It gets very muddy as you near the edge (they must have put boards down for Emilie François) and I temporarily lost a shoe in my first attempt before I figured out how to walk on the squidgy marshy bits. But I got there in the end!

Confirmed: excellent poking mud.

[mythvlogie-archived]

two households, both alike in dignity/in fair verona, where we lay our scene/from ancient grudge break to new mutiny/where civil blood makes civil hands unclean

𝑽𝑬𝑹𝑶𝑵𝑨: on the outskirts of the nevada desert, rests the small town of verona. two rival gangs have threaded a fragile peace for the last twenty years. the blood shed in their last conflict still washes verona’s streets. the strife has given space to romance, as the heirs of both gangs have secretly fallen in love with each other and plan to run away together so they can finally live without their parents’ grudge surrounding them. with juliana castillo and roman medina presumably missing, a war brews in the belly of verona once again and the repetition of the massacre committed twenty years ago looms over the town.

𝙇𝙊𝙎 𝘾𝙊𝘽𝙍𝘼𝙎: the east side gang, commanded by gustavo medina (though many would say it is actually his wife, luciana, who makes the moves). they are known to be the most violent gang in verona and only the worst of the worst are amongst their ranks. they have a monopoly on drugs and entertainment. many would say that the cobras came out as the big winners of the last conflict between the gangs.

𝙀𝙇 𝘾𝙊𝙉𝘾𝙇𝘼𝙑𝙀: the west side gang, commanded by martin castillo. martin is the younger brother of the late valentin, one of the many casualties of the conflict twenty years ago. the conclave is more strategic than their east side counterparts, and martin prefers to think rationally and clearly before making the next move. they are responsible for weapons and networking. the town’s citizens may think el conclave lost the last war, but they still believe in the organization’s power, as they have stayed strong for over fifty years in verona.

tl;dr: a gang discord verse, loosely based on baz luhrmann’s romeo + juliet.

application:

( faceclaim. gender. pronouns ) 𝙻𝙾𝙰𝙳𝙸𝙽𝙶 𝙵𝙸𝙻𝙴… first last is a age in letters year old occupation, they have been described as +trait and -trait. they are reminiscent of 2-3 aesthetics, which has aided them many times in gang name. ( ooc alias. age. timezone. pronouns. )

possible occupations:

drug dealers, escorts, assassins, gunners (soldiers for the two gangs), weapon dealers, night club workers, corrupt law enforcement members, getaway drivers, underground racers and underground fighters.

guidelines:

no godmodding and no ooc drama. open to mutuals. muns and muses must be 21+, respecting the five year age bend rule for fcs. you’re allowed up to two muses, and it is encouraged for them to be diverse.

mun slots (9/12):

( alejandro speitzer. cis male. he/him ) 𝙻𝙾𝙰𝙳𝙸𝙽𝙶 𝙵𝙸𝙻𝙴… dante navarro is a twenty six year old night club owner, they have been described as +steadfast and -impetuous. they are reminiscent of white powder coating the insides of your nostrils, wide bloodshot eyes that won’t miss a movement in a room & laughter that turns into a sneer at the slightest mistake someone makes in your presence, which has aided them many times in los cobras. ( ron. 25. gmt -3. she/her. )

( regé-jean page. cis male. he/him ) 𝙻𝙾𝙰𝙳𝙸𝙽𝙶 𝙵𝙸𝙻𝙴… killian lachlan is a thirty year old casino & strip club owner, they have been described as +debonair and -guarded. they are reminiscent of droplets of blood on otherwise flawless marble floors, cold stares from across the room & the characteristic sound of many slot machines, which has aided them many times in los cobras. ( bela. 21. gmt-3. she/her. )

( margaret qualley. cis female. she/her ) 𝙻𝙾𝙰𝙳𝙸𝙽𝙶 𝙵𝙸𝙻𝙴… harper johansen is a twenty six year old escort & night club stripper, they have been described as +adaptable and -volatile. they are reminiscent of picking up crumpled dollar bills off the stage, scarlet lips bleeding tantalizing lies & the echo of a contagious giggle, which has aided them many times in los cobras. ( barbie. 24. gmt-3. she/her. )

( miguel herran. cis male. he / him ) 𝙻𝙾𝙰𝙳𝙸𝙽𝙶 𝙵𝙸𝙻𝙴… nicolas macias is a twenty three year old getaway driver, they have been described as +stauch and -juvenile. they are reminiscent of rainbow & flavoured rolling papers, a map with a bunch of red xs & sharpie scribbles covered vans, which has aided them many times in el conclave. ( skye. 21+. est. she/her. )

( nick jonas. cis male. he/him ) 𝙻𝙾𝙰𝙳𝙸𝙽𝙶 𝙵𝙸𝙻𝙴… ace moore is a twenty six year old underground racer, they have been described as +independent and -boastful. they are reminiscent of threesomes in the backseat of a moving car, gold chains on top a black t-shirt & kissing their knuckles before punching you in the face, which has aided them many times in los cobras. ( adri. 21+. est. she/her. )

