#paul g. raymond

[demifiendrsa]

Black Mirror - Season 7 cast announcement teaser

Season 7 cast:

Awkwafina (Jackpot)

Milanka Brooks (Mum And I Don’t Talk Anymore)

Peter Capaldi (Criminal Record)

Emma Corrin (Deadpool and Wolverine)

Patsy Ferran (Firebrand)

Paul Giamatti (The Holdovers)

Lewis Gribben (Blade Runner 2099)

Osy Ikhile (Citadel)

Rashida Jones (Sunny)

Siena Kelly (Domino Day)

Billy Magnussen (Road House)

Rosy McEwen (Blue Jean)

Cristin Milioti (The Penguin)

Chris O’Dowd (Bridesmaids)

Issa Rae (Barbie)

Paul G. Raymond (Horrible Histories)

Tracee Ellis Ross (Black-ish)

Jimmi Simpson (Westworld)

Harriet Walter (Succession)

Season 7 of Black Mirror will stream on Netflix in 2025. The new 6-episode season will include a sequel to the season 4 sci-fi adventure “USS Callister.”

[badmovieihave]

Bad movie I have Wonka 2023

[helmstone]

USS Callister mini-series in the works at Netflix

USS Callister mini-series in the works at Netflix

What’s on Netflix tells us a USS Callister mini-series (three episodes) is in pre-production at Netflix. It’s a spin-off from an episode of Black Mirror (yet another series I’ve not watched). Apparently this has been ‘happening’ for some years. Naively I thought it another Orville type Star Trek homage, it may be so, but not in the same sense. The first episode of Black Mirror Season 4, USS…

[mandowifey]

Character Masterlist.

Note: This list will be updated regularly when I get a new blorbo.

● ● ●

Ethan Hawke:

James Sandin (The Purge)

Russel Millings (Adopt a Highway)

Arthur Harrow (Moon Knight)

Edward Dalton (Daybreakers)

Ellison Oswalt (Sinister)

Albert Shaw/The Grabber (The Black Phone)

Ray Harris (Raymond and Ray)

Ernst Toller (First Reformed)

Lars Nystrom (Stockholm)

● ● ●

The Boys Universe:

Homelander

William/Billy Butcher

Ben/Soldier Boy

● ● ●

Stephen Lang:

Norman Nordstrom/Blindman (Don't Breathe)

Commander Nathaniel Taylor (Tera Nova)

Colonel Miles Quaritch- Human & Na'vi (Avatar)

John Korver (Gridlocked)

● ● ●

Hamish Linklater:

Father Paul Hill/John Pruitt (Midnight Mass)

John Tyler (Tell Me Your Secrets)

● ● ●

Oscar Isaac:

Santiago "Pope" Garcia (Triple Frontier)

Marc/Steven/Jake (Moon Knight)

Kane Double (Annihilation 2018)

● ● ●

Pedro Pascal:

Din Djarin/Mando (The Mandalorian)

Joel Miller (The Last of Us)

Frankie 'Catfish' Morales (Triple Frontier)

Deiter Bravo (The Bubble)

Javi G (Unbearable Weight of Massive Talent)

Max Phillips (Blood Sucking Bastards)

Maxwell Lord (Wonder Woman 88)

● ● ●

John Krasinski:

Lee Abbott (A Quiet Place)

● ● ●

Patrick Wilson:

Ed Warren (The Conjuring)

Orm Marius (Aquaman)

Josh Lambert (Insidious)

Daniel Dreiberg/Nite Owl (Watchmen)

● ● ●

Jensen Ackles:

Tom Hanniger (My Bloody Valentine)

Soldier Boy (The Boys)

● ● ●

Tony Dalton:

Lalo Salamanca (Better Call Saul)

Jack Duquesne (Hawkeye)

● ● ●

Michael Fassbender:

Erik Lehnsherr (X-Men)

David / Walter (Alien Covenant/Prometheus)

● ● ●

Karl Urban:

Commander Vaako (Riddick)

Billy Butcher (The Boys)

● ● ●

Jon Bernthal:

Frank Castle (The Punisher)

Shane Walsh (The Walking Dead)

● ● ●

Jason Bateman:

Marty Byrd (Ozark)

Michael Bluth (Arrested Development)

● ● ●

Patrick Fabian

Howard Hamlin (Better Call Saul)

Cotton Marcus (The Last Exorcism)

● ● ●

Spider-Verse

Peter B Parker

Miguel O'Hara

Venom

● ● ●

Jake Gyllenhaal

Detective Loki (Prisoners)

Quentin Beck/Mysterio (Spiderman: FFH)

Danny Sharp (Ambulance)

● ● ●

Overwatch

Cassidy

Soldier 76/Jack

Reaper/Gabriel

Hanzo Shimada

Genji Shimada

● ● ●

Critical Role (S1)

Grog

Vax

● ● ●

Baldur's Gate 3

Astarion

Enver Gortash

Gale Dekarios

Halsin

Zevlor

Cazador Szarr

● ● ●

Other Chars (Unsorted)

Negan Smith (Walking Dead)

Rick Grimes (Walking Dead)

Daryl Dixon (Walking Dead)

Jamie Lannister (Game of Thrones)

Captain Rex (Star Wars)

Boba Fett (Star Wars)

Kylo Ren (Star Wars)

Saul Goodman/Jimmy McGill (BCS/BB)

Barry Berkman (Barry HBO)

James "Logan" Howlett (Wolverine, Xmen)

Wade Wilson (Deadpool)

[joker1315]

All the actors you can find on this blog

Use the following link and insert the tag you want to see:

a: adam croasdell - aiden turner - aimee garcia - alan rickman - alan tudyk - alex kingston - alison sudol - allen leech - amanda abbington - amir wilson - amita suman - anatol yusef - andreas pietschmann - andrew garfield - andrew scott - aneurin barnard - annette badland  - anthony hopkins - anthony mackie - antony starr - anya chalotra - august wittgenstein

b: barry bostwick - bellamy young - ben barnes - ben mckenzie - benedict cumberbatch - benicio del toro - bernard cribbins - bill nighy - billie piper - billy boyd - brendan gleeson - brent spiner - brianna hildebrand

c: calahan skogman - cameron monaghan - candice bergen - carla gugino - caroline dhavernas - cate blanchett - catherine e coulson - catherine tate - catinca untaru - chadwick boseman - charlie chaplin - chris addison - chris cooper - chris evans - chris hemsworth - chris malcom - chris pine - christian bale - christian clemenson - christian tramitz - christiane paul - christina ricci - christopher eccleston - christopher lee - christopher lloyd - cillian murphy - colin firth - colin odonoghue - colin woodell - corey johnson - cory michael smith - craig parker

d: dakota fanning - daniel brühl - daniel craig - daniel radcliffe - daniel sträβer - danielle galligan- david bowie - david dastmalchian - david duchovny - david morrissey - david tennant - david thewlis - david wenham - deforest kelley - diego luna - dietrich hollinderbäumer - dominic cooper - dominic monaghan - dominic west

e: eddie karanja - elijah wood - elizabeth olsen - elton john - emilie de ravin - emily beecham - emma thompson - emma watson - ethan hawke - eve myles - ewan mcgregor