( lennon stella. cis female. she/her ) 𝙻𝙾𝙰𝙳𝙸𝙽𝙶 𝙵𝙸𝙻𝙴… celeste olivier is a twenty three year old assassin, they have been described as +dauntless and -egocentric. they are reminiscent of applying blood red lipstick in a dirty mirror, batting your eyelashes to get what you want & a devious mind hidden behind a pretty smile, which has aided them many times in los cobras. ( lexi. 20. est. she/her. )

( hande ercel. cis female. she/her ) 𝙻𝙾𝙰𝙳𝙸𝙽𝙶 𝙵𝙸𝙻𝙴… delara acar is a twenty seven year old escort, they have been described as +adaptable and -callous. they are reminiscent of a honey toned voice spewing harsh words, glass crunching beneath stiletto heels & droplets of blood on marble floors. which has aided them many times in los cobras. ( ange. 29. est. she/her. )

( brayden bradshaw. cis male. he/him ) 𝙻𝙾𝙰𝙳𝙸𝙽𝙶 𝙵𝙸𝙻𝙴… adrian strauss is a twenty three year old getaway driver, they have been described as +maverick and -destructive. they are reminiscent of alcohol being poured on bloodied knuckles, a head raised high in defiance & and a loaded gun without the safety. which has aided them many times in los cobras. ( lauryn. 24. cst. )

( alva bratt. cisfemale. she/her ) 𝙻𝙾𝙰𝙳𝙸𝙽𝙶 𝙵𝙸𝙻𝙴… àdele goldi is a twenty three year old hotel management student, they have been described as +attractive and -emotionally unstable. they are reminiscent of late night romantic adventures, ordering champagne bottles on your own & an expensive pearl necklace smashed on the floor, which has aided them many times in el conclave. ( dolores. nineteen. gmt-3. she/her. )

application count:

zero

[ryanmckern]

Franco Buffoni, one of the most significant poetic voices of Italian opera of the late twentieth century and early 2000s [1] , was born on March 3, 1948 in Gallarate (VA), where he spent his childhood and adolescence , marked by the presence of an overwhelming principle of authority coming in part from society and school , but above all from the figure of the rigid father (Piero Buffoni, officer of the Italian army during the Second World War), aggressive and repressive educator, refractory to accept the sexual identity of the child. The relationship with the father deeply marks the writer and in fact returns in many of his works both in prose and in poetry. The mother (Luciana Buffoni), on the other hand, is a figure to which the poet seems more emotionally linked, but she is still fearful and submissive towards her husband, having been educated "by Catholicism in fascism and by fascism in Catholicism" [2] . Buffoni himself said about this period of his life that he felt "terribly compressed in the fragile age" [3] having lived in a condition of double solitude, linked to adolescence and homosexuality [4]. Later, in 1967 he moved to Milan to attend Bocconi University, graduating with honors in Foreign Languages ​​and Literature with a thesis on Portrait of the Artist as a Young Man by James Joyce in 1971. In these four years he has had the opportunity to make friends. with the poets Milo De Angelis , Angelo Lumelli, Michelangelo Coviello and with the fundamental figure for the future LGBT movement Mario Mieli , with the poetic meetings in via Col di Lana, also sometimes with the presence of poets of previous generations such as Giovanni Raboni , Antonio Porta ,Emilio Isgrò and Giovanni Giudici . In the seventies he began his academic career, keeping the Anglo-Saxon world as a reference more than anything else. Buffoni owes to his intense commitment within the University the reason for the relative delay in his debut as a poet , which takes place in 1978 in the magazine Paragone at the invitation of Giovanni Raboni , and then came out the following year with the first silloge , published in collective notebooks of Guanda , with the title In the water of the eye (at Gallarate, Varese, Italia) https://www.instagram.com/p/B97OI_lFDw6/?igshid=pgo1mjd2dyz1

[linxiajei17]

Been a long time since I posted.

Here's my OC, Señorita Luciana Meñez, ang senyoritang maldita! 🥀

I've always liked the idea in which a Filipina in the Spanish era wears pants. LUCIANA WEARS PANTS UNDERNEATH HER SKIRT! Like when she's about to fight some bad gusy, she unclips her skirt, revealing her pants, and pulls out her customized weapon!

[acdvsocialistas]