f: ferdinand kingsley - frankie adams - freddy carter - freema agyeman

g: gareth david lloyd - gary oldman - geoffrey rush - george eads - george takei - georgia tennant - georgina haig - gillian anderson - ginnifer goodwin - gwendoline christie - gwyneth paltrow

h: hadley fraser - harrison ford - harvey keitel - hayley atwell - heath ledger - helen mccrory - helena bonham carter - henry cavill - hugh dancy - hugh jackman - hugh laurie - hugh skinner - hugo weaving

i: ian mckellen - imelda staunton - inbar lavi

j: jack davenport - jack wolfe - jackie earle haley - jake gyllenhaal - james mcavoy - james spader - jamie lee curtis - jared padalecki - jason isaacs - javier bardem - jayne brook - jeff goldblum - jenna coleman - jennifer connelly - jennifer lawrence - jennifer morrison - jensen ackles - jeremy renner - jim beaver - jodie foster - joel rush - joey batey - john barrowman - john boyega - john hurt - john larroquette - john rhys davies - john simm - johnny depp - jonathan frakes - jose pimentao - joseph gilgun - josh dallas - jude law - julia stiles - julianne moore - julie covington - juliette binoche

k: kacey rohl - karen fukuhara - karen gillan - karl urban - kat dennings - kate capshaw - kathryn hahn - keira knightley - kevin alejandro - kit young - krysten ritter - kyle maclachlan - kyra sedgwick

l: lana parrilla - lara pulver - lars mikkelsen - laura allen - laura dern - laura fraser - lauren german - laurence fishburne - laurie kynaston - laz alonso - lee arenberg - lee pace - leonard nimoy - lesley ann brandt - lesley sharp - lindsay duncan - lisa vicari - liv tyler - lizzy caplan - louise hofmann - lucas till - luke evans

m: mads mikkelsen - maggie gyllenhaal - majel barrett - margo martindale - marion cotillard - mark gatiss - mark pellegrino - mark ruffalo - mark sheppard - mark strong - mark waschke - martin freeman - matt smith - max schimmelpfenning - may calamawy - meat loaf - megan boone - mel gibson - melinda clarke - melissanthi mahut - meret becker - mia wasikowska - michael benyaer - michael bully herbig - michael cumpsty - michael des barres - michael fassbender - michael gambon - michael raymond james - michael sheen - michelle gomez - mikael persbrandt - miranda otto - misha collins

n: natalie portman - ncuti gatwa - neil patrick harris - nell campbell - nichelle nichols - nicolas cage - nicole kidman

o: olivia colman - orlando bloom - oscar isaac - owen wilson

p: paddy ohagan - patricia quinn - patrick stewart - paul bettany - paul chahidi - paul lux - paul mescal - pedro pascal - penelope wilton - peter capaldi - peter falk - peter hinwood - philip glenister - phoebe waller bridge - pierce brosnan - pip torrens

q: qorianka kilcher - quentin tarantino

r: rachael harris - rachel weisz - rafi gavron - ralph fiennes - rayner bourton - reece shearsmith - rene russo - rhona mitra - richard armitage - richard obrien - rob benedict - robbie kay - robert carlyle - robert downey jr - robin lord taylor - robin williams - ronald guttman - rose mciver - rupert graves - rupert grint - russell crowe - ruth negga - ryan gosling - ryan reynolds

s: sam neill - samantha smith - samuel l jackson - scarlett estevez - scarlett johansson - sean astin - sean bean - sebastian stan - sherilyn fenn - shohreh aghdashloo - sky du mont - sophia di martino - stanley tucci - stellan skarsgard - steven strait - susan sarandon

t: tan caglar - taron egerton - tilda swinton - tim curry - tim roth - toby maguire - tom conti - tom ellis - tom felton - tom hiddleston - tom holland - tom payne - tom sturridge - tomer capone - tony curran - tony curtis - tricia helfer - troy garity

u: una stubbs

v: val kilmer - vanesu samunyai - viggo mortensen - vivienne acheampong - vladimir burlakov

w: walter koenig - william shatner

y: yasmin finney

z: zachary quinto

[nem0c]

Vietnam War - Galaxy Science Fiction Magazine, June 1968

Sourced from: http://natsmusic.net/articles_galaxy_magazine_viet_nam_war.htm

Transcript Below

We the undersigned believe the United States must remain in Vietnam to fulfill its responsibilities to the people of that country.

Karen K. Anderson, Poul Anderson, Harry Bates, Lloyd Biggle Jr., J. F. Bone, Leigh Brackett, Marion Zimmer Bradley, Mario Brand, R. Bretnor, Frederic Brown, Doris Pitkin Buck, William R. Burkett Jr., Elinor Busby, F. M. Busby, John W. Campbell, Louis Charbonneau, Hal Clement, Compton Crook, Hank Davis, L. Sprague de Camp, Charles V. de Vet, William B. Ellern, Richard H. Eney, T. R. Fehrenbach, R. C. FitzPatrick, Daniel F. Galouye, Raymond Z. Gallun, Robert M. Green Jr., Frances T. Hall, Edmond Hamilton, Robert A. Heinlein, Joe L. Hensley, Paul G. Herkart, Dean C. Ing, Jay Kay Klein, David A. Kyle, R. A. Lafferty, Robert J. Leman, C. C. MacApp, Robert Mason, D. M. Melton, Norman Metcalf, P. Schuyler Miller, Sam Moskowitz, John Myers Myers, Larry Niven, Alan Nourse, Stuart Palmer, Gerald W. Page, Rachel Cosgrove Payes, Lawrence A. Perkins, Jerry E. Pournelle, Joe Poyer, E. Hoffmann Price, George W. Price, Alva Rogers, Fred Saberhagen, George O. Smith, W. E. Sprague, G. Harry Stine (Lee Correy), Dwight V. Swain, Thomas Burnett Swann, Albert Teichner, Theodore L. Thomas, Rena M. Vale, Jack Vance, Harl Vincent, Don Walsh Jr., Robert Moore Williams, Jack Williamson, Rosco E. Wright, Karl Würf.

We oppose the participation of the United States in the war in Vietnam.

Forrest J. Ackerman, Isaac Asimov, Peter S. Beagle, Jerome Bixby, James Blish, Anthony Boucher, Lyle G. Boyd, Ray Bradbury, Jonathan Brand, Stuart J. Byrne, Terry Carr, Carroll J. Clem, Ed M. Clinton, Theodore R. Cogswell, Arthur Jean Cox, Allan Danzig, Jon DeCles, Miriam Allen deFord, Samuel R. Delany, Lester del Rey, Philip K. Dick, Thomas M. Disch, Sonya Dorman, Larry Eisenberg, Harlan Ellison, Carol Emshwiller, Philip José Farmer, David E. Fisher, Ron Goulart, Joseph Green, Jim Harmon, Harry Harrison, H. H. Hollis, J. Hunter Holly, James D. Houston, Edward Jesby, Leo P. Kelley, Daniel Keyes, Virginia Kidd, Damon Knight, Allen Lang, March Laumer, Ursula K. LeGuin, Fritz Leiber, Irwin Lewis, A. M. Lightner, Robert A. W. Lowndes, Katherine MacLean, Barry Malzberg, Robert E. Margroff, Anne Marple, Ardrey Marshall, Bruce McAllister, Judith Merril, Robert P. Mills, Howard L. Morris, Kris Neville, Alexei Panshin, Emil Petaja, J. R. Pierce, Arthur Porges, Mack Reynolds, Gene Roddenberry, Joanna Russ, James Sallis, William Sambrot, Hans Stefan Santesson, J. W. Schutz, Robin Scott, Larry T. Shaw, John Shepley, T. L. Sherred, Robert Silverberg, Henry Slesar, Jerry Sohl, Norman Spinrad, Margaret St. Clair, Jacob Transue, Thurlow Weed, Kate Wilhelm, Richard Wilson, Donald A. Wollheim.