Jornal da Cidade Online EDITORIAIS BLOGS E COLUNAS APOIA.se DESTAQUE AGORA Empresa do Grupo Globo transferiu mais de 450 mil para empresa de Lula, segundo a PF POLÍTICA Empresa do Grupo Globo transferiu mais de 450 mil para empresa de Lula, segundo a PF ÚLTIMAS NOTÍCIAS Ano de bons resultados e recordes no governo Bolsonaro: que 2020 a esquerda continue queimando a língua GOVERNO BOLSONARO 28/12/2019 Ano de bons resultados e recordes no governo Bolsonaro: que 2020 a esquerda continue queimando a língua PCdoB, em clara tentativa de enganar o eleitor, vai “encobrir” o nome, mudar as cores e os símbolos PCDOB 28/12/2019 PCdoB, em clara tentativa de enganar o eleitor, vai “encobrir” o nome, mudar as cores e os símbolos Para o “atordoado” Bonner, lua vira “Lula”, ao vivo (veja o vídeo) REDE GLOBO 28/12/2019 Para o “atordoado” Bonner, lua vira “Lula”, ao vivo (veja o vídeo) Conheça Inema, a praia da Bahia onde Bolsonaro passa férias (veja o vídeo) TEMA LIVRE 28/12/2019 Conheça Inema, a praia da Bahia onde Bolsonaro passa férias (veja o vídeo) Traíra por todo lado: vira casacas invadem o país no final do ano REINALDO AZEVEDO 28/12/2019 Traíra por todo lado: vira casacas invadem o país no final do ano ADI contra “juiz de garantias” cai para ministro Luiz Fux: “In Fux we trust” LUIZ FUX 28/12/2019 ADI contra “juiz de garantias” cai para ministro Luiz Fux: “In Fux we trust” A depravada militância ideológica na mídia VERA MAGALHÃES 28/12/2019 A depravada militância ideológica na mídia UM NOVO BRASIL! Derrubamos um plano de poder de 3 décadas JAIR BOLSONARO 28/12/2019 UM NOVO BRASIL! Derrubamos um plano de poder de 3 décadas Carlos Vereza: Quem não sabe brincar não desce pro play, as donzelas da “porta” estão indignadas CARLOS VEREZA 27/12/2019 Carlos Vereza: Quem não sabe brincar não desce pro play, as donzelas da “porta” estão indignadas OAB é tão ruim ou pior que o Porta dos Fundos OAB 27/12/2019 OAB é tão ruim ou pior que o Porta dos Fundos DIREITO E JUSTIÇA A intrigante “selfie” do advogado de Ricardo Coutinho com o ministro Gilmar Mendes 28/12/2019 às 14:47 1434 COMPARTILHARAM ISSO O ministro Gilmar Mendes realmente se julga acima do bem e do mal e se acha absolutamente isento de qualquer suspeita. Faz o que quer e o que bem entende. Destrata e desrespeita autoridades, pisoteia na maior operação contra a corrupção da hist��ria e derrama, sobre todos os que cruzam o seu caminho, os seus instintos mais primitivos de “mistura de mal com o atraso e pitadas de psicopatia”. Relator da Operação Calvário, o “iluminado” magistrado, dois dias após ter sido sorteado para a função, aparece numa selfie com o advogado Francisco das Chagas Ferreira. Pois bem, esse sujeito além de ser advogado do enrolado ex-governador Ricardo Coutinho, também está sendo acusado por crimes praticados e desvendados pela operação, que agora serão julgados por Gilmar. Chagas foi preso, mas, dois dias depois, beneficiado por um habeas corpus do ministro do STJ Napoleão Nunes Maia, foi solto. O mesmo ministro também concedeu liberdade a Coutinho. Segundo as investigações, Chagas recebia dinheiro de organizações sociais e gerenciava a propina diretamente de seu escritório. Na foto, ele parece bem tranquilo ao lado de Gilmar. da Redação O jornalismo em que você confia depende de você. Colabore com a independência do Jornal da Cidade Online doando qualquer valor. Acesse: apoia.se/jornaldacidadeonline RICARDO COUTINHOOPERAÇÃO CALVÁRIOFRANCISCO DAS CHAGAS FERREIRA 1434 COMPARTILHARAM ISSO Siga-nos no Twitter! COMENTÁRIOS MAIS EM DIREITO E JUSTIÇA ADI contra “juiz de garantias” cai para ministro Luiz Fux: “In Fux we trust” LUIZ FUX 28/12/2019 ADI contra “juiz de garantias” cai para ministro Luiz Fux: “In Fux we trust” Mais um golpe na Lava Jato: Câmara articula 2ª instância só para casos futuros LAVA JATO 27/12/2019 Mais um golpe na Lava Jato: Câmara articula 2ª instância só para casos futuros “A Justiça está de férias, a PF não”, diz Alexandre Garcia, e indicia Lula e comparsas em mais um inquérito (veja o vídeo) POLÍCIA FEDERAL 27/12/2019 “A Justiça está de férias, a PF não”, diz Alexandre Garcia, e indicia Lula e comparsas em mais um inquérito (veja o vídeo) Marco Aurélio defende a Lava Jato e ataca Toffoli: É uma inacreditável conversão ou mera hipocrisia? (veja o vídeo) DIAS TOFFOLI 26/12/2019 Marco Aurélio defende a Lava Jato e ataca Toffoli: É uma inacreditável conversão ou mera hipocrisia? (veja o vídeo) A melhor explicação de Moro: Juiz de Garantias é atualmente algo inexequível no Brasil (veja o vídeo) SÉRGIO MORO 26/12/2019 A melhor explicação de Moro: Juiz de Garantias é atualmente algo inexequível no Brasil (veja o vídeo) Gilmar ataca o instituto da colaboração premiada, após Cabral fechar com a PF GILMAR MENDES 24/12/2019 Gilmar ataca o instituto da colaboração premiada, após Cabral fechar com a PF Newsletter As principais notícias do dia no seu e-mail. email@exemplo.com TV JCO MINISTÉRIO DA CIDADANIA 27/12/2019 Governo Bolsonaro está investindo em novos talentos para transformar o Brasil em potência olímpica (veja o vídeo) GENERAL GIRÃO MONTEIRO 26/12/2019 General Girão afirma: Bolsonaro e sua equipe vão fazer em 2020 um Brasil melhor ainda (veja o vídeo) whatsapp_desktop_group telegram_desktop messenger_desktop youtube_desktop gab_desktop BLOGS E COLUNAS ALLAN PITZ ANTÔNIO AUGUSTO MAYER DOS SANTOS AURÉLIO SCHOMMER AUTENIR RODRIGUES DE LIMA CALEBE COELHO CARLOS ALBERTO CHAVES PESSOA JÚNIOR CARLOS JÚNIOR LOPES CAROLINE PEIXOTO CESAR AUGUSTO CAVAZZOLA JUNIOR COMANDANTE WINSTON RODRIGUES LIMA EDILSON MOUGENOT BONFIM EDIVALDO DE CARVALHO EDUARDO AFFONSO EMÍLIO KERBER FILHO FAYEZ FEIZ JOSÉ RIZK FELIPE BRANCO FELIPE FIAMENGHI FREDERICO RODRIGUES GUILHERME RASADOR GUILLERMO FEDERICO PIACESI RAMOS GUSTAVO REICHENBACH HAROLDO BARBOZA HELDER CALDEIRA HENRIQUE GUILHERME HERBERT PASSOS NETO INÁCIO DANTAS JM ALMEIDA JOÃO FERREIRA JOÃO HENRIQUE DE MIRANDA SÁ JORGE BÉJA JORGE HESSEN JORGE HORI JOSÉ J. DE ESPÍNDOLA JOSÉ TOLENTINO JULIANO DUARTE JÚLIO CÉSAR CARDOSO JULIO GONZAGA L. OLIVER LANDES PEREIRA LUCIA SWEET LUCIANA BRANDALIZE LUIZ CARLOS NEMETZ LUIZ HOLANDA LUIZ TARCISIO BRITO FILOMENO MARCELO RATES QUARANTA MARCO ANGELI FULL MARIA CATHERINE RABELLO MARLON DEROSA MATEUS COLOMBO MENDES MATHEUS DAL'PIZZOL NOELI DE CARVALHO E SILVA PATRÍCIA BARAZETTI PEDRO LAGOMARCINO PERCIVAL PUGGINA PIO BARBOSA NETO RAFAEL ROSSET RAQUEL BRUGNERA RENATO SANT'ANA ROBERTO CORRÊA RIBEIRO DE OLIVEIRA ROBSON BELO SÉRGIO ALVES DE OLIVEIRA VALDIVINO SOUSA VALÉRIA REANI VALMIR BATISTA CORRÊA WALDIR GUERRA SOBRE NÓS EXPEDIENTE INSTITUCIONAL POLÍTICA DE PRIVACIDADE CONTATO ANUNCIE DESATIVAR NOTIFICAÇÕES Direitos reservados a Jornal da Cidade Online, CNPJ: 16.434.831/0001-01 Desenvolvido por HLQ Soluções em TICONTATOANUNCIE