[filmnoirfoundation]

We're only 12 days away from NOIR CITY 20, January 20-29 at the Grand Lake Theatre, hosted by FNF prez and TCM's Noir Alley presenter Eddie Muller. We're celebrating our 20th anniversary in the Bay Area with a ten-day extravaganza featuring 24 films (12 double features) from the heart of Hollywood's noir movement, 1948. Every film on the schedule is celebrating its 75th anniversary, with several of the movies having never before been screened at NOIR CITY.  Full schedule, tickets and Passports (all-access passes) are available at www.NoirCity.com

Here's a peek at some of the highlights.

Friday • January 20 

KEY LARGO

7:00 PM

The final pairing of Humphrey Bogart and Lauren Bacall is a spine-tingling tale of a WWII veteran (Bogart) running up against a gangster (Edward G. Robinson) who's holding the staff and guests of a coastal hotel hostage as a hurricane bears down on them. Bacall plays the daughter of proprietor Lionel Barrymore, and noir's grandest dame, Claire Trevor, is Gaye Dawn, a broken-down chanteuse who's Eddie G.'s booze-sodden moll. Trevor won the Best Supporting Actress Oscar® for her memorable performance. We kick off our 20th anniversary with the film's first-ever screening at NOIR CITY! Plays with THE LADY FROM SHANGHAI

Tuesday • January 24

HOLLOW TRIUMPH

7:00 PM

Fugitive crook Johnny Muller (Paul Henreid) finds the perfect hiding place—in the guise of a psychiatrist who is his identical twin ... almost. One of the sublime examples of noir fatalism with a clever script that will keep you guessing right up until the end. It's also an amazingly evocative look at 1940s Los Angeles, photographed by the great John Alton. This was the first film produced by romantic leading man Henreid, who like many actors in the late 1940s turned to crime dramas to revitalize their careers. Co-starring Joan Bennett at her flinty best. Plays with THE HUNTED

Friday • January 27

RAW DEAL

7:30 PM

Social worker Marsha Hunt and gangster's moll Claire Trevor duke it out for the soul of homme fatal Dennis O'Keefe in this rambunctious display of quintessential noir pulp. O'Keefe busts out of the slammer determined to get even with shyster gang-boss Raymond Burr, who wants O'Keefe dead before he reaches his San Francisco hideout. Stunning images by legendary cinematographer John Alton make this arguably the most visually stylish noir of them all. As Eddie likes to say, it's "Pure Pulp for Noir People." Plays with HE WALKS BY NIGHT

Sunday • January 29

UNFAITHFULLY YOURS

1:00, 6:00 PM

As film noir swept over late '40s Hollywood, Preston Sturges created the first full-length parody of the genre with this mordantly hilarious tale of a jealous orchestra conductor (Rex Harrison) envisioning three distinct plots to murder his supposedly unfaithful wife (Linda Darnell). Turning The Postman Always Rings Twice into uproarious comedy takes only a few tweaks and twists for this genuinely brilliant auteur. Side-splitting farce is made even funnier by Harrison's demonically deadpan portrayal of the megalomaniacal would-be murderer. Plays with THE VELVET TOUCH.

[thecryptkeeper]

The History of Video Art 

readings listed below:

A History of Video Art (2nd Edition) - Chris Meigh-Andrews

Television: Technology and Cultural Form - Raymond Williams

Video: The Distinctive Features Of The Medium - David Antin

Video: From Technology to Medium - Yvonne Spielmann

Video: The Aesthetics of Narcissism - Rosalind Krauss

The Autobiography of Video: Outline for a Revisionist Account of Early Video Art - Ina Blom

Performance, Video, and the Rhetoric of Presence - Anne M. Wagner

The Evolution of Film Language - André Bazin

Image after Image: The Video Art of Bill Viola - Chris Keith

Video Haptics and Erotics - Laura U. Marks

The Temporalities of Video: Extendedness Revisited - Christine Ross

Video/Media Culture of the Late Twentieth Century - John G. Hanhardt and Maria Christina Villaseñor

Analog Circuit Palettes, Cathode Ray Canvases: Digital’s Analog, Experimental Past - Gregory Zinman

The Unifications of the Senses: Intermediality in Video Art-Music - Holly Rogers

The Modernist Event - Hayden White

Ken Jacobs: Digital Revelationist - Malcolm Turvey

Reverse Shot (Dialogues with Sky Hopinka, Tiffany Sia and Emma Wolukau-Waanambwa) - Emily Watlington

From Nostalgia to Anachrnoy: Omer Fast, Michael Robinson, and Home Video Appropriation - James Hansen

Gillian Wearing, Private I - Nancy Princenthal

Like Life (Review of Cao Fei) - Eleanor Heartney

John Smith: Everyday Disruptions - Mark Prince

Ulysses Jenkins: A Griot for the Electronic Age - Paul Von Blum

From Narcissism to the Dialogic: Identity in Art after the Internet - Melissa Gronlund

The Skin of the Film: Intercultural Cinema, Embodiment, and the Senses - Laura U. Marks  

[nicklloydnow]

“But intellectual life is flourishing in the cafés, institutes and academies, as refugees forge community in exile. And at the École Pratique des Hautes Études, one of France’s most prestigious research universities, Alexandre Kojève has taken over Alexandre Koyré’s seminar on The Phenomenology of Spirit (1807) by G W F Hegel. Between 1933 and 1939, Raymond Aron, Georges Bataille, André Breton, Gaston Fessard, Jacques Lacan, Maurice Merleau-Ponty, Éric Weil, Hannah Arendt, Jean-Paul Sartre, Simone de Beauvoir, Frantz Fanon, Raymond Queneau, Emmanuel Levinas all come to hear his lectures. A collection of the most renowned thinkers of the day, who would come to lay the intellectual foundations for 20th-century philosophy, political thought, literature, criticism, psychology and history. It is said that Kojève’s lectures were so intricate, so deft, that Arendt accused him of plagiarising. Bataille fell asleep. Sartre couldn’t even remember being there.

(…)

The short answer is that Kojève made Hegel accessible by bringing to the surface one of the essential elements of his work: desire. Kojève did not deny he was providing a reading of Hegel that transformed the text. His interpretation has been described as ‘creative’, ‘outrageous’ and ‘violent’. The question Kojève placed at the centre of his lectures was: ‘What is the Hegelian person?’ And he answered this question through a discussion of human desire by centring a brief section in the Phenomenology titled ‘Independence and Dependence of Self-consciousness: Lordship and Bondage’, which is popularly rendered as ‘the master/slave dialectic’. And by centring this nine-page section of a 640-page work, Kojève offered readers a way to grasp an otherwise elusive text.