[monarquia-no-brasil]

Jornal da Cidade Online EDITORIAIS BLOGS E COLUNAS APOIA.se DESTAQUE AGORA PM Gabriel Monteiro ‘converte’ feminista que chora ao perceber que aborto é horrível (veja o vídeo) SOCIEDADE PM Gabriel Monteiro ‘converte’ feminista que chora ao perceber que aborto é horrível (veja o vídeo) ÚLTIMAS NOTÍCIAS A estarrecedora explicação do “poste” sobre a diferença crucial entre Hitler e Stálin (veja o vídeo) FERNANDO HADDAD 20/01/2020 A estarrecedora explicação do “poste” sobre a diferença crucial entre Hitler e Stálin (veja o vídeo) Disseminador de absurda fake news, Santa Cruz quer que MPF e PF investiguem fake news FELIPE SANTA CRUZ 20/01/2020 Disseminador de absurda fake news, Santa Cruz quer que MPF e PF investiguem fake news Bolsonaro dá a merecida resposta para a Fenaj sobre ataques desferidos contra a imprensa FENAJ 20/01/2020 Bolsonaro dá a merecida resposta para a Fenaj sobre ataques desferidos contra a imprensa Após a “japonesa” que lê pensamentos, surge o colunista de O Globo que vê o “sonho” alheio ANCELMO GOIS 20/01/2020 Após a “japonesa” que lê pensamentos, surge o colunista de O Globo que vê o “sonho” alheio O ministro da cultura e a apologia às drogas na era petista (veja o vídeo) GILBERTO GIL 20/01/2020 O ministro da cultura e a apologia às drogas na era petista (veja o vídeo) Jornalista defende postura de Bolsonaro com a imprensa e rasga carteira da FENAJ, ao vivo (veja o vídeo) FENAJ 19/01/2020 Jornalista defende postura de Bolsonaro com a imprensa e rasga carteira da FENAJ, ao vivo (veja o vídeo) Resposta aos que nos acusam de triunfalismo: estamos confiantes e temos motivos JAIR BOLSONARO 19/01/2020 Resposta aos que nos acusam de triunfalismo: estamos confiantes e temos motivos Zé de Abreu e a triste dor de cotovelo de um derrotado... REGINA DUARTE 19/01/2020 Zé de Abreu e a triste dor de cotovelo de um derrotado... Bolsonaro e os ministros Heleno e Ramos fazem agradável surpresa ao general Villas Boas GENERAL VILLAS BOAS 19/01/2020 Bolsonaro e os ministros Heleno e Ramos fazem agradável surpresa ao general Villas Boas EXCLUSIVO: Regina Duarte vai dizer “SIM” amanhã e será a nova Secretária de Cultura (veja o vídeo) REGINA DUARTE 19/01/2020 EXCLUSIVO: Regina Duarte vai dizer “SIM” amanhã e será a nova Secretária de Cultura (veja o vídeo) DIREITO E JUSTIÇA Em plantão catastrófico, Dias Toffoli toma mais uma decisão INCONSTITUCIONAL 19/01/2020 às 22:16 1205 COMPARTILHARAM ISSO Dias Toffoli parece desconhecer o básico do direito constitucional. Notoriamente é um homem sem a mínima condição de ser um julgador, mormente como ministro do Supremo Tribunal Federal (STF). Erros e afrontas a Constituição Federal tem sido corriqueiros, além de ataques intransigentes a decisões pacificadas do próprio STF. Um absurdo. Esta semana, em uma nova uma canetada completamente ilegal, Toffoli determinou liminarmente que o teto para os salários nas universidades do país devem seguir os vencimentos dos ministros do STF. A decisão suspendeu qualquer interpretação e aplicação de subteto aos professores e pesquisadores das universidades estaduais, que tinham como referência os salários dos governadores dos respectivos estados. Porém, certamente a liminar não irá prosperar, pois afronta diretamente a súmula 339 do STF, que diz o seguinte: Não cabe ao Poder Judiciário, que não tem função legislativa, aumentar vencimentos de servidores públicos sob fundamento de isonomia. Como se não bastasse, a decisão também contraria o artigo 37 da Constituição: Art. 37. A administração pública direta e indireta de qualquer dos Poderes da União, dos Estados, do Distrito Federal e dos Municípios obedecerá aos princípios de legalidade, impessoalidade, moralidade, publicidade e eficiência e, também, ao seguinte: X - a remuneração dos servidores públicos e o subsídio de que trata o § 4º do art. 39 somente poderão ser fixados ou alterados por lei específica, observada a iniciativa privativa em cada caso, assegurada revisão geral anual, sempre na mesma data e sem distinção de índices; XI - a remuneração e o subsídio dos ocupantes de cargos, funções e empregos públicos da administração direta, autárquica e fundacional, dos membros de qualquer dos Poderes da União, dos Estados, do Distrito Federal e dos Municípios, dos detentores de mandato eletivo e dos demais agentes políticos e os proventos, pensões ou outra espécie remuneratória, percebidos cumulativamente ou não, incluídas as vantagens pessoais ou de qualquer outra natureza, não poderão exceder o subsídio mensal, em espécie, dos Ministros do Supremo Tribunal Federal, aplicando-se como limite, nos Municípios, o subsídio do Prefeito, e nos Estados e no Distrito Federal, o subsídio mensal do Governador no âmbito do Poder Executivo, o subsídio dos Deputados Estaduais e Distritais no âmbito do Poder Legislativo e o subsídio dos Desembargadores do Tribunal de Justiça, limitado a noventa inteiros e vinte e cinco centésimos por cento do subsídio mensal, em espécie, dos Ministros do Supremo Tribunal Federal, no âmbito do Poder Judiciário, aplicável este limite aos membros do Ministério Público, aos Procuradores e aos Defensores Públicos; XII - os vencimentos dos cargos do Poder Legislativo e do Poder Judiciário não poderão ser superiores aos pagos pelo Poder Executivo; XIII - é vedada a vinculação ou equiparação de quaisquer espécies remuneratórias para o efeito de remuneração de pessoal do serviço público; Toffoli é uma lástima em conhecimentos jurídicos e completamente ignorante com relação aos ditames da Constituição Federal. da Redação O jornalismo em que você confia depende de você. Colabore com a independência do Jornal da Cidade Online doando qualquer valor. Acesse: apoia.se/jornaldacidadeonline DIAS TOFFOLICONSTITUIÇÃO FEDERAL 1205 COMPARTILHARAM ISSO Siga-nos no Twitter! NOTÍCIAS RELACIONADAS A letra da lei: Saiba onde Dias Toffoli infringiu a Constituição, a Lei da Improbidade, a Lei do Sigilo Bancário, entre outras DIAS TOFFOLI 16/11/2019 A letra da lei: Saiba onde Dias Toffoli infringiu a Constituição, a Lei da Improbidade, a Lei do Sigilo Bancário, entre outras STF: o que ri antes, durante e por último também STF 02/10/2019 STF: o que ri antes, durante e por último também Está na hora de a sociedade exigir que a permanência de ministros no STF atenda o artigo 101 da Constituição CONSTITUIÇÃO FEDERAL 18/07/2019 Está na hora de a sociedade exigir que a permanência de ministros no STF atenda o artigo 101 da Constituição O maior perigo é que os ministros escrevem os livros... CONSTITUIÇÃO FEDERAL 20/04/2019 O maior perigo é que os ministros escrevem os livros... Toffoli e Alexandre não aprenderam a lição do 2º período da Faculdade de Direito CONSTITUIÇÃO FEDERAL 17/04/2019 Toffoli e Alexandre não aprenderam a lição do 2º período da Faculdade de Direito O Brasil não aceita a mordaça (Veja o Vídeo) CONSTITUIÇÃO FEDERAL 17/04/2019 O Brasil não aceita a mordaça (Veja o Vídeo) COMENTÁRIOS MAIS EM DIREITO E JUSTIÇA Disseminador de absurda fake news, Santa Cruz quer que MPF e PF investiguem fake news FELIPE SANTA CRUZ 20/01/2020 Disseminador de absurda fake news, Santa Cruz quer que MPF e PF investiguem fake news Juiz indignado com a Lei de Abuso de Autoridade cita Raul Seixas em decisão: “Eu não sou besta pra tirar onda herói” RAUL SEIXAS 17/01/2020 Juiz indignado com a Lei de Abuso de Autoridade cita Raul Seixas em decisão: “Eu não sou besta pra tirar onda herói” Perversidade revelada: organização criminosa do ex-governador Ricardo Coutinho comprava votos com exames médicos RICARDO COUTINHO 17/01/2020 Perversidade revelada: organização criminosa do ex-governador Ricardo Coutinho comprava votos com exames médicos O Globo divulga "pesquisa" tendenciosa que minimiza danos emocionais do aborto e fala em "alívio" ao assassinar o próprio filho REDE GLOBO 16/01/2020 O Globo divulga "pesquisa" tendenciosa que minimiza danos emocionais do aborto e fala em "alívio" ao assassinar o próprio filho Moro celebra queda da criminalidade e lança plataforma para ver assassinatos em cada cidade (veja os dados do seu município) QUEDA DA CRIMINALIDADE 16/01/2020 Moro celebra queda da criminalidade e lança plataforma para ver assassinatos em cada cidade (veja os dados do seu município) Moro comemora recorde do uso de fundos em ações do Ministério da Justiça (veja o gráfico) SÉRGIO MORO 16/01/2020 Moro comemora recorde do uso de fundos em ações do Ministério da Justiça (veja o gráfico) Newsletter As principais notícias do dia no seu e-mail. email@exemplo.com TV JCO EDUARDO CAMPOS 19/01/2020 Série Crime Sem Castigo relembra a misteriosa morte de Eduardo Campos (veja o vídeo) whatsapp_desktop_group telegram_desktop messenger_desktop youtube_desktop gab_desktop BLOGS E COLUNAS ALAN SANT’ANNA ALLAN PITZ ANTÔNIO AUGUSTO MAYER DOS SANTOS AURÉLIO SCHOMMER AUTENIR RODRIGUES DE LIMA CALEBE COELHO CARLOS ALBERTO CHAVES PESSOA JÚNIOR CARLOS JÚNIOR LOPES CAROLINE PEIXOTO CESAR AUGUSTO CAVAZZOLA JUNIOR COMANDANTE WINSTON RODRIGUES LIMA EDILSON MOUGENOT BONFIM EDIVALDO DE CARVALHO EDUARDO AFFONSO EMÍLIO KERBER FILHO FAYEZ FEIZ JOSÉ RIZK FELIPE BRANCO FELIPE FIAMENGHI FREDERICO RODRIGUES GUILHERME RASADOR GUILLERMO FEDERICO PIACESI RAMOS GUSTAVO REICHENBACH HAROLDO BARBOZA HELDER CALDEIRA HENRIQUE GUILHERME HERBERT PASSOS NETO INÁCIO DANTAS JM ALMEIDA JOÃO FERREIRA JOÃO HENRIQUE DE MIRANDA SÁ JORGE BÉJA JORGE HESSEN JORGE HORI JOSÉ J. DE ESPÍNDOLA JOSÉ TOLENTINO JULIANO DUARTE JÚLIO CÉSAR CARDOSO JULIO GONZAGA L. OLIVER LANDES PEREIRA LUCIA SWEET LUCIANA BRANDALIZE LUIZ CARLOS NEMETZ LUIZ HOLANDA LUIZ TARCISIO BRITO FILOMENO MARCELO RATES QUARANTA MARCO ANGELI FULL MARIA CATHERINE RABELLO MARLON DEROSA MATEUS COLOMBO MENDES MATHEUS DAL'PIZZOL PATRÍCIA BARAZETTI PEDRO LAGOMARCINO PERCIVAL PUGGINA PIO BARBOSA NETO RAFAEL ROSSET RAQUEL BRUGNERA RENATO SANT'ANA ROBERTO CORRÊA RIBEIRO DE OLIVEIRA ROBSON BELO SÉRGIO ALVES DE OLIVEIRA THEMISTOCLES GOMES PEREIRA VALDIVINO SOUSA VALÉRIA REANI VALMIR BATISTA CORRÊA WALDIR GUERRA SOBRE NÓS EXPEDIENTE INSTITUCIONAL POLÍTICA DE PRIVACIDADE CONTATO ANUNCIE DESATIVAR NOTIFICAÇÕES Direitos reservados a Jornal da Cidade Online, CNPJ: 16.434.831/0001-01CONTATOANUNCIE