Poetic in its opacity, perplexing in its terminology, Hegel’s work offers an understanding of the evolution of human consciousness where the finite mind can become a vehicle for the Absolute. But what does that mean? Kojève took the lofty prose of Hegel down from the heavens and placed it in human hands, offering a translation: this is a book about human desire and self-consciousness. Or, as the philosopher Robert Pippin writes:

Kojève, who basically inflates this chapter to a free-standing, full-blown philosophical anthropology, made this point by claiming that for Hegel the distinctness of human desire is that it can take as its object something no other animal desire does: another’s desire.

What was Kojève’s reading of the master/slave dialectic?

In Kojève’s reading, human beings are defined by their desire for recognition, and it is a desire that can be satisfied only by another person who is one’s equal. On this reading, Kojève unfolds a multi-step process: two people meet, there is a death-match, a contest of the wills between them, and whoever is willing to risk their life triumphs over the other, they become the master, the other becomes a slave, but the master is unable to satisfy his desire, because they’re recognised only by a slave, someone who is not their equal. And through the slave’s work to satisfy the master’s needs, coupled with the recognition of the master, ultimately the slave gains power.

What is essential for Kojève is that one risk their life for something that is not essential. The one who shrinks before the other in fear of death becomes the slave. The one willing to die – to face the inevitability of their own non-existence – becomes the master. In other words, desire is an exertion of the will over an other’s desire. Or, as the French psychoanalyst Jacques Lacan would come to say: ‘Desire is the desire of the Other’s desire.’ It is not an attempt to possess the other person physically, but to force the other person in that moment of contest to make the other give, to bend their will, in order to achieve superiority. And in this moment, Kojève writes: ‘Man will risk his biological life to satisfy his nonbiological Desire.’ In order to gain recognition in this sense, one must be willing to risk everything – including their life. It is a struggle for mastery of the self.

Instead of Hegel’s roundabout of self-consciousness that exists in itself and for itself but always and only in relation to another, Kojève gives us: self-consciousness is the I that desires, and desire implies and presupposes a self-consciousness. Thinking about the relation between the finite mind and Absolute knowledge is opaque, but desire is human. People know what it feels like to desire, to want, to crave to be seen, to feel understood. Desire is the hunger one feels to fill the absence inside themselves. Or, as Kojève put it: ‘Desire is the presence of absence.’

(…)

Perhaps most importantly, what Kojève understood was the extent to which we humans desire to exercise some control over how other people see us differently from the ways in which we see ourselves. However tenuous or certain our sense of self-identity may seem, it is our very sense of self that we must risk when we appear in the world before others – our identity, desire, fear and shame. There is no guarantee that we will be seen in the way we want to be seen, and feeling misrecognised hurts when it happens, because it wounds our sense of self. But this risk is vital – it is part of what makes us human, it is part of our humanity. And whereas Kojève’s reading drives toward an ideal of social equality that affirms one’s preexisting sense of self when confronted by an other, for Hegel, one must take the other’s perception of the self – whatever it may be – back into their own self-consciousness. In other words, whereas for Hegel freedom rested upon the ability to preserve difference, for Kojève it rested upon the ability to preserve one’s own identity at the expense of difference.

In bringing the lofty language of Hegel down from the heavens, Kojève offered readers a secular understanding of human action, which requires each and every individual to reckon with the inevitability of their own death, their own undoing. And in doing so he shifted the focus toward the individual as the locus of social change, where history unfolds toward an aristocratic society of equals, where all difference is destroyed. Influenced by Karl Marx’s account of class struggle as the engine of history, and Martin Heidegger’s understanding of being-toward-death, Kojève’s reading of the master/slave dialectic presents another form of contest between oppressor and oppressed, where mastery over another in order to master oneself becomes the means to equality, and ultimately justice within society. Kojève adopted the master/slave dialectic in order to develop what Michael Roth called ‘a schema for organising change over time’, to think about the movement of history. And the master/slave dialectic unfolds at the level of the individual and the level of society, where the self gains recognition as a desiring subject through the endless battle for recognition that is appearing in the world with others, and the level of society where all past historical movements will be judged within a framework of right, which is the end of history.

This has been in part the legacy of Kojève. Influenced by Kojève’s reading of the master/slave dialectic, Sartre argued in Being and Nothingness (1943) that man’s freedom is found in negation. In The Second Sex (1949), Beauvoir turned to Kojève to think about women’s oppression in relation to man and the need for intersubjective recognition. Lacan’s ‘mirror-stage’ follows Kojève’s reading of Hegel to understand the role of desire as a lack in the formation of human subjectivity. Bataille turned to Kojève to argue that one could experience full self-sovereignty only in a moment of pure negation. For Foucault, it led to the belief that there is no desire free from power-relations – his central theme. And for Fukuyama, this historical contest of wills evolving along a linear temporal plane toward an equal and just society has become the much-mocked ‘end of history’ thesis – the idea that Western liberal democracy has evolved as the final form of human government in the postwar world. The postwar world Kojève himself helped to shape, before his untimely death in 1968. Ultimately, Fukuyama’s thesis captures the difference between Hegel and Kojève’s Hegel: for Kojève, the ideal of universal equality won through an endless battle for recognition was always an individualist notion that required domination when confronted by otherness. But for Hegel, human freedom could be won only through collectivity by embracing the opacity of otherness that we are constantly confronted with in ourselves, and in the world with others. It is an acceptance of that fact that self-mastery will always remain an illusion.”

[aboutanancientenquiry]

A review of “Persophilia’ of Hamid Dabashi

“Shaj Mathew reviews Persophilia

Hamid Dabashi. Persophilia: Persian Culture on the Global Scene. Cambridge, Mass.: Harvard University Press, 2015. 296 pp.

Review by Shaj Mathew

28 November 2018

In Persophilia, Hamid Dabashi explores the consequences of the European fascination with all things Persian, examining texts by Montesquieu, Voltaire, Johann Wolfgang von Goethe, and Friedrich Nietzsche; artwork by Paul Gauguin and Henri Matisse; the scholarship of E. G. Browne and Annemarie Schimmel; and even the films of Abbas Kiarostami. Dabashi narrates a dynamic process whereby Persian culture travels outside of its imperial courts, becomes the idée fixe of European artists and intellectuals, and returns from Europe utterly transformed by its cross-cultural and colonial encounters. In recovering this lively but largely unacknowledged artistic and critical circuit of exchange—which begins in seventeenth-century Europe, becomes prominent in the eighteenth and nineteenth century, and continues into the present—Dabashi models a vein of cross-cultural comparison that scholars of all disciplines should heed.