[ljones41]

“SENSE AND SENSIBILITY” (1995) Review

"SENSE AND SENSIBILITY" (1995) Review The year 1995 saw the beginning of an onslaught of Britain and the United States’ love affair with British author, Jane Austen. A love affair that has not abated after twenty-three (23) years. In 1995, the BBC aired Andrew Davies’ miniseries adaptation of Austen’s most famous novel, ”Pride and Prejudice”. And later that year, Hollywood released its adaptation of another Austen, ”Sense and Sensibility” - which I had just recently watched.

Directed by Ang Lee, ”SENSE AND SENSIBILITY”, starred Emma Thompson (who also wrote the screenplay), Kate Winslet, Alan Rickman and Hugh Grant. The story centered around Elinor (Thompson) and Marianne (Winslet), two daughters of Mr. Dashwood (Tom Wilkinson) by his second wife (Gemma Jones). They have a younger sister, Margaret (Emilie François), and an older half-brother named John (James Fleet). When their father dies, the family estate passes to John, and the Dashwood women are left in reduced circumstances. The story follows the Dashwood sisters to their new home, a cottage on a distant relative's property (Robert Hardy), where they experience both romance and heartbreak. The contrast between the quiet and sensible Elinor and the extroverted and occasionally impetuous Marianne is eventually resolved as each sister finds love and lasting happiness. This leads some to believe that the story’s title described how Elinor and Marianne find a balance between sense and sensibility in life and love. Producer Lindsay Doran made an excellent choice in selecting Lee to direct the film. First of all, he drew some excellent performances from his cast - especially from Thompson, Winslet, and Rickman. Lee also effectively drew filmgoers back into Regency England without allowing the film to resemble some kind of stiff painting or a museum piece. Although he initially had trouble with dealing with Western-style of filmmaking – especially in dealing with British cast members who questioned his direction and made suggestions regarding shots. He could be rather authoritarian with the cast, especially with Hugh Grant. The actor ended up calling him ”the Brute” behind his back. But Lee and the cast eventually got used to each other. Lee was also responsible for insisting that Thompson play the oldest Dashwood sister. And he Lee ordered Winslet to read poetry and novels from the late 18th century and early 19th century in order to get her to connect to Marianne’s romantic nature. And to give the movie its emotional core, he asked both Thompson and Winslet to room together during production. The two actresses remain close friends to this day. Not only was Lee ably assisted by his superb cast, but also by crew members such as costume designers Jenny Beavan and John Bright, production designer Luciana Arrighi, set decorator Ian Whittaker, art directors Philip Elton and Andrew Sanders; and cinematographer Michael Coulter, whose photography beautifully captured the English countryside in all of its glory. I especially have to give kudos to Coulter’s photography and Arrighi’s production design for a beautiful re-creation of Regency London. I also enjoyed composer Patrick Doyle’s score for the film. His use of John Dowland’s song, "Weep You No More Sad Fountains" as Marianne’s own theme song struck me as very impressive. But I have to especially give kudos to Emma Thompson for her marvelous adaptation of Austen’s novel. It may not have adhered exactly to the novel, but I found it well written, lively and paced just right. With the exception of two performances, I felt more than impressed with the cast. When Ang Lee had signed on as the movie’s director, he immediately suggested that Emma Thompson portray the oldest Dashwood sister, Elinor. Thompson considered herself too old for the role, considering that Elinor was at least 19-20 years old in the novel. But Lee suggested that she increase Elinor’s age to 27 in the screenplay, which would also make her distress at being a spinster easier for contemporary audiences to understand. Frankly, I feel that Lee made a good choice. Emma Thompson gave a superb performance as Elinor Dashwood, whose practical mind led her to act as the family’s de facto leader, following her father’s death. She also brilliantly conveyed Elinor’s emotional nature behind a mask of reticence via her eyes and various expressions. Kate Winslet had no need to be subtle as the more openly emotional Marianne Dashwood. Winslet was at least 20 years old when she filmed ”SENSE AND SENSIBILITY’. Yet, even at that tender age, Winslet proved that she had the talent and acting chops to portray the very complex Marianne. And yet, she managed to convey all aspects of Marianne’s personality – romantic, willful, emotional and sometimes a bit self-involved - with surprising subtlety. I found Alan Rickman impressive as one of the Dashwoods’ new neighbors, the quiet and dependable Colonel Christopher Brandon. I enjoyed the subtle manner in which Rickman expressed Brandon’s reluctance in expressing his love for Marianne, due to her feelings for another man. That other man proved to Greg Wise, who gave a surprisingly effective performance as the dashing, yet rakish John Willoughby. Wise has always struck me as a solid, but not particularly an exceptional actor, but I must admit that I consider Willoughby to be among his best performances. The movie’s supporting cast also included Robert Hardy and the late Elizabeth Spriggs, who gave amusing performances as Sir John Middleton, the Dashwoods’ cousin and benefactor; and Mrs. Jennings, Sir John’s mother-in-law. Gemma Jones was excellent as the emotional and sometimes girlish mother of the Dashwood sisters. I was also impressed by Harriet Walter, who portrayed the sisters’ shrewish sister-in-law, Fanny Dashwood. And Hugh Laurie gave a hilarious performance as the sardonic and long-suffering Mr. Palmer, Mrs. Jennings’ other son-in-law. And I must say that Imogen Stubbs also impressed me by her subtle performance as the cunning and manipulative Lucy Steele, who seemed to have a claim for the same man that Elinor Dashwood longs for. Speaking of Elinor Dashwood’s love, I finally come to the two performances that had failed to impress me. One of them belonged to Hugh Grant. He portrayed Edward Ferrars, one of Fanny Dashwood’s brothers that happened to be in love with Elinor and is claimed by the manipulative Lucy Steele as her fiancé. Remember his charming, yet modest performance in the hit 1994 comedy, "FOUR WEDDINGS AND A FUNERAL"? Well, his Edward Ferrars turned out to be an early 19th century version of that particular role. Grant simply gave the same performance, but with more stuttering and well . . . the same charm. What had been fresh and original in 1994, ended up as old news a year later in "SENSE AND SENSIBILITY". Fortunately, he managed to create strong chemistry with both Thompson and Emilie François, who portrayed the young Margaret Dashwood. And he managed to inject a good deal of subtle wit into his portrayal of the low-key Edward. But the one performance that really did nothing for me belonged to Imelda Staunton. She portrayed Charlotte Jennings Palmer, Mrs. Jennings’ daughter and Mr. Palmer’s wife. Now I am a fan of Stauton, but I cannot say the same about her portrayal of Charlotte Palmer. I realize that the character was supposed to be annoying, but one could say the same about Sir John and Mrs. Middleton. But whereas I found Robert Hardy and Elizabeth Spriggs’ performances amusing and rather funny at times, Staunton’s slightly over-the-top portrayal of Charlotte Palmer ended up irritating the hell out of me. I understand that Andrew Davies had produced his own version of the Austen novel back in 2008. I cannot deny that the three-part miniseries is first rate. There are two other adaptations of Austen's 1811 novel that I have enjoyed. However, I still believe that this particular version is superior. It came as no surprise to me that it earned seven (7) Academy Award nominations and won one (1) for Thompson’s Adapted Screenplay. ”SENSE AND SENSIBILITY” is one movie I could watch over again without ever getting tired of it.