Dabashi investigates the effects of European (and later American) persophilia through an engagement with Edward W. Said, Raymond Schwab, and Jürgen Habermas. Said and Schwab offer causal explanations for Europe’s interest in the so-called Orient. For Said, Europe created knowledge about the “Orient” in order to dominate and colonize it; for Schwab, European artists viewed the “Orient” as an imaginative or artistic substrate. But for Dabashi, “abandoned in both their projects is the fate of the Orientalized societies themselves—or what happens to Persian, Indian, Arabic, or Chinese literary and artistic traditions (and the emerging public spaces that are hosting them) once they have been translated into a European context” (p. 9). To correct this lack, Dabashi turns to Habermas, whose concept of the public sphere allows Dabashi to provide an account of the effects of persophilia that is neither cultural (Schwab) nor political (Said) but social.

This social or societal account of persophilia obviates two biases that tend to dominate critical thought about the postcolonial state: the critique of European Orientalism (which, for Dabashi, “paradoxically assigns universal agency to a Eurocentric conception of the world”) and a radical anti-Western nationalism (p. 206). Although “both sides of this binary—the critique of Orientalism and the appeal of nativism—are both necessary and even logical for the historical circumstances in which they were launched,” Dabashi writes, “at the same time they have both come together paradoxically to rob the postcolonial person of historical agency and moral and authorial imagination” (p. 206). Dabashi’s attempt at restoring agency and imagination to the “postcolonial person” rests on the following claims about the cycle of European persophilia: Persian culture exited its royal courts and entered the emerging European bourgeois public sphere through art, literature, and philology, largely in the eighteenth and nineteenth centuries; this European bourgeois public sphere became transnational in light of this encounter with Persia (and other cultures); this newly transnational public sphere periodically reentered Persia through the circulation of eighteenth- and nineteenth-century texts and through the twentieth-century colonial encounter; and finally, the appropriation of the transnational public sphere by twentieth-century Persians provided them with the tools to resist European imperialism. With each stage of persophilia—from Persia, to Europe, and back—Dabashi underscores the fact that the ideas and texts being exchanged underwent mutations.

Dabashi’s argument unfolds over twelve brief chapters, each of which describes a cycle of persophilia organized around one or two literary or scholarly figures. In chapter two, for example, he describes the windy path of Montesquieu’s Persian Letters (1721), which was inspired by the travels of two Frenchmen to Isfahan in the seventeenth century. Persian Letters of course reverses that voyage, and describes, in epistolary fashion, the satirical observations of two Persians in France; Dabashi’s gloss of Persian Letters allows him to claim that European persophilia was at the heart of the European Enlightenment. In support of Persophilia’s overall argument about cultural flows, Dabashi then demonstrates how Montesquieu’s persophilia came to influence Persian writers themselves. Accordingly, Dabashi zooms in on one Persian intellectual, Mirza Fath Ali Akhondzadeh (1812–1878), who wrote his own epistolary work, the Correspondences of Kamal al-Dowleh (Maktubat-e Kamal al-Dowleh; 1863), after being exposed to the ideas of Montesquieu as well as those of Voltaire and Jean-Jacques Rousseau. Akhondzadeh was a prolific dramatist and essayist whose writings often transliterated words such as “civilization” and “despotism” directly into Persian—“a clear indication,” for Dabashi, that these concepts “entered Persian prose directly under the influence of Montesquieu and other French Enlightenment thinkers” (p. 56). Throughout his wide-ranging career, Akhondzadeh also launched a campaign to latinize the Persian alphabet and debated the merits of liberal democracy. In short, his intellectual production, originally inspired by persophilic European thinkers such as Montesquieu, helped open a public sphere in Persia—a prime example of how Persian culture drifted into Europe and returned to Persia to catalytic effect.

Chapter four, entitled “Goethe, Hegel, Hafez, and Company,” is similarly exemplary of Dabashi’s argument. Here he describes how Goethe’s fascination with Hafez and Saadi Shirazi, newly translated into German during his lifetime, led to the publication of the West-östlicher Divan in 1819. Likewise, for G. W. F. Hegel, these translations created an image of Persia against which he could define European thought in his philosophy of world history. For many German romantic thinkers of the early nineteenth century, classical Persian poetry—with its strains of self-annihilation and rebirth—fed into a form of nationalist mysticism that would ultimately provide cover for the political repression of liberal thought. Romantic beliefs proliferating in nineteenth-century Germany, influenced by their appropriation of Persian and “Sufi” poetic mysticism, had “a joint proclivity toward political absolutism” that reentered Persia in the twentieth century through the thought of Seyyed Hossein Nasr (p. 100). Under the sway of the Swiss-German mystic Frithjof Schuon, Nasr would launch a critique of modernity that “had a direct root in these German sources of romanticism, mysticism, and fascism” (p. 101). Nasr’s antimodern ideology would provide cover for both the Pahlavi dynasty and its destroyer, Ayatollah Khomeini.

The chapters I have sketched above are emblematic of Dabashi’s method in this book, which regularly marshals substantial and engaging evidence to support his cyclical theory of persophilia. Persophilia’s main shortcoming has to do with the last movement of its argument, which asserts that the public sphere in Persia was not restricted to the bourgeoisie and in fact admitted subaltern classes; this claim, while prominent in the introduction, is mentioned only en passant in most chapters, and does not receive the same space and explanatory treatment enjoyed by the work’s other major ideas. In some ways the counterpart to Dabashi’s previous book—The World of Persian Literary Humanism (2012), which narrated the various stages of Persian literature’s understanding of itself in a fashion reminiscent of Hayden White’s Metahistory (1973)—Persophilia joins a wave of scholarship that sheds light on the global origins of phenomena typically considered the province of specific national traditions. Furthermore, it generates new ways of thinking about global culture that do away with tired dichotomies such as East and West, center and periphery, and tradition and modernity. What makes Persophilia an especially urgent and impressive accomplishment is that Dabashi achieves all this without advocating for parity or equivalence and without ignoring the asymmetrical power relations that underlie all encounters between cultures.”

Source: https://criticalinquiry.uchicago.edu/shaj_mathew_reviews_persophilia/

Shaj Mathew, PhD, Assistant Professor at Trinity College, is a scholar of global modernist literature. He writes about literature and film in English, Spanish, Turkish, and Persian, often in a cross-cultural key.

[driftwoodcalliope]

So, not that anyone asked but these are the novels I read this year. If any of these books catch your eye let’s be friends!

(Note: these are not in any order, I kinda just put em into a wanton list without any prior organization)

Violet’s wee reading list of 2022

1. Once Upon a Time in Hollywood - Quentin Tarantino

2. Butter Honey Pig Bread - Francesca Ekwuyasi

3. Autobiography of a Yogi - Paramahansa Yogananda

4. Seize the Day - Saul Bellow

5. Storm of Steel - Ernst Junger

6. Tacky - Rax King

7. Slow Days, Fast Company - Eve Babitz

8. Stoner - John Williams

9. Hard Rain Falling - Don Carpenter

10. Anniversaries - Uwe Johnson

11. Don Quixote de La Mancha - Miguel de Cervantes

12. Killing Commendatore - Haruki Murakami

13. Burning Questions - Margaret Atwood

14. The Counterfieters - André Gide

15. Growth of the Soil - Knut Hamsun

16. The Poems of John Keats - John Keats

17. Ulysses - James Joyce

18. The New York Trilogy - Paul Auster

19. The Complete Stories of Clarice Lispector - Clarice Lispector

20. Quo Vadis - Henry’s Sienkiewicz

20. The Dwelling Place of Light - Winston Churchill (not the former PM)

21. Dharma Bums - Jack Kerouac

22. Dune - Frank Herbert

23. Dune Messiah - Frank Herbert

24. Children of Dune - Frank Herbert

25. God Emperor of Dune - Frank Herbert

26. Heretics of Dune - Frank Herbert

27. Chapter House Dune - Frank Herbert

28. Notes from Underground - Fyodor Dostoevsky

29. The Double - Fyodor Dostoevsky

30. Moby Dick - Herman Melville

31. Middlemarch - George Eliot

32. The Complete Stories of Jorge Luis Borges - Jorge Luis Borges

33. The Collins Complete Shakespeare - William Shakespeare

34. The Banjo: A History - Laurent DuBois

35. House of Leaves - Mark Z Danielewski

36. Sérotonin - Michel Houellebecq

37. Pamela - Samuel Richardson

38. The Confusions of Young Törless - Robert Musil

39. The Little Friend - Donna Tartt

40. My Struggle I: A Death in the Family - Karl Ove Knausgaard

42. My Struggle II: A Man in Love - Karl Ove Knausgaard

43. My Struggle III: Boyhood Island - Karl Ove Knausgaard

44. My Struggle IV: Dancing in the Dark - Karl Ove Knausgaard

45. My Struggle V: Some Rain Must Fall - Karl Ove Knausgaard

46. My Struggle VI: The End - Karl Ove Knausgaard

47. The Idiot - Fyodor Dostoevsky

48. The Pickwick Papers - Charles Dickens

49. Great Expectations - Charles Dickens

50. Bleak House - Charles Dickens

51. The Old Curiosity Shop - Charles Dickens

52. Nicholas Nickelby - Charles Dickens

53. Roots - Alex Haley

54. Silas Marner - George Eliot

55. Scenes of Clerical Life - George Eliot

56. Slouching Towards Bethlehem - Joan Didion

57. Iron Widow - Xiran Jay Zhao

58. Babel - R. F. Kuang

59. The Complete Father Brown Stories - G. K. Chesterton

60. Death Note: The Los Angeles BB Murder Cases - Nissoisin

61. The Blind Assassin - Margaret Atwood

62. The Song of Roland - Anon.

63. The Nibelungenlied - Anon.

64. Le Morte D’Arthur - Sir Thomas Malory

65. The Lais of Marie de France - Marie de France

66a. Sir Gawain and the Green Knight (penguin tran.) - Anon. (The Pearl Poet)

66b. Sir Gawain and the Green Knight (Tolkien tran.) - Anon. (The Pearl Poet)

67. The Pearl (Tolkien tran.) - Anon. (The Pearl Poet)

68. Les Fleurs de Mal - Charles Baudelaire

69. Faust - Goethe

70. Forrest Gump - Winston Groom

71. The Autobiography of Benvenuto Cellini - Benvenuto Cellini

72. Here There Be Dragons - James A. Owen

73. The Decameron - Giovanni Boccaccio

74. The Island - Alastair MacLeod

75. The Maltese Falcon - Dashiell Hammett

76. White Teeth - Zadie Smith

77. Beautiful Losers - Leonard Cohen

78. Take Arms Against a Sea of Troubles - Harold Bloom

79. A Song for Arbonne - Guy Gavriel Kay

80. Harlem Shuffle - Colson Whitehead

81. The Interview With the Vampire - Anne Rice

82. The Vampire LeStat - Anne Rice

83. The Big Sleep - Raymond Chandler

84. Vile Bodies - Evelyn Waugh

85. Decline and Fall - Evelyn Waugh

86. Thus Were Their Faces - Silvina Ocampo

87. The Hellbound Heart - Clive Barker

88. The Collected Works of Breece D’J Pancake - Breece Pancake

89. Ben-Hur: The Story of a Christ - Lew Wallace

90. Open City - Teju Cole

91. Goodbye to Berlin - Christopher Isherwood

92. The Aeneid - Virgil

93. Emma - Jane Austen

94. Sense and Sensibility - Jane Austen

95. Persuasion - Jane Austen

96. The Portable Sixties Reader - Various, compiled by Ann Charters

97. The Innocents - Michael Crummey

98. Crossroads - Jonathan Franzen

99. The History of Tom Jones, A Foundling - Henry Fielding

100. The Pilgrim’s Progress - John Bunyan

[honyakusho]

2024年11月12日に発売予定の翻訳書

11月12日（火）には9点の翻訳書が発売予定です。

幻想三重奏

ノーマン・ベロウ／著 松尾恭子／翻訳

論創社

行動変容法入門　日本語版第2版

Raymond G. Miltenberger／著 野呂文行／翻訳 佐々木銀河／翻訳 青木康彦／翻訳 神山努／翻訳

二瓶社

キリスト教の信じ方・伝え方

A.E.マクグラス／著 田中従子／翻訳

教文館

シングル・トゥースインプラント : 前歯部および臼歯部抜歯窩に対する低侵襲アプローチ

Dennis P. Tarnow／著 Stephen J. Chu／著 鈴木仙一／監修・翻訳 森本太一朗／監修・翻訳 脇田雅文／監修・翻訳 ほか

クインテッセンス出版

悪い時

ガブリエル・ガルシア・マルケス／著 寺尾隆吉／翻訳

光文社

超音波を用いた痙縮治療アトラス : 標的筋への最適な施注のために

Paul Winston／著・編集 Daniel Vincent／著・編集 久保仁／翻訳 瀬戸一郎／翻訳

クインテッセンス出版

TikZによるLaTeXグラフィックス

Stefan Kottwitz／著 黒川利明／翻訳

朝倉書店

城

カフカ／著 丘沢静也／翻訳

光文社

ホモ・サピエンス再発見 : 科学が書き換えた人類の進化

ポール・ペティット／著 篠田謙一／監修・翻訳 武井摩利／翻訳

創元社

[movie-track01]

#BlackMirror S7 has cast

Paul Giamatti

Awkwafina

Peter Capaldi

Cristin Milioti

Emma Corrin

Rashida Jones

Chris O’Dowd

Issa Rae

Paul G. Raymond

Tracee Ellis Ross

Harriet Walter

Jimmy Simpson

Milanka Brooks

Osy Ikhil and many more

The series return on #Netflix, 2025

[ulkaralakbarova]