[melis-writes]

Luciana and Angelo

Lulu or Luci or Lucia

Angelino or Ang

Awwwww, how adorable!! ❤❤❤ Victonny baby names... hehe... 👀🙏🏻

[portodelenha]

Neste livro você lerá cartas trocadas entre quarenta escritores brasileiros, linhas escritas que revelam suas personalidades, demonstrando graus de intimidade que faz-nos sentir próximos de cada um dos autores, mostrando-nos que as elegantes missivas não estão mortas. Livro: Cartas entre escritores Selo: Cavalo Café (Porto de Lenha Editora) ISBN: 978-85-69564-54-6 Formato: 15, 5 x 22, 5 cm Páginas: 96 Edição: 1ª Ano: 2018 Pré venda disponível em: http://portodelenha.com/…/ant…/56-cartasentreescritores.html Autores: Adair Maia Adam Mattos Alessandra Polo Ana Ferreira Ana Sabina Andressa Badin Castro Angeli Rose Anthony Juszczak Portes Batista Carlos Alberto de Campos Salles Cláudia Fontenele Claudia Botion Cracovsky Dani Hoffmann Debrittus Elisabete Pereira Fabiane Rodrigues da Silva Francisco Xavier de Oliveira Neto Gia Oliver Gi Pezzolato Hedpo Azevedo Joice M. Araújo Jon O’Brien Jonnata Henrique Juliana de Castro Lenilson Silva Léo Otaciano Luciana Oliveira Marcos Alves Maria Luiza Porto Marli Santos Meg Mendes Milena Karla Rafael Rodrigues Raíssa Arenhardt Raquel Lopes Rubens Alves Ferreira Sandra Feitosa Tamiris Oliveira Tenile Menezes Vanessa Nunes #portodelenhaeditora #cavalocafé #editoraportodelenha #ediçõescavalocafé #portodelenha (em Porto de Lenha Editora) https://www.instagram.com/p/BpFuK3sgec0/?utm_source=ig_tumblr_share&igshid=18ca6kn5fmehq