A gangster, Nino, is in the Cash Money Brothers, making a million dollars every week selling crack. A cop, Scotty, discovers that the only way to infiltrate the gang is to become a dealer himself. Credits: TheMovieDb. Film Cast: Nino Brown: Wesley Snipes Scotty Appleton: Ice-T Garald “Gee Money” Welles: Allen Payne Pookie: Chris Rock Stone: Mario Van Peebles Selina: Michael Michele Duh Duh Duh Man: Bill Nunn Park: Russell Wong Old Man: Bill Cobbs Kareem Akbar: Christopher Williams Nick Peretti: Judd Nelson Keisha: Vanessa Williams Uniqua: Tracy Camilla Johns Frankie Needles: Anthony DeSando Reverend Oates: Nick Ashford Prosecuting Attorney Hawkins: Phyllis Yvonne Stickney Police Commissioner: Thalmus Rasulala Don Armeteo: John Aprea Master of Ceremonies: Fab 5 Freddy D.J.: Flavor Flav Frazier: Clebert Ford Prom Queen: Laverne Hart Fat Smitty: Eek-A-Mouse Biff: Gregg Smrz Teacher: Erica McFarquhar Singer at Wedding: Keith Sweat Gigantor: Max Rabinowitz Woman in Hallway: Marcella Lowery Judge: Manuel E. Santiago Prosecuting Attorney: Ben Gotlieb Reporter: Thelma Louise Carter Reporter: Linda Froehlich Bailiff: Christopher Michael Recovering Addict: Kelly Jo Minter Recovering Addict: Tina Lifford Recovering Addict: Erik Kilpatrick Assistant DA: Ron Millkie Kid on Stoop: Harold Baines Kid on Stoop: Sekou Campbell Kid on Stoop: Garvin Holder New Year’s Eve Band – (Guy): Teddy Riley New Year’s Eve Band – (Guy): Aaron Hall New Year’s Eve Band – (Guy): Damion Hall Singers – Spring – (Troop): Rodney Benford Singers – Spring – (Troop): John Harrell Singers – Winter – (Levert): Gerald Levert Singers – Winter – (Levert): Sean Levert Butchie The Doorman: Jimmy Cummings Courtroom Spectator (uncredited): Akosua Busia Prostitute in The Pool (uncredited): Lia Chang Gangster Standing at Bar (uncredited): Jake LaMotta Barber (uncredited): Larry M. Cherry Brides Maid (uncredited): Cynthia Elane Girl in the Window (uncredited): Toni Ann Johnson Connie The Waitress (uncredited): Candece Tarpley C.M.B. Member (uncredited): Chris Thornton Film Crew: Director: Mario Van Peebles Story: Thomas Lee Wright Music Supervisor: Doug McHenry Screenplay: Barry Michael Cooper Casting: Pat Golden Production Design: Charles C. Bennett Director of Photography: Francis Kenny Casting: John McCabe Editor: Steven Kemper Unit Production Manager: Preston L. Holmes Costume Design: Bernard Johnson Original Music Composer: Michel Colombier Music Supervisor: George Jackson Associate Producer: Fab 5 Freddy Associate Producer: Suzanne Broderick Associate Producer: James Bigwood First Assistant Director: Dwight Williams Stunt Coordinator: Jery Hewitt Stunts: Danny Aiello III Stunts: G. A. Aguilar Second Assistant Director: Joseph Ray Production Supervisor: Brent Owens First Assistant Editor: Kevin Stitt Camera Operator: John Newby First Assistant Camera: Gregory Irwin Second Assistant Camera: Myra-Lee Cohen Additional Camera: Ed Hershberger Steadicam Operator: Ted Churchill Production Sound Mixer: Frank Stettner Boom Operator: Keith Gardner Cableman: Rosa Howell-Thornhill Art Direction: Barbra Matis Art Direction: Laura Brock Art Department Coordinator: Roberta J. Holinko Set Decoration: Elaine O’Donnell Script Supervisor: Cornelia ‘Nini’ Rogan Makeup Artist: Diane Hammond Assistant Makeup Artist: Ellie Winslow Hairstylist: Larry M. Cherry Hairstylist: Aaron F. Quarles Wardrobe Supervisor: Barbara Hause Wardrobe Supervisor: Jane E. Myers Wardrobe Assistant: Jill E. Anderson Gaffer: Charles Houston Rigging Gaffer: Martin Andrews Best Boy Electric: Val DeSalvo Key Grip: Robert M. Andres Best Boy Grip: Paul Wachter Dolly Grip: Tom Kudlek Property Master: Octavio Molina Assistant Property Master: Laura Jean West Assistant Property Master: Kevin Ladson Charge Scenic Artist: Jeffrey L. Glave Construction Coordinator: Raymond M. Samitz Special Effects Supervisor: Steven Kirshoff Special Effects Coordinator: Wilfred Caban Second Unit Director: Jeff Lengyel Second Unit Director of Photography: Jacek Laskus Second Unit First Assistant D...

[alexlacquemanne]

Mai MMXXIV

Films

Les Trois Jours du Condor (Three Days of the Condor) (1975) de Sydney Pollack avec Robert Redford, Faye Dunaway, Cliff Robertson, Max von Sydow, John Houseman, Addison Powell, Walter McGinn et Tina Chen

La Loi du silence (I Confess) (1953) d'Alfred Hitchcock avec Montgomery Clift, Anne Baxter, Karl Malden, Brian Aherne, Roger Dann, Charles Andre, O.E. Hasse et Dolly Haas

Bon Voyage (2003) de Jean-Paul Rappeneau avec Isabelle Adjani, Virginie Ledoyen, Yvan Attal, Grégori Derangère, Gérard Depardieu, Peter Coyote, Jean-Marc Stehlé et Aurore Clément

Complot de famille (Family Plot) (1976) d'Alfred Hitchcock avec Bruce Dern, William Devane, Barbara Harris, Karen Black, Ed Lauter, Cathleen Nesbitt et Katherine Helmond

Elvis: That's the Way It Is (1970) de Denis Sanders avec Elvis Presley, Richard Davis, Sammy Davis, Jr, Joe Esposito, Felton Jarvis et Red West

Reivers (The Reivers) (1969) de Mark Rydell avec Steve McQueen, Sharon Farrell, Will Geer, Rupert Crosse, Mitch Vogel, Juano Hernández, Michael Constantine, Burgess Meredith et Diane Ladd

La Belle Espionne (Sea Devils) (1953) de Raoul Walsh avec Yvonne De Carlo, Rock Hudson, Maxwell Reed, Denis O'Dea, Michael Goodliffe, Bryan Forbes, Jacques Brunius et Gérard Oury

L'assassin habite au 21 (1942) de Henri-Georges Clouzot avec Pierre Fresnay, Suzy Delair, Jean Tissier, Pierre Larquey, Noël Roquevert, Odette Talazac, Marc Natol et Louis Florencie

Une aussi longue absence (1961) de Henri Colpi avec Alida Valli, Georges Wilson, Charles Blavette, Amédée, Jacques Harden, Paul Faivre, Catherine Fonteney et Diane Lepvrier

Le Procès Goldman (2023) de Cédric Kahn avec Arieh Worthalter, Arthur Harari, Stéphan Guérin-Tillié, Nicolas Briançon, René Garaud, Aurélien Chaussade, Christian Mazucchini, Jeremy Lewin, Jerzy Radziwiłowicz et Chloé Lecerf

La Vendetta (1962) de Jean Chérasse avec Louis de Funès, Francis Blanche, Marisa Merlini, Olivier Hussenot, Jean Lefebvre, Rosy Varte, Jean Houbé et Christian Mery

Messieurs les Ronds de Cuir (1978) de et avec Daniel Ceccaldi et Claude Dauphin, Raymond Pellegrin, Evelyne Buyle, Roger Carel, Roland Armontel, Bernard Le Coq, Jean-Marc Thibault et Michel Robin

Marcello mio (2024) de Christophe Honoré avec Chiara Mastroianni, Catherine Deneuve, Nicole Garcia, Fabrice Luchini, Benjamin Biolay et Melvil Poupaud

Opération Opium (Poppies Are Also Flowers) (1966) de Terence Young avec E. G. Marshall, Trevor Howard, Angie Dickinson, Gilbert Roland, Yul Brynner, Eli Wallach, Georges Géret, Marcello Mastroianni et Anthony Quayle

Viva Maria ! (1965) de Louis Malle avec Brigitte Bardot, Jeanne Moreau, Paulette Dubost, George Hamilton, Claudio Brook, Carlos López Moctezuma et Gregor von Rezzori

Séries

Kaamelott Livre V

Le Phare

Maguy Saison 4

Retour de France - Retour à l'occase départ - Rimes et châtiment - Fugue en elle mineure - Mise aux poings - Vote voltige - St Vincent de Pierre - Courant d'hertz - Un médium et une femme - Retrouvailles, que vaille ! - Parrain artificiel - Infarctus et coutumes - Soupçons et lumières - Dakar, pas Dakar - Impair Noël - Maguy Antoinette - Otages dans le potage - Piqûres de mystique - Nécropole et Virginie - Nitro, ni trop peu - Assassin-glinglin - Le nippon des soupirs - Pas de deux en mêlée - Main basse sur Bretteville - Ski m'aime me suive - Des plaies et des brosses - Polar ménager - Une faim de look - Le bronzage de Pierre - Transport-à porte - En chantier de vous connaître - La fête défaite - Câblé en herbe - L'enjeu de la vérité - Déformation permanente - En deux tanks, trois mouvements - Postes à galère - Prince-moi, je rêve - Science friction - Démission impossible - Lis tes ratures ! - L'infâme de lettres

Affaires sensibles

Apollo 13 : Les naufragés de l’espace - La vraie arrestation du faux Xavier Dupont de Ligonnès - L'assaut sur le Capitole - Trésor de Lava : embrouilles corses - Secte, clonage et soucoupes volantes : voyage aux frontières du Raël - Ils ont enlevé Fangio ! - Guerre du Golfe et fake news - "The Crown", une série royale ou la royauté selon Netflix - La catastrophe de Beaune - Concorde, la Lune et l'ovni - USA-URSS 1972, Guerre Froide sur parquet - Amityville : 28 jours avec le diable - L'affaire Athanor - Coupe du monde 1966, les Nord-Coréens sortent du vestiaire - La véritable histoire de Rabbi Jacob

Coffre à Catch

#155 : Les débuts historiques de Sheamus ! - Hors-série : WWE One Night Stand 2007 - #51 : Randy Orton ≥ Charles Ingalls - #50 : Tommy Dreamer, représentant Decathlon et Jean-Louis David - #52 : Lashley Récupère son Titre ! - #53 : RIP Vince McMahon - #54 : Qui a fait exploser la bagnole de Vince ? - #55 : JOHN CENA EST DANS LA CE-PLA ! - #56 : Le Poison du Catch vu par CM Punk & John Morrison - Hors-série : ECW December to Dismember - #166 : William Regal : un maître du micro !" - #167: Buckle up, Teddy: Chris Agius nous parle de Backlash 2024 ! - #168 : L'épisode des 1000 likes + Tony Atlas" - #169 : Tiffany est de retour et William Regal est fabuleux!

La croisière s'amuse Saison 5

Merci, je ne joue plus - Le Parfait Ex-amour - Enfin libre - L'amour n'est pas interdit - L'amour n'est pas la guerre - La Fête en bateau : première partie - La Fête en bateau : deuxième partie - Une expérience inoubliable : première partie - L'Amour de ses rêves - Les Victimes - Vive papa ! - L'Amour programmé - Ça, c'est une fête ! - Que dire de l'amour ?

The Hour Saison 1

Une heure, une équipe - Une heure de vérité - Une heure, une tentation - Une heure sous haute tension - L'heure de la révolte - Une heure qui change tout

Castle Saison 5, 6

Le Facteur humain - Jeu de dupes - Valkyrie - Secret défense - Pas de bol, y a école ! - Sa plus grande fan - L'avenir nous le dira - Tout un symbole - Tel père, telle fille - Le meurtre est éternel - L'Élève et le Maître - Le Bon, la Brute et le Bébé

Commissaire Moulin Saison 1

Choc en retour - L'Évadé - Marée basse

Totally Spies! Saison 5, 6, 7

Totally Mystère ! - Totalement Versailles : première partie - Totalement Versailles : deuxième partie - Pandapocalypse - Quand c'est trop, c'est Troll !

Meurtres au paradis Saison 13

Face à face - Le troisième passager

Doctor Who Season 1

Space Babies - The Devil's Chord - Boom - 73 Yards

Commissaire Dupin

Le trésor d'Ys

Spectacles

WWE Backlash France (2024) à la LDLC Arena de Lyon-Décines

Chocolat Show ! (2007) avec Olivia Ruiz

Les Faux British (2024) de Henry Lewis et Henry Shields avec Francis Huster, Cristiana Reali, Gwen Aduh, Aurélie de Cazanove, Renaud Castel, Lionel Laget, Jean-Marie Lecoq et Miren Pradier

Jamiroquai : Live in Verona (2002)

David Bowie : Glass Spider Tour (1987)

Livres

Détective Conan, tome 22 de Gôshô Aoyama

Dis-moi ton fantasme de Léa Celle qui aimait

Kaamelott, tome 5 : Le Serpent Géant du Lac de l'Ombre d'Alexandre Astier, Steven Dupré et Benoît Bekaert

Une enquête du commissaire Dupin : Péril en mer d'Iroise de Jean-Luc Bannalec

[brookstonalmanac]

Birthdays 5.26

Beer Birthdays

”Big” Mike Moore (1959)

Scott Chappell (1959)

Five Favorite Birthdays

Edward G. Bulwer-Lytton; English writer (1803)

Raymond Carver; writer, poet (1938)

Ralph Waldo Emerson; writer (1803)

Mike Myers; comedian, actor (1963)

Bill "Mr. Bojangles" Robinson; dancer (1878)

Famous Birthdays

Claude Akins; actor (1926)

Bennett Cerf; comedian (1898)

Jessi Colter; country singer (1947)

Jeanne Crain; actor (1925)

Hal David; songwriter (1921)

Tom T. Hall; country singer (1936)

Anne Heche; actor (1969)

Justin Henry; actor (1971)

Lauryn Hill; pop singer (1975)

Jamie Kennedy; comedian, actor (1970)

Jamaica Kincaid; writer (1949)

William Patrick Kinsella; writer (1935)

David Lean; film director (1907)

Robert Ludlum; writer (1927)

Demetri Martin; comedian (1973)

Ian McKellen; actor (1939)

Cillian Murphy; actor (1976)

Philip Murray; labor leader (1886)

Thomas Roethke; writer (1908)

Igor Ivanovich Sikorsky; inventor (1889)

Beverly Sills; opera singer (1929)

Molly Sims; model, actor (1973)

Gene Tunney; boxer (1897)

Leslie Uggams; singer (1943)

Brian Urlacher; Chicago Bears LB (1978)

Karen Valentine; actor (1947)

Paul Weller; rock guitarist (1958)